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

The Distant SoundJULY 30 – AUGUST 6, 2010

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

Chair Jeanne Donovan FisherPresident Leon BotsteinDirector Mark Tiarks

Presents

The Distant Sound(Der ferne Klang)

Music and libretto by Franz Schreker

Directed by Thaddeus Strassberger

American Symphony Orchestraconducted by Leon Botstein, Music Director

Sosnoff TheaterJuly 30 and August 6 at 7 pm August 1 and 4 at 3 pm

Running time is approximately two hours and 50 minutes, including one 20-minuteintermission and one 15-minute intermission.

Special support for this program is provided by Emily H. Fisher and John Alexander.Additional funding has been provided by Thurmond Smithgall and the Lanie & Ethel Foundation.

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

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Principals (in order of appearance)

Fritz, a composer Mathias SchulzGrete Graumann, his fiancée Yamina MaamarHerr Graumann, her father Peter Van DerickFrau Graumann, her mother Susan Marie PiersonDr. Vigelius, a lawyer and family friend Marc EmbreeThe Innkeeper Matthew BurnsA Hack Actor Jeff MattseyAn Old Woman Susan Marie PiersonThe Count Corey McKernThe Chevalier Jud PerryThe Baron Marc EmbreeThe Voice of a Man Jeff MattseyGreta, a cabaret performer Yamina MaamarMary, a cabaret performer Celine MogielnickiMizi, a cabaret performer Aurora Sein PerryMilli, a cabaret performer Jamie Van EyckThe Spanish madame Susan Marie PiersonTini, a prostitute Yamina MaamarA Waitress Susan Marie PiersonAn Usher Matthew BurnsA Dubious Character Jud PerryOpera Choristers Peter Van Derick

Marc MolomotRudolf, Fritz’s assistant Corey McKern

Chorus

SopranoWendy Baker, Eileen Clark, Jennifer Gliere, Laura Green, Jennifer Greene, Julie Gregorio,Sarah Kerman, Marie Mascari, Rachel Rosales, Alissa Rose, Rosemarie Serrano, Martha Sullivan, Carla Wesby, Katherine Wessinger, Phyllis Whitehouse, Jennifer Young

AltoSarah Bleasdale, Teresa Buchholz, Courtney Crouse, Katharine Emory, B. J. Fredricks,Helen Karloski, Mary Marathe, Martha Mechalakos, Guadalupe Peraza, SuzanneSchwing, Virginia Warnken, Abigail Wright

TenorMatthew Deming, Mark Donato, Eric Dudley, Ethan Fran, Alex Guerrero, John Howell,John Kawa, Eric Lamp, Mukund Marathe, Marc Molomot, Michael Steinberger,Christopher Preston Thompson

BassJames Gregory, Steve Hrycelak, David Huneryager, Darren Lougee, Andrew Martens,Thomas McCargar, Steven Moore, John Rose, Joshua South, Charles Sprawls, Peter Stewart, Peter Van Derick

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Set Designer Narelle SissonsLighting Designer Aaron BlackCostume Designer Mattie UllrichProjection Designer Peter NigriniChorus Master James BagwellAssistant Director Paul PeersMovement Director Marjorie FolkmanPrincipal Music Coach Greg RitcheyStage Manager Lynn Krynicki

Assistant Stage Managers Laura KrauseWhitney Schmerber

Assistant Set Designers UmGiLeeSofia Pia Belenky

Associate Costume Designer Becky LaskyAssistant Lighting Designer Michael FergusonAssociate Projection Designer C. Andrew BauerSupertitle Creator and Operator Celeste MontemaranoChorus Contractor Nancy WertschLanguage Coach Daniel MolkentinAssistant Music Coach Nino SanikidzeStudent Production Assistants Taylor Lambert

Emily CukLights Rentals from PRG

Scenery provided by Adirondack Studios

The producers would like to thank Goodspeed Musicals Costume Rentals, Helen UffnerVintage Clothing, and the Theatre Development Fund Costume Collection for theirassistance with this production.

Scenes

Act I, Scene 1 The Graumann Family HomeAct I, Scene 2 Der Wald Cinema

Intermission

Act II La Casa di Maschere, a Venetian Cabaret

Intermission

Act III, Scene 1 Opera House FoyerAct III, Scene 2 Fritz’s Study

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Synopsis

Act I, Scene 1In a small village surrounded by woods, Fritz, a young composer, feels the burden ofdomesticity weighing him down. The music that he longs to compose is a distant soundthat cannot be heard over the deafening tedium of village life. Grete, his fiancée, doesn’tknow how she’ll be able to stand it if Fritz, her only love and support, leaves. But Fritzremains firm in his decision, and promises that once he becomes successful, he willreturn and marry Grete. She resigns herself and tells him that she will await his return.

An old woman offers Grete her help if she should ever need it and then leaves, only toreturn later to spy on the unfolding drama. In a conversation with her ailing mother,Grete expresses her concerns about her father’s gambling and drinking habits. They aresuddenly interrupted by the loud intrusion of Grete’s father and drunken guests from thetavern. A local actor among the group announces that Grete is to be married to theowner of the local pub. Reacting to Grete’s shock and confusion, Dr. Vigelius, an old fam-ily friend, explains that Grete’s father wagered her in a bowling game and lost. Grete,horrified, declares that she is already engaged. Feeling the world imploding around her,Grete flees from her suffocating circumstances in search of Fritz.

Act I, Scene 2The old woman comforts the distraught Grete with tender words, assuring her that shewill find Fritz again. She then persuades Grete to go with her to a faraway place whereshe’ll be loved.

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Act IITen years later, at La Casa di Maschere (The House of Masks), a Venetian cabaret anddance hall. The old woman, ever present, is the dance hall’s master of ceremonies, andGreta, as she is now known, has become a star of the cabaret. The other “girls” talk of theCount, a regular customer, and his preference for Greta, who evades him at every turn.The Count announces that he intends for Greta to leave with him tonight, by force if nec-essary. Greta suggests a song contest; the winner will enjoy a night of sweet love withher. The Count steps forward with “The Ballad of the Glowing Crown.” It is judged by theassembly to be too sad. The Chevalier’s tale of “The Flower Girl of Sorrento” is deemed tobe much better. The Count demands that Greta alone make the decision.

A disheveled and distraught stranger arrives, and gazes at Greta in bewilderment. Aftera moment, she recognizes him as Fritz. He tells her of his regret over abandoning her, andof the many years he spent searching for her before the “distant sound” of an orchestralured him to this place. The crowd is touched by Fritz’s story, and Greta declares him thewinner of the contest. But when he announces his intention to marry her, the crowdlaughs, and suddenly Fritz awakens to reality. Greta, seeing his horror, proclaims that hehas mistaken her for little Grete, whom he left behind years ago. The Count challengesFritz, who hastens away, refusing to fight. Greta, abandoning herself to her tragic situa-tion, throws herself into the arms of the Count, who whisks her away.

Act III, Scene 1Five years later, Fritz has finally found some success as a composer. His latest creation,The Harp, premieres that night in an important opera house. In the foyer where the opening-night party will soon take place, Dr. Vigelius is chatting with an old friend whocomplains of the role he was offered in Fritz’s opera—that of a hack actor. An usherenters, escorting an oddly dressed woman who has fainted and is being taken out of thetheater. A shady character accosts the woman. Recognizing her as Grete, Dr. Vigeliusdrives the lecherous man away. Fritz’s opera ends, and Grete and Dr. Vigelius listen to theaudience’s comments as they leave. It seems that the last act is a fiasco. Grete makes Dr.Vigelius promise to take her to Fritz.

Act III, Scene 2It is the morning after the unsuccessful premiere. Fritz listens to the birds sing and contemplates how he has wasted his life on a pointless artistic journey. His friend Rudolfrushes in with good news. The theater director, who sees great potential in the opera,would like Fritz to revise the last act. But Fritz has no strength for this now. He sinks intoa reverie. He hears again the “sound” that has been silent for so long, like “a thousandharps singing a bridal song” . . .

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Franz Schreker in 1912, the year Der ferne Klang (The Distant Sound) premiered

Questions for the Director

There are many ways for a director to begin preparing an opera—through the libretto andmusic, certainly, but also real locations, information about the composer’s source material,relevant biographical details, and so forth. When you start thinking about a brand-newproduction like this one, where do you begin?

Thaddeus Strassberger: Classic repertory operas are often a greater challenge thanbrand-new productions. When a piece is well known, you can spend a lot of energy on fil-tering out what you already know about it, looking for some uncharted territory toexplore. With a production of an opera such as The Distant Sound—which, as this is theU.S. stage premiere, will be completely new to most of our audience—I have the oppo-site problem. There’s so much information to convey not only about the plot proper, butalso about the characters themselves and the musical language they use to express theirthoughts, ideas, and actions. With so many different possible directions, the process isabout posing various “what if” scenarios and seeing where they lead me.

As this is my first Schreker opera, I prepared by spending as much time reading about hislife and listening to his other works as I did specifically reading about and listening torecordings of the opera itself. Some significant correlations between Fritz’s quest andautobiographical elements of Schreker’s own experience soon emerged. It seemed I couldkill two birds with one stone, and explore the journey that Fritz and Grete take as well asilluminate some of the social and artistic milieus in which Schreker created his opera.

What time period is the opera set in? TS: At the beginning of the opera we are in 1919, just as World War I is ending in WesternEurope. The plot is structured to take place over about 15 years. I decided to set the finalein 1934, the year Schreker died.

How does the time period influence the look of the production? TS: The time period opened up a whole world of visual references for us to use, includingthe emerging language of film. Celluloid, plastics, and film-developing technologieswere beginning to forever alter the world these characters inhabit. The very first imagethat you’ll see, in our production, is a huge photograph of a forest scene. Right away, wesee a natural world that is filtered through man-made machines. The mystery of themythical forest is captured, distilled, and almost tamed. As we move through the firstact, common household objects collaged in unexpected ways let us know right awaythat any vestiges of 19th-century Romanticism have been consigned to history’s dustbin.

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Widespread war, industrialized and on a scale like never before, brought about scathingdepictions by artists such as George Grosz and Otto Dix and the filmmaker Fritz Lang, allof whom had firsthand knowledge of the battlefield. We reference these artists not onlyin the look of the sets and costumes, but also in their depiction of human interactionsthat they convey in their commentary on the absurdity of their times.

The Act II scene that takes place at a Venetian “cabaret”—which is also a bordello—logically lands us in the late 1920s. It was the height of the era’s uncertainty: govern-ments and militaries were reorganizing, creating an atmosphere of unpredictability thatmanifested itself in a chaotic hedonism. In our staging of Act II the rear of the stage is ahuge mirror, and the stage is covered with standing mirrors that reflect the bordelloworkers and their clientele. The shifting sparkle of mirrors dazzles as well as confuses,creating a sense of wealth and possibility that you somehow know, in your gut, is noth-ing more than a distorted reflection of an ugly reality. No matter how hard we wish toevade them, glimpses of the hardship underneath emerge through the cracks.

In Act III, as Fritz’s world collapses around him, it also begins to fade into something moresinister and isolating. The clarity of the previous pictures begins a slow entropic dissolu-tion into oblivion. Fritz may not survive in the opera, but I really hope that Franz Schrekerregains his rightful place in the repertory, and that there will be more productions thatplumb the depths of this heartbreaking opera.

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Photo of Act II of the opera’s premiere production in Frankfurt, 1912

Notes on the Program

Schreker’s Distant Sounds by Christopher Hailey

Der ferne Klang is a young man’s work—daring and ambitious—that shocked the musi-cal world at its premiere in 1912. Set in “the present,” it contains what were, in early 20th-century Vienna, scandalous depictions of domestic abuse and backstreet prostitution,and a bewildering mélange of incongruent elements: abrasive realism and symbolistfantasy; soaring lyricism and guttural slang; rustling forest murmurs and the blast oftrain whistles. In a world of Wagnerian epigones, it was an anti-Wagnerian manifesto;Siegfried Wagner, the composer’s son, emerged from the premiere muttering, “It is as ifmy father had never lived.”

Schreker began Der ferne Klang around 1903 in the wake of a disappointing reception tohis first opera, a one-act love story set in the age of knights and minstrels. After frustrat-ing attempts to find a second libretto, he decided to write one himself, inspired, as helater recalled, by his own “youthful experience.” The leap into an urban setting resem-bling modern-day Vienna and featuring a composer-protagonist, led many to concludethat Der ferne Klang was an autobiographical Künstleroper (artist opera), a kind of x-ratedamalgam of Berlioz’s Benvenuto Cellini and Offenbach’s Les contes d’Hoffmann. But it is astrange sort of autobiography when that protagonist, Fritz, leaves early in the first act;arrives again late in the second; and reappears, broken and spent, at the end of the third.Fritz’s search for his distant sound may initiate the opera’s action, but is incidental to itsunfolding. We learn little about Fritz himself beyond his aspirations and his regrets. Allwe really know is that his distant sound is an enticing fata morgana, shimmering foreverhalf-formed on the horizon.

In truth, Der ferne Klang is more the story of Grete, the young girl Fritz abandons when hesets off on his quest. Her life in the provinces is dreary. She is the only child of a petit bour-geois family caught in a downward spiral. Her mother is cold and distant; her drunken, abu-sive father barters her off to a lecherous innkeeper to pay his gambling debts. Lured intoprostitution by a mysterious procuress, Grete, now “Greta,” reigns for a time as the starattraction in an elegant Venetian bordello only to end up as “Tini,” a common streetwalker.

If Der ferne Klang is an autobiographical opera it is not because the features of its com-poser and his biography are to be found in either its protagonist or its plot. Rather, it is arecord of his observations, an account of the world by an artist uniquely sensitive to itsdreams and heartbreaks.

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Schreker was born in Monaco in 1878. His father, Ignaz Schrecker (the composer laterdropped the second “c” from his surname), was a Jew from the Bohemian provinces who,through fierce ambition and hard work, built an international reputation as a court pho-tographer in Budapest (his sitters included Franz Liszt and the Emperor Franz Josef I). Butin 1876 he divorced his first wife, transferred his studio to a son, and converted toProtestantism in order to marry a Catholic from the Austrian landed gentry. Togetherthese social outcasts led an itinerant life until Schrecker’s sudden death in 1888 left hiswidow and their four children—Franz, at 10, was the oldest—in dire poverty. EleonoreSchrecker moved the family to Vienna, where she made ends meet by taking in sewingand running a notions shop.

Schreker’s perspective on the world was shaped by these early experiences: memories ofa bright, warm Mediterranean world; the jarring disruption of frequent moves; the tech-nical wonders of his father’s atelier; and the existential crisis caused by a parent’suntimely death. These experiences fed both his fantasies and fears, in which utopianbeauty was forever threatened by catastrophic collapse, and sober awakening followedsoaring dreams—themes that run like a thread through his eight mature operas. Histragic sensibility led Schreker to remark that all happiness is illusory: “Intoxication—hovering around the light, then sudden incineration.”

Der ferne Klang is ostensibly a tale about Fritz and Grete, but as in all Schreker operas thecentral protagonist is humanity itself. Fritz’s distant sound is a sonic metaphor for the gulfbetween inspiration and its realization, between utopian hope and quotidian reality. Thismetaphor permeates the opera with dozens of instances in which offstage sounds—theclatter from a game of ninepins, a chorus in the wings, distant bells—serve as a reminderof a world that is out of sight, sometimes threatening, sometimes beckoning, but alwaysjust beyond the protagonists’ grasp. In Der ferne Klang, all of the characters are caught ina state of longing between what is and what was, might have been, or may still be.

Schreker once wrote that his opera was inspired by “this fool’s game of life with its uncer-tain outcome, by all those tragedies that brush past us and now and then ensnare us—if only fleetingly—in their tangled scenarios.” He was keenly attentive to thehalf-perceived dramas around him, and his goal in Der ferne Klang was to create in hisaudience this same awareness of life’s glancing tragedies. This is the reason he lavishessuch care on his secondary characters. With a few deft strokes—quite literally “a novel ina sigh”—he captures something essential about their condition, as when Grete comfortsher mother with the line, “Du bist ja auch—so arm” (You, too, are so—wretched), or whenthe Hack Actor admits, in passing, to a weak memory, giving a succinct insight into hislife’s futility. Such details reveal the empathy Schreker feels for his characters, even “vil-

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lains,” such as Grete’s father and the Innkeeper in the first act, the callous Count in thesecond, or the Dubious Character in the third. All are caught up in this “fool’s game oflife.” As Dr. Vigelius says in the third act, “Wie sündigt die Welt—und wir alle mit ihr”(How the world sins – and all of us with it!). Der ferne Klang is an autobiographical workbecause it is a meticulous record of the insights of Schreker’s lived experience.

It is precisely this finely tuned observational perspective that led Schreker to develop aradically new kind of musical dramaturgy. In Der ferne Klang we no longer “view” theopera through a proscenium arch; rather, we “hear” it from the vantage point of thestage. To create this experience for his audience, Schreker uses sound to build shiftingaural perspectives that are constantly in motion, not unlike a camera moving about ascene. Indeed, Schreker anticipated the language of cinema with sonic equivalents oftracking shots, rapid cuts, split screen, and montage. This has nothing to do with illus-trative “movie music,” but rather with the way Schreker uses the ear to direct the eye, anaesthetic sensibility that is far closer to Charles Ives than to Erich Wolfgang Korngold.This is most famously the case at the beginning of Act II, with its bewildering collage ofon- and offstage ensembles, choruses, and styles. In his instructions in the score Schrekerwrites: “It is of little consequence whether the following scenes are completely intelligi-ble or not . . .. [W]hat is important is that the listener gets the sense of being in the midstof this environment and its heady confusion.”

Another good example of Schreker’s unique aural sensibility is the scene during the pre-miere of Fritz’s opera at the beginning of Act III. There is spoken dialogue, recitative, andarioso, with sparse orchestral interjections. We hear small talk, lewd flirtation, earnestdebate about long-past events. The scene involves a waitress, Dr. Vigelius, the Hack Actor,a singer, a policeman. In their midst a distraught Grete/Tini is being harassed by the pre-vious night’s customer. It is an apparently indiscriminate mix of primary and secondarycharacters and incidents, a complicated polyphony of life-as-lived. And all this during thepremiere of an opera that should by all rights be the central focus of our attention. Thinkof the fuss over “Walter’s Prize Song” in Die Meistersinger, or the Mass in Hans Pfitzner’sPalestrina. Here, Fritz’s opera, Die Harfe, is heard only in fragments from afar as a perform-ance in progress, drifting in and out of consciousness. It is incidental background music, asubject of intermittent comment and even ridicule. By this means Schreker not onlyadvances plot, but also relativizes the significance of the genre of opera itself, includingthe one we are watching. It is an endless hall of mirrors of art imitating life imitating art.

Schreker’s sophisticated dramaturgy gives his opera an edgy modernity that seems tocontradict our first impressions of his music, which is often rich and lush. But this is notmusic of Romantic effusion, nor does it indulge in the nostalgia so central to Mahler andKorngold. Rather, Schreker uses his iridescent orchestra, highly expressive harmonic lan-

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guage, and densely woven motivic texture to probe and dissect, with scalpel-like preci-sion, the emotional and psychological life of his characters, most strikingly in Grete’s ActII dream narrative. Schreker is a dry-eyed Romantic. There is cool objectivity to his emo-tional intensity, but it is objectivity that springs from a well of profound compassion.

There are many good reasons for presenting Der ferne Klang in a festival year devoted toAlban Berg. Berg knew this opera intimately, having prepared the work’s piano vocalscore, and he was much influenced by Schreker’s orchestration, harmonic language, for-mal design, skill at characterization, and polyphony of styles (as demonstrated in the tav-ern scene in Wozzeck). But beyond any specific musical or dramatic influence, Berglearned from Schreker that opera could be a riveting medium for communicating hisdeepest insights into the tragic truths of the human condition.

Christopher Hailey is the author of a biography of Franz Schreker (Cambridge, 1993), a co-editor of The Berg–Schoenberg Correspondence: Selected Letters (Norton, 1987) and theeditor of the forthcoming Alban Berg and His World, published by Princeton UniversityPress. He is the scholar in residence for the 21st annual Bard Music Festival.

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Who’s Who

Thaddeus Strassberger DirectorThaddeus Strassberger, winner of the 2005 European OperaDirecting Prize, directed the acclaimed 2009 SummerScape pro-duction of Meyerbeer’s Les Huguenots. His most recent produc-tions include Ambroise Thomas’s Hamlet, conducted by PlácidoDomingo, at Washington National Opera; Turandot at TheaterAugsburg; La fanciulla del West at L’Opéra de Montreal; and Le

nozze di Figaro at Norwegian National Opera. His upcoming new productions includeFidelio at Opera Boston, The Rape of Lucretia with Norwegian National Opera, and DerRosenkavalier with Prague State Opera. After graduating from Cooper Union in 1998,Strassberger received a Fullbright Fellowship to complete the Corso di Specializzazioneper Scenografi Realizzatori at Teatro alla Scala in Milan.

Leon Botstein ConductorLeon Botstein is music director and principal conductor of theAmerican Symphony Orchestra and the Jerusalem SymphonyOrchestra, the radio orchestra of Israel. Radio broadcasts ofBotstein’s concerts with the Jerusalem Symphony Orchestra havebeen heard in syndication throughout the United States. He isalso the founder and coartistic director of the Bard Music

Festival, which celebrates its 21st anniversary this summer. Since 1975 he has been president of Bard College.

Botstein’s guest engagements have included the BBC Philharmonic, Bamberg Symphony,Budapest Festival Orchestra, Düsseldorf Symphony, London Philharmonic,NDR—Hamburg and Hannover, Royal Scottish National Orchestra, St. Petersburg Philharmonic,and Teatro Real Madrid, among others. In addition to a demanding schedule as a guestconductor, Botstein has also made a number of acclaimed recordings of works by Dukas,Chausson, Dohnányi, Liszt, Bruckner, Bartók, Hartmann, Reger, Glière, and Szymanowskifor such labels as Telarc, New World Records, Bridge, Koch, and CPO. With the AmericanSymphony Orchestra he has recorded live performances of two operas by RichardStrauss: Die ägyptische Helena, with Deborah Voigt, and Die Liebe der Danae, with Lauren

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Flanigan; a recording of Copland, Sessions, Perle, and Rands; and discs of Dohnányi,Brahms, and Joachim, among others. His recording with the London Symphony Orchestraof Gavriil Popov’s epic Symphony No. 1 and Shostakovich’s Theme and Variations, Op. 3,received a Grammy nomination in the category of Best Orchestral Performance.

Botstein is the editor of The Musical Quarterly and the author of numerous articles andbooks. For his contributions to music he has received the award of the AmericanAcademy of Arts and Letters and Harvard University’s prestigious Centennial Award, aswell as the Cross of Honor, First Class, from the government of Austria.

Matthew Burns Innkeeper / An UsherIn April the baritone Matthew Burns performed with Los Angeles Opera in the Americanpremiere of Franz Schreker’s opera The Stigmatized (Die Gezeichneten). Burns’s other rolesthis season include Leporello in Don Giovanni, with Opera Cleveland, and Collatinus inThe Rape of Lucretia, with Toledo Opera. His other recent career highlights include join-ing the roster of the Metropolitan Opera, and roles in two productions of Don Giovanni:the title role, with Arizona Opera, and Leporello, with Boston Lyric Opera. He made hisCarnegie Hall debut singing Handel’s Messiah and his Avery Fisher Hall debut singing theZeremonienmeister in Hindemith’s Das Nusch-Nuschi.

Marc Embree Dr. Vigelius / The BaronMarc Embree has performed an impressive 20th-century repertoire throughout NorthAmerica, including Olin Blitch in Susannah, the title role in Kirke Mechem’s Tartuffe,Horace in Blitzstein’s Regina, Lukash in The Good Soldier Schweik, the Doctor in Wozzeck,Horace Tabor in The Ballad of Baby Doe, Arthur in Davies’ The Lighthouse, Orest in Elektra,the bass in Carlos Chavez’ The Visitors, and Frank Maurrant in Weill’s Street Scene, whichwas filmed at the Theater des Westens in Berlin and broadcast throughout Europe,Japan, and on BRAVO. His recordings include The Visitors on BMG and The Good SoldierSchweik on Cedille.

Yamina Maamar GreteDramatic soprano Yamina Maamar made her American debut in 2007 as Grete in theAmerican Symphony Orchestra’s concert performance of The Distant Sound in LincolnCenter’s Avery Fisher Hall. She has performed in most of Germany’s most important ven-ues, including the Bavarian State Opera in Munich, the State Theater in Hannover, theCity Theater in Bern, and the German National Theater, in Weimar. In the past few yearsshe has debuted many of the most demanding roles of the dramatic soprano repertoire:the title roles in Aida, Adriana Lecouvreur, and Salome; the Wagnerian roles of Kundry andSenta; the Marschallin in Der Rosenkavalier; Elisabeth in Don Carlos; and Ariane in Arianeet Barbe-Bleue. Next season she will add the role of Leonore in Fidelio to her repertoire.

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Jeff Mattsey A Hack Actor / The Voice of a ManBaritone Jeff Mattsey most recently returned to the Metropolitan Opera as Marco inGianni Schicchi, Mercutio in Roméo et Juliette, Schaunard in La bohème, and Silvano in Unballo in maschera. Other recent engagements include Marcello in La bohème with theSan Diego Opera, Figaro in Il barbiere di Siviglia with Opera Lyra Ottawa, Count Carl-Magnus in A Little Night Music at Central City Opera, and several roles at the VancouverOpera, including Renato in Un ballo in maschera, Riccardo in a concert performance of I puritani, and Sharpless in Madama Butterfly.

Corey McKern The Count / RudolfBaritone Corey McKern’s recent engagements include Marcello in La bohème andMasetto in Don Giovanni with Santa Fe Opera; Papageno in Die Zauberflöte with ArizonaOpera; Count Almaviva in Le nozze di Figaro with Opera Cleveland; Valentin in Faust withOpera Carolina; Figaro in Il barbiere di Siviglia with Opera Birmingham; Morales inCarmen with New York City Opera; and John Rutter’s Mass of the Children and Mozart’sRequiem at Carnegie Hall. His upcoming engagements include Marcello at Opera HongKong and the Santa Fe Opera, Count Almaviva with Nashville Opera and OperaColumbus, and Enrico in Lucia di Lammermoor in Birmingham.

Celine Mogielnicki MaryEarlier this year soprano Celine Mogielnicki created the role of Sir Elton John’s Trainer inthe world premiere of David Little’s Vinkensport, at the Sosnoff Theater. She sang the rolesof Leonard and Premiere Bohemienne in the 2009 SummerScape production of LesHuguenots. She made her Carnegie Hall debut singing “Vayomer Shlomo” (“And SolomonSaid”) by Judd Greenstein as part of the Dawn Upshaw/Osvaldo Golijov Composer/SingerWorkshop. Mogielnicki has an M.M. degree from the Bard College Conservatory of Musicand a B.M. (with scholastic distinction) from the Juilliard School, where she was a recipi-ent of the John Erskine Prize for academic and artistic achievement.

Jud Perry The Chevalier / A Dubious CharacterTenor Jud Perry made his European début as Tamino in Die Zauberflöte in 2005 with theHessian State Theater in Wiesbaden, Germany. He sang many new roles with the com-pany in four years as lead lyric tenor. Career highlights include a début as Ernesto in DonPasquale with Opera Ireland, and débuts in Montpellier, Nancy, Toulon, Saarbrücken, andKöln. He made his Kennedy Center debut at the 2005 Millennium Concert Series, and hewon first place at the 2005 Metropolitan Opera Regional Auditions. Perry resides inWiesbaden with his wife, Aurora Sein Perry, who is singing the role of Mizi in this pro-duction of The Distant Sound.

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Aurora Sein Perry MiziAurora Perry’s operatic repertoire includes Euridice in Orpheus in the Underworld,Susanna in Le nozze di Figaro, Tamiri in Gluck’s Semiramide, Blondchen in Die Entführungaus dem Serail, and Queen of the Night in Die Zauberflöte. She made her European debutin 2006 as Papagena in Die Zauberflöte at the State Theater in Wiesbaden, Germany. In2007 she performed the lead role of Silja in the world premiere of Die versunkene Stadtby Violeta Dinescu. Since 2008 she has been a member of the Young Artist Program atthe State Theater in Mainz, Germany. She has made numerous appearances at the world-renowned Internationale Maifestspiele. She lives in Wiesbaden with her husband, JudPerry, who is singing the role of the Chevalier in this production of The Distant Sound.

Susan Marie Pierson Frau Graumann / An Old Woman / The Spanish Madame / A WaitressThis American soprano is known for her powerful Wagner and Strauss heroines. She hassung Brünnhilde in 10 Rings and in individual operas with the opera companies ofHelsinki, Chemnitz, Mannheim, Virginia, and San Francisco, and she has covered the rolefor Chicago and the Met. She has sung Elektra with Teatro Colon, Chemnitz, Pittsburgh,Austin, and Toronto (where she was nominated for a Dora Award). Her other roles includeSalome, Tosca, Senta, Kostelnicka, and Desdemona. The winner of the PavarottiCompetition, she sang Amelia in Un ballo in maschera with Luciano Pavarotti inPhiladelphia, Bologna, and in Milan at La Scala. Titanic Records released Tristan und Isoldewith her debut as Isolde in Sofia, Bulgaria.

Mathias Schulz FritzBerlin-born tenor Mathias Schulz began his career as a member of the ensemble in St. Gallen, Switzerland, followed by a three-year engagement at the German NationalTheater in Weimar. Since the 1998 season, Schulz has been busy as a freelance artist,singing at venues throughout Europe. He has performed in Venice, Catania, Vienna,Budapest, Bratislava, Romania, and all over Germany. In September he will make hisdebut at the Hannover State Opera in the role of the Foreigner in Luigi Nono’s operaIntolleranza 1960.

Peter Van Derick Herr Graumann / A ChoristerBaritone Peter Van Derick made his Metropolitan Opera debut in April 1995 in JohnCorigliano’s The Ghosts of Versailles, and has returned to the Met to sing roles in DieZauberflöte, Salome, A Midsummer Night’s Dream, Capriccio, and Andrea Chénier. InMarch 1997 he portrayed the title role in 14 performances of Gianni Schicchi with theMetropolitan Opera Guild. Van Derick has maintained a private voice studio in New YorkCity for over 15 years, teaching both classical and musical theater. He has been on the fac-

ulty of the Lee Strasberg Institute and at Collaborative Arts Project 21, and he currentlyteaches musical theater at Marymount Manhattan College.

Jaime Van Eyck MilliMezzo-soprano Jamie Van Eyck’s recent roles include Mercédès in Carmen and Miss Jesselin The Turn of the Screw for Madison Opera, Dido in Dido and Aeneas at Moscow’s GoldenMask Festival, and Cherubino in The Marriage of Figaro for Opera Theatre of Saint Louis.In 2009, she sang world-premiere performances of works by Ned Rorem and GeorgeCrumb at Carnegie Hall and at Philadelphia’s Kimmel Center. Her upcoming engage-ments include performances with Boston Lyric Opera, Utah Opera, and the MadisonSymphony Orchestra.

Narelle Sissons Set DesignerNarelle Sissons’s credits as an opera set designer include Choephorae, in Patras, Greece,directed by Lee Breuer; Die schwarze Spinne for New York City’s Gotham Chamber Opera;Peter Brook’s production of Tragedie de Carmen for Florida Grand Opera; La bohéme forTriangle Opera; and many productions for the Juilliard School and Manhattan School ofMusic. She is a past winner of the Drama Desk, American Theatre Wing, Kevin Kline, BackStage West, and Leon Rabin awards, and she was an exhibitor at the 2007 PragueQuadrennial, an international design exhibition. Sissons is a graduate of Central SaintMartins College of Art and Design and of the Royal College of Art in London.

Aaron Black Lighting DesignerAaron Black’s design work runs the gamut of disciplines, from lighting for dance, theater,and opera to production design and art direction for film and television to large-scaledesign for amusement parks. His New York lighting credits include the Drama DeskAward–winning revival of Black Nativity at the Duke on 42nd St (Audelco Award nomi-nation for outstanding lighting design) and the Audelco Award–winning ArchbishopSupreme Tartuffe at Theatre Row Studios.

Mattie Ullrich Costume DesignerMattie Ullrich is returning for her third SummerScape season (Les Huguenots, 2009; TheSorcerer, 2007). Recent opera work includes Zaide and Ariadne auf Naxos at Wolf TrapOpera. Ullrich received the European Opera Prize in 2006 for her collaboration withThaddeus Strassberger on Opera Ireland’s La Cenerentola. In addition to opera, herdiverse repertoire encompasses film, theater, musicals, and print. Recent Off-Broadwaycredits include The Pride (directed by Joe Mantello) and The Starry Messenger (withMatthew Broderick). Year of the Fish (Sundance, 2007) and Sovereignty (an award-

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winning short) are among her notable film work. Next winter, Ullrich and Strassbergerwill collaborate again, on a new production of The Rape of Lucretia for the NorwegianNational Opera.

Peter Nigrini Projection DesignerPeter Nigrini designed the Broadway productions of Fela!, 9 to 5, and Say GoodnightGracie. Other designs include the Grace Jones Hurricane Tour, Madame White Snake(Opera Boston/Bejing Music Festival) Haroun and the Sea of Stories (City Opera), BlindDate (Bill T. Jones/Arnie Zane Dance Company), Fetch Clay, Make Man (McCarter TheaterCenter), The Orphan of Zhao (Lincoln Center Festival), Notes from Underground (YaleRep/La Jolla Playhouse), and Dido and Aeneas (Handel Haydn Society). For Nature Theaterof Oklahoma, Nigrini designed No Dice (2008 Obie Award); he also designed Romeo andJuliet (Salzburger Festspiele) and Life & Times (Burgtheater, Vienna) amongothers.  Selected fine art projects include Local Currencies: Diogenes/Barnum (ICALondon/SFMoMA), and Cosmicomics (Sequitur Ensemble).

James Bagwell Chorus MasterJames Bagwell has been director of choruses for the Bard Music Festival since 2003. Inaddition to his work as chorus master for The Distant Sound, he is the conductor for theSummerScape 2010 production of the Viennese operetta The Chocolate Soldier (August5–15 in Theater Two). In 2009 he was appointed music director of the Collegiate Choraleand principal guest conductor of the American Symphony Orchestra. He has preparedthe Concert Chorale of New York for a number of appearances, most notably the MostlyMozart Festival. He has taught at Bard College since 2000, where he is director of theMusic Program and codirector of the graduate Choral Conducting Program at the BardCollege Conservatory of Music.

Paul Peers Assistant DirectorPaul Peers directs both theater and opera. He recently directed Blue Balloon, by LibbyLeonard, at New York Theatre Workshop’s West 4th Street space. His opera-directingcredits include Handel’s Xerxes and Amadigi di Gaula for Grammy–nominated BostonBaroque, and Mozart’s La finta giardiniera at the Kasser Theater in New Jersey. Off-OffBroadway, he has directed Shadow Boxing, Love is in the Air, and Talk to me like the rainand let me listen. He has also directed productions in Australia and Germany, and he wasrecently invited to direct at the Kanagawa Arts Theatre in Yokohama, Japan.

Marjorie Folkman Movement DirectorMarjorie Folkman has choreographed works for Boston Baroque, Opéra Français de NewYork, Bargemusic/Brooklyn, Salon Project at DIA, Dance Umbrella/Boston, Studio

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313/Montréal, Barnard College, Bard College at Simon’s Rock, and Richard StocktonCollege, among others. A member of the Mark Morris Dance Group from 1997 to 2006,Folkman also danced in the companies of Martha Clarke (Garden of Earthly Delights), SaraRudner, Amy Spencer/Richard Colton, Kraig Patterson, and the Repertory UnderstudyGroup for the Merce Cunningham Dance Company. Folkman graduated summa cum laudefrom Barnard College. She has an M.A. in American Studies from Columbia University. Herfuture projects include Les indes galantes for Boston Baroque in 2011.

Greg Ritchey Principal Music CoachGreg Ritchey is assistant conductor and chorus master for Palm Beach Opera. He alsoserves as assistant conductor at Opera Theatre of Saint Louis. Earlier this year he con-ducted performances of Brundibar and Le nozze di Figaro in St. Louis and a production ofCarmen in Palm Beach. He previously held staff positions at Central City Opera, VirginiaOpera, Sarasota Opera, and Kentucky Opera. Ritchey made his European conductingdebut at the Amalfi Coast Music Festival in 2007. He has a B.M. degree from theUniversity of North Texas and an M.M. degree from Juilliard.

Lynn Krynicki Stage ManagerThis is Lynn Krynicki’s seventh consecutive season as stage manager for the BardSummerScape opera. She currently resides in Washington, D.C., where she has been apart of the stage management staff at the Washington National Opera for the past 10

seasons, stage managing operas such as Der fliegende Holländer, Siegfried, and Ariadneauf Naxos. Krynicki’s other notable credits include the North American premiere of ThePicture of Dorian Gray at Florentine Opera; Carmen, performed in Van Andel Arena forOpera Grand Rapids; and the world premiere of Gabriel’s Daughter at Central City Opera.She has also worked for Seattle Opera and Nashville Opera.

American Symphony OrchestraThe American Symphony Orchestra was founded in 1962 by Leopold Stokowski, whodefined its mission: “to offer great music within the means of everyone.” Under its cur-rent music director, Leon Botstein, the American Symphony has enhanced that missionby pioneering the performance of thematically organized concerts, linking music to thevisual arts, literature, politics, and history. It also specializes in the revival of underplayedrepertoire from the last 200 years, all as part of its effort to make orchestral music acces-sible as well as affordable to everyone.

The American Symphony performs its Vanguard Series at Carnegie Hall. In addition, itoffers a celebrated lecture/concert series with audience interaction, entitled ClassicsDeclassified, at Peter Norton Symphony Space. It is also the resident orchestra of TheRichard B. Fisher Center for the Performing Arts at Bard College, where it performs an

annual winter concert series, as well as participating in Bard’s annual SummerScapeFestival and the Bard Music Festival. The American Symphony also recently became theresident orchestra of the Collegiate Chorale, performing regularly in the Chorale’s NewYork concert series. The ASO’s award-winning music education program is active innumerous high schools throughout New York, New Jersey, and Long Island.

Many of the American Symphony’s concerts are now downloadable. Among its CDs aremusic by Copland, Sessions, Perle, and Rands (New World Records); music by Ernst vonDohnányi (Bridge Records); Richard Strauss’s opera Die ägyptische Helena with DeborahVoigt, and Strauss’s Die Liebe der Danae (Telarc); Franz Schubert: Orchestrated (Koch); andJohannes Brahms’s Serenade No. 1 in D major, Op. 11 (Vanguard). The American Symphonyinaugurated São Paolo’s new concert hall and has made several tours of Asia and Europe.It has a long history of appearing in charitable and public benefits for such organizationsas the Jerusalem Foundation and PBS.

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violin i

Erica Kiesewetter,ConcertmasterYukie HandaPatricia DavisElizabeth NielsenJohn ConnellyAnn LabinJennifer KimAshley HorneJoanna JennerMara Milkis

violin ii

Robert Zubrycki, PrincipalWende NamkungHeidi StubnerYana GoichmanLucy MorgansternAlexander VselenskyAnn GilletteDavid Steinberg

viola

Sarah Adams, PrincipalShelley Holland-MortizSally ShumwayAdria BenjaminCrystal GarnerRachel Riggs

cello

Eugene Moye, PrincipalRoberta CooperSarah CarterDiane BarereTatyana MargulisAnik Oulianine

bass

Jacqui Danilow, PrincipalJack WengerLouis BrunoPeter DonovanLouise Koby

flute

Laura Conwesser, PrincipalElizabeth BrownDiva Goodfriend-Koven,Piccolo

oboe

Laura Ahlbeck, PrincipalErin GustafsonKatherine Halvorson

clarinet

Laura Flax, PrincipalMarina SturmDennis Smylie, Bass clarinet

bassoon

Charles McCracken,PrincipalMaureen StrengeGilbert Dejean,Contrabassoon

horn

Zohar Schondorf, PrincipalKyle HoytChad YarbroughTheodore PrimisSara Cyrus, Assistant

trumpet

John Sheppard, PrincipalNathan BottsJason Covey

trombone

Kenneth Finn, PrincipalThomas HutchinsonDean Plank

tuba

Kyle Turner

timpani

Benjamin Herman,Principal

percussion

Kory Grossman, PrincipalJavier DiazCharles DescarfinoMatthew BeaumontMatthew Donello

harp

Sara Cutler, PrincipalVictoria Drake

celeste

Elizabeth DiFelice, Principal

assistant conductors

Teresa CheungGeoff McDonald

librarian

Sebastian Danila

personnel manager

Ronald Sell

American Symphony Orchestra Leon Botstein, Music Director

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banda/off-stage

violin

Ragga PetursdottirPauline KimLaura HamiltonLisa SteinbergSebu SirinianLaura BaldLisa TiptonRick Dolan

viola

Martha BrodyArthur DibbleDavid FalloSadie DeWall

cello

Igor ScedrovLanny Paykin

bass

John BabichRichard Ostrovsky

flute

Karla Moe

clarinet

Pavel VinnitskyChristopher Cullen

horn

Ronald SellSara Cyrus

percussion

Matthew Strauss

harp

Victoria Drake

celeste

Elizabeth DiFelice

piano

Jennifer Chu

mandolin

Scott KuneyStephen BensonKevin Kuhn

guitar

Oren FaderWilliam Anderson

cimbalom

Richard Grimes

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Sustaining Society

SapphireThurmond SmithgallPlatinum National Endowment for the ArtsNew York State Council on the ArtsThe Winston FoundationGold City of New York Department of

Cultural AffairsJeanne Donovan FisherRockefeller Brothers FundSilver The Fan Fox and Leslie R. Samuels

Foundation, IncMary and Sam MillerOpen Society InstituteAlicia and Tom SettleFelicitas S. Thorne

ORCHESTRA CLUBSponsor GGGroup, Inc.Robert A. Fippinger and

Ann F. KaplanMs. Faith Golding and

Dr. Peter J. LindenEileen and Peter Rhulen Mrs. James P. WarburgAffiliate AnonymousThe Bay and Paul Foundations, Inc.Leon BotsteinCarroll, Guido & Groffman, LLP The Donner Canadian FoundationAnn and Gordon Getty Foundation Danny Goldberg and

Rosemary CarrollHome Box Office, Inc. Jack KligerJay KriegelM5 Networks, Inc.Lynne MeloccaroDimitri PapadimitriouThe David and

Sylvia Teitelbaum FundOn behalf of the Estate of Henryand Sidney Cowell

Mr. and Mrs. Richard WilsonPatron The Atlantic Philanthropies

Director/Employee DesignatedGift Fund

Michael DorfJim and Mary OttawayThe Solon E. Summerfield

Foundation

Fellow Sidney BabcockJoel and Ann BersonConnie ChenRussell DianMrs. Joan and Dr. Julius H. JacobsonRachel and Shalom KalnickiArthur S. LeonardMimi LevittRoss LipmanJoAnne MeloccaroUrsula H. MoranShirley A. MuellerMark PtashnePatricia SaigoJan and Marcia VilcekTappan Wilder

STOKOWSKI CIRCLEPrincipal Karen A. Finkbeiner Erica KiesewetterPamela MazurLeszek WojcikAssociate Anonymous (2)Gary ArthurPage AshleyBialkin Family FoundationMelody HuntMarcia MoorKurt Rausch for FlowersMr. and Mrs. David E. Schwab IIDavid SchwartzPeter SourianThe John L. and

Sue Ann Weinberg FoundationFriend Leslie AllenGeorge W. Bahlke Reina Barcan Cecile Gray BazelonDavid C. BeekMark BeigelmanMarjorie BurnsThomas CassillyBette R. CollomPeter E. De Janosi Paul EhrlichJulie FuentesJoseph L. GilmanMax HahnEllen HarrisSara HunsickerGeorge H. HutzlerHerbert P. JacobyRobert Kalish Adrienne KatzRichard P. KeliskyDavid KernahanPeter Kroll

Steve LeventisDaniel and Nina LibeskindAllan MallachJeanne MalterStephen J. McAteerCarolyn McColleyPhyllis Mishkin Tatsuji NambaKenneth NassauJames and Andrea NelkinAngelina PainterPeter PohlyDr. and Mrs. Arnold RosenHarriet SchonLynn SchustermanJanet Z. SegalJoseph and Jean SullivanRobin ThompsonJon P. TilleyKaren UngerSiri von ReisLarry A. WehrWayne and Dagmar YaddowAlfred Zoller

Music plays a special part in thelives of many New York residents.The American Symphony Orchestragratefully acknowledges the sup-port of the following governmentagencies that have made a differ-ence in the culture of New York:

The National Endowment for the Arts

Mr. Rocco Landesman, Chairman

New York State Council on the ArtsThe Honorable David A. Paterson,

Governor

The New York City Department ofCultural Affairs

The Honorable Michael R.Bloomberg, Mayor

The Honorable Kate D. Levin,Commissioner

List current as of June 18, 2010

American Symphony Orchestra PatronsThe American Symphony Orchestra Board of Directors, staff, and artists gratefully acknowledge the followingindividuals, foundations, corporations, and government agencies for their generosity and vital support.

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 McPhersonIlliana van MeeterenStuart Breslow and Anne MillerStanley and Jane MossKathleen O’GradyAlexandra Ottaway

Quality Printing CompanyDon and Natalie RobohmRuth Ketay and Rene SchnetzlerDavid A. SchulzKaren and Robert G. ScottDenise S. Simon and

Paulo Vieira da Cunha Michele SodiAndrew Solomon and John HabichSarah and Howard SolomonDarcy StephensBarbara and Donald ToberIlliana van Meeteren and

Terence C. BoylanMargo and Anthony Viscusi Aida and Albert WilderSponsorFrank and Mary Ann ArismanJohn and Sandra BlairSarah Botstein and Bryan DoerriesJames S. Brodsky and

Philip E. McCarthy IICaplan Family FoundationRichard D. CohenTed Ruthizer and Jane DenkensohnThe Eve Propp Family FoundationR. Mardel FehrenbachMary Freeman Carson Glover and

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 Fund

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

Friends of the Fisher Center

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Bryce KlontzJohn 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 Mohapatra

Sybil NadelAlfred 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 Kraft

Robert J. KurillaJames 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

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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 Viscusi

Dr. 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 David and Nancy Hathaway

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 Trust

Donors to the Bard Music Festival

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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 PatersonJohn and Claire ReidRosalie Rossi, Ph.DJohn RoyallDagni and Martin SenzelDenise and Lawrence ShapiroNadine Bertin Stearns

Mim and Leonard SteinCarole 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 Maloney

31

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.

Annette S. and Paul N. MarcusHarvey 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 Romanski

Miles PriceSheila 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 Tuzo

Illiana van MeeterenOlivia 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:

32

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

33

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 ConsultantSusana 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

34

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: One World, 1899, Maximilian Lenz. ©Szépmûvészeti Múzeum, BudapestPage 7 and 10–11: Images courtesy of the Schreker Foundation

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

Spiegeltent Stage ManagerJohn Boggs ’10

Production Office Assstant

Valerie 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

35

36

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.

operetta august 5–15Oscar Straus’sThe Chocolate SoldierA charming comic take on an unusual boy-meets-girl scenario.

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.

spiegeltent july 9 – august 22

Cabaret, Family Fare, SpiegelClub, and more

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