Leonard Bernstein MASS - Lincoln Center for the Performing...

Tuesday and Wednesday, July 17–18, 2018, at 7:30 pm

Pre-concert lecture on Tuesday, July 17 by Michael Beckerman; Pre-concert talk on Wednesday, July 18 with Stephen Schwartz, Elkhanah Pulitzer,and John Schaefer at 6:15 pm Stanley H. Kaplan Penthouse

Leonard Bernstein MASS

A Theater Piece for Singers, Players and Dancers

Texts: From the liturgy of the Roman MassAdditional Texts: Stephen Schwartz and Leonard Bernstein

Orchestrations: Jonathan Tunick, Hershy Kay, and Leonard Bernstein

In celebration of the Leonard Bernstein Centennial

This performance is approximately two hours long, with no intermission.

A production of the Los Angeles Philharmonic, Gustavo Dudamel, Music andArtistic Director

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Please make certain all your electronic devices are switched off.

David Geffen Hall

Mostly Mozart Festival

American Express is the lead sponsor of the Mostly Mozart Festival

Endowment support is provided by Blavatnik Family Foundation Fund for Dance

The Mostly Mozart Festival is also made possible by The Andrew W. Mellon Foundation, The FordFoundation, and Rita E. and Gustave M. Hauser. Additional support is provided by The ShubertFoundation, LuEsther T. Mertz Charitable Trust, The Howard Gilman Foundation, The Fan Fox andLeslie R. Samuels Foundation, Inc., The Katzenberger Foundation, Inc., Mitsui & Co. (U.S.A.), Inc,Mitsubishi Corporation (Americas), Sumitomo Corporation of Americas, J.C.C. Fund, JapaneseChamber of Commerce and Industry of New York, Nippon Steel & Sumitomo Metal U.S.A., Inc, GreatPerformers Circle, Chairman’s Council, Friends of Mostly Mozart, and Friends of Lincoln Center

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital of Lincoln Center

“Summer at Lincoln Center” is supported by Bubly

Artist Catering provided by Zabar’s and Zabars.com

By arrangement with Boosey & Hawkes, Inc. Sole agent for Leonard Bernstein Music PublishingCompany LLC, publisher and copyright owner

This production was rehearsed at The Pershing Square Signature Center480 West 42nd Street, NY, NY 10036

UPCOMING MOSTLY MOZART FESTIVAL EVENTS:

Thursday–Friday, July 19–20 at 7:30 pm in the Rose TheaterThe Creation (North American production premiere)accentus, choir; Insula Orchestra Laurence Equilbey, conductor La Fura dels Baus—Carlus Padrissa, stage direction Christina Landshamer, Gabriel and Eve; Thomas Tatzl, Raphael and Adam; Robin Tritschler, Uriel HAYDN: Die Schöpfung (“The Creation”)

Friday–Saturday, July 20–21 at 7:30 pm in Alice Tully HallMostly Mozart Festival OrchestraThomas Dausgaard, conductorFrancesco Piemontesi, pianoMENDELSSOHN: The Fair Melusina OvertureMOZART: Piano Concerto No. 27 in B-flat majorMOZART: Symphony No. 41 in C major (“Jupiter”)Pre-concert recitals by Francesco Piemontesi, piano, at 6:30 pm

For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at(212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure.

Visit MostlyMozartFestival.org for full festival listings.

Join the conversation: @LincolnCenter

We would like to remind you that the sound of coughing and rustling paper might distract the perform-ers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leave beforethe end of the performance are asked to do so between pieces. The taking of photographs and theuse of recording equipment are not allowed in the building.

Mostly Mozart Festival I The Program

Bernstein MASS(New York production premiere)

Louis Langrée, ConductorNmon Ford, Celebrant M|M

Concert Chorale of New YorkJames Bagwell, Choral DirectorYoung People’s Chorus of New York CityElizabeth Núñez, Associate Artistic DirectorTenzin Gund-Morrow,

Boy Soprano

Elkhanah Pulitzer, Director(New York debut)Laurel Jenkins, ChoreographerSeth Reiser,

Scenic and Lighting DesignChristine Crook,

Costume DesignMark Grey, Sound DesignAdam Larsen,

Projection Design

Street Chorus: Hadleigh Adams, Matthew Anchel, Laura Bohn,David Castillo, Kennedy Caughell, Max Chernin, Christopher JamesCulberson, Daniel T. Curran, Brad Greer, Joaquina Kalukango,Michael Kelly, Emma McNairy, Destan Owens, Ronald Peet,Anna Schubert, Peabody Southwell

Dancers: Habeel Abdulhusain, Haihua Chiang, Jeremy Cline,Daniel Miramontes, Samantha Mohr, Emily Sweeney, Devika Wickremesinghe, Kevin Williamson

Mostly Mozart Festival Orchestra

M|M Mostly Mozart Festival debut

BERNSTEIN MASS: A Theater Piece for Singers,Players and Dancers (1971)

I. Devotions Before Mass Antiphon: Kyrie Eleison Hymn and Psalm: “A Simple Song” Responsory: Alleluia II. First Introit (Rondo) Prefatory Prayers Thrice-Triple Canon: Dominus vobiscum

III. Second Introit In nomine Patris Prayer for the Congregation (Chorale: “Almighty Father”) Epiphany

IV. Confession Confiteor Trope: “I Don’t Know” Trope: “Easy”

V. Meditation No. 1

VI. Gloria Gloria tibi Gloria in excelsis Trope: “Half of the People” Trope: “Thank You” VII. Meditation No. 2

VIII. Epistle: “The Word of the Lord”

IX. Gospel-Sermon: “God Said”

X. Credo Credo in unum Deum Trope: Non credo Trope: “Hurry” Trope: “World without End” Trope: “I Believe in God”


The Program


XI. Meditation No. 3 (De profundis, part 1)

XII. Offertory (De profundis, part 2)

XIII. The Lord’s Prayer Our Father Trope: “I Go On”

XIV. Sanctus

XV. Agnus Dei

XVI. Fraction: “Things Get Broken” XVII. Pax: Communion (“Secret Songs”)


Welcome I am delighted to welcome you to the 2018 Mostly Mozart Festival. This summermarks a significant expansion of the festival to embrace landmark internationalproductions in music, theater, and dance, as well as an enhanced commitment tothe music of our time. We also extend our performances beyond the LincolnCenter campus to Brooklyn and Central Park, where some 800 singers will gatherin August for the world premiere of John Luther Adams’s choral work In the Nameof the Earth.

In keeping with Mozart’s spirit of innovation and creativity, this year’s festivalopens with Available Light, a confluence of dance, architecture, and music createdby three major contemporary artistic forces: choreographer Lucinda Childs, archi-tect Frank Gehry, and composer John Adams. The Catalan theater company LaFura dels Baus arrives with a profoundly inventive staging of Haydn’s Creation,while another classic work, Shakespeare’s Macbeth, is transposed to feudal Japanin an exquisite production by the legendary director Yukio Ninagawa.

The festival also presents important premieres, including a world premiere workby Mark Morris Dance Group set to Schubert’s “Trout” Quintet; a celebration ofthe Bernstein centennial with a bold new staging of his MASS, featuring theMostly Mozart Festival Orchestra and over 200 performers; and the New York pre-miere of The Force of Things, an immersive “opera for objects” with music byexciting young composer Ashley Fure and architectural design by Adam Fure.

As always, Mozart’s music remains a core inspiration of the summer, with pro-grams by our extraordinary Mostly Mozart Festival Orchestra that include the tran-scendent Requiem, led by Renée and Robert Belfer Music Director Louis Langrée,the “Jupiter” and “Prague” Symphonies, and a string quintet performed by theEmerson String Quartet with guest violist Nokuthula Ngwenyama. Our FestivalOrchestra is joined by preeminent guest artists including conductors ThomasDausgaard, Richard Egarr, and Christian Zacharias; pianists Emanuel Ax andFrancesco Piemontesi; violinists Joshua Bell and Daniel Lozakovich; and sopranosJodie Devos and Rosa Feola. Rounding out the festival is our popular A Little NightMusic series, a film on Leonard Bernstein, and free events, as well as pre-concertrecitals and talks.

With so many rich offerings, I hope that you will join us often and look forward toseeing you at the Mostly Mozart Festival.

Jane MossEhrenkranz Artistic Director

Mostly Mozart Festival I Notes on the Program

Notes on the Program

By Luke Howard

MASS: A Theater Piece for Singers, Players and Dancers (1971)LEONARD BERNSTEINBorn August 25, 1918, in Lawrence, MassachusettsDied October 14, 1990, in New York

Approximate length: 110 minutes

Leonard Bernstein was the quintessential polyglot composer, able towrite in a multitude of styles, from the classical seriousness of his sym-phonies to imitations of jazz, Jewish music, the post-war avant-garde,the “Americanisms” of Aaron Copland and Virgil Thomson, the Latin-infused rhythms of West Side Story and Broadway show-tunes. Thelinking thread in all his works, though, is their inherent theatricality. Infact, Bernstein’s greatest successes were in the theater with showslike On the Town, Wonderful Town, Candide, and West Side Story. Heeven considered his symphonies and concert works as “theaterpieces,” where communicating with the audience was far more impor-tant than following modernist trends.

An Eclectic Musician Bernstein was not a prolific composer. His con-ducting activities, he claimed, took priority. He also frequently recycledhis own music in later works, and borrowed often and eclectically fromothers. These techniques were common enough even among greatmasters of the past, but were readily interpreted by his critics as evi-dence of his supposed lack of inspiration or a glibness of derivativeeffect. Bernstein himself considered his eclecticism as necessary giventhe lengthy periods when he couldn’t compose, and part of a lifelongeffort to enrich his own developing musical language. Unfortunately forhim, he was simply too gifted musically to be all the things he could’vebeen—conductor, composer, pianist, educator—in a manner that wouldsatisfy everyone, and his compositional output was therefore limited.

As he was completing the orchestration of his Symphony No. 3(“Kaddish”) in the fall of 1963, Bernstein learned of the assassination ofPresident Kennedy and dedicated the symphony to the President’smemory. Perhaps partly in response to that gesture, JacquelineKennedy commissioned a work from him to open the newly builtKennedy Center for the Performing Arts in Washington, D.C., inSeptember 1971. Bernstein, though Jewish, had long wanted to writesome kind of sacred, ecumenical service. The choice of a Catholic litur-gical text to open a building honoring the first Catholic President of theUnited States seemed like a suitable option. But Bernstein’s MASSproved far more controversial.

A Radical Treatment Not surprisingly, the composer took his settingof the Mass text in a more populist, theatrical direction. He aug-mented the Greek and Latin words of the traditional Mass with


Hebrew prayers and newly written English lyrics (penned by himself andyoung composer/lyricist Stephen Schwartz). This kind of “troping” or com-mentary had medieval precedents, but was considered blasphemous by somein 1971. He combined many different musical styles in MASS, from classicaltraditions, hymn-like chorales, and the modernist avant-garde to pop, jazz,blues, Middle Eastern dances, and rock music. This broad stylistic liberty waspartly encouraged by the Catholic Church itself in the mid-1960s when theSecond Vatican Council approved of the incorporation of vernacular worship—“music of the people”—in the celebration of the Mass. Bernstein invoked theestablished Jewish tradition of “arguing with God,” a practice that in someChristian circles at the time was considered sacrilegious. What’s more, thisMASS emerged amid contemporary rumblings in the Western youth subcul-tures against the Establishment of which organized religion was a major part.And the crisis of faith and vernacular irreverence in the post-Kennedy era hadalready been expressed in works such as Jesus Christ Superstar (originally aconcept album released in 1970) and Schwartz’s musical Godspell, whichopened off-Broadway in May 1971, just four months before MASS premiered.

Given Bernstein’s very public commitment to leftist causes, his iconoclastictreatment of the traditional Mass text raised red flags even among U.S. govern-ment departments. Bernstein himself had been blacklisted by the StateDepartment in the 1950s. In preparing his score of MASS he had consultedwith Father Daniel Berrigan, a Catholic priest and counterculture peace activistwho had been on the FBI’s “10 Most Wanted” list and who was, at the time,in prison. As the premiere loomed, the FBI actually warned the White Housethat MASS might contain “coded anti-war messages” and that the composerwas mounting a plot “to embarrass the United States government.” PresidentNixon was strongly advised not to attend the premiere, and was conspicuouslyabsent at the performance. (Nixon offered the press an alternative, marginallyplausible excuse that the event “should really be [Mrs. Kennedy’s] night.”)

Mixed Reviews Critical response to the work was mixed, and deeply polar-ized. Some members of the Catholic faith disapproved, but certain prominentCatholics found the work incredibly stirring and deeply relevant. The Rev. PaulMoore, Jr., Episcopal Bishop of New York, attended the premiere and toldBernstein afterward how profoundly moved he was by the performance.Reflecting that the experience of the Celebrant in MASS replicated his ownlife story, he continued, “I could deeply identify with the inordinate demandspeople make upon the church and the priest and with the deep revulsion onesometimes feels toward the role.”

Professional critics grudgingly acknowledged that the work resonated with theyounger members of the audience, but were skeptical of its lasting value.Harold Schonberg of the New York Times had long been a critic both ofBernstein’s music and his conducting before MASS, but was especiallyscathing in his review of the premiere, concluding that it was “fashionablekitsch … cheap and vulgar.” The critical view has softened over the ensuingyears, and it is now almost universally regarded as an important work of its

time, a dramatic manifestation of many of the deeper anxieties that grippedAmerican culture in the early 1970s. MASSwas even performed at the Vaticanin 2000, at the request of Pope John Paul II.

MASS is an enormous work, requiring a large orchestra, two choirs plus a boys’choir, a full on-stage cast with dancers, a marching band, and a rock band. AsNina Bernstein, the composer’s daughter, notes, “It may seem ironic that suchmultitudes are marshaled for a work that celebrates a man’s ‘Simple Song’: hislove and faith in God. But in the end, that simplicity is shown to be all the morepowerful because of it.”

A Closer Look The work opens abstractly, with a disembodied 12-tone“Kyrie” played through speakers in each corner of the darkened hall. Its com-plexity is intentionally alienating. The Celebrant then interrupts with a singleguitar strum. Dressed in street clothes, he represents a simple faith, as yetunfettered by strict liturgy or entrenched sectarianism. The joyful “Alleluia”that follows is embellished with jazzy scat-singing, concluding the “Devotionsbefore Mass.”

The “First Introit” opens with a celebratory production number from theStreet Chorus, whose role in this work is to question and challenge theCelebrant and the dogma he represents. They sing an irreverent mélange ofliturgical texts in music-hall style, the boys’ choir and Celebrant joining in thedancing celebrations. A canon on “Dominus vobiscum” returns to the formalabstractions of the opening Kyrie.

An asymmetrical dance with Near Eastern ornaments begins the “SecondIntroit,” but shifts style suddenly as the Celebrant leads the congregation in thegentle chorale “Almighty Father.” The “Confession” that follows introduces thefirst real crisis of faith as the Street Chorus interrupts with pressing questionsabout the nature of sin and the worth of confession. The Celebrant’s streetclothes begin to be covered by sacred vestments as he starts to feel the tensionbetween personal faith and the trappings of liturgical worship. An orchestral“Meditation” accompanies this emergent apprehension, while pointing towardsa hoped-for place of eventual peace.

The “Gloria” opens with the Celebrant and boys’ choir reveling in exuberantpraise of the Trinity. But the praise is again quickly challenged by the skepticismof the Street Chorus who parody in mock-chanting the relevance of a church ina contemporary society that has lost its faith. As the singers pray in silence, theorchestra performs a second “Meditation,” which Bernstein notes is based “ona sequence by Beethoven,” an obscure reference to the Ninth Symphony withfragments of the “Ode to Joy.”

In “Epistle: The Word of the Lord” the focus turns to reading, and the powerof “the Word” to survive imprisonment, repression, and opposition. TheCelebrant confirms this belief in song while congregants recite passages fromcontemporary letters. The Street Chorus and a would-be “Preacher” then



lampoon the biblical account of the Creation—how could all this possibly be“good,” they demand, with the rampant cynicism, selfishness, and greed soobvious around them.

The Celebrant enters to deliver the “Credo,” or statement of belief, issued instrict, unflinchingly regimented rhythms. The Credo is repeatedly interrupted,though, by members of the Street Chorus who overtly challenge God andargue with the Credo in a series of “Non-Credo” tropes. The first takes Godto task for “becoming a man” on His own terms while the rest of us have nochoice about the circumstances of our birth or the details of our lives. His argu-mentative trope is cut off by the militaristic continuation of the Credo. AnotherStreet Singer tells God to “hurry up” with His second coming. After the Credoresumes, a third trope questions the enormity of “worlds without end,” a con-cept that seems to minimize the attention that God might show to this singleworld and individuals within it. The chanted Credo is completely unmoved bythe interjections, and objectively completes its text as reflexively as it started.

A “Rock Singer” offers an alternative, flexible Credo based on doubt ratherthan belief. Then, as the Celebrant re-enters, the widening gap between theChurch and the People becomes even more apparent. The prayer this time(“Meditation No. 3”) is a cry from the depths of despair (“De profundis cla-mavi ad te”) and anything but meditative as it expresses extreme agitation anddiscomfort. The Celebrant and acolytes proceed with the liturgy, which (thecomposer instructs) develops into “a primitive and fetishistic dance aroundthe sacred objects.”

After reciting an a cappella “Lord’s Prayer,” the Celebrant gives voice to hisloneliness and faltering courage, but commits to “go on again.” This intro-duces the “Sanctus” in which all unite, singing the Sanctus text in Latin,English, and Hebrew. At this point the Celebrant seems to have weatheredthe storms of doubt. Even the Street Chorus joins in with the praise. But justbefore the Sanctus concludes, the service is interrupted again by insistentprotests from the Street Chorus in the “Agnus Dei,” impatiently demandingthat peace be granted immediately. The text begins to fragment, and theCelebrant’s crumbling confidence reaches a low point as he ascends the altarwith the monstrance and chalice. The Street Chorus becomes flagrantlyheretical in a rock/blues maelstrom as the stage disintegrates into chaos.

At this, the Celebrant hurls the sacraments to the floor, and all but theCelebrant fall down in stunned silence. The shattered remains of theCelebrant’s faith mingle with the broken vessels in an expressionistic solowhere he suffers a complete breakdown. Reprising and rejecting the stiff for-mality of the liturgy he had been celebrating, he also then rejects the congre-gation and Street Chorus who, despite their complaining, are impotent with-out him. He defiles the altar, and leaves the stage, broken and exhausted.

Father Berrigan had suggested to Bernstein that he end MASS in a militantmood: “Yell at them and turn off the lights.” But Bernstein chose a different

path. After the Celebrant leaves, a solo flute and boy soprano reintroduce the“Simple Song” from the opening. The company gradually are awakened to anew hope, and one by one they are raised—resurrected—in peace and praise.Finally, the Celebrant re-enters, dressed in the street clothes he wore at thestart, and all join in a return of the chorale “Almighty Father” as MASS con-cludes with simple faith and the much longed-for peace.

Luke Howard teaches music and European cultural history at Brigham YoungUniversity, and writes extensively on contemporary music and composers formajor arts organizations around the world. He lives in Orem, Utah.

—Program note originally commissioned by The Philadelphia Orchestra Association;© 2015 Luke Howard. All rights reserved. Reprinted by kind permission of LukeHoward and The Philadelphia Orchestra.


Mostly Mozart Festival I Meet the Artists

Louis Langrée was appointed music director of the Mostly Mozart Festivalin 2002 and was named Renée and Robert Belfer Music Director in August2006. He is also music director of the Cincinnati Symphony Orchestra, aposition he has held since 2013. Recent highlights with the CSO include aconcert as part of the 50th anniversary season of Lincoln Center’s GreatPerformers series and tours to Asia and Europe, including appearances atthe Hong Kong Arts Festival, Edinburgh International Festival, BBC Proms,and La Seine Musicale in Paris.

Other recent and future highlights include appearances with thePhiladelphia Orchestra, Toronto Symphony Orchestra, Vienna Symphony,Czech Philharmonic, Gewandhaus Orchestra of Leipzig, and OrchestreNational de France. Mr. Langrée also conducts regularly at theMetropolitan Opera, Vienna State Opera, and Opéra Comique. He hasappeared as guest conductor with the Berlin and Vienna Philharmonics,Budapest Festival Orchestra, London Philharmonic Orchestra, NHKSymphony Orchestra, Freiburg Baroque Orchestra, Orchestre desChamps-Élysées, and the Orchestra of the Age of Enlightenment. Hisopera engagements include appearances with La Scala, Opéra Bastille,Royal Opera House, Covent Garden, Lyric Opera of Chicago, Bavarian andDresden State Operas, and Netherlands Opera.

Mr. Langrée’s recordings with the Cincinnati Symphony Orchestra haveearned two Grammy nominations and feature commissioned works bySebastian Currier, Thierry Escaich, David Lang, Nico Muhly, and Zhou Tian,as well as Copland’s Lincoln Portrait narrated by Maya Angelou. His DVDof Verdi’s La traviata from the Aix-en-Provence Festival, with the LondonSymphony Orchestra, was awarded a Diapason d’Or. Mr. Langrée wasappointed Chevalier des Arts et des Lettres and Chevalier de l’OrdreNational de la Légion d’Honneur.

Meet the Artists

Louis Langrée

MATT DINE


Baritone Nmon Ford opened the 2017–18season as Iago in a concert perform -ance of Otello with the Atlanta Sym -phony Orchestra under Robert Spano.He also performed the Brahms Requiemwith the Kansas City Symphony andBernstein’s Songfest cycle with the BBCSymphony Orchestra at London’sBarbican Centre. At Madison Opera hesang the role of Riolobo in Florencia enel Amazonas.

Last season Mr. Ford appeared as DonPizarro in Fidelio alongside Christine Goerke at Cincinnati Opera, for which hereceived outstanding reviews. Other highlights include a critically acclaimedappearance as Jochanaan (Salome) alongside Patricia Racette at Pittsburgh Opera,The Creation with the Atlanta Symphony Orchestra, and performances ofMendelssohn’s Elijah at Pomona College in Claremont, California. Past successesinclude Mr. Ford’s tenure in the ensemble at Hamburg State Opera, where hemade role debuts as Scarpia (Tosca), the title role in Billy Budd, the Traveler (Deathin Venice), Thoas (Iphigénie en Tauride), and Demetrius (A Midsummer Night’sDream). In Hungary, he sang Escamillo (Carmen) at the Szeged Open-Air Festivaland Jochanaan at Opéra National de Bordeaux in a new production of Salome.

At the Spoleto Festival, Mr. Ford received critical praise in the title role in DonGiovanni. Further roles include Amfortas (Parsifal) at Los Angeles Opera in RobertWilson’s production; Count di Luna (Il trovatore) and Iago (Otello) at VirginiaOpera; the title role of Ernst Bloch’s Macbeth in a new production at ChicagoOpera Theater and Long Beach Opera; Belcore (L’elisir d’amore) at San FranciscoOpera; and Amonasro (Aida) at Opera Memphis. Future engagements includeperformances as Crown (Porgy and Bess) at English National Opera and inBernstein’s Songfest with the BBC Scottish Symphony Orchestra.

Nmon Ford

JOSE ZAKANY

Known for her bold, nuanced, and innovativestage direction, Elkhanah Pulitzer is anesteemed director of opera and theater. Shehas directed opera projects with the LosAngeles Philhar monic, San FranciscoSymphony, Los Angeles Opera, Boston LyricOpera, Opera Theater of Saint Louis, WestEdge Opera, and the Canadian OperaCompany, among others. Theater directingcredits include work with Impact Theater,Cutting Ball, Riverside Theater, and Ensem -ble Theater Company. Ms. Pulitzer explores

the intersection between music and theater through innovation and hybridizedforms. She has collaborated on next generation projects with WashingtonNational Opera, Lyric Opera of Kansas City, Boston Lyric Opera New England, SFOpera Lab, and Opera Omaha. Additionally, she was honored with the OperaAmerica Success Award for her libretto Dream of the Pacific. Currently, sheserves as artistic curator for SF Opera Lab, an intimate, experimental program-ming branch of San Francisco Opera. Born in Boston and raised in St. Louis andMarin County, Ms. Pulitzer also serves as board vice president of the PulitzerArts Foundation, which advances experimentation in art curation, installation,and live programming.

Baritone Hadleigh Adams (street chorus) hasreceived international acclaim for his perfor-mances on stage and in concert. In past sea-sons, Mr. Adams has performed with theLos Angeles Philharmonic in Lou Harrison’sYoung Caesar and in Annie Gosfield’s War ofthe Worlds, and made debuts with London’sPhilharmonia Orchestra (under the baton ofEsa-Pekka Salonen), Cincinnati Opera,Colorado Symphony, Pittsburgh Opera,Opera Omaha, West Edge Opera, and theOakland Sym phony. He has performed regu-

larly with the San Francisco Opera, San Francisco Symphony, and OperaParallèle. Mr. Adams made his professional debut in London at the NationalTheatre, singing the role of Christ in Jonathan Miller’s production of Bach’s St.Matthew Passion. He has performed in concert at St. Martin-in-the-Fields, theLondon Song Recital series, and in Wigmore Hall’s Voiceworks series. Otherrecent performances include appearances with the American Repertory Theater,Brooklyn Academy of Music, Atlanta Symphony Orchestra, and PhilharmoniaBaroque Orchestra.

Elkhanah Pulitzer


Hadleigh Adams


Bass Matthew Anchel (street chorus) will bejoining Oper Stuttgart for the 2018–19 seasonsinging Don Magnifico in La Cenerentola,Bartolo in Il barbiere di Siviglia, and Crespel inLes contes d’Hoffmann, among others. The2017–18 season was his fourth on the Metro -politan Opera roster, covering in new produc-tions of The Exterminating Angel andCendrillon. The season’s notable perfor-mances included singing Lam berto in Pia de’Tolomei at the Spoleto Festival, a debut withSt. Petersburg Opera as Sarastro in Die

Zauberflöte, Handel’s Messiah with Live Arts Maryland, and performing as basssoloist in in Mahler’s Eighth Symphony at Carnegie Hall with the CanterburyChoral Society. Mr. Anchel has also performed with LA Opera, Santa Fe Opera,Anchorage Opera, Opera San José, Opera Theatre of Saint Louis, Oper Leipzig,Knoxville Opera, and the Los Angeles Philharmonic, among others.

Hailed for her powerful singing, soprano LauraBohn (street chorus) has performed the rolesof Elle in Poulenc’s La voix humaine atNational Sawdust, Anna I in the Weill/BrechtThe Seven Deadly Sins with Festival Opera inCalifornia, the Duchess in Thomas Adès’sPowder Her Face with West Edge Opera,Nerone in a hip-hop-inspired take onMonteverdi’s L’incoronazione di Poppea, andthe title role of Bellini’s Norma with theBelgian wind ensemble I Solisti on a tour ofthe Netherlands and Belgium. Highlights of

2018 include the Bernstein Celebration Tour with the Millennium Jazz Orchestrain the Netherlands, performances of Mozart arias with Grand Harmonie inBoston, and a return to the Dallas Opera to cover the part of Iris Marinus in Michelvan der Aa’s Sunken Garden.

Matthew Anchel

Laura Bohn


New Orleans native David Castillo (streetchorus) is a performing artist and producerwho appears throughout the U.S. andEurope. Previous performances haveincluded world premieres of Annie Gosfield’sWar of the Worlds and Louis Andriessen’sTheatre of the World at the Los AngelesPhilharmonic, and appearances as a soloistwith the Cleveland Orchestra, The Industry,LA Opera, New Orleans Opera, Long BeachOpera, Los Angeles Master Chorale,Louisiana Philharmonic Or chestra, and

American Contemporary Ballet. He has collaborated with conductors FranzWelser-Möst, Grant Gershon, and Christopher Rountree, and directors YuvalSharon, James Darrah, Ken Cazan, and Andreas Mitisek, among others. Mr.Castillo made his European debut in Paris performing Schubert’s Win terreisewith pianist François Chouchan. In November he returns to the Los AngelesPhilharmonic as a soloist in Yuval Sharon’s production of John Cage’s Europeras1 & 2. On screen, he has appeared on America’s Got Talent and in commercialsfor Dyson, Heineken, and PicBot.

Kennedy Caughell (street chorus) hasappeared on Broadway in Waitress andNatasha, Pierre, & the Great Comet of 1812as well as on national tours of Wicked (cov-ering Elphaba) and Green Day’s AmericanIdiot (Heather). Other credits includeSidekicks! (Olive), White Christmas (Betty),and in Broadway Premieres at SymphonySpace. Regionally, she has been seen in SheLoves Me (Amalia), Hair (Sheila), and was afeatured soloist with the BartlesvilleSymphony Orchestra (OK Mozart Music

Festival). Ms. Caughell holds a bachelor of fine arts degree in music theater fromElon University.

David Castillo

Kennedy Caughell


Max Chernin (street chorus) is an actor andsinger with diverse experience on the stageand screen. He has appeared on Broadwayin Bright Star and Sunday in the Park withGeorge, as well as in Brooklynite (VineyardTheatre) and The Golden Apple (New YorkCity Center Encores!). Regional creditsinclude Daddy Long Legs (TheatreRaleigh), Bright Star (Old Globe, KennedyCenter, Center Theatre Group), and concertsat Joe’s Pub, Town Hall, and 54 Below.Television and film appearances include

Mozart in the Jungle, The Family, and The Week Of. Mr. Chernin earned a bach-elor of fine arts degree in musical theater from the University of CincinnatiCollege-Conservatory of Music.

Christopher James Culberson (street chorus)has appeared in the touring cast of TheScottsboro Boys (directed by SusanStroman), regional productions of Ain’tMisbehavin’, Ragtime, Smokey Joe’s Cafe,and West Side Story, as well as on CelebrityGhost Stories and in the Lifetime film SugarDaddies. Mr. Culberson studied at theUniversity of California Los Angeles (UCLA)and at the Hamilton Academy of Music. In2018, he can be seen playing Kristoff in

Frozen—Live at the Hyperion, directed by Tony nominee Liesl Tommy.

Tenor Daniel T. Curran (street chorus) recentlymade his New Orleans Opera debut as Plutoin Offenbach’s Orphée aux enfers. Notableengagements of previous seasons includeappearances as Laërte in Ambroise Thomas’sHamlet and Victor Frankenstein in LibbyLarsen’s Frankenstein with West Edge Opera,soloist in Vaughan Williams’s Hodie andMozart’s Coronation Mass at Carnegie Hall,Tonio in La fille du régiment and Cegeste inPhilip Glass’s Orphée with the Pittsburgh

Max Chernin

Daniel T. Curran

Christopher James Culberson


Opera, soloist in Carmina Burana with the Asheville Symphony Orchestra,Ernesto in Donizetti’s Don Pasquale with Zomeropera Belgium, soloist in Mozart’sRequiem at David Geffen Hall, Gilbert Griffiths in Tobias Picker’s An AmericanTragedy at the Glimmerglass Festival, and as the Policeman in Mark Adamo’s TheGospel of Mary Magdalene with the San Francisco Opera. Mr. Curran holds amaster of music degree from The Juilliard School.

A native of Hampton, Georgia, Brad Greer(street chorus) began his vocal training at ayoung age, singing professionally with theSpivey Hall Children’s Choir. He holds a bach-elor of fine arts degree in musical theaterfrom the University of the Arts, and has sungwith Peter Nero and the Philly Pops,Broadway Boys, World Tenors Unleashed,Broadway Inspirational Voices, and KingdomHearts Orchestra Choir. With a passion forcontemporary musical theater, Mr. Greer hasperformed for composers including Joey

Contreras, Michael Mott, Kooman & Dimond, Lyons & Pakchar, and Thomson &Desmon. Off-Broadway/New York credits include performances in JerrySpringer—the Opera (The New Group), I Am Harvey Milk (Lincoln Center), andThe Orion Experience. On national tour, Mr. Greer has appeared in The Bridges ofMadison County (First National) and Altar Boyz. Regional theater performancesinclude Les Misérables (Pennsylvania Shakespeare Festival), Legally Blonde(Virginia Musical Theatre), and Grease (Walnut Street Theatre).

Joaquina Kalukango (street chorus) appearedmost recently in F*cking A at New York’sSignature Theatre, on Broadway in The ColorPurple revival, Holler If Ya Hear Me, and God -spell, and Off-Broadway in The Wild Party(New York City Center Encores!), Our Lady ofKibeho (Signature), Antony and Cleopatra(Public Theater, Royal Shakespeare Company),Emotional Creature (Signature, BerkeleyRepertory Theatre), and Hurt Village (Signature;Theatre World Award and Drama Desk Awardnomination). Regional credits include Camae in

The Mountaintop at Washington D.C.’s Arena Stage and Houston’s Alley Theatre,and as Sarah in Ragtime and Ti Moune in Once on This Island at Hangar Theatre inIthaca, New York. Ms. Kalukango is a graduate of The Juilliard School.

Brad Greer

Joaquina Kalukango

Acclaimed American baritone MichaelKelly (street chorus) is sought after for hisriveting interpretations of recital, concert,and operatic repertoire. He has performedwith the Cleveland Orchestra, DetroitSymphony Orchestra, Houston Sym -phony, Saint Paul Chamber Orchestra,Chicago Opera Theater, and Mark MorrisDance Group at such venues as CarnegieHall, Théâtre du Châtelet, OpernhausZürich, and at the Boston Early MusicFestival. He has worked with conductors

including Herbert Blomstedt, Andreas Delfs, Jane Glover, Anne Manson,Nicholas McGegan, Steven Osgood, Leonard Slatkin, Carlos Izcaray, andStephen Stubbs. In recital Mr. Kelly has collaborated with celebrated pianistsMartin Katz, Kathleen Kelly, Malcolm Martineau, Spencer Myer, JonathanWare, and Brian Zeger, and has won prizes in several prominent competitions,including first prizes in the Poulenc and Joy in Singing international competi-tions. His recordings include world premieres by composers MohammedFairouz and David Del Tredici, on the Naxos and Entertainment One labels.

Emma McNairy (street chorus) has been aprincipal artist at Theater Lübeck since2016 in roles including Zerbinetta inAriadne auf Naxos, Contessa di Follevillein Il viaggio a Reims, Dalinda in Ariodante,and Rosina in Il barbiere di Siviglia. In 2015she sang the title role in Berg’s Lulu withWest Edge Opera in Oakland, California togreat critical acclaim, and she returned inthe following seasons to sing the Maid inThomas Adès’s Powder Her Face andOphélie in Ambroise Thomas’s Hamlet.

She has collaborated with Cantata Profana in New York City, VocaalLAB in theNetherlands, The Song Continues at Carnegie Hall, and spent two summersat Marilyn Horne’s Music Academy of the West. Other guest appearancesinclude Hamburg’s Laeiszhalle, Oper Kiel, Stadttheater Gießen, BangkokOpera, Livermore Valley Opera, and the iSING! International Young ArtistFestival in Beijing.


Michael Kelly

Emma McNairy


Destan Owens (street chorus) possesses awide range of experience on the stage andscreen. On Broadway, he has appeared asTom Collins in Rent, Billy Flynn in Chicago,Adrian in Smokey Joe’s Café, and as theHawker in The Who’s Tommy 15th-anniver-sary concert. He has appeared in regional the-aters in performances of Dreamgirls, JesusChrist Superstar, It Happened in Little Rock,October Sky, and Carmen, among others.Film and television credits include perfor-mances in Marie and Bruce, Get Rich or Die

Trying, Across the Universe, and 30 Rock. He has appeared as soloist withSun Valley Opera, as well as with orchestras around the country including theOklahoma City Philharmonic, Arkansas Symphony Orchestra, OmahaSymphony, Reading Symphony Orchestra, Fort Worth and MemphisSymphony Orchestras, Phoenix Symphony, and the Long Island Philharmonic.Mr. Owens holds a bachelor of arts degree in music theater from OklahomaCity University.

Ronald Peet (street chorus) is a Bahamianstoryteller and musician based in Brooklyn.He can be seen singing with AndrewRannells on Live From Lincoln Center (PBS),for Ethan Hawke in the feature film FirstReformed, and singing Sam Cooke tunes inhis tribute band, COOKE. Other film and tele-vision credits include The MeyerowitzStories, The Surf Report, Bull, Blindspot, 40North, and Girls. Off-Broadway, Mr. Peet hasappeared in The World My Mama Raised(Clubbed Thumb), Spill (Ensemble Studio

Theatre), Kentucky (EST/P73), and Tilly the Trickster (Atlantic TheaterCompany), in addition to regional performances of The Lion in Winter (TwoRiver Theater), Peerless (Barrington Stage Company), and The Golem ofHavana (Barrington Stage/Miami New Drama). He has played over 30 roles in15 productions with the American Shakespeare Center. Mr. Peet is a graduateof the NYU Tisch School of the Arts.

Destan Owens

Ronald Peet

Mostly Mozart Festival I

Soprano Anna Schubert (street chorus)will be singing the role of Bibi in the worldpremiere this December of Ellen Reid’sopera, Prism, with Beth Morrison Projectsand LA Opera. Her solo credits with theLos Angeles Master Chorale includeHandel’s Messiah and Israel in Egypt,Bach’s St. Matthew Passion, SofiaGubaidulina’s Canticle of the Sun, andHandel’s Alexander’s Feast staged byTrevore Ross. She has also performed ina critically acclaimed staged production

of Lagrime di San Pietro, directed by Peter Sellars. Ms. Schubert made herdebut with The Industry in 2015, and in 2017 she made her debut withOpera Omaha in the role of the Controller in Jonathan Dove’s Flight. As asession singer, she can be heard on film and television soundtracks, includ-ing Minions, Creed, The Accountant, X-Men: Apocalypse, and Jumanji:Welcome to the Jungle, among others. Ms. Schubert was a provost scholarat Chapman University, where she studied voice with renowned sopranoCarol Neblett.

Peabody Southwell (street chorus) hasestablished herself as a multifaceted artistin a range of creative endeavors. A GrammyAward–winning mezzo soprano recognizedfor her mastery of style and rich sound,she is slated to premiere works for com-posers Ted Hearne, Jodie Landau, andNico Muhly, whose U.S. premiere ofMarnie she will sing at the Metro politanOpera this fall. A native of Los Angeles,she frequently appears with LA Opera,including a widely praised performance as

Sarah Osborne in the world premiere of David Lang’s anatomy theater. As adirector and designer, Ms. Southwell prioritizes bold collaboration across thearts in productions, installations, and experimental events.


Anna Schubert

Peabody Southwell

Mostly Mozart Festival I Mostly Mozart Festival I Meet the Artists

Tenzin Gund-Morrow (boy soprano) has beena member of the Young People’s Chorus ofNew York City since 2012, and is already aseasoned performer at age 14. He has sungwith YPC in many of New York City’s leadingvenues including Carnegie Hall, Jazz atLincoln Center, and the Brooklyn Academy ofMusic, as well as on national television. Withhis fellow choristers, he competed in theFestival Internacional de Música in Barcelonalast summer, winning a gold medal, and hasjust returned from competing in Canada. This

past season, he was a featured artist in Meredith Monk’s Dancing Voices inLincoln Center’s White Light Festival, and sang the role of Aeolus in the New Yorkpremiere of Ben Moore’s opera Odyssey at the Metropolitan Museum. Amonghis performances outside of YPC, Mr. Gund-Morrow has portrayed Daniel in Duatoff-Broadway, Elijah in Elijah Green at the Kitchen, and was a soloist in Black Lightat Joe’s Pub.

Habeel Abdulhusain (dancer) began dancingat an early age in his native Bahrain, and laterstudied ballet, modern, jazz, improvisation,and folk dance under Michele Jenkins, MauraTownsend, Kristine Rooney, Cedric Botelho,Kelly Ford, and Christa El-Saed while pursu-ing dance studies at Chaffey College inCalifornia. While completing his bachelor ofarts degree at California State University,Long Beach, he continued his studies indance and choreography under SophieMonat, Rebecca Lemme, Lisa Johnson, Keith

Johnson, Kate Hutter Lorin Johnson, Rebecca Bryant, and Karen Clippinger. Atthe Los Angeles Contemporary Dance Company summer intensive, he hasdanced under established L.A.-based choreographers including GenevieveCarson and Andrew Pearson. Mr. Abdulhusain has created original work underColleen Dunagan, Laurel Jenkins, Norbert de la Cruz III, and Rebecca Bryant,leading to a performance at the American College Dance Association NationalFestival in Washington, D.C.

Tenzin Gund-Morrow

Habeel Abdulhusain

Mostly Mozart Festival I

Haihua Chiang (dancer) was born andraised in Taipei, Taiwan, and began hertraining in traditional Chinese dance andChinese martial arts at the age of 15. Aftergraduating high school in Taipei, Haihuacontinued her dance studies at CitrusCollege and at California State University,Long Beach, where she earned a bachelorof fine arts degree in dance. Ms. Chiang’straining includes modern dance, ballet,composition, and improvisation. While atCitrus College, she created dance works

and danced the role of Clara in The Nutcracker under the direction of JenniferAllgaier. At California State, she danced in works by Doug Varone and createdand performed a solo work entitled SOUL-lo. Now based in Los Angeles, Ms.Chiang is a freelance dancer performing with Keith Johnson/Dancers, RebeccaLemme’s Acts of Matter, The Assembly, and Jessica Kondrath | The Movement.

Maine native Jeremy Cline (dancer) is amultidisciplinary artist and educator whoworks primarily in dance, but is also activein theater, visual arts, and music. He hasdanced with Spectrum Dance Theater,Khambatta Dance Company, 5th AveTheatre, International Ballet Theatre, BalletBellevue, DASSdance, and his own com-pany, Tessellations Dance Project. Mr.Cline’s work has been shown at theSeattle International Dance Festival,Broadway Performance Hall, Pocket

Theater, Seattle Fringe Festival, and Full Tilt Dance Festival. He has performedinternationally in the Czech Republic, Dominican Republic, and India, and isactive in the capoeira, breakdance, acrobatics, and burlesque communities inSeattle, where he is based. As an educator, Mr. Cline has taught dance,capoeira, drawing, painting, percussion, and circus arts in Maine, Vermont,and Washington. He attended UWC Mahindra College in India, and received ajoint degree in dance and religion from Middlebury College in Vermont.


Haihua Chiang

Jeremy Cline


Daniel Miramontes (dancer) is a danceartist based in southern California. He haspresented his own work at HighwaysPerformance Space in Santa Monica, andhas performed and continues to work withAlexx Makes Dances by Alexx Shilling. Hereceived his bachelor of fine arts degree indance from California State University,Long Beach, and is currently a part-timefaculty member at Renaissance HighSchool for the Arts as well as a staff mem-ber at The Wooden Floor.

Southern California native Samantha Mohr(dancer) has collaborated as a performerwith Laurel Jenkins, David Roussève,Lionel Popkin, Victoria Marks, JulienPrévieux, Elizabeth Leister, RebeccaBruno, Alexx Shilling, Monica Duncan, andMaria Garcia. She has performed and pre-sented shared works through homeLA/Frogtown in partnership with theWomen’s Center for Creative Work, and atthe Los Angeles Municipal Art Gallery,LACE Gallery, Highways Performance

Space, and Pieter Performance Space. In addition to performing and dance-making, she is a certified, registered yoga teacher. Ms. Mohr holds a bachelorof arts degree in world arts and cultures as well as dance from the Universityof California, Los Angeles.

Emily Sweeney (dancer) is a choreogra-pher, performer, writer, and bodyworkerbased in Los Angeles. She holds a masterof research degree in performance andcreative research from the University ofRoehampton in London, and a bachelor ofarts degree in dance and literature fromBennington College in Vermont. She is anadaptor of Deborah Hay’s solo scoreDynamic (2012), which she has presented

Daniel Miramontes

Samantha Mohr

Emily Sweeney

at the Locomotion Festival in Skopje, Macedonia and at Lake Studios, Berlin.Ms. Sweeney and her choreographic collaborator Mariella Greil presentedtheir work either or/or and at the European Rhythmics Congress, and theirresearch dialogue, how we deviate with, was commissioned for “Potentials ofPerformance” by Performance Matters UK. She has led public workshops inimprovisation and performance at Pieter Performance Space in Los Angeles,Centro Nacional de las Artes in Mexico City, and Centro de las Artes in SanLuis Potosí, as well as in Berlin, Lithuania, and Finland.

Devika Wickremesinghe (dancer) is a LosAngeles expressive who has worked indance and performance with L.A. artistsincluding Alexx Makes Dances, MilkaDjordjevich, Dorothy Dubrule, LaurelJenkins, Sarah Leddy, Gwyneth Shanks,and Flora Wiegmann. Ms. Wick -remesinghe is a founding member ofTaisha Paggett’s WXPT, and in 2015 was apart of Maria Hassabi’s Plastic at theHammer Museum. In her days as a NewYork–based dancer, she worked with K.J.

Holmes, Vanessa Justice, Jill Sigman, and Mariangela Lopez’s AccidentalMovement. Alongside collaborator Samantha Allen, she is the co-founder ofthe Institut IDGAF.

Kevin Williamson (dancer) is a LosAngeles–based movement artist andassistant professor of dance at ScrippsCollege. A Lester Horton Award recipient,Bates Educators Fellow, and CenterTheatre Group Sherwood Award finalist,Mr. Williamson has created dance workspresented at Danspace Project, REDCAT’sNew Original Works Festival, Dixon Place,CounterPulse, Los Angeles CountyMuseum of Art, Austin’s OUTsiderFestival, and the Beijing Dance Festival.

He has created original works for L.A. Contemporary Dance Company andLoyola Marymount University, and choreographed opera and theater projectsfor The Juilliard School, Yale Repertory Theatre, Opera UCLA, Atlantic TheaterCompany, Washington National Opera, and Geffen Playhouse. Mr. Williamsonreceived his master of fine arts degree degree in choreography from the


Devika Wickremesinghe

Kevin Williamson


University of California, Los Angeles, and is a certified Laban/BartenieffMovement Analyst.

Mostly Mozart Festival Orchestra

The Mostly Mozart Festival Orchestra is the resident orchestra of the MostlyMozart Festival, and the only U.S. chamber orchestra dedicated to the musicof the Classical period. Louis Langrée has been the orchestra’s music directorsince 2002, and each summer the ensemble’s home in David Geffen Hall istransformed into an appropriately intimate venue for its performances. Overthe years, the orchestra has toured to such notable festivals and venues asRavinia, Great Woods, Tanglewood, Bunkamura in Tokyo, and the KennedyCenter. Conductors who made their New York debuts leading the MostlyMozart Festival Orchestra include Yannick Nézet-Séguin, Edward Gardner,Jérémie Rhorer, Lionel Bringuier, Charles Dutoit, Leonard Slatkin, DavidZinman, and Edo de Waart. Mezzo-soprano Cecilia Bartoli, flutist JamesGalway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their U.S.debuts with the Mostly Mozart Festival Orchestra.

Concert Chorale of New York

The Concert Chorale of New York most recently appeared at Lincoln Centerperforming Bernstein’s Chichester Psalms and Beethoven’s Ninth Symphonywith the Los Angeles Philharmonic and Gustavo Dudamel. Next season theChorale performs David Lang’s prisoner of the state and Brahms’s EinDeutsches Requiem with the New York Philharmonic and Jaap van Zweden.Other performance highlights have included Handel’s Messiahwith Alan Gilbertand the New York Philharmonic, Beethoven’s Symphony No. 9 with GianandreaNoseda, Mozart’s Requiem with Louis Langrée, and Mahler’s Symphony No. 3with Dudamel and the LA Phil. Other credits include performances in produc-tions of Philip Glass’s the CIVIL warS and John Adams’s Nixon in China, as wellas in productions of Dido and Aeneas, Jesu, meine Freude, and L’Allegro, il Penser oso ed il Moderato. The Chorale has worked with Gerard Schwarz at the92nd Street Y, Opéra Français de New York conducted by Yves Abel. and theAmerican Symphony Orchestra under Leon Botstein.

Notable past highlights include performances in Les noces at Lincoln Center,the New York premiere of Paul McCartney’s Ecce Cor Meum, and a perfor-mance of John Adams’s The Death of Klinghoffer conducted by the composer.The Chorale participated in the Performing Arts Center, Purchase College’sperformances of works by Gilbert and Sullivan, as well as a concert series ofworks by Haydn, Bach, and Beethoven. It also performed in the highlyacclaimed concert version of Rodgers and Hammerstein’s Carousel conductedby Leonard Slatkin. Members of the Chorale have been featured in perfor-mances with the Pet Shop Boys and Sting. The ensemble men sang with theChicago Symphony Orchestra in a performance of Tristan und Isolde, and they

performed in The Tristan Project with the Los Angeles Philharmonic at AveryFisher Hall. Founded by Jacqueline Pierce, who also serves as artistic admin-istrator, the Chorale has recorded with CBS and Nonesuch Records.

James Bagwell

James Bagwell maintains an active international schedule as a conductor ofchoral, operatic, and orchestral music. He is associate conductor of TheOrchestra Now, and in 2009 he was appointed as principal guest conductor ofthe American Symphony Orchestra. From 2009–15 he served as music direc-tor of the Collegiate Chorale. Highlights of his tenure with the group includeconducting a number of operas-in-concert at Carnegie Hall, including Bellini’sBeatrice di Tenda, Rossini’s Moïse et Pharaon, and Boito’s Mefistofele. Heconducted the New York premiere of Philip Glass’s Symphony No. 7 (“A ToltecSymphony”) and Golijov’s Oceana, both at Carnegie Hall. Since 2011 he hascollaborated with singer and composer Natalie Merchant, joining her for per-formances with a number of major orchestras across the country.

Mr. Bagwell has trained choruses for numerous orchestras around the world,including the Budapest Festival Orchestra, New York and Los AngelesPhilharmonics, and Boston and American Symphony Orchestras. He hasworked with such renowned conductors as Gustavo Dudamel, Alan Gilbert,Gianandrea Noseda, Valery Gergiev, Yannick Nézet-Séguin, Riccardo Muti,Esa-Pekka Salonen, and Michael Tilson Thomas. Mr. Bagwell frequentlyappears as guest conductor for orchestras around the country and abroad,including the Cincinnati Symphony Orchestra and the Jerusalem SymphonyOrchestra. He is a professor of music at Bard College, director of performancestudies, and co-director of the graduate conducting program at the BardCollege Conservatory of Music.

Young People’s Chorus of New York City

Young People’s Chorus of New York City (YPC), celebrating its 30th anniversarythis year, is a multicultural youth chorus renowned for its superb virtuosity andbrilliant showmanship. Founded by Artistic Director Francisco J. Núñez, aMacArthur Fellow and Musical America’s 2018 Educator of the Year, YPC’sacclaimed artistry has inspired invitations for collaborations and performancesfrom a global array of festivals, cultural institutions, and cities on four conti-nents. YPC was the first American chorus to win first prize in the 54-year his-tory of the European Broadcasting Union’s Let the Peoples Sing choral compe-tition, and the first youth chorus to open Lincoln Center’s Mostly MozartFestival. YPC’s frequent appearances on national television, including a widelyviewed performance for Pope Francis, have motivated many to replicate theYPC model. Always looking to the future, YPC has extended and invigoratedthe repertoire for young voices by commissioning and premiering well over 100pieces of new music from many of today’s most distinguished composers. Its



repertoire encompasses music ranging from Renaissance and Classical tradi-tions to gospel, folk, pop, contemporary, and world music. Nearly 2,000 chil-dren from ages 8 to 18 participate annually in the YPC program through itsafter-school and in-school programs, and its outreach is now expanding evenmore widely through YPC National. Among YPC many awards are a ChorusAmerica Education Outreach Award, two Chorus America/ASCAP Awards forAdventurous Programming, and the 2017 Margaret Hillis Award for ChoralExcellence. In 2011 YPC received the National Arts and Humanities YouthProgram Award, America’s highest honor for youth programs.

Elizabeth Núñez

Elizabeth Núñez is the associate artistic director of the Young People’s Chorusof New York City, renowned worldwide for its diversity and artistic excellence.She is also a conductor, choral clinician, soloist, and founding artistic directorof the SoHarmoniums Women’s Choir. At YPC, she directs children ranging inage from 8 to 18 in rehearsals, performances, and tours in the U.S. andabroad. Since joining YPC in 2004, Ms. Núñez has conducted its choristers inthe city’s most prestigious venues from Carnegie Hall to the Apollo Theaterand Metropolitan Museum of Art, as well as on national television, includingappearances on The Tonight Show Starring Jimmy Fallon and Good MorningAmerica. Last summer, she led YPC to first prize at the CantonigròsInternational Music Festival in Spain, followed by YPC’s debut in LincolnCenter’s Mostly Mozart Festival. In fall 2017, Ms. Núñez returned with YPC toLincoln Center’s White Light Festival, where she co-directed the chorus inMeredith Monk’s Dancing Voices.

As director of the YPC School Choruses program, Ms. Núñez creates and over-sees YPC’s unique curriculum of music education and performance for over1,200 children in 20 New York City schools. In 2014 she created WIT: WomenInspiring Tomorrow, a thriving mentoring program that brings YPC’s high schoolgirls together with its alumnae and accomplished women across varying pro-fessions. She has led the intergenerational SoHarmoniums Women’s Choirsince it was founded with just six members in 2006. Based in New York’s SoHoneighborhood, it has expanded to over 60 women, who perform across the cityat such venues as Alice Tully Hall, Merkin Concert Hall, and Carnegie Hall.

Laurel Jenkins

Laurel Jenkins (choreographer) is an independent choreographer, dancer, andteacher from Vermont. Her choreography has been presented by REDCAT,Automata, the Getty Center, Show Box L.A., Danspace, Berlin’s PerformingPresence Festival, and Tokyo’s Sezane Gallery. She has choreographed forL.A. Contemporary Dance Company and the Wooden Floor. Ms. Jenkins wasa member of the Trisha Brown Dance Company from 2007 to 2012, dancedwith Vicky Shick, and performed the role of Ismene in Peter Sellars’s staging

of Oedipus Rex conducted by Esa-Pekka Salonen. She is the recipient of anAsian Cultural Council Grant, and holds a bachelor of arts degree from SarahLawrence College and a master of fine arts degree from UCLA. She is cur-rently an assistant professor at Middlebury College in Vermont.

Seth Reiser

Seth Reiser (scenic and lighting design) is a New York–based designer whoworks in theater, opera, dance, and music. Recent work in music includes theset and lighting design for John Adams’s The Gospel According to the OtherMary at the San Francisco Symphony directed by Elkhanah Pulitzer; St. MatthewPassion (Berlin Philharmonic) at the Park Avenue Armory directed by PeterSellars; Sufjan Stevens’s Round Up at BAM; Messiaen’s Des canyons auxétoileswith the St. Louis Symphony Orchestra, directed by Deb O’Grady, whichwas seen throughout the U.S., at the Sydney Opera House, and the Barbican;and The Indian Queen in concert with MusicAeterna, directed by Robert Castro.Mr. Reiser also regularly designs lighting for the San Francisco Symphony’sSoundBox concerts. Other recent work in New York includes Vanity Fair at thePearl Theatre, directed by Eric Tucker, Somebody’s Daughter at Second Stage,directed by May Adrales, and Of Government at Clubbed Thumb, directed byJeremy Bloom. Additional designs include The Mysteries, directed by EdIskandar, The Agony and Ecstasy of Steve Jobs by Mike Daisey, Reggie Wattsand Tommy Smith’s Radio Play directed by Kip Fagan, and Taylor Mac’s ObieAward–winning production of The Lily’s Revenge. Mr. Reiser lives in Rochester,New York, where he teaches design at the University of Rochester. He receivedhis bachelor of arts degree from Ohio Wesleyan University, and a master of finearts degree from NYU’s Tisch School of the Arts.

Christine Crook

Christine Crook (costume design) designs costumes for theater, dance, opera,and eccentric performance art. Recent credits include Leonard Bernstein’sMASS (Los Angeles Philharmonic), Weightless (Z Space), Black Rider(Shotgun Players), and Pancho Villa from a Safe Distance (Ballroom Marfa).Upcoming projects include Men on Boats (ACT), The Rake’s Progress (SanFrancisco Opera Merola Program), and Quartet (West Edge Opera). Ms. Crookalso independently presents abstract design–driven live art and is a co-founderof the feminist performance collective Repulsive Women. In 2016 she wasawarded a Bridging the Gap Grant for her continued experimentation with cos-tume design during a residency in Berlin with the Institut für Alles Mögliche.She holds a master of fine arts degree in costume design from the Universityof California, San Diego, and teaches costume design at the University of SanFrancisco and Academy of Art University.



Mark Grey

For nearly three decades, Mark Grey (sound design) has collaborated on pre-miere works by such artists as Steve Reich, Philip Glass, Péter Eötvös, andTerry Riley. He designed and toured with the Kronos Quartet for nearly 15years and has worked with John Adams for over 25 years. Operatic collabora-tions include the Metropolitan Opera (six productions since 2008). In 2002 heworked with the New York Philharmonic on the world premiere and recordingof Adams’s On the Transmigration of Souls, which won both the Pulitzer Prizein Music and multiple Grammys. For the Park Avenue Armory, he designedproductions of the St. Matthew Passion with the Berlin Philharmonic, con-ducted by Simon Rattle and directed by Peter Sellars, and Circle Map with theNew York Philharmonic in 2016. As a composer, Mr. Grey has recently under-taken commissions from the Atlanta Symphony Orchestra. His operaFrankenstein premieres at the Théâtre Royal de la Monnaie in Brussels duringits 2018–19 season.

Adam Larsen

Adam Larsen (projection design) is a documentary filmmaker and projectiondesigner for live performance. He has designed both on and off Broadway, includ-ing Hal Prince’s LoveMusik (Broadway); The Gospel at Colonus (Athens,Edinburgh, and Spoleto festivals); Breaking the Waves (Opera Philadelphia andPrototype Festival); From the House of the Dead (Canadian Opera); Agrippina andA Flowering Tree (Opera Omaha); Flight (Juilliard); Semele (Pacific MusicWorks);Maa (Atlanta Symphony Orchestra); The Pelleas Trilogy (Cincinnati SymphonyOrchestra); Siren Song, A Midsummer Night’s Dream, and The Tales ofHoffmann (Hawaii Opera Theatre); Phorion (New World Symphony); Peer Gynt,Peter Grimes, On the Town, and SoundBox (San Francisco Symphony). Mr.Larsen’s documentary about autism, Neurotypical, aired on the PBS series POV.


Since its founding in 1966, Lincoln Center’s Mostly Mozart Festival hasevolved from an indoor festival devoted to music by its namesake composerto a broad-reaching, multidisciplinary international festival encompassing pro-ductions in dance, opera, and theater, a popular late-night recital series, andmusic from Mozart’s predecessors and contemporaries to the music of ourown time. Spanning numerous venues and settings, the Mostly MozartFestival is acclaimed worldwide as an essential summer cultural destination.It includes performances by the Mostly Mozart Festival Orchestra with preem-inent soloists, as well as concerts by outstanding chamber and period instru-ment ensembles. Contemporary music has become a vital part of the festival,embodied in its annual artist residency that has included George Benjamin,Kaija Saariaho, Pierre-Laurent Aimard, John Adams, and the currentInternational Contemporary Ensemble. Among the many artists and ensem-

bles who have had long associations with the festival are Joshua Bell,Emanuel Ax, Martin Fröst, Isabelle Faust, Richard Goode, Alicia de Larrocha,Stephen Hough, Andrew Manze, the Emerson String Quartet, FreiburgBaroque Orchestra, Orchestra of the Age of Enlightenment, and Mark MorrisDance Group.

Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts (LCPA) serves three primary roles: pre-senter of artistic programming, national leader in arts and education and com-munity relations, and manager of the Lincoln Center campus. A presenter ofmore than 3,000 free and ticketed events, performances, tours, and educa-tional activities annually, LCPA offers 15 programs, series, and festivals includ-ing American Songbook, Great Performers, Lincoln Center Out of Doors,Midsummer Night Swing, the Mostly Mozart Festival, and the White LightFestival, as well as the Emmy Award–winning Live From Lincoln Center, whichairs nationally on PBS. As manager of the Lincoln Center campus, LCPA pro-vides support and services for the Lincoln Center complex and the 11 residentorganizations. In addition, LCPA led a $1.2 billion campus renovation, com-pleted in October 2012.



Mostly Mozart Festival OrchestraLouis Langrée, Renée and Robert Belfer Music Director

ViolinRuggero Allifranchini,

ConcertmasterLaura Frautschi,

Principal SecondMartin AgeeEva BurmeisterRobert ChausowLilit GampelMichael GilletteSuzanne GilmanAmy KauffmanSophia KessingerKatherine Livolsi-Landau

Kayla MoffettMaureen Nelson Ronald OaklandMichael RothDeborah WongMineko Yajima

ViolaShmuel Katz, PrincipalChihiro AllenMeena BhasinDanielle FarinaJessica TroyElzbieta Weyman

CelloIlya Finkelshteyn,

PrincipalTed AckermanPatrick JeeAnn KimAlvin McCall

BassAndrew Trombley,

PrincipalBrad AikmanNicholas CathcartLou Kosma

FluteJasmine Choi, Principal*Tanya Witek*

OboeMax Blair, Principal*Nick Masterson*

ClarinetJon Manasse, Principal*Christopher Pell*Lino Gomez*

BassoonMarc Goldberg,

Principal*Tom Sefčovič*

SaxophoneLino GomezLawrence FeldmanChad Smith

HornLawrence DiBello,

Principal*David Byrd-Marrow*Richard Hagen*Patrick Pridemore*

TrumpetNeil Balm, Principal*Richard Clymer*John Dent*Lee Soper*

TromboneRichard Clark, Principal*Michael Boschen*

Bass TromboneChris Olness*

TubaMorris Kainuma,

Principal*

TimpaniDavid Punto, Principal

PercussionMatthew Strauss,

Principal*Matthew Beaumont*Simon BoyarCharles DescarfinoJavier Diaz*David FeinPablo RieppiJames Saporito

HarpKirsten Agresta,

Principal

Large OrganRaymond Nagem

Small OrganDavid Friend

GuitarScott Kuney, PrincipalKevin Kuhn

BanjoScott Kuney

Rock Band/BluesBand

Electric GuitarScott KuneyKevin Kuhn

Electric Bass Jeffrey CarneyWilliam Ellison

KeyboardMargaret Kampmeier Lee Musiker

DrumsJames Saporito

LibrarianMichael McCoy

Personnel ManagersNeil BalmJonathan HaasGemini MusicProductions

* Marching band


SopranoJennifer BatesGail Blanche-GillMiriam ChaudoirEileen ClarkMargery DaleyLori EngleDanya KatokMargaretKempHenry

Margarita MartinezAdrienne PardeeErika Grace PowellRachel RosalesNonie SchusterElisa SingerLara StevensAmaranta VieraElena Williamson

AltoKatherine BenferMelissa BybeeBo ChangMichele EatonSarona FarrellMegan FriarYonah GershatorWendy GillesMisa IwamaErin KempJudith MalafronteNedra NealGeorga OsborneJacqueline PierceRhesa WilliamsJanice Wilson

TenorJames BassiMatthew DemingMichael DenosBrian DoughertyAlex GuerreroWalker JacksonJohn KawaAdam MacDonaldIsai MunozThomas WazelleDavid WhiteJames Archie WorleyVictor Ziccardi

BassDaniel AlexanderAlan ArakJack BlackhallDennis BlackwellPhillip CheahMischa FrusztajerRoderick GomezSteven MooreJoseph NealWaundell SaavedraDaniel SpratlanCharles SprawlsSean Sullivan Lewis White

Concert Chorale of New YorkJacqueline Pierce, Artistic Administrator


Rida AliIlinca AnschelAlyssa BlakeLauren BreenZaria Dickerson-Parker

Madeline DominguezNina DorigoMichaela DuryeaMargaret EisenbergAmberlis Fernandez

Phoebe FlowersMargaux FlumRachael GirsangEmelia GoodenEliana GrahamTenzin Gund-MorrowMaddalena HonablueLeda KahnLiam KaznelsonMadeleine (Lulu) KishElla Kosowicz

Maya Kramer-Johansen

Sophia LamMaya LevanonSummar LoweCiara MalamugVictoria ManningSofia (Jenia) MarquezNatalie McCormickNatalie Meola

AlexanderMoustakerski

Chizi OkeicheCarter PatersonAiri PortalatinRosalia RamirezJ’Noir RichardsonMaya Scott-LuibStella StrassbergJosephine WenderGary Xing

Young People’s Chorus of New York CityFrancisco J. Núñez, Artistic Director and FounderElizabeth Núñez, Associate Artistic Director


Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingJordana Leigh, Director, David Rubenstein AtriumLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerViviana Benitez, Associate Producer, David Rubenstein AtriumWalker Beard, Production CoordinatorMeera Dugal, Programming Manager, David Rubenstein AtriumNana Asase, Assistant to the Artistic DirectorOlivia Fortunato, Programming Assistant

For the Mostly Mozart FestivalAnne Tanaka, Producer, In the Name of the EarthAmrita Vijayaraghavan, Producer, A Little Night MusicAlexandra Kotis, Seasonal Associate Producer, Public ProgrammingMark Appling, House Program CoordinatorJessica Braham, House Seat CoordinatorRebecca Easton, Company Manager, Contemporary Programming

For Bernstein MASSMatthew Swanson, Assistant ConductorDiana Wyenn, Assistant DirectorMiguel Alejandro Castillo, Assistant ChoreographerAlexander Le Vaillant, Assistant Lighting DesignerRobert Mahon, Production ManagerPhil Gutierrez, Assistant to the Production ManagerCath Brittan, Production Stage ManagerAlex Rehberger, Assistant Stage ManagerSamantha Greene, Assistant Stage ManagerAmy Page, Wardrobe SupervisorMegan Quarles, Assistant Costume DesignerMallory Pace, Rakhil Shamailova, Mallory Passione, Mary Kate Osick, Kierstin Wunder, Hair and Make-up

Steven Jude Tietjen, SupertitlesStewart/Whitley, Casting

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