Monday Evening, December 4, 2017, at 7:30

The Juilliard School

presents

Juilliard OrchestraEmmanuel Villaume, Conductor

MAURICE RAVEL (1875–1937) Menuet antique (1895)

CLAUDE DEBUSSY (1862–1918) La mer, trois esquisses symphoniques(1903–05, rev. 1910) De l’aube à midi sur la mer Jeux de vagues Dialogue du vent et de la mer

Intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Information regarding gifts to the school may be obtained from the Juilliard School Development Office,60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Alice Tully Hall Please make certain that all electronic devicesare turned off during the performance.

MAURICE RAVEL L’enfant et les sortilèges: Fantaisie lyrique en deux parties(1920–25); text by Colette L’Enfant (The Child) KELSEY LAURITANO Le Feu/La Princesse/Le Rossignol (The Fire/The Princess/The Nightingale) ONADEK WINAN Maman/La Libellule (Mama/The Dragonfly) MYKA MURPHY La Tasse Chinoise (The Chinese Cup) KADY EVANYSHYN La Bergère/La Chouette (The Chair/The Screech-Owl) ANNELIESE KLENETSKY La Chatte/L’Ecureuil (The White Cat/The Squirrel) NICOLE THOMAS La Chauve-Souris (The Bat) VIVIAN YAU Une Pastourelle (A Country Lass) KRESLEY FIGUEROA Un Pâtre (A Herdsman) MARIE ENGLE Le Fauteuil/Un Arbre (The Armchair/A Tree) XIAOMENG ZHANG L’Horloge Comtoise/Le Chat (The Comtoise Clock/The Black Cat) GREGORY FELDMANN La Théière (The Teapot) MATTHEW PEARCE Le Petit Vieillard/La Rainette (The Little Old Man/The Tree Frog) JAMES LEY

Director: Edward Berkeley

Language and Music Preparation: Denise MasséMusic Preparation: Donald PalumboAssociate Coach: John AridaSupertitles Author: Cori EllisonSupertitles Editor: Celeste MontemaranoSupertitles Operator: Lisa Jablow

CoversL’Enfant (The Child): Kady EvanyshynLe Feu/La Princesse/Le Rossignol (The Fire/The Princess/The Nightingale): Vivian Yau

ChorusMarie Engle, Kady Evanyshyn, Gregory Feldmann, Kresley Figueroa, Michelle Geffner,Lydia Grace Graham, Anneliese Klenetsky, James Ley, Andrew Munn, Myka Murphy,John Chongyoon Noh, Matthew Pearce, Nicole Thomas, Thomas West, Onadek Winan, Xiaomeng Zhang

Performance time: approximately 1 hour and 35 minutes, including one intermission

SynopsisL’enfant et les sortilèges

In a house in Normandy a boy of six or seven sits at his lesson book. His mother entersand scolds him for not doing his lessons, leaving him with “lunch for a naughty child—sugarless tea and dry bread.” He smashes the teapot and cup, slashes the wallpaper,pulls the cat’s tail, stabs the squirrel with his pen, yanks the pendulum off the grandfatherclock, and rips his schoolbooks to shreds. Exhausted from his destructive rampage, hecollapses in the armchair, which hobbles away like a toad. The child is stupefied by thesorcery around him as little and big pieces of furniture band together against him in vin-dictive fury. The child gazes on in terror as the furniture duet is followed by a lament ofthe clock and a duet between the Wedgwood teapot and the Chinese teacup. Firebounds from the chimney, threatening the miscreant. As the boy shivers with fear, shep-herds and shepherdesses step out of the decorative patterns on the wallpaper. The childweeps as his beloved fairy-tale princess arises from the torn pages. He kicks away hishated schoolbooks as arithmetic itself steps out in the person of a little old man. Thescene ends with a duet for two cats.

The second scene opens in the garden where the animals are dancing. Some take noteof the child and berate him for having captured, wounded, or killed their mates. The child,feeling alone and frightened, calls out, “Mama!” Suddenly the animals fight among them-selves and one of the squirrels is wounded. The child binds the wound with his handker-chief. The animals forgive him, and, in an effort to help him, call out “Mama” as theyheard the child call out before. Slowly they guide him to his mother.

Reprinted courtesy of OPERA NEWS

Notes on the Programby James Keller

Menuet antiqueMAURICE RAVEL Born March 7, 1875, in Ciboure, Basses-Pyrenées, FranceDied December 28, 1937, in Paris, France

Maurice Ravel composed his Menuetantique at the age of 20, in November1895, and already he was beginning toshow his own voice. His father was Swiss,his mother Basque, and he was born prac-tically on France’s border with Spain, buthe grew up as a Parisian, studying piano and

gaining admission to the Paris Conservatoire.He did not flourish there. He failed to winthe premiers prix that were all but requiredfor graduates to distinguish themselves,and he left the school in 1895. He wouldreturn in 1897 to study with Gabriel Fauré,but in 1895–96 he kept busy writing musicand, in so doing, he decided to become acomposer. The Menuet antique, for piano,owes some of its inspiration to EmmanuelChabrier, and particularly to that com-poser’s Menuet pompeux of 1880–81. Itbecame Ravel’s first published work, re -leased in 1898 by Enoch et Compagnie, itsred-and-black cover graced by an elaborateillustration in arts-and-crafts style reminis-cent of William Morris.

Ravel dedicated the piece to RicardoViñes, the indefatigable Spanish pianistwho played its first performance (the sameyear it was published) and would later pre-miere such essential Ravel pieces as Jeuxd’eaux, Miroirs, and Gaspard de la nuit, aswell as who knows how many works byDebussy, Satie, Falla, Granados, Poulenc,and many other notables. They had beenfellow students at the Conservatoire,where they both first enrolled in 1888, andViñes was Ravel’s closest friend for manyyears to come.

Ravel presented the Menuet antique inthe style of a dance “of olden times,” onethat would repeatedly draw his attentionas his career unfolded. It is cast in a forth-right A-B-A form, marked majestueusement(majestically) in its opening section anddoux (sweet) in its central episode; andnear the end of the middle part, thethemes of the A and B sections aremelded in counterpoint. It is full of rhyth-mic and harmonic subtleties, living up tothe account of another of Ravel’s Con -servatoire friends, the pianist AlfredCortot. “Ravel’s first essays in composi-tion for the piano date from his studentdays,” Cortot wrote. “His fellow students,of which I was one, soon discovered thesigns of an uncommonly strongly markedmusical talent in this slightly bantering,intellectual, and somewhat distant youngman, who read Mallarmé and visited ErikSatie.” Ravel harbored affection for thisearly effort, and in 1929 he prepared a ver-sion for orchestra. The arrangement waswarmly received when Ravel conductedthe Lamoureux Orchestra in its premiereon January 11, 1930, and that same year itappeared in competing recordings, onewith Albert Wolff conducting the LamoureuxOrchestra, the other featuring an unidenti-fied “orchestra symphonique” led by PieroCoppola, both being leading champions ofFrench contemporary music at that time.

La mer, trois esquisses symphoniques(The Sea, Three Symphonic Sketches)CLAUDE DEBUSSY Born August 22, 1862, in St. Germain-en-Laye, just outside Paris, FranceDied March 25, 1918, in Paris

“You are perhaps unaware that I wasintended for the noble career of a sailor andhave only deviated from that path thanks tothe quirk of fate,” wrote Claude Debussy tohis fellow composer André Messager onSeptember 12, 1903, by which time he hadbeen at work for about a month on the piecethat would grow into La mer (The Sea).“Even so,” he continued, “I’ve retained a sin-cere devotion to the sea. To which you’llreply that the Atlantic doesn’t exactly washthe foothills of Burgundy…! And that theresult could be one of those hack landscapesdone in the studio! But I have innumerablememories, and those, in my view, are worthmore than a reality which, charming as it maybe, tends to weigh too heavily on the imagi-nation.” The piece he was writing, whileensconced at his in-laws’ house in Burgundy,comprised “three symphonic sketches enti-tled: 1. mer belle aux îles Sanguinaires[Beautiful Sea at the Sanguinaire Islands];2. jeux de vagues [Play of the Waves]; 3. levent fait danser La mer [The Wind Makes theSea Dance]; the whole to be called La mer.”Only the second of those titles would stickas Debussy worked on his symphonicsketches over the next two years. TheSanguinaire Islands (a granitic archipelago inCorsica—which, by the way, Debussy nevervisited) would give way to the more generaldescription From Dawn till Noon on the Sea,and The Wind Makes the Sea Dance wouldbecome Dialogue of the Wind and the Sea.

A famous sea image from the world of artalso stimulated Debussy: the much-reproduced Hokusai woodblock print TheHollow of the Wave off Kanagawa, widelyknown as simply The Wave. Recalling the

composer’s house in Paris, his publisherAuguste Durand wrote that one found inthe study “a certain colored engraving byHokusai, representing the curl of a giantwave. Debussy was particularly enamoredof this wave. It inspired him while he wascomposing La mer, and he asked us to repro-duce it on the cover of the printed score.”

When the composer titled the first move-ment From Dawn till Noon on the Sea he wasleav ing the door open to all manner of cleverripostes. The Boston critic Louis Elson, en -countering the piece in 1907, jumped into thebreach exclaiming that he “feared we wereto have a movement seven hours long. It wasnot so long, but it was terrible while it lasted.”The wry but beneficent Erik Satie was wittierstill in his assessment; after the world pre-miere, in 1905, he exclaimed to Debussy,“Ah, my dear friend, there’s one particularmoment that I found stunning, between halfpast ten and a quarter to eleven!”

L’enfant et les sortilèges: Fantaisielyrique en deux partiesMAURICE RAVEL

By the time L’enfant et les sortilèges (TheChild and the Enchantments) was unveiled inMarch 1925, the piece had occupied Ravel foralmost seven years, though in a desultoryway. The original impetus came fromJacques Rouché, the director of the ParisOpera, who during World War I approachedthe novelist Colette about writing a scenariofor a production he had vaguely in mind, andthen proposed Ravel as the composer—anidea she embraced with enthusiasm.

When Rouché received Colette’s story, hesent a copy to Ravel at Verdun, where he wasserving as a driver in the Motor TransportCorps. The Army Post Office managed tolose it. A substitute copy seems to havereached Ravel in 1917, about the time he wasdemobilized, and he set about acquaintinghimself with the fanciful tale of a child whose

bad behavior causes his world—his toys, hispets, the furnishings in his room, even theanimals outside—to turn against him andeventually makes him realize that it’s better tobe nice than naughty. Ravel wasn’t sold onthe idea at first, but it grew on him and byFebruary 1919 he was assuring Colette thathe really was moving forward on the project.Bit by bit, Ravel shared general ideas with hislibrettist, who proved amenable to prettymuch anything he suggested: that “the cupand the teapot, in old Wedgewood—black—[should] sing a ragtime,” for example—adding impishly “that the idea of having a rag-time sung by two Negroes at the AcadémieNationale de Musique gives me quite athrill.” He became particularly obsessedwith the duet between two cats. His disci-ple Manuel Rosenthal reported that Ravelworried at length about whether the cats’erotic dialogue ought to be spelled (andpronounced) “mouaô” or “mouain.” “Cer -tainly,” he wrote, “Ravel spent a lot of timeruffling the fur of his two Siamese cats thebetter to notate their purrings.” The com-poser’s care paid off; the feline scene is oneof the opera’s most irresistible moments.

In the end, L’enfant et les sortilèges wasunveiled in 1925 at the Opéra de Monte-Carlo rather than at the Paris Opera. It wasa perfect project for Ravel. He alwaysadored children, and being diminutive ofstature, he was delighted to find that chil-dren viewed him to some extent as “oneof them.” The pages of L’enfant et lessortilèges convey childlike innocence, aspi-ration, and wonder, a sense hazily re -membered by all of us but in many casesburied beneath the weight of years.

James M. Keller is the longtime programannotator of the New York Philharmonic(The Leni and Peter May Chair) and the SanFrancisco Symphony. His book ChamberMusic: A Listener’s Guide, published in 2011by Oxford University Press, is also availableas an e-book and an Oxford paperback.

Meet the Artists

Conductor Emmanuel Villaume has led per-formances with leading opera companiesand symphony orchestras around theworld. Entering his fifth season as musicdirector of the Dallas Opera, he leads threeproductions there this season, beginningwith Samson et Dalila last October. Followinghis critically acclaimed interpretation ofRoméo et Juliette last season at theMetropolitan Opera, he returned there inNovember for Thaïs. Mr. Villaume begins2018 in Dallas with Korngold’s rarely per-formed Der Ring des Polykrates in February.A favorite at the Lyric Opera of Chicago, hereturns in March for a new production ofFaust, then closes the Dallas Opera seasonwith Don Giovanni in April. In June he leadsa new co-production of Manon Lescaut atBarcelona’s Liceu.

On the international stage, Mr. Villaumehas appeared at Covent Garden, theMontreal Opera, Tokyo’s Bunka Kaikan,Buenos Aires’ Teatro Colón, Toulouse’sThéâtre du Capitole, Opéra de Nice,Munich’s Bavarian State Opera, DeutscheOper Berlin, Hamburg State Opera, Venice’sLa Fenice, Opéra de Monte-Carlo, and theKlangbogen Festival in Vienna. In NorthAmerica, he has conducted the QuebecSymphony, Montreal Symphony in bothMontreal and at Carnegie Hall, ChicagoSymphony, Los Angeles Philharmonic, andthe Juilliard Orchestra. He has also led theSan Francisco Symphony, Houston Sym -phony, and Boston Symphony at both Sym -phony Hall and the Tanglewood Festival.

Born in Strasbourg, France, EmmanuelVillaume studied music at the Conservatoirede Strasbourg and continued his educationat Khâgne and the Sorbonne in Paris,where he received degrees in literature,philosophy, and musicology.

Edward Berkeley directs and teaches operaand theater at Juilliard, Circle in the SquareTheater School, and Pace University. InNew York he directed the Tony Award– andDrama Desk–nominated Wilder, Wilder,Wilder in addition to other award-winningBroadway productions. He directed Beatriceand Benedict at the New York Philharmonicand Adams’ El Niño with the AtlantaSymphony and for Ravinia. As director ofthe Aspen Opera Theater Center he hasstaged classics as well as many newoperas. In New York Mr. Berkeley directedthe premieres of Rorem’s Our Town, Adès’Powder Her Face, and Ullman’s Der Kaiservon Atlantis. He was a guest faculty mem-ber at Princeton and Williams, a returningdistinguished guest professor at Carleton,and returning guest director at Rice.Favorite productions he has staged includeWho Will Carry the Word? for WillowCabin, Mendelssohn’s A Midsummer Night’sDream for the New York Philharmonic andBaltimore Symphony, Romeo and Juliet forHouston Grand Opera, and The Coronationof Poppea, The Death of Klinghoffer, Trans -formations, and most recently, The BurningFiery Furnace at Juilliard. He has alsodirected Macbeth in Marseille and will returnfor Camino Real and Candide.

Edward Berkeley

AKOS PHOTO

GRAPHY

EmmanuelVillaume

SHERRI WAIDELICH

Mezzo-soprano Marie Engle is fromWauseon, Ohio, and is an M.M. candidateat Juilliard where she studies with MarlenaMalas. Prior to moving to New York shelived in Vienna where she performed withthe Arnold Schönberg Chor, with whomshe also sang at Lincoln Center and inBarcelona, Austria, and Hong Kong. Shehas performed at the Theater an der Wienwith soloists including Plácido Domingoand Rosalind Plowright and under thebaton of conductors Bertrand de Billy, MarcMinkowski, and René Jacobs, among oth-ers. Ms. Engle participated in the 2016season of the Franz Schubert Institute inBaden bei Wien and has recently givennumerous recitals in the U.S. and Canada.Toulmin Foundation Scholar

Canadian mezzo-soprano Kady Evanyshynrecently started her master’s degree atJuilliard studying with Edith Wiens. Earlierthis season she sang Berio’s Folk Songs atAlice Tully Hall with the AXIOM ensembleconducted by Jeffrey Milarsky, and sheappeared in The Genius of Monteverdiwith Juilliard415 led by William Christie atJuilliard’s Peter Jay Sharp Theater. Last sea-son Ms. Evanyshyn sang Annio in Laclemenza di Tito (Aspen Opera Center),Celia in La fedeltà premiata, coveredNarciso in Agrippina (Juilliard Opera), andmade her Alice Tully Hall debut in theWednesdays at One concert series. In

2015 she won the Tudor Bowl at theWinnipeg Music Festival. Ms. Evanyshynearned her bachelor’s degree from Juilliardwhere she received the John Erskine Prizefor exceptional scholastic and artisticachievement. She is supported by theManitoba Arts Council. Constance GoulandrisScholarship, Lilli Jank Memorial Scholarshipin Vocal Arts, Anna Schoen-René Fund

Baritone Gregory Feldmann is from York,Pennsylvania, and is in the master’s pro-gram at Juilliard where he studies withSanford Sylvan. He is a recent graduate ofWest Chester University near Philadelphia,where he performed Roger Chillingworthin Lori Laitman’s Scarlet Letter and Super -intendent Budd in Britten’s Albert Herring.He was a soloist in Mozart’s Requiem withthe West Chester Symphony Orchestra andsang Jesus with the West Chester ConcertChoir in Bach’s St. John Passion. In 2016Mr. Feldmann sang Belcore in Donizetti’sL’elisir d’amore in Arezzo with Oberlin inItaly under the leadership of Ari Pelto. Hewas also a Young Artist at SongFest and theChautauqua Voice Institute. Helen MarshallWoodward Scholarship in Voice

Soprano Kresley Figueroa was born in SanJuan, Puerto Rico, and is earning her bach-elor’s degree in vocal performance atJuilliard where she studies with MarlenaMalas. She has won the American Prize

Marie Engle

Kady Evanyshyn

GregoryFeldmann

Kresley Figueroa

and Winston Rabb Vocal Scholarship com-petitions and was a National YoungArtsFoundation silver medalist. Ms. Figueroahas also been featured on NPR’s From theTop and co-hosted its annual gala in 2015.Most recently she has appeared as Adina ina concert version of L’elisir d’amore at theMusic Academy of the West and Papagenain Die Zaubeflöte and Fiona in Brigadoon atthe Chautauqua Institution. PatriciaHaspert Scholarship in Vocal Arts. IreneDiamond Scholarship

Michelle Geffner is a third-year undergrad-uate soprano majoring in vocal perfor-mance at Juilliard where she studies withEdith Bers. She performed roles includingthe Countess in Le nozze di Figaro andPamina in Die Zauberflöte during her highschool years, as well as Despina in Così fantutte, Nannetta in Falstaff, Cleopatra in GiulioCesare, Susanna in Le nozze di Figaro, andAdina in L’elisir d’amore while working lastsummer in Novafeltria, Italy, for La Linguadella Lirica, an opera/Italian immersion sum-mer program. Ms. Geffner has performedin musical theater and dramatic produc-tions in New York City, Long Island, andHong Kong. Dr. and Mrs. Gottfried KarlDuschak Scholarship

Lydia Grace Graham is from Danville,Kentucky, and is a second-year undergrad-uate soprano studying under Marlena

Malas. She was named a 2016 U.S.Presidential Scholar in the Arts by PresidentBarack Obama and is the 2017 recipient ofthe Shirley Rabb Winston Scholarship inVoice and a second place winner of theHarlem Opera Theater Vocal Competition.Last summer Ms. Graham studied at theChautauqua Institution singing in recitalwith Ricky Ian Gordon and performing in anopera scenes program conducted by TimothyMuffitt. She attended the 2014 KentuckyCenter Governor’s School for the Arts and2015 National YoungArts week. Ms. Grahamhas received first place honors from theAlltech Vocal Scholarship Competition,Schmidt Youth Vocal Com petition, and mid-south regional NATS competition (2014through 2016). Mary Isabelle Kemp Scholar -ship in Voice, Gail Chamock Scholarship inVoice, Philo Higley Scholarship

Soprano Anneliese Klenetsky, from Edison,New Jersey, is a first-year master’s studentat Juilliard where she studies with SanfordSylvan. Her most recent opera repertoireincludes the Governess in Britten’s TheTurn of the Screw at the ChautauquaInstitute and Amaranta in Juilliard Opera’sLa fedeltà premiata. A lover of new music,she most recently sang the premiere ofTheo Chandler’s Songs for Brooches withthe Juilliard Orchestra at Alice Tully Hall aswell as Jake Landau’s Les danseuses dePigalle at New York Live Arts. Ms. Klenetskyreceived her bachelor’s degree from Juilliardin 2017. Allen and Judy Brick FreedmanScholarship, Juilliard Scholarship

Michelle Geffner

AnnelieseKlenetsky

Lydia GraceGraham

Japanese-American mezzo-soprano KelseyLauritano is from San Francisco and a grad-uate student at Juilliard studying with EdithWiens. This season at Juilliard she appearsas Venere in Il ballo delle ingrate and Dianein Hippolyte et Aricie. Last season Ms.Lauritano appeared in the Juilliard Operaproduction of Dove’s Flight (Stewardess)and in the Virginia Art Festival’s first operaticproduction, Kept: A Ghost Story (Ghost/Bride)by Kristin Kuster and Megan Levad. Concertappearances include Mozart’s Requiemwith the Juilliard Orchestra and WestminsterChoir College and Handel’s La Resurrezione(Cleofe) with the Boston Early Music Festival.Ms. Lauritano received her B.M. from Juilliardwhere she received the Peter Mennin Prizefor outstanding achievement and leader-ship in music. Loretta Varon Lewis Awardin Voice, Mildred H. Kellogg Scholarship,Lewis and Elizabeth Bellardo Scholarship

Tenor James Ley, from Elkton, Maryland,studied voice at the Wheaton CollegeConservatory of Music. While at Wheaton,he was involved in several opera productions.Recent roles include Britten’s Canticle II:Abraham and Isaac and Tamino in DieZauberflöte. On the concert stage Mr. Leyappeared as the tenor soloist in Wheaton’sproduction of Handel’s Messiah and sangUriel in Haydn’s The Creation, led by JohnNelson. Last summer Mr. Ley performedwith the Nuremberg Symphony during his

time at the Internationale MeistersingerAkademie. He continues his voice studiesat Juilliard under the direction of Edith Wiens.Noah and Stella Luna Laffont Scholarship,Philo Higley Scholarship, Herbert Weinstockand Ben Meiselman Memorial Scholarship

Bass Andrew Munn is a graduate diplomacandidate in voice at Juilliard and earlierthis year made his Alice Tully Hall debutwith Juilliard Opera in Handel’s Agrippinaconducted by Laurence Cummings, and hisTanglewood Music Center debut in recitalscurated by Stephanie Blythe and DawnUpshaw. Other recent engagements includethe bass soloist in Rossini’s Stabat Materwith the Chamber Orchestra of the Triangle,and he was a cast member in Protest! withSteven Blier and the New York Festival ofSong, which will be reprised next year. Heis a graduate of the Bard College Con -servatory of Music Vocal Arts program. Mr.Munn grew up in State College, Pennsylvania,and began singing in his public high schoolmusic program. His teacher is Sanford Sylvan.Michael L. Brunetti Memorial Scholarshipin Voice, Marion and Robert Merrill VoiceScholarship, Risë Stevens Scholarship

Myka Murphy is a mezzo-soprano fromRoswell, Georgia, and a student of CynthiaHoffmann. After graduating with her under-graduate degree from the University of

Kelsey Lauritano

James LeyDEVIN CHO

Myka Murphy

Andrew Munn

Southern Mississippi, she is pursuing hermaster’s in voice at Juilliard and is makingher Juilliard debut tonight as Maman inL’enfant et les sortilèges. She has alsosung the Countess in The Queen of Spadeswith the Russian Opera Workshop andGiovanna in Rigolettowith Mississippi Opera.Alice Tully Scholarship

Tenor John Chongyoon Noh is from SouthKorea and is a master’s student at Juilliardwhere he studies with Robert C. White.This season at Juilliard he has already sungin Juilliard415’s The Genius of Monteverdiconcert led by William Christie and will singFenton in Nicolai's Die lustigen Weiber vonWindsor in February. Other roles includeLysander in Britten’s A Midsummer Night’sDream, Belmonte in Die Entführung ausdem Serail, Rinuccio in Gianni Schicchi,Tamino in Die Zauberflöte, and Ferrando inCosì fan tutte. Mr. Noh was a vocal fellowfor the 2017 Music Academy of the West’s70th anniversary season, singing Nemorinoin a concert performance of L’elisir d’amoreat Hahn Hall. He has been awarded prizesin the 2016 Metropolitan Opera NationalCouncil Auditions (D.C.), Annapolis OperaVocal Competition, Gerda Lissner LiederkranzCompetition, and Russell C. Wonderlic VoiceCompetition, among others. Michael L.Brunetti Memorial Scholarship in Voice,Marion and Robert Merrill Voice Scholarship,Risë Stevens Scholarship

Tenor Matthew Pearce is from Union,Kentucky, and is a first-year master’s stu-dent in voice at Juilliard where he studieswith Marlena Malas. In the summers of2016 and 2017 he attended the AspenSummer Music Festival and School wherehe sang Gastone in La traviata and Le PetitVielliard in L’enfant et les sortilèges. Prior tohis studies at Juilliard, Mr. Pearce attendedthe University of Kentucky where he stud-ied under Everett McCorvey. While at theUniversity of Kentucky, Mr. Pearce appearedin productions of Amahl and the Night Visitors(Kaspar), The Tales of Hoffmann (Nathanaël),and Ragtime (J.P. Morgan), among others.Mr. Pearce also performed regularly as a fea-tured soloist with the University of KentuckySymphony Orchestra. Juilliard Scholarship

Mezzo-soprano Nicole Thomas is from LasVegas and was most recently a 2017 studioartist at Wolf Trap Opera where she per-formed excerpts from Ariadne auf Naxos(Der Komponist),Don Giovanni (Donna Elvira),and Così fan tutte (Dorabella). At Juilliardshe has participated in master classes withJoyce DiDonato and Yannick Nézet-Séguin.Additionally, she has sung Fekluša in KatyaKabanova and was heard in several scenesprograms as Idamante in Idomeneo andDorabella in Così fan tutte. Other recentoperatic roles include Musetta in La

John ChongyoonNoh

Nicole Thomas

Matthew Pearce

bohème, Cherubino in Le nozze di Figaro,and Dryade in Ariadne auf Naxos. Ms.Thomas is working toward her Master ofMusic degree at Juilliard as a student ofEdith Bers. Constance Goulandris Scholar -ship, Viola Peters Scholar ship, HenriettaQuade Scholarship

Originally from Chattanooga, Tennessee,Thomas West is a fourth-year undergraduatebaritone at Juilliard where he studies withMarlena Malas. Recent career highlightsinclude the world premiere of WayneOquin’s Meditation in Alice Tully Hall,Brahms’ Ein Deutsches Requiem with theMississippi Symphony, and Billy Bigelow inRodgers and Hammerstein’s Carousel withthe Chautauqua Institution. In 2014 he wasnamed a Presidential Scholar in the Arts byPresident Barack Obama. He is the founderof Regenerate, an arts leadership program forhigh schoolers in Tennessee; a creator ofJuilliard OperaComp, a laboratory for Juilliardcomposers, playwrights, and singers todevelop new opera scenes; and the founderof Collaborative Arts Ensemble, a cross-disciplinary arts ensemble dedicated to thecreation of original theatrical concert pro-ductions for social change. Philo HigleyScholarship, Hamburger Family Scholarshipin Voice

A native of Paris, Onadek Winan is anM.M. candidate at Juilliard where she

studies with Edith Bers. She recentlymade her Alice Tully Hall and Carnegie Halldebuts and has sung with the BaltimoreSymphony Orchestra led by Marin Alsop.She also made her debut at the AvignonOpera House and appeared in recital forher debut at the Festival de l’Orangerie deSceaux in France. She has spent summersat the Houston Grand Opera and Wolf TrapOpera and was named by Juilliard as the2015 Presser Scholar in recognition of heroutstanding achievement as a musicmajor. Upcoming are her debut with theBay Atlantic Symphony and the title role inRameau’s Hippolyte et Aricie with JuilliardOpera in April. Kovner Fellowship

Soprano Vivian Yau, from Hong Kong, is afourth-year undergraduate at Juilliardwhere she studies with Edith Bers. At theage of 14 she won her first internationalaward at the Llangollen International MusicalEisteddfod, Wales. In 2011 she wasselected My Favorite Young Music Makerby Radio Television Hong Kong and nowappears regularly on television and radiothere. She made her Weill Recital Halldebut in 2012 after winning the BarryAlexander Inter national Vocal Competition.In 2013, at England’s Mid-Somerset Festival,she triumphed in all categories for her agegroup. In 2015 Ms. Yau won the Bel CantoInstitute Orchestral Award and her prizeincluded a performance at the VermontPhilharmonic Orchestra’s annual opera gala.She made her operatic debut as Rosina inThe Barber of Seville at the MediterraneanOpera Festival this past summer.

Thomas West

Onadek WinanKRISTIN HOEBERMANN

Vivian Yau

Alan Gilbert, Director of Conducting and Orchestral Studies, William Schuman Chair in Musical StudiesEmmanuel Villaume, Guest Conductor

Juilliard Orchestra

Violin IAgnes Tse,Concertmaster

Jessie ChenLudvig GudimJordan HendyAlice Ivy-PembertonChisa KodakaPeter LinNaoko NakajimaHaeun OhYaegy ParkKenneth RenshawEmma RichmanJin Wen SheuNaoko TajimaAngela WeeHikaru Yonezaki

Violin IIBrian Joonwoo Hong,Principal

Shenae AndersonBrendon Elliott Yujie He Diana Dohyung Kim Valerie Kim Hsueh-Hung Lee Xingyu Li Yi Hsin Cindy LinMo Lei Luo Carolyn Semes Xiaoxuan Shi

Ziyao SunPinhua Zeng

ViolaJordan Bak, PrincipalEn-Chi ChengEsther KimSung Jin LeeAo PengTabby RheeClaire SatchwellTaylor SheaLauren SiessJasper SnowLynn Marie Sue A QuanJacob van der Sloot

CelloMatthew Chen,Principal

Jenny BahkMari CoetzeeDrew ConeJohn-Henry CrawfordJeffrey LiYun-Ya LoGuilherme NardelliMonegatto

Sung Moon ParkSebastian StögerTomsen SuYi Qun Xu

Double BassYi-Hsuan Annabel Chiu,Principal

Szu Ting ChenJanice GhoJonathan LuikZachary MarzulliFox MyersParis MyersKathryn Morgan Stewart

FluteJames Dion Blanchard,Principal

Viola Chan, PrincipalHae Jee Ashley Cho,Principal

PiccoloViola ChanFrancesca Mormanni

OboeRussell Hoffman,Principal

Mitchell Kuhn, PrincipalEmily Moscoso, Principal

English HornRussell HoffmanMitchell KuhnEmily Moscoso

ClarinetWonchan Doh, PrincipalSunho Song, PrincipalNing Zhang, PrincipalDan Giacobbe Lirui Zheng

E-flat ClarinetDan Giacobbe

Bass ClarinetSunho SongNing Zhang

BassoonTroy Baban, PrincipalSoo Yeon Lee, PrincipalJacob Wellman,Principal

Emmali Ouderkirk

ContrabassoonSoo Yeon LeeJacob Wellman

French HornHarry Chiu Chin-pong,Principal

Cort Roberts, PrincipalNathaniel Silberschlag,Principal

Jaimee Reynolds

Baritone Xiaomeng Zhang is an artistdiploma in opera studies student fromWenzhou, China, studying at Juilliard withMarlena Malas. Past performances includeTancredi in Il combattimento di Tancredi eClorinda at Carnegie Hall; Kuligin in KatyaKabanova, Minskman in Flight, Giove in LaCalisto, and Presto in Les mamelles deTirésias with Juilliard Opera; Rodomonte inOrlando Paladin and Macduff in Ernest

Bloch’s Macbeth with the ManhattanSchool of Music Opera Theatre; the titlerole in Don Giovanni in the Roma atNarnia Festival; Schaunard in La bohèmeat the Chautauqua Festival; and Licinio inAureliano in Palmira and Fernando inFidelio with the Caramoor Festival. He hasalso performed as a soloist in Beethoven’sSymphony No. 9, Mozart’s Requiem,Dvorák’s Te Deum, and the Yellow RiverCantata. Mr. Zhang recently received sec-ond place from the Metropolitan OperaNational Council Au ditions in the NewEngland Region and was a finalist in theDallas Opera Guild’s vocal competition.Jerome L. Greene Fellowship, Hardestyand Beverley Peck Johnson Fund

Xiaomeng Zhang

TrumpetWyeth Aleksei,Principal

Lasse Bjerknaes-Jacobsen, Principal

Marshall Kearse, PrincipalBenjamin KeatingFederico Montes

CornetFederico Montes,Principal

Marshall Kearse

TromboneKevin Carlson, PrincipalRicardo PedraresPatiño, Principal

Bass TromboneMarco Gomez, PrincipalEhren L. Valmé, Principal

TubaColin Benton, PrincipalDavid Freeman, Principal

TimpaniSae Hashimoto, PrincipalEvan Saddler, PrincipalLeo Simon, Principal

PercussionMarty Thenell, PrincipalDavid Yoon, PrincipalTyler CunninghamOmar El-AbidinTaylor HamptonSae HashimotoEvan Saddler

HarpAlexis Colner, PrincipalLenka Petrovic, PrincipalAlethea Grant

PianoChristopher Reynolds

CelesteThomas Steigerwald

About the JuilliardOrchestra

Juilliard’s largest and most visible studentperforming ensemble, the Juilliard Orchestra,is known for delivering polished and pas-sionate performances of works spanningthe repertoire. Comprising more than 350students in the bachelor’s and master’sdegree programs, the orchestra appearsthroughout the 2017–18 season in morethan a dozen performances on the stagesof Alice Tully Hall, Carnegie Hall, DavidGeffen Hall, and Juilliard’s Peter Jay SharpTheater. The season opened in August witha collaboration between Juilliard andFinland’s Sibelius Academy members con-ducted by Esa-Pekka Salonen with con-certs in Alice Tully Hall, Helsinki, andStockholm. The orchestra is a strong part-ner to Juilliard’s other divisions, appearing

in opera and dance productions. Under themusical leadership of Alan Gilbert, thedirector of conducting and orchestral stud-ies, the Juilliard Orchestra welcomes animpressive roster of world-renowned guestconductors this season including ThomasAdès, Joseph Colaneri, Edo de Waart,Chen Lin, David Robertson, SperanzaScappucci, and Gerard Schwarz, as well asfaculty members Jeffrey Milarsky and Mr.Gilbert. The Juilliard Orchestra has touredacross the U.S. and throughout Europe,South America, and Asia, where it was thefirst Western conservatory ensemble allowedto visit and perform following the openingof the People’s Republic of China in 1987,returning two decades later, in 2008. Otherensembles under the Juilliard Orchestraumbrella include the conductorless JuilliardChamber Orchestra, the Juilliard WindOrchestra, and the new-music groupsAXIOM and New Juilliard Ensemble.

Joanna K. Trebelhorn, Directorof Orchestral and EnsembleOperations

Matthew Wolford, OperationsManager

Lisa Dempsey Kane, PrincipalOrchestra Librarian

Michael McCoy, OrchestraLibrarian

Kate Northfield Lanich,Orchestra PersonnelManager

Deirdre DeStefano, OrchestraManagement Apprentice

Orchestra AdministrationAdam Meyer, Associate Dean and Director, Music DivisionJoe Soucy, Assistant Dean for Orchestral Studies

About the Ellen andJames S. MarcusInstitute for Vocal ArtsJuilliard School’s Ellen and James S. MarcusInstitute for Vocal Arts offers young artistsprograms tailored to their talents and needs.From bachelor and master of music degreesto an advanced artist diploma in opera studies,Juilliard provides frequent performance oppor-tunities featuring singers in its own recitalhalls, on Lincoln Center’s stages, and around

New York City. Juilliard Opera has presentednumerous premieres of new operas as wellas works from the standard repertoire.

Juilliard graduates may be heard in operahouses and concert halls throughout theworld; diverse alumni artists include well-known performers such as Leontyne Price,Renée Fleming, Rise Stevens, TatianaTroyanos, Simon Estes, and Shirley Verrett.Recent alumni include Isabel Leonard,Susanna Phillips, Paul Appleby, ErinMorley, Sasha Cooke, and Julia Bullock.

AdministrationBrian Zeger, Artistic DirectorMonica Thakkar, Director, Performance ActivitiesKirstin Ek, Director, Curriculum and SchedulesEmily Wells, Associate DirectorDavid Strobbe, Production AdministratorAndrew Gaines, Projects Administrator, Performance ActivitiesPo Chan, Projects Administrator, CurriculumSarah Cohn, Schedule and Program CoordinatorEmily Bishai, Vocal Arts Administrative Apprentice

BOARD OF TRUSTEES

Bruce Kovner, ChairJ. Christopher Kojima, Vice ChairKatheryn C. Patterson, Vice Chair

EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION

TRUSTEES EMERITI

June Noble Larkin, Chair Emerita

Mary Ellin BarrettSidney R. KnafelElizabeth McCormackJohn J. Roberts

Office of the PresidentJoseph W. Polisi, PresidentJacqueline Schmidt, Chief of Staff

Office of the Provost and DeanAra Guzelimian, Provost and DeanJosé García-León, Associate Dean for Academic AffairsRobert Ross, Assistant Dean for Preparatory Education Kent McKay, Associate Vice President for Production

Dance DivisionTaryn Kaschock Russell, Acting Artistic DirectorLawrence Rhodes, Artistic Director EmeritusKatie Friis, Administrative Director

Drama DivisionRichard Feldman, Acting Director Katherine Hood, Managing Director

Music DivisionAdam Meyer, Associate Dean and DirectorBärli Nugent, Assistant Dean, Director of Chamber MusicJoseph Soucy, Assistant Dean for Orchestral StudiesStephen Carver, Chief Piano TechnicianRobert Taibbi, Director of Recording Joanna K. Trebelhorn, Director of Orchestral

and Ensemble Operations

Historical PerformanceRobert Mealy, DirectorBenjamin D. Sosland, Administrative Director;

Assistant Dean for the Kovner Fellowships

Jazz Wynton Marsalis, Director of Juilliard JazzAaron Flagg, Chair and Associate Director

Ellen and James S. Marcus Institute for Vocal Arts Brian Zeger, Artistic DirectorKirstin Ek, Director of Curriculum and SchedulesMonica Thakkar, Director of Performance Activities

Pre-College DivisionYoheved Kaplinsky, Artistic DirectorEkaterina Lawson, Director of Admissions and Academic AffairsAnna Royzman, Director of Performance Activities

Evening DivisionDanielle La Senna, Director

Lila Acheson Wallace LibraryJane Gottlieb, Vice President for Library and

Information Resources; Director of the C.V. Starr Doctoral Fellows Program

Enrollment Management and Student DevelopmentJoan D. Warren, Vice PresidentKathleen Tesar, Associate Dean for Enrollment Management Sabrina Tanbara, Assistant Dean of Student AffairsCory Owen, Assistant Dean for International Advisement

and Diversity InitiativesWilliam Buse, Director of Counseling ServicesKatherine Gertson, RegistrarTina Gonzalez, Director of Financial AidBarrett Hipes, Director, Alan D. Marks Center for

Career Services and EntrepreneurshipTeresa McKinney, Director of Community EngagementTodd Porter, Director of Residence LifeHoward Rosenberg MD, Medical DirectorBeth Techow, Administrative Director of Health

and Counseling ServicesHolly Tedder, Director of Disability Services

and Associate Registrar

FinanceChristine Todd, Vice President and Chief Financial OfficerIrina Shteyn, Director of Financial Planning and Analysis Nicholas Mazzurco, Director of Student Accounts/Bursar

Administration and LawMaurice F. Edelson, Vice President for Administration

and General CounselJoseph Mastrangelo, Vice President for Facilities ManagementMyung Kang-Huneke, Deputy General Counsel Carl Young, Chief Information Officer Steve Doty, Chief Operations OfficerDmitriy Aminov, Director of IT EngineeringCaryn Doktor, Director of Human Resources Adam Gagan, Director of SecurityScott Holden, Director of Office ServicesJeremy Pinquist, Director of Client Services, ITHelen Taynton, Director of Apprentice Program

Development and Public AffairsElizabeth Hurley, Vice President Alexandra Day, Associate Vice President for Marketing

and CommunicationsBenedict Campbell, Website DirectorAmanita Heird, Director of Special EventsSusan Jackson, Editorial DirectorSam Larson, Design DirectorKatie Murtha, Director of Major GiftsLori Padua, Director of Planned GivingEd Piniazek, Director of Development OperationsNicholas Saunders, Director of Concert OperationsEdward Sien, Director of Foundation and Corporate RelationsAdrienne Stortz, Director of SalesTina Martin, Director of MerchandisingRebecca Vaccarelli, Director of Alumni Relations

Juilliard Global VenturesChristopher Mossey, Senior Managing DirectorCourtney Blackwell Burton, Managing Director for Operations Betsie Becker, Managing Director of Global K–12 ProgramsGena Chavez, Managing Director, Tianjin Juilliard SchoolNicolas Moessner, Managing Director of Finance

and Risk Management

Pierre T. BastidJulie Anne ChoiKent A. ClarkKenneth S. DavidsonBarbara G. FleischmanKeith R. GollustMary GrahamJoan W. HarrisMatt JacobsonEdward E. Johnson Jr.Karen M. LevyTeresa E. LindsayLaura Linney

Michael LoebVincent A. MaiEllen MarcusMichael E. MarksNancy A. MarksStephanie Palmer McClellandChristina McInerneyLester S. Morse Jr.Stephen A. NovickJoseph W. PolisiSusan W. RoseDeborah SimonSarah Billinghurst SolomonWilliam E. “Wes” Stricker, MD

JUILLIARD COUNCIL

Mitchell Nelson, Chair

Michelle Demus AuerbachBarbara BrandtBrian J. HeidtkeGordon D. HendersonPeter L. KendYounghee Kim-WaitPaul E. Kwak, MDMin Kyung Kwon

Sophie LaffontJean-Hugues MonierTerry MorgenthalerPamela J. NewmanHoward S. Paley John G. PoppGrace E. RichardsonKristen RodriguezJeremy T. Smith

dnu Fphis

o d tnm aeho tt—ecnep ihsralohce shr teffn oa c

e lbigile erm aohf wt one, srecna0 d0n 8ahe t

sralohc SdrailliuJ

ereffif dd olros a wekat maht troppuse c, wpler huoh yti. Wdil aaicnanr fiof

ecre0 pr 9ev, osnaicisud mn, asrotcae roo me tmos hl ioohcd Srailliue JhT

idulcin—daiill Ju o ais ll f rr adailli Jureeev y rdd niehB

n, aamar, decnaf de orutul fabole ght

(212) 799 5000 t 278 i it i i jt to the Juilliard Scholarshi o make a gifo T

(212) 799-5000, ext. 278, or visit giving.ju

.uooing y

tsiirt

.cisud mn

illi d d / h l hi p Fund, please call

by

Sar

ah P

ierp

ont

uilliard.edu/scholarship.

Phot

o