Schwab Vocal Rising Stars / April 1 / Caramoor Spring 2021 Program Book by Caramoor Center for Music and the Arts

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Welcome Letter from Caramoor’s Interim CEO Spring 2021 Concerts Caramoor Conversations Caramoor Goes Virtual! by Kathy Schuman

Concert Program

Become a Member Highlights from Our Fall Special Events Thank You to Our Donors Caramoor Leadership Caramoor Staff

©2021 Caramoor Center for Music & the Arts 149 Girdle Ridge Road PO Box 816 Katonah, NY 10536 Caramoor Grounds & Performance Photos Gabe Palacio Photography, Katonah, NY gabepalacio.com Caramoor Fall Fête Photos Chansoda Roeun chansoda.com

General Information 914.232.5035 Box Office 914.232.1252 caramoor.org Program Magazine Staff Laura Schiller, Publications Editor Adam Neumann, aanstudio.com, Design Tahra Delfin, Vice President & Chief Marketing Officer Roslyn Wertheimer, Marketing Manager Sean Jones, Marketing Coordinator

Dear Friends, Welcome to our Spring 2021 season. We are thrilled to present this exceptional array of artists, brought to you from our Music Room in The Rosen House. We are overjoyed that, starting April 2, we are able to bring a limited-capacity audience into this venue while we continue livestreaming our concerts as well. Over the past year, Caramoor – like many performing arts organizations everywhere – has focused on streaming concerts in a profound effort to keep the music playing. We are incredibly appreciative of the artists who have joined us on this journey, and we are deeply grateful to you, our dedicated audience members, who have allowed us to transport the music directly into your homes. Our eight concerts this spring include a vocal recital by one of today’s leading bass-baritones, two string quartets from our Ernst Stiefel Quartetin-Residence program, a spirited Baroque band, a legendary jazz singer, and more. We are also pleased to continue a new video series we started this fall, Caramoor Conversations, designed to deepen our audiences’ connection to the musicians and composers that we have presented. I am so excited to share that, in May, Caramoor will welcome Edward J. Lewis III as our new President & CEO. Ed has two decades of experience in performing arts leadership. An accomplished violist, Ed is a demonstrated leader, innovator, and musician with a long roster of accomplishments. He will be coming to us from the University of North Carolina School of the Arts, where he is currently Vice-Chancellor for Advancement. We can’t wait to introduce Ed to the Caramoor community. Most importantly, we look forward to welcoming you back to our grounds more fully this summer. It is our hope that, by then, the world will be ready for us to gather safely to share the many joys of live music together. Warmly,

Nina Curley Interim CEO

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Spring 2021 Concerts

March 21 Dashon Burton, bass-baritone David Fung, piano April 1 Schwab Vocal Rising Stars April 9 Son Little April 11 Thalea String Quartet April 25 Emi Ferguson and Ruckus May 2 Callisto Quartet May 8 Catherine Russell May 23 Junction Trio

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Caramoor Conversations is a free video series that dives deeper into the pieces of music being performed in an upcoming concert. These in-depth discussions with the artists are a way for the audience to have a better understanding, and hopefully, a greater connection to the composers and their work. After their initial broadcast, the Conversations will be available throughout the current season. You can tune in at any time!

Sunday, March 28, 3:00pm

Sunday, April 18, 3:00pm

The Red Book

The Bartók String Quartets (Part Two)

Free Available on demand starting March 28

Free Available on demand starting April 18

with Paola Prestini and Sonu Shamdasani

with Ara Guzelimian and the Callisto Quartet

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Caramoor Goes Virtual!

How Caramoor has adapted to the digital landscape and stayed close to artists and audiences throughout the pandemic. By Kathy Schuman, Artistic Director Wh o ca n f o r g et t h e w e e k o f M a r c h 9, 2 0 2 0 ? It began with us welcoming five Schwab Vocal Rising Stars for our annual mentoring program with Steven Blier, with every intention of having a public concert in the Music Room on Sunday, March 15. Well, as the week progressed, it became clear that this was not to be. By March 14, everything had shut down. But wait….didn’t we just install video cameras in the Music Room the previous year? Should we do a livestreamed concert?? Do we even know how to do that??? Well, here we are, a year and 20 livestreams later, and I’m proud to say — we know how to do that! As we launch our Spring 2021 season of livestreamed concerts, I’d love to share a few thoughts with you on the past year and what it’s been like to bring music to you in this new virtual format. In-person vs Livestream As we transitioned to livestreaming, I felt it was really important to transfer some part of the special Caramoor setting to our virtual concerts. So, we decided early on not to do any remote recordings, but only ones actually filmed at Caramoor. (We did have one exception to this, which was our quartet-in-residence, who were unable to travel from Houston, TX). I introduced each concert from a different room of the Rosen House, or from a spot on the grounds, so our audiences could learn a bit more about our unique site. Added content One of the benefits of the video concerts is our ability to add additional content and features to the programs. 05 / Caramoor

Emily Buffum, our livestream technician, hard at work

Many of our livestreamed concerts are followed by a Q&A on stage with the artists. The audience can send questions in through the chat box during the stream. These talks really help connect audiences to the musicians, and allow them to hear about not just the music, but how they’ve been coping throughout this past year. For many of these artists, our performances were the first time they played with other people, or outside of their homes, for many months. We’ve also added short pre-recorded interviews with alumni of our Rising Stars programs, and segments with or about composers whose works are featured on the programs. We even included a fun video of the Jacobsen brothers playing our theremin!

A post-concert chat with Gloria Chien, Anthony McGill and Kathy Schuman, Caramoor’s Artistic Director

Becoming a media company We discovered that putting on livestreamed concerts is MUCH more work than “normal” live concerts! The programs are shot with three cameras and live-edited from the basement. (Yes, practically all of our streams have really been LIVE.) So, we now have a whole livestream ‘team’ including a director, a livestream technician, an audio engineer, video graphic designer, live- chat monitor, etc. It all comes together on the day of the performance, with the extra nailbiting that comes along with that dreaded phrase “technical difficulties”! Thankfully these have been few and far between, but we will not soon forget when we couldn’t get any audio on Inon Barnatan’s July livestream and had to tell folks to tune in the next day. But that was back in July… Working during a pandemic On top of everything else, there are all the Covid safety protocols. Artists sometimes had to quarantine, there were Covid tests, there were masks, there were gloves, there were Lysol wipes, there were chairs spaced six feet apart (and colleagues with a ruler to check!). And our artist/staff meals were “enjoyed” with each of us sitting alone

at our own table. One of the oddest things for me was the 15 minutes or so leading up to each stream. Usually there’s audience filing in and chatting and the whole Music Room is aflutter with anticipation and conviviality. Now, the moments leading up to the stream are really, really quiet. The few staff members are at their ‘stations’ — the hall is virtually empty, except for a couple of us. The stage manager gives the countdown….5, 4, 3, 2, 1. After each piece, we give the artists a quiet thumbs up; there’s usually no clapping or bows.

George Lewis and Jeremy Denk in a mid-concert video chat about the composer “Blind Tom” Wiggins

As I write this, it looks like N.Y. State may be allowing small indoor audiences this spring. Whoopee! Music to my ears. Now we’ll have to figure out how to do in-person concerts simultaneously with livestreams. “Watch out, sir, don’t trip on that wire…!” / 06

2021 Terrance W. Schwab

Vocal Rising Stars Tour de France

Thursday / April 1 / 7:00pm / Livestream from the Music Room

Nicoletta Berry, soprano Erin Wagner, mezzo-soprano Aaron Crouch, tenor Samuel Kidd, baritone Grace Francis, piano Mentors Steven Blier, Artistic Director, Pianist, Arranger Bénédicte Jourdois, Associate Director, Pianist LE VOYAGE REYNALDO HAHN (1875 - 1947)

Nous avons fait un beau voyage from Ciboulette (1923) Samuel Kidd, baritone Nicoletta Berry, soprano

THE WEST FRANCIS POULENC (1899 - 1963)

From Cinq poèmes de Max Jacob (1931): Cimetière Berceuse Erin Wagner, mezzo-soprano C from Deux poèmes de Louis Aragon (1943) Aaron Crouch, tenor

MICHEL LEGRAND (1932 - 2019)

Nous sommes deux soeurs jumelles from Les demoiselles de Rochefort Nicoletta Berry, soprano Erin Wagner, mezzo-soprano

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NORTHEAST FRANCIS POULENC (1899 - 1963)

Fagnes de Wallonies from Banalités (1940)

BARBARA (1930 - 1997)

Göttingen

GUSTAV MAHLER (1860 - 1911)

Zu Strassburg auf der Schanz

Samuel Kidd, baritone

Aaron Crouch, tenor Erin Wagner, mezzo-soprano

Samuel Kidd, baritone

THE SOUTH FRANCIS POULENC (1899 - 1963)

Vers le sud from Calligrammes (1948)

JOSEPH CANTELOUBE (1879 - 1957)

From Chants d’Auvergne (1927): Lo fiolairé Brezairola Nicoletta Berry, soprano

Aaron Crouch, tenor

A PARIS FRANCIS POULENC (1899 - 1963)

Voyage à Paris from Banalités (1940)

ANDRE CAPLET (1878 - 1925)

Notre chaumière en Yveline from Cinq ballades françaises de Paul Fort

Erin Wagner, mezzo-soprano

Nicoletta Berry, soprano

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FRANCIS POULENC (1899 - 1963)

Montparnasse (1941-1945)

CLAUDE DEBUSSY (1862 - 1918)

Ballade des femmes de Paris from Trois ballades de François Villon (1910)

Aaron Crouch, tenor

Samuel Kidd, baritone JOSEPH KOSMA (1905 - 1969)

Le cauchemar du chauffeur de taxi Ensemble

ENVOI CHARLES TRÉNET (1913 - 2001)

Douce France Ensemble

Caramoor’s Terrance W. Schwab Vocal Rising Stars program is made possible by generous support from the Terrance W. Schwab Endowment Fund for Young Vocal Artists. Presented in collaboration with the New York Festival of Song Steven Blier, Artistic Director. The Music Room piano, a Steinway Concert Grand, was a generous gift from Susan and John Freund.

Theatrical lighting in the Music Room was a generous gift from Adela and Lawrence Elow. We would like to thank our media partners for their support:

Caramoor

About the Music.

The pianist and coach Bénédicte Jourdois has done two previous short stints with us at Caramoor as a guest coach, and they were among the headiest experiences in all my years with the Schwab Vocal Rising Stars program. This time I was lucky enough to snag her for the entire week-long residency. Her musical expertise is far-ranging — last year she startled me when she got into the fine points of Russian diction without referring to a score. She is proficient in five languages and three centuries of culture. In spite of her breadth of knowledge, Bénédicte is usually thought of as a specialist in French music, and she certainly has earned her stripes in that repertoire. I knew our cast would benefit from a deep dive into French music with Bénédicte, but I admit I was being a little selfish when I invited her to share the week with me. I have seen how her work on a French poem blossoms effortlessly into musical elegance. When the poem flows, the music flows and the song takes wing. I wanted to watch that magic happen again. New York Festival of Song (NYFOS) once did a program called Road Trip, a musical travelogue of the United States. I mentioned this to Bénédicte and she said, “You could do the same thing for France.” “You could?” My sense of French geography is on the mushy side.

“Of course! The Auvergne! Brittany! Paris! I’ll help you.” The result is today’s Tour de France, a whirlwind voyage to all four corners of the country, ending with a five-song stay in Paris. We’ll hear songs from number of composers new to NYFOS, but one very familiar composer kept turning up in almost every part of the map: Francis Poulenc. I had always thought of his music as the quintessence of Paris, and it often is. Hints of the Folies-Bergères permeate his sacred music, and the hon-hon-hon of song-and-dance man Maurice Chevalier has been known to turn up in his art songs. You always know when you’re hearing a work by Poulenc. His an instantly recognizable brew made from a blend of Neo-classicism, American jazz, a bit of Mussorgsky and Stravinsky, a touch of music hall, and a large helping of Ravel. Yet what variety he found using these disparate elements! In Fagnes de Wallonie we hear the relentless, rough winds of the north; in Cimetière and Berceuse, the peasanty roughness of the western seaside coast; in Vers le sud, the lazy sensuality of the sundrenched south. Voyage à Paris and Montparnasse are each hymns to the City of Light, one the jaunty song of a longtime denizen returning home, the other the rapt meditation of the newcomer.

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C is perhaps Poulenc’s most famous song. Aragon’s poem tells of a place in the Loire Valley (Les Ponts de Cé, or The Bridges of Cé), a site of bloody battles stretching far back in France’s history. In 1940 the Nazis fought the French there and brought the country to its knees. Aragon was able to cross the Loire into the “Free Zone” and join the Resistance. Every line in his poem ends with the syllable “cé,” just as history sadly repeated itself at Les Ponts de Cé. Aragon imagines knights of antiquity alongside rusted-out tanks, a landscape of destruction reaching across four centuries. After a piano introduction made from a long, single-note melody that rises and falls like a bridge, Poulenc sets Aragon’s poem with his unique mix of gravity and sensuality, an ode to a lost world. Most of the other classical composers will be familiar to concertgoers. Claude Debussy (1862-1918) offers his Ballade des femmes de Paris, set

to a poem by the 15th-century master François Villon.On the surface it is a devilish scherzo in praise of the “bon bec” of Parisian women. That term can be roughly translated as “the gift of gab,” but it also implies that they might be good kissers. Debussy sets the medieval poem with a razor-sharp wit that has an edge of fury. Might he have been thinking of the Parisian gossips who had maligned him in the early years of his marriage to Emma Bardac, a liaison that had scandalized so many of his friends and colleagues? If Debussy was one of music’s great innovators. Reynaldo Hahn (18741947) was the master of charm. His Caramoor

music is rosy and seductive, Renoir to Debussy’s Cézanne. Hahn was prolific, turning out score after score — cantatas, operettas, film music, ballets, tone poems. But these days he is best known for two things: his output of 100 songs, and his four-year love affair with novelist Marcel Proust. Hahn’s music is so appealing that it is easy to write it off as trivial. But his best songs are perfectly crafted and gracious for both the performer and the listener. Yes, they were born old-fashioned, without a hint of spiky dissonance or impressionistic gauze. Hahn didn’t seem to need them. His melodic inspiration and emotional sincerity go straight to the heart. Until Susan Graham’s CD of his songs brought him back to the spotlight, Hahn’s music had been out of fashion for many years. So was that of Gustav Mahler (1860-1911) until Leonard Bernstein’s advocacy made him a household name again in the 1960s. These days we’re used to hearing his songs in recital with great frequency. Still, there are outliers like Zum Strassburg auf dem Schanz, a setting of a folk poem from the collection Des Knabens Wunderhorn (The Youth’s Magic Horn). I’d rarely heard it, and never played it. Strassburg is one of Mahler’s early songs, a military death march with ominous trills deep in the piano’s bass register. A few years later Mahler would return to set more Knaben Wunderhorn songs for voice and orchestra, in an eponymous work that is often recorded and performed. Strassburg is a like preview of Des Knaben Wunderhorn’s better-known Der Tamboursg’sell — both rueful

monologues of soldiers facing the firing squad (in one case) and the gallows (in other). I was surprised to learn that the current generation of singers is unfamiliar with Joseph Canteloube’s Chants d’Auvergne. When I was a tyke they received their first modern recording in stereo (still a new-fangled invention) by the Israeli soprano Netania Davrath on the Vanguard label. These fancy arrangements of Auvergne folk songs were a sensation, and soon lots of other singers tried their hands at them — Anna Moffo, Kiri te Kanawa, Frederica von Stade, and Victoria de los Ángeles. But no one captured the naive purity of these melodies like Davrath. Canteloube (1879-1957) had deep family roots in the Auvergne, and he devoted much of his musical life to preserving the folk music of the area. He spent over 30 years polishing the Chants d’Auvergne. His orchestrations are ornate and dense, almost cinematic in their colors. Yet they do not overwhelm the plaintive beauty of the original tunes. Instead, he makes each song into a lush soundscape in which the singer delivers the pure melody while the orchestra evokes its verdant, pastoral setting. Along with Canteloube, André Caplet (1878-1925) is making his NYFOS debut with this program. Caplet first came to prominence as an opera conductor — not just in France, but in Boston where he spent six months of each year from 1910-1914. (Why Boston? Cherchez la femme — in this case, the wife of the

company’s general manager.) Caplet’s combination of musical sensitivity and scrupulous exactitude brought him to the attention of Debussy. Caplet orchestrated some of Debussy’s piano works, conducted his mentor’s premieres, and was apparently an eagle-eyed proofreader. Caplet’s own music has a fresh, improvisatory quality, with melodies that seem to dance forward without the trappings of thematic development. This gives his compositions a feeling of a spontaneous ad lib, a “happy accident.” It takes a sophisticated craftsman to create this illusion. Ma chaumière en Yvelines is a prime example of Caplet’s tumbling musical sunshine. To round out the program Bénédicte and I included four songs by some of France’s iconic chansonniers: the singer/songwriter known simply as Barbara, the Academy Award winner Michel Legrand, the timeless charmer Charles Trénet, and the sophisticated team of composer Joseph Kosma and lyricist Jacques Prévert. If you’re scratching your head about that last pair of artists, you certainly know at least one of their songs, The Autumn Leaves (originally Les feuilles mortes). Budapest- born composer Joseph Kosma (1905-1969) and French poet Jacques Prévert (1900-1977) are revered in France for the 50 songs they created together, works that hover in the gray area between art song and popular song. Prévert and Kosma’s chansons are in the same category as Marc Blitzstein and William Spring 2021 XIII

Bolcom — too difficult for the average cabaret singer, but too colloquial for Lieder purists. Jacques Prévert remains one of the most popular poets in French literature, widely read, memorized by schoolchildren, and immortalized for concertgoers by his musical partner Kosma. With the single exception of his hit tune, The Falling Leaves, Kosma tends to give Prévert’s lyrics a strong dramatic reading rather than a sweeping melody. But his music has theatrical vitality and wonderful rhythm. He always finds the right tempo for the poem. Kosma’s enjoyed a long career, including some famous movie scores (The Crime of Monsieur Lange, Grand Illusion, and The Rules of the Game) and some neglected operas and ballets. But he’ll most likely be remembered as part of the Prévert/ Kosma duo — or, in America, simply as the guy who wrote The Falling Leaves. Barbara (1930-1997) is another French icon whose songs may have bypassed many American music-lovers. After a slow rise to fame, she earned a niche as one of her country’s most beloved musicians. Accompanying herself at the piano, usually dressed in black, she conquered audiences with her emotional sincerity and her ability to summon deep feelings in simple language. Her given name was Monique Andrée Serf — she took her stage name from her Ukrainian grandmother Varvara. As a Jewish child in Nazi-occupied Paris, she had to remain hidden during the war years, always on the run from French collaborators and SS goons. She Caramoor

resolved never to sing in Germany and held firm to that promise until a group of students in Göttingen entreated her to give a concert. She refused until they went out and brought back a grand piano which they hauled onto the stage. She sang for them that night and received one of the greatest ovations of her career. Barbara commemorated the experience with the song Göttingen, an ode to the people of the town and a plea for peace and understanding. It is said that her song did more to advance Franco-German reconciliation than any political speech in the 1960s. Michel Legrand (1932-2019) was a veritable fountain of music—over 200 film and television scores, earning him two Oscars and five Grammy Awards. Songs like You Must Believe in Spring and What Are You Doing the Rest of Your Life cleverly mix French sensuality with American terseness to create an irresistible, international sound. One of his greatest successes was the film-operetta The Umbrellas of Cherbourg, which inspired a sequel, The Young Girls of Rochefort. The two movies pretty much define “period piece” with their mod costumes and go-go choreography. Their scores are as sweet as their ice cream-colored cinematography, but there are some wonderfully bracing moments. Chief among them is the zesty Chanson des jumelles, the opening number of Rochefort that introduces us to the twin protagonists of the title. The most joyous of the French chansonniers has to be Charles Trénet (1913-2001), a Catalan boy who came to Paris in 1937 and became a star of stage

and screen for the next half century. A prolific writer, he published 350 songs and left 300 more unpublished. His lightness of touch lends his songs a childlike quality reminiscent of Maurice Sendak and Marc Chagall. Douce France was one of his signature songs, and he recorded it several times during his long career. Written during World War II, the song evokes the safety of childhood and the countryside. Trénet premiered it in 1943 in Berlin, where he sang it for French war prisoners. Douce France — sweet France — is an epithet that has deep roots in literature. It first appeared in the Chanson de Roland, the

11th-century epic poem — dulce France. Of course, French culture — indeed, French life — embraces so many more qualities than mere sweetness. Yet the phrase instantly conjures up a romantic vision of a country famous for its glamor and amorous arrangements. Today, our Tour de France offers us a Gallic Platonic ideal: clear-eyed, unsentimental, and philosophical, but built on an unashamed embrace of sensual pleasure. Sweet indeed.

– Steven Blier

Spring 2021 XV

Texts and Translations. LE VOYAGE Nous avons fait un beau voyage (We’ve taken a lovely trip) from Ciboulette (1923) Music by Reynaldo Hahn (1874-1947) Libretto by Robert de Flers (1872-1927) and Francis de Croisset (1877-1937) Nous avons fait un beau voyage Nous arrêtant à tous les pas Buvant du cidre à chaque village Cueillant dans les clos des lilas

We’ve been on a lovely trip Stopping everywhere Drinking cider in every village Gathering lilac in the vineyards.

- Nous avons rencontré des dindons empathiques - Des lapins prolifiques - Des chapons vieux garçons - Nous avons rencontré des oies très distinguées - Des poules intriguées et des cœurs de pinsons - Nous avons rencontré monsieur l' maire et l' curé - La mercière et son frère, le receveur et sa sœur

- We met some empathetic turkeys

Nous avons fait un beau voyage C'est le premier jour du printemps Les oiseaux se mettent en ménage Chacun voudrait en faire autant

We’ve been on a lovely trip. It’s the first day of spring, The birds are setting up house Just as everyone should want to do!

Nous avons fait des découvertes Tous les ruisseaux ont rajeuni Les bois ont mis leur robe verte Et l'on dit que c' n'est pas fini

We made some discoveries All the streams have the glow of youth The forests have put on their green dress And we hear that it’s not over yet!

- Nous avons rencontré des abeilles enfiévrées - Des cigales inspirées - Des lézards couchés tôt - Nous avons rencontré des vaches en robe de bure - Des chèvres en fourrure, des moutons

- We met some feverish bees

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- Prolific rabbits - Old bachelor capons - We met some very distinguished geese - Puzzled hens and darling finches - We met the mayor and the parish priest - The haberdasher and his brother, the postmaster and his sister

- Inspired cicadas -Lizards who turned in early - We met some cows in homespun clothes -Goats in fur, sheep wearing coats,

en manteau - Nous avons rencontré l' sacristain et son chien - La baronne et sa bonne, le bedeau et son veau

- We met the sacristan and his dog - The baroness and her maid, the beadle and his calf

Nous avons fait des découvertes On refuse du monde dans les nids Une seule rose s'est offerte" À vingt papillons réunis

We made discoveries— No one is allowed in the birds’ nests One single rose offered itself To a gathering of twenty butterflies!

Nous avons fait un beau voyage C’est le premier jour du printemps Les oiseaux se mettent en ménage Tout l’ monde voudrait en faire autant!

We’ve been on a lovely trip. It’s the first day of spring, The birds are setting up house— Just as everyone should want to do!

THE WEST Cimetière (Cemetary) from Cinq poèmes de Max Jacob: Music by Francis Poulenc (1899 - 1963) Poem by Max Jacob (1876-1944) Si mon marin vous le chassez Au cimetière vous me mettrez, Rose blanche, rose blanche et rose rouge,

If you were to drive away my sailor, You shall put me in the graveyard, White rose, white rose and red rose,

Ma tombe, elle est comme un jardin, comme un jardin rouge et blanche,

My tomb is like a garden, Like a garden in red and white,

Le dimanche vous irez, rose blanche, Vous irez vous promener, Rose blanche et blanc muguet,

On Sunday, you shall go, white rose, You shall go out for a walk, White rose and white lily,

Tante Yvonne à la Toussaint Une couronne en fer peint Elle apporte de son jardin En fer peint avec des perles de satin, Rose blanche et blanc muguet.

On all Saint’s Day Aunt Yvonne Shall bring a painted iron wreath From her garden, Painted iron with satin pearls, White rose and white lily.

Si Dieu veut me ressusciter Au Paradis je monterai, rose blanche,

If God should wish to resurrect me, I shall go to Heaven, white rose, Spring 2021 XVII

Avec un nimbe doré, Rose blanche et blanc muguet.

With a golden halo, White rose and white lily.

Si mon marin revenait, Rose rouge et rose blanche, Sur ma tombe il vient auprès, Rose blanche et blanc muguet,

If my sailor were to come back, White rose and red rose, He will approach my tomb, White rose and white lily,

Souviens-toi de notre enfance, rose blanche, quand nous jouions sur le quai, rose blanche et blanc muguet.

Remember our childhood, white rose, When we played on the wharf, White rose and white lily

Berceuse (Lullaby) from Cinq poèmes de Max Jacob: Music by Francis Poulenc (1899 - 1963) Poem by Max Jacob (1876-1944) Berceuse

Lullaby

Ton père est à la messe, Ta mère au cabaret, Tu auras sur les fesses Si tu vas encore crier.

Your father is at mass, Your mother’s at some cabaret, I’ll spank your bottom If you’re going to keep crying.

Ma mère était pauvresse Sur la lande à Auray Et moi je fais des crêpes En te berçant du pied.

My mother was a poor woman On the moors at Auray And I am making pancakes While I rock your cradle with one foot.

Si tu mourais du croup, Coliques ou diarrhées Si tu mourais des croûtes Que tu as sur le nez,

If you were to die of the croup Or colic or diarrhea If you were to die from the scabs You have on your nose

Je pêcherais des crevettes À l’heure de la marée Pour faire la soupe aux têtes: Y a pas besoin de crochets.

I’d go fishing for shrimp When the tide came in To make fish head chowder: No need for any hooks.

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C (1944) Music by Francis Poulenc from Deux poèmes de Louis Aragon (1897-1982) J’ai traverse les ponts de Cé C’est là que tout a commencé

I’ve crossed the bridges of Cé That is where it all began

Une chanson des temps passés Parle d’un chevalier blessé

A song of bygone times Speaks of a wounded cavalier

D’une rose sur la chaussée Er d’un corsage délacé

Of a rose on the roadway And of a bodice unlaced

Du château d’un duc insensé Et des cignes dans les fossés

Of a mad duke’s chateau And of swans in the moats

De la prairie où vient danser Une éternelle fiancée

Of the meadow where an eternal fiancée Comes to dance

Er j’ai bu comme un lait glacé Le long lai des gloires faussées

And I drank in like frozen milk The long ballad of trumped-up glories

La Loire emporte mes pensées Avec les voitures versées"

The Loire bears my thoughts away Along with the overturned cars"

Et les armes désamorcées Et les larmes mal effaces

And the defused armaments And the barely concealed tears

Ô ma France ô ma délaissée J’ai traversé les ponts de Cé

Oh my France, my forsaken one I have crossed the bridges of Cé

Nous sommes deux soeurs jumelles (The twins’song) from Les demoiselles de Rochefort (1967) Music by Michel Legrand (1932-2019) Lyrics by Jacques Demy (1931-1990) DELPHINE et SOLANGE Nous sommes deux soeurs jumelles Nées sous le signe des Gémeaux Mi fa sol la mi ré, ré mi fa sol sol sol ré do Toutes deux demoiselles Ayant eu des amants très tôt Mi fa sol la mi ré, ré mi fa sol sol sol ré do

DELPHINE and SOLANGE We are twin sisters Born under the sign of Gemini Mi fa sol la mi ré, ré mi fa sol sol sol ré do Both of us young ladies Having taken lovers very early on Mi fa sol la mi ré, ré mi fa sol sol sol ré do Spring 2021 XIX

DELPHINE Our mama has taught us to be polite and nice Worked for us so hard making every sacrifice SOLANGE So that we should grow up with an IQ that’s high Though her life has been full of potatoes to fry. BOTH Our papa was someone that no one talked about But when we are naked the awful truth comes out In the small of our back in the very same place We’ve a big beauty spot Papa had on his face. DELPHINE et SOLANGE Nous sommes deux soeurs jumelles, Nées sous le signe des Gémeaux Mi fa sol la mi ré, ré mi fa sol sol sol ré do Aimant la ritournelle, les calembours et les bons mots Mi fa sol la mi ré, ré mi fa sol sol sol ré do.

DELPHINE and SOLANGE We are twin sisters Born under the sign of Gemini Mi fa sol la mi ré, ré mi fa sol sol sol ré do Who love catchy tunes, puns, and clever talk Mi fa sol la mi ré, ré mi fa sol sol sol ré do.

DELPHINE We are both quite happy to feel and act alike SOLANGE Waiting for the moment when our true love will strike BOTH As they say like a thundering bolt from the sky When it comes, we’ll give out such a passionate cry! DELPHINE Often, we both feel that we’re going to lose control SOLANGE Since we’ve both been blessed with the same artistic soul. BOTH Where’s that ideal man that we’re longing to find? If he has a few faults, we don’t honestly mind!” Nous sommes deux soeurs jumelles, Nées sous le signe des Gémeaux Mi fa sol la mi ré, ré mi fa sol sol sol ré do Du plomb dans la cervelle, de la fantaisie à gogo Mi fa sol la mi ré, ré mi fa sol sol sol ré do

Caramoor

We are twin sisters Born under the sign of Gemini Mi fa sol la mi ré, ré mi fa sol sol sol ré do With a good head on our shoulders and fantasy galore, Mi fa sol la mi ré, ré mi fa sol sol sol ré do

Oh, when the song begins We are in perfect harmony We play on violins, on tambourines and timpani Trumpets and mandolins, Our life is one big symphony We are a pair of twins Born in the sign of Gemini!

NORTHEAST Fagnes de Wallonies (The Walloon Moorland ) from Banalités (1940) Music by Francis Poulenc Poem by Gullaime Apollinaire (1880-1918) Tant de tristesses plénières Prirent mon coeur aux fagnes désolées Quand las j'ai reposé dans les sapinières Le poids des kilomètres pendant que râlait le vent d'ouest.

So much deep sadness Took hold of my heart in the desolate moors When I tired I rested among the fir trees The weight of the kilometers while the west wind Roared.

J'avais quitté le joli bois Les écureuils y sont restés Ma pipe essayait de faire des nuages Au ciel Qui restait pur obstinément.

I had left the lovely forest The squirrels stayed behind My pipe attempted to make clouds In the sky Which obstinately remained clear.

Je n'ai confié aucun secret sinon une chanson énigmatique Aux tourbières humides

I confided no secret except an enigmatic song To the moist marshes.

Les bruyères fleurant le miel Attiraient les abeilles Et mes pieds endoloris Foulaient les myrtilles et les airelles Tendrement mariée Nord Nord La vie s'y tord En arbres forts Et tors. La vie y mord

The heather that smelled like honey Attracted the bees And my sore feet Tread upon the blueberries and cranberries Tenderly married North North There life twists itself In trees that are strong And crooked. There life bites Spring 2021 XXI

La mort À belles dents Quand bruit le vent

Death With sharp teeth When the wind whistles.

Göttingen (1964) Words and Music by Barbara (1930-1997) Bien sûr, ce n'est pas la Seine Ce n'est pas le bois de Vincennes Mais c'est bien joli tout de même À Göttingen, à Göttingen

Of course, it’s not the Seine, It’s not the Bois de Vincenne, But it’s lovely all the the same At Göttingen, at Göttingen.

Pas de quais et pas de rengaines Qui se lamentent et qui se traînent Mais l’amour y fleurit quand même À Göttingen, à Göttingen

No wharves and no old tunes That moan and drag on But love flourishes here anyway In Göttingen, in Göttingen.

Ils savent mieux que nous, je pense L’histoire de nos rois de France Herman, Peter, Helga et Hans À Göttingen

They know better than we, I think, The history of our French kings, Herman, Peter, Helga, and Hans In Göttingen

Et que personne ne s’offense Mais les contes de notre enfance “Il était une fois” commence À Göttingen

And let no one take offense, But our childhood stories— “Once upon a time”—start In Göttingen.

Bien sûr nous, nous avons la Seine Et puis notre bois de Vincennes Mais Dieu que les roses sont belles À Göttingen, à Göttingen

Of course, it’s not the Seine, It’s not the Bois de Vincennes, But Lord, how beautiful the roses are In Göttingen, in Göttingen.

Nous, nous avons nos matins blêmes Et l’âme grise de Verlaine Eux c’est la mélancolie même À Göttingen, à Göttingen

We have our dreary mornings And the grey soul of Verlaine, And they? Melancholy itself, In Göttingen, in Göttingen.

Quand ils ne savent rien nous dire Ils restent là à nous sourire Mais nous les comprenons quand même Les enfants blonds de Göttingen.

When they don’t know what to say to us They stay to give us a smile But we understand them anyway The blond children of Göttingen.

Et tant pis pour ceux qui s’étonnent Et que les autres me pardonnent Mais les enfants ce sont les mêmes À Paris ou à Göttingen

And never mind those who are surprised, And may everyone else forgive me— But the children are the same In Paris or Göttingen.

Caramoor

Ô faites que jamais ne revienne Le temps du sang et de la haine Car il y a des gens que j’aime À Göttingen, à Göttingen

Oh, may it never return, The time of blood and hatred Because there are people I love In Göttingen, in Göttingen.

Et lorsque sonnerait l’alarme S’il fallait reprendre les armes Mon coeur verserait une larme Pour Göttingen, pour Göttingen.

And if the alarm were ever to sound, If we had to bear arms again My heart would shed a tear For Göttingen, for Göttingen.

Zu Strassburg auf der Schanz (At Strassburg on the stockade) (c. 1880-1883) Music by Gustav Mahler (1860-1911) Poem from the collection Des Knabens Wunderhorn (The Youth’s Magic Horn) Zu Strassburg auf der Schanz, Da ging mein Trauern an; Das Alphorn hör’ ich drüben wohl anstimmen, Ins Vaterland mußt ich hinüberschwimmen, Das ging ja nicht an.

At Strassburg on the stockade, There my troubles began; I heard the Alp-horn begin to play from over there I had to swim to get back to my fatherland, And that was not allowed.

Ein' Stund in der Nacht Sie haben mich gebracht; Sie führten mich gleich vor des Hauptmanns Haus, Ach Gott, sie fischten mich im Strome auf, Mit mir ist es aus.

In the middle of the night They brought me back; They brought me straight to the Captain’s house, Oh god, they fished me out of the river, Everything was over for me.

Früh morgens um zehn Uhr Stellt man mich vors Regiment; Ich soll da bitten um Pardon, Und ich bekomm doch meinen Lohn, Das weiß ich schon.

In the early morning at 10 They’ll parade me before the regiment; I shall beg for a pardon And yet I’ll get my reward, I already know that.

Ihr Brüder allzumal, Heut’ seht ihr mich zum letztenmal; Der Hirtenbub ist nur schuld daran, Das Alphorn hat mir’s angetan, Das klag ich an.

Oh, my assembled comrades, Today you see me for the last time; The shepherd boy bears all the blame, The Alphorn overcame me, That is who I blame.

Spring 2021 XXIII

THE SOUTH Vers le sud (Southwards) from Calligrammes (1943) Music by Francis Poulenc Poem by Guillaume Apollinaire Zénith Tous ces regrets Ces jardins sans limites Où le crapaud module un tendre cri d'azur La biche du silence éperdu passe vite Un rossignol meurtri par l'amour chante sur Le rosier de ton corps dont j'ai cueilli les roses Nos coeurs pendent ensemble au même grenadier Et les fleurs de grenade en nos regards écloses En tombant tour à tour ont jonché le sentier

Zenith All these regrets These limitless gardens Where the toad modulates a tender cry of blue The doe in distraught silence flees A nightingale slain by love sings upon The rosebush of your body from which I have culled the roses Our hearts hang as one from the same pomegranate tree And the pomegranate blossoms in our dawning gaze Falling one by one have blanketed the pathway

Lo fiolairé (The spinner) from Chants d’Auvergne (1927) Arrangement by Joseph Canteloube (1879-1957) Traditional folk poem Ton qu’èrè pitchounèlo, Gordavè loui moutous. Ti lirou lirou... la la diri tou tou la lara!

When I was a little girl I watched over the sheep. Ti lirou li….

Obio ‘no counoulhèto è n’ai près u postrou. Ti lirou lirou... la la diri tou tou la lara!

I had a distaff, And I called out to a shepherd. Ti lirou li….

Per fa l’obiroudèto Mè domound’ un poutou. Ti lirou lirou... la la diri tou tou la lara!

To tend the sheep He asked for a kiss in exchange. Ti lirou li….

È ièu soui pas ingrato, Èn lièt d’un n’in fau dous! Ti lirou lirou... la la diri tou tou la lara!

And I was not stingy, Instead of one, I gave him two! Ti lirou li….

Caramoor

Bresairola (Lullaby) from Chants d’Auvergne (1927) Arrangement by Joseph Canteloube (1879-1957) Traditional folk poem Soun, soun, bèni, bèni, bèni ; Soun, soun, bèni, bèni doun ! Soun, soun, bèni, bèni, bèni ; Soun, soun, bèni, d'èn docon !

Sleep, sleep, come, come, come; Sleep, sleep, come, come now! Sleep, sleep, come, come, come; Sleep, sleep, come, from wherever you nestle!

Lou soun, soun bouol pas béni, pècairé! Sleep, sleep won't come, oh dear! Lou soun, soun bouol pas béni, Sleep, sleep won't come, Lou néni s'en bouol pas durmi ! Oh ! The babe won’t fall asleep! Oh! Soun, soun, bèni, bèni, bèni ; Soun, soun, bèni, bèni doun, Lou soun, soun bouol pas bèni. L'èfontou bouol pas durmi !

Sleep, sleep, come, come, come; Sleep, sleep, come, come now, Sleep, sleep won't come. The child won’t fall asleep!

Soun, soun, bèni, bèni, bèni ; Soun, soun, bèni, o l’èfon ! Oh !

Sleep, sleep, come, come, come; Sleep, sleep, come, for the child! Oh!

Soun, soun, bèni, bèni, bèni ; Soun, soun, bèni, bèni doun ! Atso lo qu’es por oqui, pècairé ! Atso lo qu’ès por oqui, lou néni s’en boulio durmi… Ah !

Sleep, sleep, come, come, come; Sleep, sleep, come, come now ! Here it is, my dear! Here it is, The babe is falling asleep… Ah !

A PARIS Voyage à Paris (Trip to Paris) from Banalités (1940) Music by Francis Poulenc Poem by Guillaume Apollinaire Ah! la charmante chose Quitter un pays morose Pour Paris Paris joli Qu'un jour dût créer l'Amour.

Ah! What a charming thing it is To leave a dreary country For Paris Lovely Paris Which one day the God of Love must have created.

Spring 2021 XXV

Notre chaumière en Yveline (Our thatch-roofed cottage in Yvelines) (1920) Music by Andre Caplet (1879-1925) Poem by Paul Fort (1872-1960)

Chaumière, vos parures sont marguerites, roses: à vos pieds ces blancheurs, et sur vous ces couleurs. Chaumière, la nature est bonne à quelque chose: elle abrite nos coeurs dans un bouquet de fleurs. Chaumière, cela dure autant que le bonheur.

My cottage, your finery is daisies, roses; At your feet a spray of white, and upon you, these colors. My cottage, nature is good for something: She shelters our hearts in a bouquet of flowers. My cottage: that lasts as long as does happiness.

Montparnasse (1945) Music by Francis Poulenc Poem by Guillaume Apollinaire Ô porte de l’hôtel avec deux plantes vertes Vertes qui jamais Ne porteront de fleurs Où sont mes fruits? Où me planté-je? Ô porte de l’hôtel un ange est devant toi Distribuant des prospectus On n’a jamais si bien défendu la vertu Donnez-moi pour toujours une chambre à la semaine Ange barbu vous êtes en réalité Un poète lyrique d’Allemagne Qui voulez connaître Paris Vous connaissez de son pavé Ces raies sur lesquelles il ne faut pas que l’on marche Et vous rêvez D’aller passer votre Dimanche à Garches Il fait un peu lourd et vos cheveux sont longs Ô bon petit poète un peu bête et Caramoor

Oh door of the hotel with two green plants Green which will never Bear any flowers Where are my fruits? Where have I planted myself? Oh door of the hotel an angel stands before you Passing out leaflets Never has virtue been so well guarded Give me a room forever rented out by the week Bearded angel you are in reality A lyric poet from Germany Who wants to get to know Paris You know about the lines on her sidewalks On which you mustn’t step And you dream Of spending your Sunday in Garches It’s a bit muggy and your hair is long Oh good little poet a bit thickheaded

trop blond Vos yeux ressemblent tant à ces deux grands ballons Qui s’en vont dans l’air pur À l’aventure.

and too blond Your eyes look so much like those two big balloons That ascend into the sky Haphazardly.

Ballade des femmes de Paris (Ballad of the women of Paris) (1910) Music by Claude Debussy (1862-1918) Poem by François Villon (1431-1463) Quoy qu’on tient belles langagières Florentines, Veniciennes, Assez pour estre messaigières, Et mesmement les anciennes; Mais, soient Lombardes, Romaines, Genevoises, à mes périls, Piemontoises, Savoysiennes, Il n’est bon bec que de Paris.

Though there are other lovely conversationalists, Women from Florence, Venice, Good enough to be messengers, And even the elderly ladies; But be they women from Lombardy, Rome, Geneva, I daresay, From Piedmont or Savoy, Only Parisians know how to talk.

De beau parler tiennent chayères, Ce dit-on Napolitaines, Et que sont bonnes cacquetières Allemandes et Bruciennes; Soient Grecques, Egyptiennes, De Hongrie ou d’aultre païs, Espaignolles ou Castellannes, Il n’est bon bec que de Paris.

In the art of fine speech they are chairwomen, So they say of Neapolitan ladies, And there are good chatterboxes In Germany and Prussia; Be they Greek, Egyptian, Hungarian or other countries, Spanish or Catalans, Only Parisians know how to talk.

Brettes, Suysses, n’y sçavent guères, Ne Gasconnes et Tholouzaines; Du Petit Pont deux harangères Les concluront, et les Lorraines, Anglesches ou Callaisiennes, (Ay-je beaucoup de lieux compris?) Picardes, de Valenciennes … Il n’est bon bec que de Paris.

Girls from Brittany or Switzerland don’t have the first idea, Neither do those from Gascon and Toulouse. Two fishwives on Paris’s Petit Pont Will outdo them—and also the women from Lorraine. England or Calais, (Have I included enough places?) Picardy, Valencia…. Only Parisians know how to talk.

Prince, aux dames parisiennes, De bien parler donnez le prix; Quoy qu’on die d’Italiennes, Il n’est bon bec que de Paris.

Prince, to the ladies of Paris Give the prize for their beautiful speaking; No matter what they say about Italian women Only Parisian know how to talk. Spring 2021 XXVII

Le cauchemar du chauffeur de taxi (The taxi-driver’s nightmare) (1946) Music by Joseph Kosma (1905-1969) Poem by Jacques Prévert (1900-1977) Un taxi s’arrête, Des êtres humains descendent L’un d’eux paie le chauffeur, Le chauffeur s’en va avec son taxi. Un autre humain l’appelle, Donne une adresse et monte.

A taxi stops, Some human beings get out, One of them pays the driver, The driver speeds off in his taxi. Another human being hails him, Gives him an address and gets in.

Le taxi repart: vingt cinq rue de Chateaudun. Le chauffeur a l’adresse dans la mémoire, Il la garde juste le temps qu’il faut. Mais c’est tout de même un drôle de boulot Et quand il a la fièvre, Quand il est noir, Quand il est couché le soir Des milliers et des milliers d’adresses Arrivent à toute vitesse Et se bagarrent dans sa mémoire.

The taxi leaves again: 25 rue Chateaudun. The driver has the address memorized, He holds onto it just as long as he needs to. But still, it’s a funny life.

Il a la tête comme un bottin, Comme un plan de métropolitain.

His head is like a phone book, Like a city map.

Alors il prend sa tête entre ses mains Et il se plaint doucement: Deux cent vingt deux rue de Vaugirard, Trente trois rue de Ménilmontant.

So he takes his head in his hands And softly moans: 220 rue de Vaugirard, 33 rue de Ménilmontant,

Grand Palais, gare Saint Lazare, Grand Palais, gare Saint Lazare, Grand Palais, gare Saint Lazare, Grand Palais, gare Saint Lazare, Grand Palais, gare Saint Lazare.

Grand Palais, Saint Lazare station, Grand Palais, Saint Lazare station, Grand Palais, Saint Lazare station, Grand Palais, Saint Lazare station, Grand Palais, Saint Lazare station.

Rue du dernier des Mohicans, Place du Colonel Ronchonot, Avenue du Gros Barbu, Du Gros Barbu,

Last of the Mohicans Street, Colonel Ronchonot Place, Fat-bearded-guy Avenue, Fat-bearded guy…

Caramoor

And when he’s got a fever, When he’s in a bad mood, When he goes to bed at night, Thousands and thousands of addresses Come barreling into his mind And duke it out in his memory.

Boulevard des Trois Idiots. Taxi, taxi, taxi, taxi, Taxi pour la sortie, Taxi pour le Grand Prix, Taxi pour le pince-fesse, Taxi pour la Comtesse, Taxi pour le cocktail, Taxi pour les affaires, Taxi pour la grande guerre.

Three Idiots Boulevard. Taxi, taxi, taxi, taxi, Taxi to go out, Taxi for the Grand Prix, Taxi for the ass-grabber, Taxi for the countess, Taxi for the cocktail party, Taxi for business, Taxi for the big war.

Taxi Taxi Taxi Taxi Taxi pour le cimetière!

Taxi Taxi Taxi Taxi Taxi for the cemetery!

ENVOI Douce France (Sweet France) (1943) Words and Music by Charles Trénet (1913-2001) Il revient à ma mémoire Des souvenirs familiers Je revois ma blouse noire Lorsque j’étais écolier. Sur le chemin de l’école Je chantais à pleine voix Des romances sans paroles Vieilles chansons d’autrefois:

How they come back to me, Those familiar memories, Once again I see the black shirt I wore when I was a schoolboy. On the path to school I sang out loud Wordless love songs, Songs from long, long ago:

Douce France Cher pays de mon enfance Bercée de tendre insouciance Je t’ai gardé dans mon coeur. Mon village Au clocher aux maisons sages Où les enfants de mon âge Ont partagé le bonheur… Oui, je t’aime Et je te donn’ ce poème, Oui je t’aime Dans la joie ou la douleur. Douce France Cher pays de mon enfance Bercée de tendre insouciance Je t’ai gardé dans mon coeur.

Sweet France, Dear country of my childhood Cradled in carefree tenderness, I have kept you close to my heart. My village With its bell towers and its quiet, proper houses Where children my age Shared their happy times… Yes, I love you! And I offer you this poem, Yes, I love you In joy or in sorrow. Sweet France, Dear country of my childhood Cradled in carefree tenderness, Spring 2021 XXIX

J’ai connu des paysages Et des soleils merveilleux Au cours de lointains voyages Tout là-bas sous d’autres cieux. Mais combien je leur préfère Mon ciel bleu, mon horizon Ma grand’route et ma rivière

I have kept you close to my heart. I have known rolling landscapes And marvelous places flooded in sunshine In the course of my far-flung travels Under other skies. But how much I prefer My own blue sky, my horizon, My broad main road and my stream

Ma prairie et ma maison…. Douce France…

My meadow, and my house… Sweet France…

Caramoor

About the Artists. Mentors

Steven Blier, Artistic Director, Pianist, Arranger Steven Blier is the Artistic Director of the New York Festival of Song (NYFOS), which he cofounded in 1988 with Michael Barrett. Since the Festival’s inception, he has programmed, performed, translated, and annotated more than 140 vocal recitals with repertoire spanning the entire range of American song, art song from Schubert to Szymanowski, and popular song from early vaudeville to Lennon-McCartney. NYFOS has also made in-depth explorations of music from Spain, Latin America, Scandinavia, and Russia. New York Magazine gave NYFOS its award for Best Classical Programming, while Opera News proclaimed Blier “the coolest dude in town” and in December 2014, Musical America included him as one of 30 top industry professionals in their feature article, Profiles in Courage. During the 2020 Covid-19 pandemic, NYFOS launched a new video performance series called NYFOS@Home, with contributions from Lawrence Brownlee, Denyce Graves, Erin Morley, Julia Bullock, Isabel Leonard, and Thomas Hampson. Blier enjoys an eminent career as an accompanist and vocal coach. His recital partners have included

Renée Fleming, Cecilia Bartoli, Samuel Ramey, Lorraine Hunt Lieberson, Susan Graham, Jessye Norman, and José van Dam, in venues ranging from Carnegie Hall to La Scala. He is also on the faculty of The Juilliard School and has been active in encouraging young recitalists at summer programs, including the Wolf Trap Opera Company, the Steans Institute at Ravinia, Santa Fe Opera, and the San Francisco Opera Center. Many of his former students, including Stephanie Blythe, Joseph Kaiser, Sasha Cooke, Paul Appleby, Dina Kuznetsova, Corinne Winters, Julia Bullock, and Kate Lindsey, have gone on to be valued recital colleagues and sought-after stars on the opera and concert stage. In keeping the traditions of American music alive, he has brought back to the stage many of the rarely heard songs of George Gershwin, Harold Arlen, Kurt Weill, and Cole Porter. He has also played ragtime, blues, and stride piano evenings with John Musto. A champion of American art song, he has premiered works of John Corigliano, Paul Moravec, Ned Rorem, William Bolcom, Mark Adamo, John Musto, Richard Danielpour, Tobias Picker, Robert Beaser, Lowell Liebermann, Harold Meltzer, and Lee Hoiby, many of which were commissioned by NYFOS. Blier’s extensive discography includes the premiere recording of Leonard Bernstein’s Arias and Barcarolles (Koch International), which won a Grammy Award; Spanish Love Songs Spring 2021 XXXI

(Bridge Records), recorded live at Caramoor with Lorraine Hunt Lieberson, Joseph Kaiser, and Michael Barrett; the world premiere recording of Bastianello (John Musto) and Lucrezia (William Bolcom), a double bill of one-act comic operas set to librettos by Mark Campbell; and Quiet Please, an album of jazz standards with vocalist Darius de Haas. His latest release is Canción amorosa, a CD of Spanish songs with soprano Corinne Winters. His writings on opera have been featured in Opera News and the Yale Review. A native New Yorker, he received a Bachelor’s Degree with Honors in English Literature at Yale University, where he studied piano with Alexander Farkas. He completed his musical studies in New York with Martin Isepp and Paul Jacobs.

Bénédicte Jourdois, Associate Director, Pianist A graduate of the Lindemann Young Artist Development Program at The Metropolitan Opera, Bénédicte Jourdois is currently on music staff at the Metropolitan Opera and on faculty at the Juilliard School. Jourdois has performed in numerous venues in Europe and in the United States, including Alice Tully Hall and Carnegie Hall in New York and the Kennedy Center in Washington D.C. As a coach and pianist, she has worked with the Los Angeles Philharmonic, Los Angeles Opera, Chicago Lyric Ryan Opera Center, Pittsburgh Opera, Washington National Opera, Houston Grand Opera, Opera Philadelphia, Opera Saratoga, Rice University, the Chautauqua Institution voice program, the Castleton Festival, Spoleto Festival USA, and Carnegie Hall’s SongStudio. She was a faculty member at the Curtis Institute in Philadelphia from 2013 to 2016 and at the Manhattan School of Music from 2011 to 2018. Born in Paris, Jourdois holds degrees from the Conservatoire National de Region de Saint-Maur, the Conservatoire National Superieur de Musique de Lyon, Mannes College, and the Juilliard School.

Caramoor

Rising Stars Nicoletta Berry, soprano Soprano Nicoletta Berry is a dynamic performer passionate about the art of storytelling. Berry is pursuing her Master of Music at The Marcus Institute for Vocal Arts at The Juilliard School. This season, she will be performing the role of Clizia in Handel’s Teseo with the Juilliard Opera, and she will perform on the recital stage in Juilliard’s Liederabend series. She has performed the role of Tytania in Benjamin Britten’s A Midsummer Night’s Dream at the Chautauqua Institution, where she has also performed Kathie in Romberg’s The Student Prince, and Flora in Britten’s The Turn of the Screw. Berry is also passionate about bringing composers from diverse backgrounds to the forefront. She was the Co- artistic Director of Hear Them Now: Works by Composers from the African Diaspora, which premiered online in August 2020.

Erin Wagner mezzosoprano Mezzosoprano Erin Wagner is from El Paso, TX and is currently pursuing her master’s degree at The Juilliard School under the tutelage of Darrell Babidge. She is passionate about the performance of art song, chamber music, new music, and opera that represent diverse and modern perspectives. Upcoming engagements include SongStudio with Renée Fleming and Carnegie Hall, Brian Zeger’s Songfest, Pierre Vallet’s Liederabend, Caramoor Schwab Vocal Rising Stars Program, Saengerbund Awards Finals, Naumburg Vocal Competition, Das Lied International Song Competition, 2021 Young Concert Artist Semifinals, and Renée Fleming’s Artist Program at Aspen Music Festival.

Berry completed her undergraduate studies at the Manhattan School of Music.

Spring 2021 XXXIII

Aaron Crouch, tenor

Music in Philadelphia.

Aaron Crouch, a native of Bowie, Maryland, is a recent graduate of the Curtis Institute of

Some of Crouch’s roles at Curtis include Prunier in Puccini’s La Rondine, Lensky in Tchaikovsky’s Eugene Onegin, and Don Ottavio in Mozart’s Don Giovanni. Crouch was a Gold Medalist at the YoungArts Foundation in 2017. He also received First Place in the 2017 Sue Goetz Ross Competition, as well as First Place in the 2017 Classical Singer Vocal Competition. In December of 2018, Crouch was awarded an encouragement award from the Premiere Opera International Vocal Competition. He also received an Emerging Artist Award from Opera Index in 2019. In past summers, Crouch has attended the Chautauqua Institute where he performed the role of Nemorino in Donizetti’s L’elisir d’amore. In 2019, he was a young artist at The Glimmerglass Festival where he debuted the role of The Son in the world premiere of Jeanine Tesori’s opera Blue.

Caramoor

Samuel Kidd, baritone Samuel Kidd, baritone, is a secondyear master student studying vocal performance at the College Conservatory of Music at the University of Cincinnati, under the instruction of William McGraw. He received his undergraduate degree from the University of Michigan, where he studied with Freda Herseth. Last season at CCM, Kidd performed the roles of Krušina in The Bartered Bride and the title role in the workshop production of Falstaff. He was also involved in several operas at the University of Michigan as Friar Laurence in Gounod’s Roméo et Juliette, Dr. Talbot in Balcom’s Dinner at Eight, and Theseus in Britten’s A Midsummer Night’s Dream. In summer 2020, Kidd was a studio artist with Wolf Trap Opera, performing in their studio spotlight scenes. The two prior summers, he was a vocal fellow at the Music Academy of the West. In 2019, he performed the roles of Ethan/Owens in Cold Mountain by Jennifer Higdon, as well as the bass solos in Pulcinella by Stravinsky under the baton of Thomas Adès. In 2018, he performed the role of Jazz Trio in Bernstein’s Trouble in Tahiti, as well as in the chorus of Mozart’s Le nozze di Figaro.

Grace Francis, piano New Zealander Grace Francis is a student of Dr. Lydia Brown at The Juilliard School, where she began a Master of Music in Collaborative Piano (Vocal) in September 2019. She is a proud recipient of a Kovner Fellowship and a Fulbright General Graduate Award. At Juilliard, Francis is a Diversity Advocate, Gluck Community Service Fellow, and Student Congress representative. Since beginning her studies she has been a winner of Juilliard’s Vocal Arts Honors Recital with soprano Jessica Niles (2020) and mezzo-soprano Emily Sierra (2021),

and performed with bass-baritone William Socolof for his winning performances in the Young Concert Artists competition (2020). Francis received her Bachelor of Music (First Class Honors) in 2014 under Rae de Lisle at the University of Auckland, making professional concerto debuts as both pianist and harpsichordist during her studies. She has also performed in Canada and across Europe. Before arriving in the U.S., she worked as répétiteur for New Zealand Opera, National Aria contest, and as Assistant Director of GALS (Gay and Lesbian Singers). For nine years she was a mentor and educator with youth organizations including Opera Factory and the Auckland Youth Choir, performing in Carnegie Hall in 2016 and the Australian International Music Festival in 2019.

Stay Up To Date With Caramoor! With the ever-changing state health and safety guidelines, we suggest you stay up to date with us as we share our plans regarding our upcoming concerts. Here are the ways to keep up! Social Media / @caramoor

Look for updates on caramoor.org Call our Box Office at 914.232.1252

Spring 2021 XXXV

Terrance W. Schwab Vocal Rising Stars Program. Inaugurated in the spring of 2009, Vocal Rising Stars is Caramoor’s mentoring program focusing on vocal chamber music and the art of song in recital. Singers at the advanced student and beginning professional level are invited to Caramoor to participate in an intensive week-long residency for daily coaching, rehearsals, and workshops with mentor Steven Blier and guest teaching artists.

At Caramoor, we believe that the work leading up to a performance is of equal if not of greater importance than the concert itself and will have a lasting impact on the growth and development of young artists. Vocal Rising Stars provides singers with an opportunity to form collaborative partnerships with one another, the Caramoor staff, and the coaches who also participate in the residency. In recent years we have included a position in the program for a young pianist, to gain experience and training in the art of vocal accompaniment, while gaining knowledge of the repertoire. Since its inception, the program has received funding from the Terrance W. Schwab Endowment Fund for Young Vocal Artists. Created in memory of long-standing Caramoor trustee Terrance W. Schwab by his family, this endowment fund is designed to nurture and support the artistic development and careers of young vocalists outside of the operatic repertoire.

Caramoor

In 2012, the program was renamed the Terrance W. Schwab Vocal Rising Stars, to honor his memory and the Schwab family’s ongoing commitment to this important program. To make a contribution to the Schwab Vocal Rising Stars mentoring program or to the Terrance W. Schwab Endowment Fund for Young Vocal Artists, please contact Jennifer Pace, Director of Individual Gifts, at 914.232.5035 ext. 412, or donate online at caramoor.org/support.

Vocal Rising Stars Alumni 2009-2020. 2009 Joelle Harvey, soprano Liza Forrester, mezzo-soprano Paul Appleby, tenor David McFerrin, baritone 2010 Charlotte Dobbs, soprano Rebecca Jo Loeb, mezzo-soprano Matthew Pena, tenor John Brancy, baritone 2011 Corinne Winters, soprano Wallis Giunta, mezzo-soprano Andrew Owens, tenor Carlton Ford, baritone 2012 Meredith Lustig, soprano Kristin Hoff, mezzo-soprano Brenton Ryan, tenor Eugene Chan, baritone 2013 Julia Bullock, soprano Sarah Larsen, mezzo-soprano Theo Lebow, tenor Tobias Greenhalgh, baritone 2014 Olivia Betzen, soprano Annie Rosen, mezzo-soprano Miles Mykkanen, tenor Theo Hoffman, baritone Leann Osterkamp, piano

2015 Chelsea Shephard, soprano Julia Dawson, mezzo-soprano Alec Carlson, tenor Shea Owens, baritone Christopher Reynolds, piano 2016 Liv Redpath, soprano Abigail Levis, mezzo-soprano Galeano Salas, tenor Justin Austin, baritone William Kelley, piano 2017 Christine Taylor Price, soprano Hannah Dishman, mezzo-soprano Jack Swanson, tenor Benjamin Dickerson, baritone HoJae Lee, piano 2018 Madison Leonard, soprano Kayleigh Decker, mezzo-soprano Matthew Pearce, tenor Greg Feldmann, baritone Adam Rothenberg, piano 2019 Devony Smith, soprano Gina Perregrino, mezzo-soprano Philippe L’Espérance, tenor Erik Van Heyningen, bass-baritone Danny Zelibor, pianist 2020 Elaine Daiber, soprano Siena Licht Miller, mezzo-soprano Terrence Chin-Loy, tenor Thomas West, baritone Shawn Chang, piano

Spring 2021 XXXVII

Coming up next this spring...

Aaron Crouch, tenor

Erin Wagner, mezzo-soprano

Samuel Kidd, baritone

Grace Francis, piano

Nicoletta Berry, soprano

Thursday / April 9 / 8:00pm

Son Little

Presented in Collaboration with City Winery

Rhythm and Blues musician Son Little first came to international prominence with his self-titled debut, released in 2015. From then on, he released a second album, and earned a GRAMMY Award for his work in producing Mavis Staples’ See That My Grave is Kept Clean. Equal parts vintage and modern, Son Little’s newest work, aloha, blends classic soul, oldschool R&B, and adventurous indie sensibilities into a timeless swirl fueled by gritty instrumental virtuosity and raw, raspy vocals. Livestream Tickets: $15, $30, $45 / Free for Caramoor Members More Information & To Purchase: caramoor.org / 914.232.1252

Your generosity helps to keep the music playing at Caramoor! Become a Member and support Music Performance, Education, and Mentoring at Caramoor. In return for making a charitable contribution, Membership level donors ($100 and above) receive a collection of “thank you” perks— including complimentary access to all spring livestreams. Support our music community and elevate your Caramoor experience all year long. caramoor.org/support

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Highlights of Our Fall Special Events.

For our annual Cabaret benefit, Laura Osnes and Tony Yazbeck celebrated Gershwin and the American Songbook in a Livestream from the Music Room.

aramoor’s special events play a vital role in raising funds for our core programming and are a great opportunity to thank our donors who help foster musical inspiration. We appreciate the support of our event donors, especially in this strange past season as they withstood reschedules and modifications aplenty. Our Opening Night Gala was cancelled though received generous support from ticket and table reservations converted to donations. Our Cabaret in the Music Room instead became live on screen from your own living room and even included some fancy-footed dance numbers. And we were able to host a small, outdoor, socially distant, and compliant fundraising dinner – the Fall Fête – in the careful hands of our friends at Blue Hill at Stone Barns. Caramoor is grateful to the event committees and patrons that helped guide us in making sure these occasions were memorable and successful.

Laura Osnes serenaded audiences in thier homes with a favorite Gershwin song. 09 / Caramoor

Cabaret supporters Larry and Adela Elow shared their passion for cabaret in a lively mid-concert video recording.

Caramoor held its Fall Fête in a safe and lovely setting at Blue Hill at Stone Barns.

The Fall Fête tables, distanced for safety, were decorated with seasonal flowers.

Fall Fête guests enjoyed a socially distanced outdoor dinner.

An Auction Table enabled guests to bid on unique items and support Caramoor.

SAVE THE DATES! October 23, 2021 Cabaret in the Music Room Eugene Linden, Olga and Michael Kagan

December 4, 2021 Benefit Dinner in the Rosen House

Events@caramoor.org / 914.232.1492

Susan Morgenthau and Cecilia Kellie-Smith / 10

Caramoor / Support. Caramoor is appreciative of all donors and their support of our mission to create inspiring artistic experiences. Space limitations do not allow us to publicly acknowledge the many individuals and organizations who have made gifts in the past year; however, we are grateful to all contributors as every dollar contributed positively impacts Caramoor. We have made every effort to ensure the accuracy of this listing. If you think you have found an inaccuracy, please accept our apology and alert us by calling 914.232.5035 ext. 409. The following is a list of individuals, households, and organizations who donated to the Annual Fund (general contributions) during the period January 1, 2020 through December 31, 2020. Dollar-level listings reflect cumulative gifts to the Annual Fund (general contributions) totaling $250+ during that 12-month period. Special Events ticket-buyers are included in this list, as are the individuals who may have donated their tickets back to Caramoor in exchange for a charitable contribution. Please note that Special Events ticket purchases or contributions do not count towards Membership but are reflected in these cumulative totals. $100,000+ Nancy & Jon Bauer Pat & Ian Cook Mr. & Mrs. Anthony B. Evnin Susan§ & Peter Gottsegen Katherine & Peter Kend Leslie Williams & Jim Attwood $50,000 to $99,999 Mimi & Barry J. Alperin Laureen & David Barber Gail A. Binderman - The Norman E. Alexander Family G Foundation, Inc. Sandra & William Cordiano Jackie Dzaluk & Francis Goldwyn Mr. & Mrs. John H. Freund Mrs. Robert D. Hodes Mr. & Mrs. David S. Joys 11 / Caramoor

Floy & Amos Kaminski Cecilia Tay Kellie-Smith & Sam Kellie-Smith National Endowment for the Arts Sarah & Howard Solomon Nina & Michael Stanton Audrey & Richard Zinman $25,000 to $49,999 Aundrea & James Amine Anonymous (1) ArtsWestchester Mr. & Mrs. Jonathan M. Clark Jane & William Donaldson Angela & William Haines / The Haines Family Foundation The Marc Haas Foundation The Maximilian E. & Marion O. Hoffman Foundation Tracy & Stephen Limpe New York State Council on the Arts Nancy & Morris W. Offit The Ohnell Family Foundation Phyllis & David Oxman Amy Parsons & Paul Bird Amy & John Peckham / Peckham Family Foundation Mr. & Mrs. Andrew Saul Ms. Lucille Werlinich Mr. & Mrs. Ian Winchester Judi Wolf & Alden L. Toevs $10,000 to $24,999 Andree Wildenstein Dormeuil & Roger Dormeuil Foundation Adela & Lawrence Elow Charles A. Frueauff Foundation Maggie Grise & Adam Silver Olga & Michael Kagan Sylvia & Leonard Marx, Jr. Tracy & Ted McCourtney Susan & Robert Morgenthau Mr. Raj K. Nooyi & Ms. Indra K. Nooyi Susan & Richard O’Leary Yvonne Pollack, Pollack Family Foundation Faith Rosenfeld & Jaime Castro Elaine & Larry Rothenberg Mr. Stephen Ucko Elaine & Alan G. Weiler Lisa & Paul Welch $5,000 to $9,999 Nancy Adelson & Lewis R. Clayton Anonymous (1) Judy & Gordon Aydelott Janet Benton & David Schunter

Bloomberg L.P. Corporate Giving Program Patricia Butter & Ted Sabety Mr. & Mrs. Woodson Duncan Nancy & Edmund Dunst Edmée & Nicholas Firth Penny & Ray Foote Mr. & Mrs. William G. Foulke Fribourg Family Ms. Joan S. Gilbert Virginia Gold Isabelle Harnoncourt Feigen Mrs. Betty Himmel Dr. & Mrs. Henry Kaufman Georgia & David Keidan Mr. § & Mrs. Donald M. Kendall Stanley Kogelman & Lucy Huang Drs. Melissa & Lewis Kohl Mrs. Barbara Kushnick Nita & Stephen Lowey Mr. & Mrs. Lester S. Morse, Jr. Diane & Robert Moss New Music USA Rebecca Patterson & Robert Frank Christine E. Petschek Laura & Edward Pla Varner & John Redmon Mr. & Mrs. Frank E. Richardson Mr. Lawrence Rogow Susan & Elihu Rose Rebecca & Arthur§ Samberg Sara Lee & Axel Schupf Sara & Joshua Slocum Westchester Community Foundation Alicia & Bob Wyckoff $2,500 to $4,999 Photo Anagnostopoulos & Jim Stynes Anonymous (3) Ms. Christina Briccetti Susan & David Brownwood Anne & Joe Citrin Alexandra H. Coburn & Christopher Schroeder Mr. & Mrs. James B. Cowperthwait Mr. & Mrs. Michael Danziger Mr. Thomas A. Dieterich Ms. Kathryn E. Dysart & Mr. Jeffrey L. Schwartz Mr. & Mrs. Robert H. Eder Melissa Eisenstat & Jonathan Blau Kelly & Matthew Fairweather Naomi & Joel Freedman Ashley Garrett & Alan Jones Mary & Michael Gellert Laureine and David Greenbaum Family Foundation

Mr. David C. Hochberg Anda & John Hutchins Alexia & Jerry Jurschak Mr. & Mrs. W. Wallace McDowell The New York Community Trust The Pasculano Foundation The Perlmutter Family Foundation Mary Prehn & John Scacchia Sheila & David Reichman Christie C. Salomon Mr. & Mrs. Norman Slonaker Deborah F. Stiles Mr. & Mrs. James E. Thomas The Watt Family Foundation Kate & Seymour Weingarten Mr. & Mrs. Herbert S. Winokur / The Winokur Family Foundation, Inc. Judy Francis Zankel $1,500 to $2,499 Karen Adler & Laurence Greenwald Anonymous (2) Mr. G. Thomas Aydelotte Gini & Randy Barbato Wendy Belzberg & Strauss Zelnick Mr. & Mrs. Jeff Bijur Mr. & Mrs. Thomas A. Cohn Mr. & Mrs. James K. Coleman Margaret Downs & Henry Zachary Rebecca & Marty Eisenberg Nancy Eppler-Wolff & John Wolff Rosa & Robert Gellert Barbara & E. Robert Goodkind Carmela & Paul Haklisch Maureen Hanagan & Victor Marrow§ Angela & Richard Kessel Eduard & Rayanne Kleiner Foundation Mrs. Patricia D. Klingenstein Laura & Lewis Kruger Mrs. Edith Kubicek Nancy Maruyama & Chuck Cahn Nicole & Gerard Mayer Mr. Bruce Mekul Ms. Linda Merrill & Dr. William B. Nolan Ms. Petra Mohrer Vivian & David Moreinis Melissa H. Mulrooney Dr. Richard Fischer Olson Carol & Steven Parker The Perakis Family Margaret & Dan Petri Mrs. Sascha M. Rockefeller Vicki Roosevelt & Rob Jorgensen Ms. Elizabeth A. Sarnoff & Mr. Andrew S. Cohen Manita & Scoci§ Scocimara / 12

Sylvia Smolensky Betty & Frank Stern Mr. & Mrs. Thomas W. Strauss Mr. & Mrs. William R. Ziegler $500 to $1,499 Marie Pantuosco Alpert Anonymous (9) Adrienne & Bernard Ascher Dr. Lisa R. Barr Mr. & Mrs. John D. Barrett II Sally & David Beckett Froma & Andrew Benerofe Mr. & Mrs. Roger S. Berlind Nadia & Robert Bernstein Helena & Peter Bienstock Laura Blau & Michael Citro Allison M. Blinken Margot & Jerry Bogert Ms. Christine Bosco Ms. Susan Brenner & Mr. Teed Welch Grace & Vincent Briccetti Sonia & Miguel Calderon Mr. & Mrs. Matthew Carpenter Ms. Leslie Cecil & Mr. Creighton Michael Nina & Tom Curley Catherine & George Daubek Roberta & Steven Denning Ms. Victoria de Toledo & Mr. Stewart Casper Mr. Kevin Durkin Mrs. Anita M. Dye Julie & Todd Eagle Pamela & Ray Endreny Olivia & John Farr Jeanne Donovan Fisher Mrs. Virginia M. Flood Karen & Gerry Fox Nina Freedman & Michael Rosenbaum Mr. & Mrs. Joseph C. Gallo Marguerite & Peter Gelfman Sandriel & Kevin Gentzel Ms. Marilyn Glass Carol & Ward Glassmeyer Kate & Martin Glynn Dr. & Mrs. Lawrence Goettisheim Carol & Jesse Goldberg Mr. & Mrs. Alfred H. Green Ellen & Robert Grimes Jennifer & Bud Gruenberg Mr. & Mrs. Peter O. Hanson Peggy & Ed Harding Ms. Callistheni S. Hayes Ms. Ursula Heinrich Mrs. Gisela R. Hobman Ms. Karen K. Hoyt-Stewart & Mr. William J. Stewart 13 / Caramoor

Mrs. Judith T. Hunt Ms. Deborah Innes Rory & David Jones Mr. & Mrs. Edward W. Kelly JoAnne Kennedy & Bill Bowers Mr. & Mrs. Arthur Klausner Ms. Lisa Kolba / JMC LLC Mrs. Birgit Kovacs Dr. Lois F. Kral Joann Lang Dr. Morton Linder Mr. & Mrs. Robert D. Long Dr. Darrell Lund Barbara & J. Robert Mann, Jr. Ms. Beth Ann Manners Harriet Mazer Ms. Deborah McCarthy Dr. Jennifer McQuaid & Dr. Jorge Pedraza Janis & Alan Menken Charity Fund Miriam Messing & John Curtin Ms. Betsy Mitchell Mr. Ben Nathanson Hannah & Frank Neubauer Mina & Lawrence Nokes Ms. Anita M. Nordal & Mr. Kevin J. Conroy Mary Lou & Mike Pappas Michelle & Clark Petschek Betty & Carl Pforzheimer Libbie & David Poppick Charmaine & Brian Portis Virginia & Jonathan Powers Lolly H. Prince Brenda & Gerry Prothro Kathy L. & Marc F. Pucci Vivian Pyle & Tony Anemone Vicki & Charles Raeburn Dr. Monique Regard & Rick Duffy Ms. Denise A. Rempe & Mr. Mark L. Wilson Angela & Gary Retelny Mr. Jason Rockland Ms. Ellen Sargent & Dr. Stephen Nicholas Merryl Schechtman, M.D. Kathy Schuman Jill Schwab & Peter Albert Jill & Robert Serling Mrs. Joan M. Sharp Madeline & George Shepherd Ms. Eve Silver Dr. Richard Slutsky Vivian Song & Ricardo Pou Mr. & Mrs. Louis S. Sorell Beth & Jason Spector Traci & Joseph Stark Catherine & Keith Stevenson Stephanie Stiefel & Robert S. Cohen

Dr. & Mrs. Paul Striker Sybil & Adam Strum Ms. Marcy Syms Melissa Vail & Norman Selby Mr. & Mrs. Polyvios Vintiadis Mrs. John L. Weinberg Margot & Gary Weinstein Roanne & Charles C. Wilcox $250 to $499 Ms. Nancy Albertson Anonymous (11) Nancy & Jim Barton Ms. Emily Bestler Mrs. Debbie Buffum Cammie & John Cannella Ms. Theresa Carroll Ms. Beatrice Chastka Nancy & Edward Clifford Mr. & Mrs. Daniel H. Cohen Mr. Alan G. Cole Ms. Susan Courtney-Sinha Barbara & Christopher Dee Mr. & Mrs. Gary Dienst Mr. & Mrs. John Doran Ms. Elizabeth Einstein & Mr. Chris Cormier Audrey & Jeffrey Elliott Mr. Mark Epstein Ms. Fleur Eshghi & Mr. Nathan C. Dickmeyer Mrs. Arlene Fischer Susan H. Fisher Mr. Mark Franzoso Nancy & Donald Fried-Tanzer Mr. Bruce D. Garrison Cathy & Tom Giegerich Ms. Vicki Gillespie Susan & Galen Gisler Mrs. Jeanne Gnuse Enid & Marv Goldsmith Helen & Bill Gore The Goyal Family Ms. Jane Gross Mr. George B. Hardman Nicole & Larry Heath Judy & Flemming Heilmann Ms. Eileen Herbert Mr. Peter Herbert Anne Hess & Craig Kaplan Libby & Tom Hollahan Mr. Paul H. Hondorf Ms. Christina M. Horzepa & Mr. Gary Dearborn Gail & Mark Imowitz Patricia & Robert Ivry Ms. Diane P. Jane Mr. & Mrs. Erik P. Jensen

Ms. Patricia Johansmeyer Mr. David Johnson Mr. & Mrs. Frederick Jones Ms. Kathryn Jones Connie & Jack Kamerman Ms. Joanna Kang Renée & Daniel Kaplan Beth Kaufman & Charles Updike Ms. Ellen King Mr. & Mrs. Robert W. Knorr Alison M. Koppelman Sandra & Eric Krasnoff Esme & Paul Laubscher Mr. Bruce Levy Ms. Carolyn Liebling Robin Liebowitz & Philippe Sandmeier Angelina & Monte Lipman Ms. Anne R. Lowy & Mr. Thomas R. Glum Laura & Gary Lynch Mrs. Deanna B. MacLean Mr. Robert Magni Mrs. Francesca Maltese & Dr. Sandy Blount Dr. Pamela Marron Mr. & Mrs. Paul J. Mas Virginia & Joe Maybank Mary & Paul McConville Ms. Christina McGann Mr. & Mrs. Douglas M. McGraime Anne & Victor Modugno Mr. & Mrs. Jeffrey Moriber Abigail & Sundip Murthy Margot & James Mustich Leslie & Mitchell Nelson Mr. Erik Nicolaysen Ms. Patricia O’Connor The O’Keefe Family Ruth & Harold Ossher Linda & Glenn Ostrander Anna & Frederick Ostrofsky Lorie Paulson & Maurice Krasnow Anita & Neal Pilzer Dr. & Mrs. Donald J. Pinals Dr. & Mrs. Joseph Plummer Andrea & Andy Potash Betty Robbins & Moses Silverman Elissa & Brian Robinson Virginia & Michael Robinson Patty & Tom Roesch Suzanne & Victor Rosenzweig Mr. & Mrs. Ray Scanlan Mr. Jonathan Schaffzin Roberta & Arthur§ Schmidt Mr. Eric Schwartz Ms. Betsy Seeley Susan & William Shine / 14

Amy Siebert & Markel Elortegui Ms. Janet Sikirica Ms. Nancy K. Simpkins Sabina & Walter Slavin Lynn & Eric Sobel Ms. Alison Stabile Mr. Arthur H. Stampleman Maureen & Charles Steele Katie & James Stewart Ms. Margaret Swinger Ms. Merry Thornton & Mr. Brian V. Murphy Ms. Linda Thung-Ryan Antoinette & Carl Van Demark Mr. Jacobus Van Heerden Jane & James D. Waugh Ms. Roberta Weiner & Mr. Ronald Arron Maureen Whelan & John Bast Ms. Laurice H. Whitfield Victoria Wooters & Matthew Mattoon Seung & Yi Yoo § deceased Thank you again for your generosity.

Gifts of Membership. The following is a list of individuals, families, and/or households who received the Gift of Membership during the period January 1, 2020 through December 31, 2020 and thus may not be included in the previous list. Dana & Robert Bos Ms. Francheska Calderon Kayce & John Carey David Ellis & Ann Greenawalt Ms. Christie Fitzpatrick Carolyn & David Goodman Ms. Cynthia Haupt Mrs. Cynthia Herbert Jennifer & Julio Herrera Debbie & Manny Hochadel Mr. Timothy Horan Ms. Mary Judge Katherine & Albert Kim Susan & Marks Lachs Mr. Jonathan Larsen Daniella Mini & Cesar Rabellino Ms. Jane Minnis Ms. Bärli Nugent Dawn & Richard Papalian Mrs. Amy Passman Jennifer & John Roach Dillon Smith Maureen & Charles Steele Ms. Brigitte St. John Ms. Amelia D. Wierzbicki Ms. Gwenn S. Winkhaus Ms. Manja Wurschke For more information about Membership benefits, or to give the Gift of Membership, please contact Jennifer Pace, Director of Individual Gifts, at jennifer@caramoor.org or call 914.232.5035 ext. 412.

All concerts made possible, in part, by ArtsWestchester with funds from the Westchester County Government.

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The 2020 Summer and 2020 Fall Seasons were supported in part by an award from the National Endowment for the Arts.

All concerts made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Honor / Memory. From January 1, 2020 through December 31, 2020, generous contributions to Caramoor were made in honor of the following individuals, organizations, programs, or Caramoor departments, or to note special celebrations or causes, and/or in memory of special individuals or couples: In Honor of Anonymous Estelle F. Baum Lucienne & Max Bissainthe Michael Brown Caramoor’s amazing staff Caramoor Staff Caramoor’s Staff, with admiration Jonathan Clark Sandy & Bill Cordiano Tahra Delfin Judy Evnin Judy & Tony Evnin Susan W. (Susie) Freund Josh Groban Jeff Haydon Gerry Hodes The Kend Family Kate & Peter Kend’s 30th Anniversary Peter Kend Felix Kleinman Siena Licht Miller Stephen Limpe In thanks for the Livestream [Our] Grandfather Adolph Loewi Zoë Martin-Doike Susan & Richard O’Leary Phyllis & David Oxman C. Pace & R. Pace Dan Rader Tina Salierno Olivia Schectman Laura Schiller Mildred Skolnick The Unicorns! Leslie Williams & James Attwood In Memory of William T. Appling Helen-Mae Askin Hilton Bailey Elaine Barath Steven Bloom Emanuela Briccetti Dr. Solomon & Edith Brizer by their daughter Diane Brizer Those of our Caramoor Community lost to COVID-19

Martha Dinerstein Lauren Finster Susan (Sue) McPherson Gottsegen Robert D. Hodes Peter Kubicek by his family Joan Lynton Victor Marrow Grace Helen McCabe Eva Petschek Newman Terrance W. Schwab John Eugene Sharp Elie Siegmeister Marion & Herbert Sineck In-Kind Donations. Caramoor gratefully acknowledges the following individuals and organizations that made in-kind contributions (gifts other than cash or stock) from January 1, 2019 through December 31, 2020. Certain gifts of products or services that can be used by Caramoor enable us to further our mission of presenting exciting concerts, mentoring young musicians, and providing arts education to school children. Aundrea & James Amine Anonymous (2) Nancy & Jon Bauer Mr. Albert Carbonell Mrs. Marcy Carlson Pat & Ian Cook Mr. & Mrs. William Cordiano Nina & Tom Curley Ms. Kathryn E. Dysart & Mr. Jeffrey L. Schwartz Mr. Tom Eirman Mr. & Mrs. Anthony B. Evnin Ms. Jane Gladstone Great Performances Mr. & Mrs. Matthew Greif Cecilia Tay Kellie-Smith & Sam Kellie-Smith Katherine & Peter Kend Katherine & Marc Lazar Tracy & Stephen Limpe Betsy Mitchell Orchestra of St. Luke’s Mary Lou & Mike Pappas Pepsi-Cola Bottling Company of New York Kathy Schuman Storm King Art Center Mr. Gary Taratunio Leslie Williams & Jim Attwood WineBid Audrey & Richard Zinman / 16

Matching Gifts. Caramoor gratefully recognizes the support of the many companies and foundations that make matching gifts. Employees can maximize their contributions to Caramoor by taking advantage of their employer’s matching gift programs. The following organizations made matching contributions from January 1, 2019 through December 31, 2020. AmazonSmile Foundation Bank of America Bank of America Charitable Gift Fund The Benevity Community Impact Fund The Blackbaud Giving Fund Bloomberg L.P. Corporate Giving Program Broadridge Credit Suisse Americas Foundation Debevoise & Plimpton LLP Fidelity Charitable Gift Fund GE Foundation Goldman Sachs Gives Goldman, Sachs & Co. Greenlight Capital IBM Corporation Matching Grants Program J.P. Morgan Charitable Giving Fund JPMorgan Chase’s Good Works Employee Giving Program Morgan Stanley GIFT Network for Good Pfizer Foundation Sy Syms Foundation Vanguard Charitable YourCause, LLC

Encore Society (Planned Giving). The Encore Society recognizes dedicated individuals and couples who have indicated their intent to include Caramoor in their estate planning. Planned giving is a wonderful to establish a legacy at Caramoor and make a lasting impact on the organization. Caramoor thanks the following thoughtful individuals who have designated Caramoor Center for Music and the Arts in their estate plans. Anonymous An Anonymous Couple § An Anonymous Couple (2) Laura B. Blau Catherine A. M. Cavanaugh Catherine & George Daubek Mr. Robert C. Dinerstein Ralph P. & Barbara J. DuPont Judy & Tony Evnin Annette & Len§ Gilman Dr. Susan Harris & Mr. Thomas Molnar Mrs. Betty Himmel Olga Kagan Ms. Deborah A. Kempe & Mr. Andre M. Hurni Nancy S. Offit Susan & Richard O’Leary Marie C. Rolla§ Eileen Caulfield Schwab Lucille Werlinich Leslie Williams & Jim Attwood § deceased If you would like more information about planned giving at Caramoor, or to notify us of your intention to include Caramoor in your estate planning, please contact Nina Curley, VP/Development Officer, at nina@caramoor.org or 914.232.3681. Additional information may be found at plannedgiving.caramoor.org.

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Endowments. Philanthropic gifts to Caramoor’s permanent endowment(s) allow the use of Annual income to ensure program continuity and organizational strength in perpetuity. Investments in Caramoor’s endowment(s) support concerts of the highest quality, help bring creative and significant projects to our campus, and provide income to our education and mentoring programs. Gifts to Caramoor’s endowment(s) help ensure this organization’s strength and vitality far into the future. The following is a list of all endowments currently established at Caramoor. Named Endowment Funds Marjorie Carr Adams Fund for Young Vocal Artists Marjorie Carr Adams Sense Circle Fund Mimi & Barry Alperin Rising Stars Fund Albert Berol Rising Stars Fund The Adela and Lawrence Elow Fund for The Great American Songbook: 1900 to 1960 Susan and John Freund Piano Fund Carmela S. Haklisch Rising Stars Fund Susan & Joseph Handelman Fund for Evnin Rising Stars Mentors Susan & Joseph Handelman Rising Stars Fund Robert D. Hodes Rising Stars Fund Maximilian E. & Marion O. HoffmanFoundation Rising Stars Fund Tondra & Jeffrey Lynford Rising Stars Fund Enid & Lester Morse Fund for Classical Music Eva Petschek Newman Fund for Young Artists Anne S. Nichols Rising Stars Fund Nancy S. Offit Fund for the Performance of Classical Music and Opera* Edna B. Salomon Rising Stars Fund Terrance W. Schwab Fund for Young Vocal Artists Marilyn M. Simpson Opera Fund William Kelly Simpson Fund The Ernst C. Stiefel String Quartet-in-Residence Fund Texaco Rising Stars Fund The Lucille Werlinich Fund for Caramoor’s Gardens* *future bequest Other Endowment Funds Bel Canto at Caramoor Caramoor General Fund Caramoor Virtuosi Chamber Music Fund Children’s Performances Gardens & Estates Innovation Fund Piano Performance Renaissance Days Rosen House Stewardship Sense Circle If you are interested in discussing a gift to Caramoor’s permanent endowment(s), or establishing a dedicated endowment like the ones listed above, contact Nina Curley, VP/ Chief Development Officer, at nina@caramoor.org or 914.232.3681. / 18

Leave a Legacy.

aramoor Center for Music and the Arts was established by Walter and Lucie Rosen to operate their estate in perpetuity as a home for art, music, and inspiration. The Rosens were touched by the pleasure their friends took while visiting Caramoor, and they decided to leave their home as a legacy for all to enjoy. It is thanks to the vision, energy, and estate planning of this inspirational couple that we enjoy Caramoor today. The Rosens had the forethought to make plans for Caramoor’s future, and we hope you will think of Caramoor when considering your future. We would be so honored if you would consider adding us to your estate plans

and joining with the Rosens in growing your legacy. You can help ensure a bright future for Caramoor. Generosity comes in many forms, and it is often the best way for you to support causes that matter the most to you. When you give to Caramoor, you help us to make a difference. One long-term way is to Leave a Gift in Your Will. If this is appealing, please contact us for suggested language to review with your attorney and/or financial planners. When you have made these arrangements, please let us know you have done so. We will be happy to welcome you to our Encore Society with other like-minded Caramoor donors.

If you would like more information about planned giving at Caramoor, or to notify us of your intention to include Caramoor in your estate planning, please contact Nina Curley, VP/ Chief Development Officer, at nina@ caramoor.org or call 914.232.3681. 19 / Caramoor

Caramoor’s Leadership As of March 20, 2021

Board of Trustees

Advisory Council

James A. Attwood, Jr., Chairman* Peter Kend, Vice Chairman* Paul S. Bird, Treasurer* Angela Haines, Secretary* Judy Evnin, Chairman Emerita*

Judy Aydelott Laura Blau Jonathan Clark Kevin Conroy Effie Fribourg Joan Gilbert Marilyn Glass Virginia L. Gold Hélène Grimaud Maureen Hanagan Betty Himmel Kevin Howat Frederick Jones Olga Kagan Bim Kendall Stanley Kogelman Dr. Lewis Kohl Linda Merrill Susan Morgenthau David C. Oxman Edward Pla Yvonne Pollack Faith Rosenfeld Deborah Stiles Alden L. Toevs Lucille Werlinich

Barry J. Alperin* James L. Amine* David Barber Jon Bauer* Gail A. Binderman Ian Cook* William Cordiano* Lawrence Elow Susan W. Freund* Michael E. Gellert* Francis Goldwyn Sandra S. Joys* Floy B. Kaminski* Cecilia Tay Kellie-Smith Stephen Limpe* Nancy Offit* Richard H. O’Leary Lawrence Rothenberg Mrs. Andrew Saul Nina Stanton Lisa Welch Ian Winchester Richard Zinman* *Executive Committee Member

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Staff and Contractors Executive Office Gardens & Grounds Nina Curley, Interim Chief Executive Officer Milton Alvarez, Facilities Superintendent Liat Greif, Executive Assistant & Board Liaison Rosa Alvarez, Facilities Housekeeping Assistant Artistic Programming Lucio Alvarez, Facilities Crew Kathy Schuman, Vice President Jose Cardenas, Facilities Crew & Artistic Director Saul Jarrin, Housekeeping Assistant & Ellie Gisler Murphy, Senior Artistic Facilities Crew Planning Manager Tim Coffey, Artistic Planning Manager Agencies/Consultants 21C Media Group, Public Relations Artistic Partners AAN Studio, Graphic Designer Jazz at Lincoln Center Blenderbox, Website Management Orchestra of St. Luke’s, Orchestra-in-Residence Capacity Interactive, Digital Marketing Stephan Moore, Sonic Innovations Agency Steven Blier, Terrance W. Schwab Gabe Palacio, Principal Photographer Vocal Rising Stars Barbara Prisament, Media Relations Pamela Frank, Evnin Rising Stars & Outreach Consultant Progressive Computing, IT Consultant Development Spektrix, Ticketing Service & Support Nina Curley, Vice President & Chief Development Officer Technical Direction & Production Erin Harding, Special Events Assistant Ed Greer, Technical Director Christina Horzepa, Grants Manager Pete F. Petrino, Lighting Designer Brittany Knapp, Membership Assistant DJ Grant, Chief Audio Engineer and Donor Concierge Jeremy Robbins, Video Director Junetta Maxfield, Director of Emily Buffum, Livestream Event Technician Development Operations Jennifer Pace, Director of Individual Gifts Gayle Greves, Director of Special Events Finance and Human Resources Tammy Belanger, Vice President & Chief Financial Officer Tina Salierno, Bookkeeper Andrea Assenzio, Assistant Bookkeeper Karla Stewart, Human Resources Coordinator Marketing Tahra Delfin, Vice President & Chief Marketing Officer Alex Cutrone, Director of Ticketing & Guest Relations Aarti Gilmore, Event Operations Manager Sean Jones, Marketing Coordinator Olivia Ottinger, Box Office Coordinator Laura Schiller, Publications Editor Roslyn Wertheimer, Marketing Manager Roanne Wilcox, Director of the Rosen House Christopher Thomas, Archive Coordinator Marcelle Carpentieri, Rosen House Assistant Germania Alvarez, Housekeeping Manager & Collections Assistant 21 / Caramoor