Recital Series: Stéphane Degout & Cédric Tiberghien

WELCOME

Park Avenue Armory strives to engage audiences with eclectic, immersive, and thought-provoking works that are in direct dialogue with the Armory’s unconventional spaces, whether it is the soaring Wade Thompson Drill Hall or the intimate period rooms. And with its pristine acoustics and austere elegance, the Board of Officers Room is like no other in offering the chance to enjoy the art of the recital and music-making in the most personal of settings.

The 2023 season marks the tenth year of the Armory’s celebrated Recital Series. Over the past ten years, we have held over 100 intimate performances by 230 internationally renowned musicians, including important North American, US, and New York debuts like the North American recital debut of pianist Igor Legit and the US recital debut of soprano Barbara Hannigan. We have also been proud to serve as the locale for 15 premieres by contemporary composers, including works by Michael Hersch, Anna Thorvaldsdóttir, John Zorn, Dai Fujikura, Michael Gordon, Jake Heggie, and others.

The 2023 Recital Series continues the tradition of offering the chance to hear internationally renowned vocalists in a close and personal setting. Tenor Allan Clayton returns to New York after his appearance in the title role of Peter Grimes at the Met last fall for his North American recital debut at the Armory performing with pianist James Baillieu. American soprano Julia Bullock showcases her versatile artistry and probing intellect in recitals this September, returning to the Armory following her critically acclaimed performance in Michel van der Aa’s Upload. Other vocal recitals include an intimate evening with baritone Stéphane Degout and pianist Cédric Tiberghien and performances by mezzo soprano Kate Lindsey with pianist Justina Lee.

“Poet of the piano” Pavel Kolesnikov appears in a two-program residency this May. He opens the residency with Bach’s towering classical keyboard masterpiece, the Goldberg Variations, and follows with a program of inspired by artist Joseph Cornell’s orrery Celestial Navigation. Finally, leading contemporary percussion ensemble Sandbox Percussion take the Recital Series to the Veterans Room in October for a spirited program that vibrantly showcases their solid technique, rhythmical musicality, and lively showmanship.

This year’s lineup offers audiences even more chances to enjoy the intimacy of a beautiful range of chamber music experiences performed by artists with a highly distinctive international profile, in one of the only spaces that could provide such a personal encounter—the Board of Officers Room. We hope you join in our excitement for witnessing these magical moments in music.

Rebecca Robertson

Adam R. Flatto Founding President and Executive Producer

Pierre Audi

Marina Kellen French Artistic Director

2023 RECITAL SERIES

IN THE RESTORED BOARD OF OFFICERS ROOM

STÉPHANE DEGOUT, baritone CÉDRIC TIBERGHIEN, piano

monday, april 3, 2023 at 7:30pm wednesday, april 5, 2023 at 7:30pm

Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, the Donald A. Pels Charitable Trust, The Shubert Foundation, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, the Marc Haas Foundation, the Prospect Hill Foundation, the Reed Foundation, Wescustogo Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, Gregory Annenberg Weingarten, GRoW @ Annenberg, The Emma and Georgina Bloomberg Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. Additional support has been provided by the Armory’s Artistic Council.

The Recital Series is supported in part by the Howard & Sarah D. Solomon Foundation.

Cover photo: James Ewing.

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2023 SEASON SPONSOR

PROGRAM

Franz Schubert (1797-1828) “Der Wanderer,” D489

“Schäfers Klagelied,” D121a

“Der Einsame,” D800

“An den Mond,” D193

“Sei mir gegrüsst,” D741

“Nacht und Träume,” D827

Gabriel Fauré (1845-1924) Mirages, op. 113

1. Cygne sur l’eau

2. Reflets dans l’eau

3. Jardin nocturne

4. Danseuse

Intermission

Gabriel Fauré Poème d’un jour, op. 21

1. Rencontre

2. Toujours

3. Adieu

Alban Berg (1885-1935) Vier Gesänge, op. 2

1. Schlafen, Schlafen

2. Schlafend trägt man mich

3. Nun ich der Riesen Stärksten überwand

4. Warm die Lüfte

Maurice Ravel (1875-1937) Deux mélodies hébraïques

1. Kaddisch

2. L’énigne éternelle

Claude Debussy (1862-1918) Chansons de France, L115

1. Rondel I

3. Rondel II

Le promenoir des deux amants

1. Auprès de cette grotte sombre

2. Crois mon conseil, chère Climène

3. Je tremble en voyant ton visage

This performance is approximately 85 minutes including a 15-minute intermission.

ABOUT THE PROGRAM

Throughout the 19th century and the beginning of the 20th, the German Lied and the French mélodie evolved side by side, each developing a distinct stylistic identity. In his more than 600 songs, Schubert showed all later Lied composers how to marry poetry and music, revealing the emotional depth behind every word. So often, the poems portray a solitary individual in nature, or at home, longing for a distant past, a distant lover or simply meditating on the mysteries of life. This general Romantic posture can take vastly different forms: we see grandiose tragic gestures in “Der Wanderer” (1816), deep sadness in “Schäfers Klagelied” (1814), a peaceful domestic scene in “Der Einsame” (1825), classical composure in “An den Mond” (1815), an ecstatic declaration of love in “Sei mir gegrüßt” (1821), and mystical visions in “Nacht und Träume” (1827).

The authors of the texts represent a cross-section of the poets the widely read Schubert was interested in. Georg Friedrich Schmidt von Lübeck (1766-1849) was a poet and Danish government official. Johann Wolfgang von Goethe (17491832), known as the Dichterfürst (“Prince of Poets”), scarcely needs an introduction. Carl Lappe (1773-1843), like Schmidt a North German, frequently celebrated his home region on the Baltic Sea in his works. The literary panorama is rounded out by Ludwig Hölty (1748-76), an eminent writer of ballads and nature poems; Friedrich Rückert (1788-1866), an influential poet and orientalist; and Matthäus von Collin (1779-1824), a Viennese compatriot of Schubert’s, highly regarded in his own time.

Almost a century after Schubert, the composers of the Second Viennese School (Arnold Schoenberg, Alban Berg, and Anton Webern) imbued the Romantic Lied tradition with a new, decadent sensibility. Berg’s Four Songs, op. 2 (1908-10) were written on texts by the tragedian Friedrich Hebbel (1813-63) and the spiritual poet Alfred Mombert (1872-1942). Berg’s hyper-Romantic music amplifies this sinister death poetry in a way that is at once unsettling, boldly sensual, and (in the last song) explosively dramatic.

On the French side, Gabriel Fauré did more than anyone else to create a distinctively Gallic art-song repertoire. In his more than 100 songs, he tended to avoid grand tragic gestures; instead, he painted gentle, nostalgic images in sound and expressed profound but mostly introverted sentiments. Mirages, a cycle of four songs, was written in 1919, when the composer was 74. The poems are by Renée de Brimont (18801943), a baroness with literary ambitions. Her classicizing verse matched the melancholy mood of the aged composer, nearly completely deaf at this point. (The song “Reflets dans l’eau” shares its title with a famous piano piece by Debussy from 1905. Fauré’s song was written a year after his younger colleague’s death.)

The cycle Poème d’un jour (1878), on words by the prolific poet and playwright Charles Grandmougin (1850-1930), is the work of a young Fauré in his thirties. In three brief songs, the poet meets his love, is rejected and says farewell— excitement, passion, and resignation in all of five minutes of music.

It is well known that Debussy was not particularly fond of Fauré, whom he sarcastically called the “Master of Charms” in a review: their differences were both artistic and personal. Debussy’s approach to the mélodie was certainly quite different from Fauré’s. Here was an entirely new way of setting French poetry—one that was closer to the rhythms of the spoken language. Also, Debussy had a strong affinity for poets from earlier eras. The Trois chansons de France consisted of two songs after Charles, Duke of Orléans (1394-1465), and one by Tristan L’Hermite (1601-55). This cycle was dedicated to Emma Bardac, who had earlier had an affair with Fauré and who would soon become Debussy’s second wife.

Later Debussy added two more Tristan songs to the existing one and published the set as Le promenoir des deux amants, “La Grotte” (under different titles) being part of both sets. When dealing with old texts, Debussy avoided an “early-music” sound with direct allusions to Renaissance or Baroque music, and yet he was able to give his music a distinct archaic flavor.

Maurice Ravel, a former pupil and lifelong devotee of Fauré, had a rather complex relationship with Debussy. Unlike both his older contemporaries, he occasionally arranged folksongs from other cultures, as in his Five Greek Folksongs and another cycle that contained a Jewish song alongside Spanish, Italian and Scottish numbers. The success of the latter prompted Alvina Alvi, a soprano from the St. Petersburg Opera, to commission Ravel to write two more arrangements of Jewish melodies. The Deux mélodies hébraïques (1914) open with the Kaddish. This prayer, whose words are Aramaic, is a glorification of God often recited in memory of the deceased. The “Eternal Enigma,” sung in Yiddish, is a Hasidic song that seems light-hearted on the surface yet carries a serious message: the ultimate spiritual truths can never be expressed in words.

—Peter Laki

ABOUT THE ARTISTS

STÉPHANE DEGOUT, baritone

Stéphane Degout studied at the CNSM, Lyon, and was a member of Opéra de Lyon. He made his operatic debut in 1999 at the Aix-en-Provence Festival. Since then, he has sung for the Paris Opéra, Royal Opera House Covent Garden, Berlin State Opera, La Monnaie, Theater an der Wien, Lyric Opera of Chicago, Metropolitan Opera, La Scala, Teatro Real, and Bavarian State Opera, and at the Salzburg, Glyndebourne, and Ravinia festivals. His repertoire includes Thésée (Hippolyte et Aricie), Hercule (Alceste), Oreste (Iphigénie en Tauride), Count Almaviva, Valentin (Faust), Raimbaud (Le Comte Ory), Wolfram (Tannhäuser), Albert (Werther), Rodrigue (Don Carlos), Chorèbe (Les Troyens), and the title roles in Hamlet, Monteverdi’s Orfeo and Ulisse, and Pelléas & Mélisande

His dedication has seen him create numerous operatic roles in works such as Benoît Mernier’s La Dispute and Philippe Boesmans’ Au Monde and Pinocchio. Recently he appeared as The King in George Benjamin’s new production Lessons in Love and Violence (London, Amsterdam, Lyon, Chicago, Barcelona).

In 2012, he was appointed Chevalier de l’Ordre des Arts et des Lettres; 2012 and 2019 saw him named Lyrical Artist of the Year at the Victoires de la Musique Classique awards.

Stéphane Degout is renowned for his highly sensitive interpretations of French mélodie and German Lied. He has worked under the guidance of Ruben Lifschitz and has toured internationally. Alongside several DVD opera recordings, he has recorded CDs with B Records (Histoires Naturelles) and harmonia mundi (Enfers), Harmonie du Soir and Berlioz’ Les Nuits d’Eté, all of which have been awarded, Enfers notably winning at the International Opera Awards 2019. He continues his collaborative streak with harmonia mundi and has recently released a CD of “Mélodies et Lieders” with Simon Lepper.

CÉDRIC TIBERGHIEN, piano

Cédric Tiberghien is a French pianist who has established a truly international career. He has been particularly applauded for his versatility, as demonstrated by his wide-ranging repertoire, interesting programming, an openness to explore innovative concert formats, and his dynamic chamber music partnerships.

Concerto appearances in the 2022-23 season include his debut with the Sao Paulo State Symphony Orchestra and return visits to NSO Washington (Karina Canellakis) and Sydney Symphony Orchestras. He will also perform Messiaen’s Turangalila Symphony with both the Berliner Philharmoniker (Simone Young) and Orchestre National de France (Cristian Macelaru). His recital appearances with Alina Ibrabimova include the Wigmore Hall in London, Sao Paulo, and Philadelphia, and he will perform with Antoine Tamestit in both Madrid and Prague. Tiberghien’s solo recitals include London, Paris, and performances of John Cage’s 16 Sonatas and Interludes for Prepared Piano in Australia. The latter is a collaboration with the percussion artist Matthias SchackArnott, who is creating a kinetic installation in response to this piece. The project receives its world premiere performance at the Perth Festival.

Tiberghien’s most recent recording includes the Ravel Concertos with Les Siècles/Roth, which has attracted superlative critical acclaim, including the accolade of ‘Editor’s Choice’ in Gramophone Magazine. This CD was released by Harmonia Mundi, for whom Tiberghien is currently recording the complete Beethoven Variations.

As a dedicated chamber musician, Tiberghien’s regular partners include violinist Alina Ibragimova, violist Antoine Tamestit, and baritone Stéphane Degout.

TEXTS AND TRANSLATIONS

FRANZ SCHUBERT (1797-1828)

Der Wanderer, D489 (1816)

Text by Georg Lübeck

Ich komme vom Gebirge her, Es dampft das Tal, es braust das Meer. Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo?

Die Sonne dünkt mich hier so kalt, Die Blüte welk, das Leben alt, Und was sie reden, leerer Schall, Ich bin ein Fremdling überall.

Wo bist du, mein geliebtes Land? Gesucht, geahnt und nie gekannt! Das Land, das Land, so hoffnungsgrün, Das Land, wo meine Rosen blühn,

Wo meine Freunde wandeln gehn, Wo meine Toten auferstehn, Das Land, das meine Sprache spricht, O Land, wo bist du?

Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo?

Im Geisterhauch tönt’s mir zurück: „Dort, wo du nicht bist, dort ist das Glück!“

The Wanderer

Translation by Richard Wigmore

I come from the mountains; the valley steams, the ocean roars. I wander, silent and joyless, and my sighs for ever ask: Where?

Here the sun seems so cold, the blossom faded, life old, and men’s words mere hollow noise; I am a stranger everywhere.

Where are you, my beloved land? Sought, dreamt of, yet never known! The land so green with hope, the land where my roses bloom,

Where my friends walk, where my dead ones rise again, the land that speaks my tongue, O land, where are you?

I wander, silent and joyless, and my sighs for ever ask: Where? In a ghostly whisper the answer comes: ‘There, where you are not, is happiness!’

Schäfers Klagelied, D121a (1814)

Text by Johann Wolfgang von Goethe

Da droben auf jenem Berge, Da steh’ ich tausendmal, An meinem Stabe hingebogen, Und schaue hinab in das Tal.

Dann folg’ ich der weidenden Herde, Mein Hündchen bewahret mir sie. Ich bin herunter gekommen Und weiss doch selber nicht wie.

Da steht von schönen Blumen Da steht die ganze Wiese so voll. Ich breche sie, ohne zu wissen, Wem ich sie geben soll.

Und Regen, Sturm und Gewitter Verpass’ ich unter dem Baum, Die Türe dort bleibet verschlossen; Doch alles ist leider ein Traum.

Es stehet ein Regenbogen Wohl über jenem Haus! Sie aber ist fortgezogen, Und weit in das Land hinaus.

Hinaus in das Land und weiter, Vielleicht gar über die See. Vorüber, ihr Schafe, nur vorüber! Dem Schäfer ist gar so weh.

Shepherd’s Lament Translation by

Richard Wigmore

On yonder hill

I have stood a thousand times, leaning on my staff and looking down into the valley.

I have followed the grazing flocks, watched over by my dog, I have come down here and do not know how.

The whole meadow is so full of lovely flowers; I pluck them, without knowing to whom I shall give them.

From rain, storm and tempest I shelter under a tree. The door there remains locked; for, alas, it is all a dream.

There is a rainbow above that house! But she has moved away, to distant regions.

To distant regions and beyond, perhaps even over the sea. Move on, sheep, move on! Your shepherd is so wretched.

Der Einsame, D800 (1825)

Text by Karl Lappe

Wenn meine Grillen schwirren, Bei Nacht, am spät erwärmten Herd, Dann sitz’ ich mit vergnügtem Sinn Vertraulich zu der Flamme hin, So leicht, so unbeschwert.

Ein trautes, stilles Stündchen

Bleibt man noch gern am Feuer wach, Man schürt, wenn sich die Lohe senkt, Die Funken auf und sinnt und denkt: „Nun abermal ein Tag!“

Was Liebes oder Leides Sein Lauf für uns dahergebracht, Es geht noch einmal durch den Sinn; Allein das Böse wirft man hin, Es störe nicht die Nacht.

Zu einem frohen Träume, Bereitet man gemach sich zu, Wenn sorgenlos ein holdes Bild Mit sanfter Lust die Seele füllt, Ergibt man sich der Ruh.

Oh, wie ich mir gefalle In meiner stillen Ländlichkeit! Was in dem Schwarm der lauten Welt Dar irre Herz gefesselt hält, Gibt nicht Zufriedenheit.

Zirpt immer, liebe Heimchen, In meiner Klause eng und klein. Ich duld’ euch gern: ihr stört mich nicht, Wenn euer Lied das Schweigen bricht, Bin ich nicht ganz allein.

The Solitary Translation by

Richard Wigmore

When my crickets chirp at night, by the late-glowing hearth, I sit contentedly, confiding in the flame, so light-hearted and untroubled. For one cosy, peaceful hour it is pleasant to stay awake by the fire, kindling the sparks when the blaze dies down, musing and thinking, ‘Well, yet another day!’

What joy or grief its course has brought us we run once again through our mind. But the bad is discarded lest it disturb the night.

We gently prepare ourselves for pleasant dreams. When a sweet image fills our carefree soul with gentle pleasure we succumb to rest.

Oh, how happy I am with my quiet rustic life. What in the bustle of the noisy world keeps the heart fettered does not bring contentment.

Chirp on, dear crickets, in my narrow little room. I like to hear you: you don’t disturb me. When your song breaks the silence I am not completely alone.

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An den Mond, D193 (1815)

Text by Ludwig Christoph Heinrich Hölty

Geuss, lieber Mond, geuss deine Silberflimmer Durch dieses Buchengrün, Wo Phantasien und Traumgestalten Immer vor mir vorüberfliehn.

Enthülle dich, dass ich die Stätte finde, Wo oft mein Mädchen sass, Und oft, im Wehn des Buchbaums und der Linde, Der goldnen Stadt vergass.

Enthülle dich, dass ich des Strauchs mich freue, Der Kühlung ihr gerauscht, Und einen Kranz auf jeden Anger streue, Wo sie den Bach belauscht.

Dann, lieber Mond, dann nimm den Schleier wieder, Und traur um deinen Freund, Und weine durch den Wolkenflor hernieder, Wie dein Verlassner weint!

Sei mir gegrüsst, D741 (1821)

Text by Friedrich Rückert

O du Entriss’ne mir und meinem Küsse!

Sei mir gegrüsst!

Sei mir geküsst!

Erreichbar nur meinem Sehnsuchtsgrusse!

Sei mir gegrüsst!

Sei mir geküsst!

Du von der Hand der Liebe diesem Herzen

Gegeb’ne! du Von dieser Brust

Genomm’ne mir! mit diesem Tränengases

Sei mir gegrüsst!

Sei mir geküsst!

Zum Trotz der Ferne, die sich, feindlich trennend, Hat zwischen mich

Und dich gestellt; Dem Neid der Schicksalsmächte zum Verdrusse

Sei mir gegrüsst!

Sei mir geküsst!

Wie du mir je im schönsten Lenz der Liebe Mit Gruss und Kuss

Entgegen kamst, Mit meiner Seele glühendstem Ergüsse, Sei mir gegrüsst!

Sei mir geküsst!

Ein Hauch der Liebe tilget Räum’ und Zeiten, Ich bin bei dir, Du bist bei mir, Ich halte dich in dieses Arms Umschlusse, Sei mir gegrüsst!

Sei mir geküsst!

To the moon

Translation by Richard Wigmore

Beloved moon, shed your silver radiance through these green beeches, where fancies and dreamlike images forever flit before me.

Unveil yourself, that I may find the spot where my beloved sat, where often, in the swaying branches of the beech and lime, she forgot the gilded town.

Unveil yourself, that I may delight in the whispering bushes that cooled her, and lay a wreath on that meadow where she listened to the brook.

Then, beloved moon, take your veil once more, and mourn for your friend. Weep down through the hazy clouds, as the one you have forsaken weeps.

I greet you

Translation by Richard Wigmore

You who were torn from me and my kisses, I greet you! I kiss you!

You, whom only my yearning greeting can reach, I greet you! I kiss you!

You who were bestowed on this heart by the hand of love, you who were taken from my breast! With this flood of tears I greet you! I kiss you!

Defying the distance that, hostile and divisive, has come between you and me; frustrating the envious powers of fate, I greet you! I kiss you!

As in love’s fairest spring you once came to me with greetings and kisses, so with all the fervour of my soul I greet you!

I kiss you!

One breath of love dissolves time and space, and I am with you, you are with me; I hold you closely in my arms’ embrace, I greet you! I kiss you!

Nacht und Träume, D827 (1827)

Text

by

Matthäus von Collin

Heil’ge Nacht, du sinkest nieder; Nieder wallen auch die Träume, Wie dein Mondlicht durch die Räume, Durch der Menschen stille Brust. Die belauschen sie mit Lust; Rufen, wenn der Tag erwacht: Kehre wieder, heil’ge Nacht! Holde Träume, kehret wieder!

GABRIEL FAURÉ (1845-1924)

Mirages, op. 113 (1919)

Text by La Baronne Antoine de

Cygne sur l’eau

Brimont

Ma pensée est un cygne harmonieux et sage qui glisse lentement aux rivages d’ennui sur les ondes sans fond du rêve, du mirage, de l’echo, du brouillard, de l’ombre, de la nuit.

Il glisse, roi hautain fendant un libre espace, poursuit un reflet vain, précieux et changeant, et les roseaux nombreux s’inclinent quand il passe, sombre et muet, au seuil d'une lune d'argent;

et des blancs nenuphars chaque corolle ronde tour-à-tour a fleuri de désir et d’espoir... Mais plus avant toujours, sur la brume et sur l’onde, vers l’inconnu fuyant, glisse le cygne noir.

Or j’ai dit, « Renoncez, beau cygne chimérique, à ce voyage lent vers de troubles destins; nul miracle chinois, nul étrange Amérique ne vous accueilleront en des havres certains;

les golfes embaumés, les îles immortelles ont pour vous, cygne noir, des récifs périlleux; demeurez sur les lacs où se mirent, fidèles, ces nuages, ces fleurs, ces astres, et ces yeux. »

Night and dreams

Translation by Richard Wigmore

Holy night, you sink down; dreams, too, float down, like your moonlight through space, through the silent hearts of men. They listen with delight, crying out when day awakes: come back, holy night! Fair dreams, return!

Mirages

Translation by Christopher Goldsack

Swan on the water

My thought is a harmonious and wise swan which glides slowly to the shores of boredom upon the bottomless waters of dreams, mirages, of echos, fogs, shadows, of the night.

It glides, haughty king cleaving a free space, chases a vain, precious and changing reflection, and the plentiful reeds bow when it passes by, somber and silent, at the threshold of a silver moon;

and one by one each round corolla of the white water lilies has flowered with desire and hope... But always in front of all, upon the mist and upon the water, fleeing towards the unknown, glides the black swan.

And then I said, “Handsome illusory swan, renounce, this slow journey towards troubled destinies; no Chinese miracle, no strange America will welcome you in safe havens;

the fragrant gulfs, the immortal isles hold for you, black swan, perilous reefs; remain on the lakes in which, ever faithful, these clouds, these flowers, these stars, and these eyes are reflected.”

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Reflets dans l’eau Étendue au seuil du bassin, dans l’eau plus froide que le sein des vierges sages, j’ai reflété mon vague ennui, mes yeux profonds couleur de nuit et mon visage.

Et dans ce miroir incertain j’ai vu de merveilleux matins... J’ai vu des choses pâles comme des souvenirs sur l’eau que ne saurait ternir nul vent morose.

Alors au fond du Passé bleu, mon corps mince n’était qu’un peu d’ombre mouvante, sous les lauriers et les cyprès j’aimais la brise au souffle frais qui nous évente...

J’aimais vos caresses de sœur, vos nuances, votre douceur, aube opportune; et votre pas souple et rythmé, nymphes au rire parfumé, au teint de lune;

et le galop des aegypans, et la fontaine qui s’épand en larmes fades... Par les bois secrets et divins j’écoutais frissonner sans fin l’hamadryade.

O cher Passé mystérieux qui vous reflétez dans mes yeux comme un nuage, il me serait plaisant et doux, Passé, d’essayer avec vous le long voyage!...

Si je glisse, les eaux feront un rond fluide... un autre rond, un autre à peine... Et puis le miroir enchanté reprendra sa limpidité froide et sereine.

Reflections on the water Stretched along the threshold of the pool, in the water colder than the breast of untarnished virgins I reflected my vague boredom, my profound eyes, color of the night and my face.

And in this uncertain mirror I saw wondrous mornings... I saw pale things like memories on the water which could not tarnish any morose wind.

Then at the bottom of the blue past, my slim body was nothing but a bit of moving shadow, beneath the laurels and the cypresses I liked the breeze with the fresh breath which lays us open...

I liked your sisters’ caresses your inflections, your gentleness, opportune dawn; and your supple and rhythmical step, nymphs with perfumed smiles, with the color of the moon;

and the gallop of the aegypans, and the fountain which spreads in bland tears...

Through the secret and divine woods I listened to the hamadryade quivering endlessly.

O dear mysterious Past which you reflect in my eyes like a cloud, it would be pleasant and sweet, past, to attempt the long journey with you!...

If I glide, the waters will form a fluid sphere... another sphere, hardly another... And then the enchanted mirror will regain its cold and serene limpidity.

Jardin nocturne

Nocturne jardin tout empli de silence, voici que la lune ouverte se balance en des voiles d’or fluides et légers; elle semble proche et cependant lointaine... Son visage rit au cœur de la fontaine et l’ombre pâlit sous les noirs orangers.

Nul bruit, si ce n’est le faible bruit de l’onde fuyant goutte à goutte au bord des vasques rondes, ou le bleu frisson d’une brise d’été, furtive parmi des palmes invisibles... Je sais, ô jardin, vos caresses sensibles, et votre languide et chaude volupté!

Je sais votre paix délectable et morose, vos parfums d’iris, de jasmins et de roses, vos charmes troublés de désir et d’ennui... O jardin muet! L’eau des vasques s’égoutte avec un bruit faible et magique... J’écoute ce baiser qui chante aux lèvres de la Nuit.

Danseuse

Sœur des Sœurs tisseuses de voilettes, une ardente veille blémit tes joues... Danse! et que les rythmes aigus dénouent tes bandelettes. Vase svelte, fresque mouvante et souple, danse, danse, paumes vers nous tendues, pieds étroits fuyant, tels des ailes nues qu’Eros découple...

Sois la fleur multiple un peu balancée, sois l’écharpe offerte au désir qui change, sois la lampe chaste, la flamme étrange, sois la pensée!

Danse, danse au chant de ma flûte creuse, sœur des Sœurs divines. La moiteur glisse, baiser vain, le long de ta hanche lisse... Vaine danseuse !

Poème d’un jour, op. 21 (1878)

Text by Charles Grandmougin

Rencontre

J’étais triste et pensif quand je t’ai rencontrée, Je sens moins aujourd’hui mon obstiné tourment, Ô dis-moi, serais-tu la femme inespérée

Et le rêve idéal poursuivi vainement?

Ô passante aux doux yeux, serais-tu donc l’amie Qui rendrait le bonheur au poète isolé, Et vas-tu rayonner sur mon âme affermie

Comme le ciel natal sur un cœur d’exilé?

Ta tristesse sauvage, à la mienne pareille, Aime à voir le soleil décliner sur la mer! Devant l’immensité ton extase s’éveille

Et le charme des soirs à ta belle âme est cher.

Une mystérieuse et douce sympathie

Déjà m’enchaîne à toi comme un vivant lien, Et mon âme frémit, par l’amour envahie

Et mon cœur te chérit sans te connaître bien.

Nocturnal garden

Nocturnal garden full of silence, here now is the open moon balancing in fluid and light veils of gold; it seems close and yet distant... Its face laughs in the heart of the fountain and the shade grows pale under the black orange-trees.

No noise, other than the faint sound of the water flowing away drop by drop over the edge of the circular basins, where the blue flutter of a summer breeze, furtive amidst invisible palms...

I know, oh garden, your delicate caresses, and you languid and warm voluptuousness!

I know your delectable and morose peace, your perfumes of irises, of jasmines and of roses, your charms troubled by desires and boredom... Oh silent garden! The water of the basins drain with a weak and magical sound... I listen to this kiss which sings on the lips of the Night.

Dancing girl

Sister of the Sisters weavers of little veils, an ardent vigil soils your cheeks... Dance! And may the high pitched rhythms untie your bandelets. Slim vase, moving and supple fresco, dance, dance, palms stretched out towards us, narrow fleeing feet, like naked wings which Eros unharnesses...

Be the multiple flower a little slightly swaying, be the scarf offered to the changing desire, be the chaste lamp, the strange flame, be the thought!

Dance, dance to the song of my hollow flute, Sister of the divine Sisters. The dampness flows, vain kiss, along your smooth hip... Vain dancing girl!

Poem of a day

Translation by Richard

Meeting

Stokes

I was sad and pensive when I met you, Today I feel less my persistent pain; O tell me, could you be the long hoped-for woman, And the ideal dream pursued in vain?

O passer-by with gentle eyes, could you be the friend To restore the lonely poet’s happiness, And will you shine on my steadfast soul Like native sky on an exiled heart?

Your timid sadness, like my own, Loves to watch the sun set on the sea! Such boundless space awakes your rapture, And your fair soul prizes the evenings’ charm.

A mysterious and gentle sympathy

Already binds me to you like a living bond, And my soul quivers, overcome by love, And my heart, without knowing you well, adores you.

armoryonpark.org | @ParkAveArmory

Toujours

Vous me demandez de me taire, De fuir loin de vous pour jamais

Et de m’en aller, solitaire, Sans me rappeler qui j’aimais!

Demandez plutôt aux étoiles

De tomber dans l’immensité, À la nuit de perdre ses voiles, Au jour de perdre sa clarté!

Demandez à la mer immense

De dessécher ses vastes flots

Et quand les vents sont en démence, D’apaiser ses sombres sanglots!

Mais n’espérez pas que mon âme S’arrache à ses âpres douleurs

Et se dépouille de sa flamme

Comme le printemps de ses fleurs!

Adieu

Comme tout meurt vite, la rose déclose, Et les frais manteaux diaprés des prés; Les longs soupirs, les bien-aimées, fumées!

On voit dans ce monde léger changer Plus vite que les flots des grèves, nos rêves, Plus vite que le givre en fleurs, nos cœurs!

À vous l’on se croyait fidèle, cruelle, Mais hélas! les plus longs amours sont courts!

Et je dis en quittant vos charmes, sans larmes, Presqu’au moment de mon aveu, Adieu!

ALBAN BERG (1885-1935)

Vier Gesänge, op. 2 (1908-10)

Schlafen, Schlafen

Text by Christian Friedrich Hebbel

Schlafen, Schlafen, nichts als Schlafen!

Kein Erwachen, keinen Traum!

Jener Wehen, die mich trafen, Leisestes Erinnern kaum.

Daß ich, wenn des Lebens Fülle Niederklingt in meine Ruh', Nur noch tiefer mich verhülle, Fester zu die Augen tu'!

Schlafend trägt man mich

Text by Alfred Mombert, 1896

Schlafend trägt man mich in mein Heimatland. Ferne komm' ich her, über Gipfel, über Schlünde, über ein dunkles Meer in mein Heimatland.

Forever

You ask me to be silent, To flee far from you for ever And to go my way alone, Forgetting whom I loved!

Rather ask the stars

To fall into infinity, The night to lose its veils, The day to lose its light!

Ask the boundless sea

To drain its mighty waves, And the raging winds

To calm their dismal sobbing!

But do not expect my soul

To tear itself from bitter sorrow, Nor to shed its passion

As springtime sheds its flowers!

Farewell

How swiftly all things die, the rose in bloom, And the cool dappled mantle of the meadows; Long-drawn sighs, loved ones, all smoke!

In this fickle world we see our dreams

Change more swiftly than waves on the shore, Our hearts change more swiftly than frosted flowers!

To you I thought I would be faithful, cruel one, But alas! the longest loves are short!

And I say, taking leave of your charms, without tears, Almost at the moment of my avowal, Farewell!

Four songs

Sleep, sleep

Translation by Richard Stokes Sleep, sleep, nothing but sleep! No awakening, no dream! Of the pains I had to bear Scarce the faintest memory –So that when life's plenitude Echoes down to where I rest, I enshroud myself more deeply still, Press my eyes more tightly shut!

I am borne in sleep

Translation by Richard Stokes

I am borne in sleep to my homeland. I come from afar, over peaks, over gorges, over a dark sea to my homeland.

Nun ich der Riesen Stärken überwand

Text by Alfred Mombert

Nun ich der Riesen Stärksten überwand, mich aus dem dunkelsten Land heimfand

an einer weißen Märchenhand –Hallen schwer die Glocken. Und ich wanke durch die Gassen schlafbefangen.

Warm die Lüfte

Text by Alfred Mombert

Warm die Lüfte, es sprießt Gras auf sonnigen Wiesen. Horch! –

Horch, es flötet die Nachtigall... Ich will singen:

Droben hoch im düstern Bergforst, es schmilzt und glitzert kalter Schnee, ein Mädchen im grauen Kleide lehnt am feuchten Eichstamm, krank sind ihre zarten Wangen, die grauen Augen fiebern durch Düsterriesenstämme.

“Er kommt noch nicht. Er läßt mich warten”... Stirb!

Der Eine stirbt, daneben der Andere lebt: Das macht die Welt so tiefschön.

MAURICE RAVEL (1875-1937)

Deux mélodies hébraïques (1914)

Text by anonymous sources

Kaddisch

Yithgaddal weyithkaddash scheméh rabba be’olmâ Diverâ ’khire’ outhé veyamli’kh mal’khouté behayyé’khön, ouvezome’khôu ouve’hayyé de’khol beth yis-raël ba’agalâ ouvizman qariw weimrou: Amen.

Yithbara’kh Weyischtaba’h weyith paêr wey-ithromam weyithnassé weyithhaddar weyith’allé wey-ithhallal scheméh dequoudschâ beri’kh hou, l’êla ule’êla min kol bir’khatha weschiratha touschbehatha wene’hamathâ daamirân ah! Be’olma ah!

We ïmrou: Amen.

L’énigne éternelle

Frägt die Velt die alte Casche

Tra la tra la la la la

Ent fernt men

Tra la la...

Un as men will kennen sagen

Tra la la …

Frägt die Velt die alte Casche

Tra la la...

Now I’ve conquered the strongest of giants

Translation by Richard Stokes

Now I've conquered the strongest of giants, and from the darkest land have found my way home guided by a white faerie hand –The bells sound heavily. And I stagger through the streets, drunk with sleep.

Warm the breezes

Translation by Richard Stokes

Warm the breezes, grass grows on sunlit meadows. Listen! –Listen, the nightingale is singing... I shall sing:

High in the gloomy mountain forest, cold snow melts and glitters, a girl dressed in grey leans against the damp trunk of an oak, her tender cheeks are sick, her grey eyes stare feverishly through the gloom of giant trunks. “Still he does not come. He keeps me waiting”... Die!

One dies, while another lives: That makes the world so profoundly beautiful.

Two Hebraic melodies

Translation by Richard Stokes

Kaddish

May thy glory, O King of Kings, be exalted, O thou who art to renew the world and resurrect the dead. May thy reign, Adonaï, be proclaimed by us, the sons of Israel, today, tomorrow, for ever. Let us all say: Amen.

May thy radiant name be loved, cherished, praised, glorified. May it be blessed, sanctified, exalted, thy name which soars above the heavens, above our praises, above our hymns, above all our benisons. May merciful heaven grant us tranquillity, peace, happiness. Ah! Let us all say: Amen.

The eternal enigma

World, you question us:

Tra la tra la la la la

The answer comes:

Tra la la …

If you cannot be answered:

Tra la la …

World, you question us:

Tra la la …

armoryonpark.org | @ParkAveArmory

CLAUDE DEBUSSY (1862-1918)

Chansons de France, L115 (1904)

Rondel I

Text by Charles d’Orléans

Le temps a laissié son manteau

De vent, de froidure et de pluye, Et s’est vestu de broderye, De soleil raiant, cler et beau.

Il n’y a beste ne oiseau

Qui en son jargon ne chante ou crye: Le temps a laissié son manteau.

Rivière, fontaine et ruisseau

Portent, en livrée jolye, Goultes d’argent d’orfaverie. Chascun s’abille de nouveau, Le temps a laissié son manteau.

Rondel II

Text by Charles d’Orléans

Pour ce que Plaisance est morte Ce may, suis vestu de noir; C’est grand pitié de véoir Mon cœur qui s’en desconforte.

Je m’abille de la sorte

Que doy, pour faire devoir; Pour ce que Plaisance est morte, Ce may, suis vestu de noir.

Le temps ces nouvelles porte Qui ne veut déduit avoir; Mais par force du plouvoir Fait des champs clore la porte, Pour ce que Plaisance est morte.

Three songs of France

Rondel I

Translation by Richard Stokes

The season has shed its cloak

Of wind and cold and rain

And donned embroidered garments

Of radiant sunshine, clear and fair.

There is no beast nor bird

That in its own tongue does not sing or cry: The season has shed its cloak.

River, fountain and brook

Wear, as pretty livery, Drops of silver jewellery. Each thing clads itself anew, The season has shed its cloak.

Rondel II

Translation by Richard Stokes

Because Plaisance is dead

This May, I am attired in black; It is so pitiful to see My heart distressed.

I dress in the manner That is becoming; Because Plaisance is dead

This May, I am attired in black.

The elements proclaim the news And will brook no diversion; Instead, by means of rain, They make the meadows close their door, Because Plaisance is dead.

Le promenoir des deux amants (1904)

Text by François Tristan L’Hermite

Auprès de cette grotte sombre

Auprès de cette grotte sombre

Où l’on respire un air si doux, L’onde lutte avec les cailloux Et la lumière avecque l’ombre.

Ces flots, lassés de l’exercice Qu’ils ont fait dessus ce gravier, Se reposent dans ce vivier Où mourut autrefois Narcisse …

L’ombre de cette fleur vermeille

Et celle de ces joncs pendants Paraissent estre là-dedans Les songes de l’eau qui sommeille.

Crois mon conseil, chère Climène Crois mon conseil, chère Climène; Pour laisser arriver le soir, Je te prie, allons-nous asseoir Sur le bord de cette fontaine.

N’ouïs-tu pas soupirer Zéphire, De merveille et d’amour atteint, Voyant des roses sur ton teint, Qui ne sont pas de son empire?

Sa bouche d’odeur toute pleine

A soufflé sur notre chemin, Mêlant un esprit de jasmin

À l’ambre de ta douce haleine.

Je tremble en voyant ton visage

Je tremble en voyant ton visage

Flotter avecque mes désirs, Tant j’ai de peur que mes soupirs Ne lui fassent faire naufrage.

De crainte de cette aventure

Ne commets pas si librement À cet infidèle élément

Tous les trésors de la Nature.

Veux-tu, par un doux privilège, Me mettre au-dessus des humains? Fais-moi boire au creux de tes mains, Si l’eau n’en dissout point la neige.

The covered walkway of two lovers

Translation by Richard Stokes

Close to this dark grotto

Close to this dark grotto, Where the air is so soft, The water contends with pebbles, And light contends with shade.

These waves, tired of moving Across this gravel, Are reposing in this pond Where long ago Narcissus died …

The shadow of this crimson flower And of those bending reeds Seem in the depths to be The dreams of the sleeping water.

Trust my counsel, dear Climène

Trust my counsel, dear Climène, While waiting for evening to fall, I beg you, let us sit At this fountain’s edge.

Can you not hear Zephyrus sigh, Stricken with wonder and love At the sight of roses on your cheeks, Over which he has no power?

His mouth, so full of fragrance, Has breathed across our path, Mingling jasmine essence With the amber of your sweet breath.

I tremble when I see your face I tremble when I see your face Floating with my desires, So frightened am I that my sighs Might cause your face to drown.

For fear of this misfortune, Do not endow too freely That untrustworthy element With all of Nature’s treasures.

Will you, as a sweet privilege, Raise me above human kind? Let me drink from your cupped hands, If the water melt not their snow.

armoryonpark.org | @ParkAveArmory

ABOUT THE RECITAL SERIES

Park Avenue Armory presents more intimate performances and programs in its acclaimed Recital Series, which showcases musical talent from across the globe in an intimate salon setting. Now celebrating its tenth season, the series has held the debuts of many world-class artists, including: the North American recital debuts of pianist Igor Levit, soprano Sabine Devieilhe, tenor Ilker Arcayürek, baritones Benjamin Appl and Roderick Williams, clarinetist Andreas Ottensamer, and cellist István Várdai; the North American solo recital debuts of tenor Michael Spyres and mezzo soprano Emily D’Angelo; the US Recital debuts of sopranos Barbara Hannigan and Anna Lucia Richter and baritone Thomas Oliemans; and the New York debut of pianist Severin von Eckardstein and the Dudok Quartet Amsterdam.

The Recital Series has programmed the world premieres of Roger Reynolds’ FLiGHT performed by the JACK Quartet and Michael Hersch’s “…das Rückgrat berstend” performed by violinist Patricia Kopatchinskaja and cellist Jay Campbell. Actor Charlotte Rampling and cellist Sonia Wieder-Atherton gave the US premiere of The Night Dances on the series in 2015, which brought together Benjamin Britten’s suites for solo cello and poetry by Sylvia Plath; Wieder-Atherton returned to the Armory in 2017 for the North American premiere of Little Girl Blue, a program that reimagined the music of Nina Simone. New York premieres include: Anna Thorvaldsdottir’s In the Light of Air and Shades of Silence performed by the International Contemporary Ensemble; Dai Kujikura’s Minina, John Zorn’s Baudelaires, and a new arrangement of Messiaen’s Chants de terre et de ciel, also performed by ICE; Michael Gordon’s Rushes performed by the Rushes Ensemble; Michael Harrison’s Just Constellations performed by Roomful of Teeth; David Lang’s depart, Gabriel Jackson’s Our flags are wafting in hope and grief and Rigwreck, Kile Smith’s “Conversation in the Mountains” from Where Flames A Word, Louis Andriessen’s Ahania Weeping, Suzanne Giraud’s Johannisbaum, David Shapiro’s Sumptuous Planet, Benjamin CS Boyle’s Empire of Crystal, and Ted Hearne’s Animals (commissioned by Park Avenue Armory), all performed by The Crossing under conductor Donald Nally; and John Zorn’s Jumalatteret sung by soprano Barbara Hannigan with pianist Stephen Gosling.

Additional notable programs include performances by: baritone Christian Gerhaher with pianist Gerold Huber; the Flux Quartet;; tenor Ian Bostridge with pianist Wenwen Du; pianist David Fray; soprano Lisette Oropesa with pianist John Churchwell countertenor Andreas Scholl with harpsichordist Tamar Halperin; soprano Kate Royal with pianist Joseph Middleton; pipa player Wu Man and the Shanghai Quartet; tenor Lawrence Brownlee with pianists Myra Huang and Jason Moran; mezzo soprano Isabel Leonard with pianist Ted Sperling; soprano Nadine Sierra with pianist Brian Wagorn; soprano Rosa Feola with pianist Iain Burnside; cellist Nicolas Altstaedt; tenor Paul Appleby with pianist Conor Hanick; baritone Will Liverman with pianist Myra Huang; mezzo soprano Jamie Barton with pianist and composer Jake Heggie; new music ensemble Alarm Will Sound; French period choir and chamber orchestra Ensemble Correspondances under the direction of harpsichordist and organist Sébastien Daucé; baritone Justin Austin and pianist Howard Watkins; and soprano Ying Fang with pianist Ken Noda.

NEXT IN THE RECITAL SERIES

ALLAN CLAYTON & JAMES BAILLIEU

april 27 & april 29

North American Recital Debut

Tenor Allan Clayton is established as one of the most exciting and sought-after singers of his generation with celebrated performances from Baroque to contemporary at opera houses around the world, including the title role in the US premiere of Hamlet at the Metropolitan Opera in spring of 2022. He makes his North American recital debut with a program of lieder as well as art and folk songs that showcase his dynamic vocal range, abundant musicality, and magnetic stage presence.

PAVEL KOLESNIKOV, PIANO

may 22 & may 24

Hailed as “a poet of the piano” (Bachtrack), Pavel Kolesnikov is celebrated for his imaginative, thoughtprovoking programming which offers the listener a fresh, often unexpected perspective on familiar pieces. He opens his residency with one of the most challenging works for a pianist—J.S. Bach’s the Goldberg Variations—and then looks upward with a program of works by Scarlatti, Chopin, Scriabin, Messiaen, and others theatrically curated in an homage to artist Joseph Cornell’s orrery Celestial Navigation.

NEXT AT THE ARMORY

THE DOCTOR

june 3 – august 19

North American Premiere

Visionary director and playwright Robert Icke returns to the Armory with the North American premiere of this gripping moral thriller following lauded runs at London’s Almeida Theatre and West End. This striking reimagining of the 1912 play Professor Bernhardi by Arthur Schnitzler utilizes the lens of medical ethics to examine urgent questions of faith, identity, race, gender, privilege, and scientific rationality. Olivier Awardwinner Juliet Stevenson stars as the doctor at the center of the drama where nothing is quite what–or who–it seems. This galvanizing piece of theater serves as a stark health warning for an increasingly divided nation, where clashing views about the way we see ourselves and the world we live in today only magnify the complexities of life.

ARTISTS STUDIO

DOUBLE BILL: THURMAN BARKER / ADEGOKE STEVE COLSON AND IQUA COLSON

april 22

A versatile drummer and percussionist, Thurman Barker has performed with countless singers and artists from the worlds of classical, pop, jazz, and those that defy categorization. He performs excerpts from his orchestral scores South Side Suite, Pandemic Fever, and Mr. Speed-str on a special double bill with Adegoke Steve Colson and Iqua Colson and collaborators Chico Freeman and Douglas R. Ewart. The Colsons’ work focuses on many facets of the human experience, illuminating social issues while taking listeners inside the aesthetics of art.

DOPPELGANGER

september 22 – 28

World Premiere, A Park Avenue Armory Commission

Franz Schubert’s Schwanengesang (Swan Song) traverses a myriad of emotions, from despair and delusion to ecstasy and love, to form a series of masterful snapshots of all that life can offer. These emotive works are given a thrilling new life in the world premiere of a theatrical staging by Claus Guth. Performed by tenor Jonas Kaufmann with pianist Helmut Deutsch, the heart-melting collection of songs is amplified by additional Schubert repertory, an evocative soundscape, and transformative light and video projections to create a production that is part performance and part installation art. Named for the last song “Der Doppelganger,” in which a soldier comes to terms with death, this Armory commission explores the hunger for life and the idea that death is not a sudden moment but a last journey.

MAKING SPACE AT THE ARMORY

HAPO NA ZAMANI (BLACK ARTS MOVEMENT

PAST AND PRESENT)

may 20

The Black Arts Movement was a cultural movement in the 1960s and 1970s led by Black artists, activists, and intellectuals that shaped the ideologies of Black identity, political beliefs, and African American culture. Past and present meet to reflect, examine, and point to the full experience and culture of the Black Arts Movement in a celebratory concert hosted by Carl Hancock Rux with musical direction by Vernon Reid Co-presented with Harlem Stage as part of their Black Arts Movement: Then and Now Conference.

armoryonpark.org | @ParkAveArmory

ABOUT PARK AVENUE ARMORY

Part palace, part industrial shed, Park Avenue Armory supports unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall—reminiscent of 19th-century European train stations—and an array of exuberant period rooms, the Armory provides a platform for artists to push the boundaries of their practice, collaborate across disciplines, and create new work in dialogue with the historic building. Across its grand and intimate spaces, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York.

The Armory both commissions and presents performances and installations in the grand Drill Hall and offers more intimate programming through its acclaimed Recital Series, which showcases musical talent from across the globe within the salon setting of the Board of Officers Room; its Artists Studio series curated by Jason Moran in the restored Veterans Room; Making Space at the Armory, a public programming series that brings together a discipline-spanning group of artists and cultural thought-leaders around the important issues of our time; and the Malkin Lecture Series that features presentations by scholars and writers on topics related to Park Avenue Armory and its history. In addition, the Armory also has a year-round Artists-in-Residence program, providing space and support for artists to create new work and expand their practices.

The Armory’s creativity-based arts education programs provide access to the arts to thousands of students from underserved New York City public schools, engaging them with the institution’s artistic programming and outside-the-box creative processes. Through its education initiatives, the Armory provides access to all Drill Hall performances, workshops taught by Master Teaching Artists, and in-depth residencies that support the schools’ curriculum. Youth Corps, the Armory’s year-round paid internship program, begins in high school and continues into the critical post-high school years, providing interns with mentored employment, job training, and skill development, as well as a network of peers and mentors to support their individual college and career goals.

The Armory is undergoing a multi-phase renovation and restoration of its historic building led by architects Herzog & de Meuron, with Platt Byard Dovell White as Executive Architects.

PARK AVENUE ARMORY BOARD OF DIRECTORS

Chairman Emeritus

Elihu Rose, PhD

Co-Chairs

Adam R. Flatto

Amanda J.T. Riegel

President

Rebecca Robertson

Vice Presidents

David Fox

Pablo Legorreta

Emanuel Stern

Treasurer

Emanuel Stern

Marina Abramović

Sir David Adjaye OBE

Abigail Baratta

Joyce F. Brown

Cora Cahan

Hélène Comfort

Paul Cronson

Jonathan L. Davis

Tina R. Davis

Jessie Ding

Sanford B. Ehrenkranz

Roberta Garza

Andrew Gundlach

Samhita Jayanti

Branden Jacobs-Jenkins

Edward G. Klein, Brigadier General NYNG (Ret.)

Ralph Lemon

Jason Moran

Janet C. Ross

Joan Steinberg

Peter Zhou

Founding Chairman, 2000–2009

Wade F.B. Thompson

Pierre Audi, Marina Kellen

French Artistic Director

Directors Emeriti

Harrison M. Bains, Jr.

Angela E. Thompson

PARK AVENUE ARMORY STAFF

Rebecca Robertson Adam R. Flatto Founding President and Executive Producer

Pierre Audi Marina Kellen French Artistic Director

ARTISTIC PLANNING & PROGRAMMING

Michael Lonergan Chief Artistic Producer

Kevin Condardo General Manager, Programming

Rachel Rosado Producer

Samantha Cortez Producer

Darian Suggs Associate Director, Public Programming

Kanako Morita Associate Producer/Company Manager

Oscar Peña Programming Coordinator

ARTISTIC PRODUCTION

Paul King Director of Production

Claire Marberg Deputy Director of Production

Nicholas Lazzaro Technical Director

Lars Nelson Technical Director

Aidan Nelson Technical Director

Rachel Baumann Production Coordinator

ARTS EDUCATION

Cassidy L. Jones Chief Education Officer

Monica Weigel McCarthy Director of Education

Aarti Ogirala Associate Director of Education, School Programs

Nadia Parfait School Programs Coordinator

Ciara Ward Youth Corps Manager

Bev Vega Youth Corps Manager

Drew Petersen Education Special Projects Manager

Kate Bell, Emily Bruner, Donna Costello, Alexander Davis, Asma Feyijinmi, Hawley Hussey, Larry Jackson, Hector Morales, Peter Musante, Drew Petersen, Leigh Poulos, Neil Tyrone Pritchard, Vickie Tanner Teaching Artists

Wilson Castro, Shar Galarza, Daniel Gomez, Nancy K. Gomez, Maxim Ibadov, Stephanie Mesquita, Paola Ocampo, Amo Ortiz Teaching Associates

Arabia Elliot Currence, Victoria Fernandez, Sebastian Harris, Melissa Velasquez Teaching Apprentices

Kenny Amesquita, Darling Batista, Eden Battice, Victoria Braga

Dos Santos Casey, Britney Carryl, Issbel Collado, Aya Elfatihi, Laisha Estevez, Deborah Figueroa, Annalisa Fortune, Safinaz Ishrar, Alan Munoz, Denivia Rivera, Naomi Santos Youth Corps

BUILDING & MANAGEMENT OPERATIONS

Jenni Kim Chief Operating Officer

Ashlee Willaman Director of Human Resources

Marc Von Braunsberg Director of Operations and Security

Paul Sutter Director of Facilities and Capital Projects

Chris Sperry Facilities Manager

Williams Say Superintendent

Leandro Dasso, Mayra DeLeon, Mario Esquilin, Jeferson Avila, Olga Cruz, Kariema Levy, Cristina Moreira, Tyrell Shannon Castillo Maintenance Staff

Jason Moran Curator, Artists Studio

Tavia Nyong’o Curator, Public Programming

Oku Okoko Director of IT

Ethan Cohen IT Administrator

Bobby Wolf Senior House Manager

Alejandra Ortiz House Manager

Jacqueline Babek, Emma Buford, Sarah Gallick, Daniel Gomez, Eboni Green, Nariah Green, Maxim Ibadov, Sandra Kitt, Christine Lemme, Beth Miller, Drew O’Bryan, Jon Ovadia, Regina Pearsall, Ava Probst, Shimel Purnell, Eileen Rourke, Michael Simon, Kin Tam, Kathleen White Ushers

CAPITAL PROJECTS & ARCHIVES

Kirsten Moffett Director of Capital Planning, Preservation, and Institutional Relations

David Burnhauser Collection Manager

DEVELOPMENT

Melanie Forman Chief Development Officer

Charmaine Portis Executive Assistant to the Chief Development Officer

Sarah Rodriguez Director of Development

Rachel Risso-Gill Senior Director of Individual Giving

Jennifer Ramon Associate Director of Individual Giving

Chiara Bosco Individual Giving Coordinator

Angel Genares Manager of Institutional Giving

Kelly Carr Associate Director of Special Events

Rose Cole-Cohen Special Events Manager

Michael Buffer Database Manager

EXECUTIVE OFFICE

Lori Nelson Executive Assistant to the President

Nathalie Etienne Administrative Assistant, President’s Office

Simone Elhart Rentals and Project Manager

FINANCE

Jim McGlynn Chief Financial Officer

Christy Kidd Controller

Khemraj Dat Accounting Manager

Zeinebou Dia Junior Accountant

MARKETING, COMMUNICATIONS & BOX OFFICE

Tom Trayer Chief Marketing Officer

Nick Yarbrough Senior Digital Marketing Manager

Allison Abbott Press and Editorial Manager

Joe Petrowski Director of Ticketing and Customer Relations

Monica Diaz Box Office Manager

Ashley Brooks, John Hooper Box Office Leads

Victor Daniel Ayala, Meghan Lara Hrinkevich, Sarah Jack, John Henry Malone, Mary McDonnell, Michelle Meged, Elisabeth Oliveri, Christine Wilson Box Office Associates Resnicow + Associates, Inc. Press Representatives

PRODUCTION ACKNOWLEDGMENTS

Sarah Billinghurst Solomon Artistic Consultant for Vocal Recitals

Steinway & Sons

Myriam Gamichon, IMG Artists

Megan Pan, Colbert Artists Management

JOIN THE ARMORY

Support Park Avenue Armory as a member and join us in our mission to enable diverse artists to create, students to experience, and audiences to consume epic and adventurous presentations that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery.

FRIEND $100

$64 is tax deductible

» Members-only pre-sale or preferred access for performance tickets

» Free admission for you and a guest to visual art installations

» Invitations to visual art VIP preview parties, plus admission to installations for two

» Discounts on Armory Historic Interiors Tours***

» Discounts at local partnered restaurants

» 20% discount on member subscription packages*

SUPPORTER $250

$194 is tax deductible

All benefits of the Friend membership plus:

» Fees waived on ticket exchanges*

» Two free tickets to Armory Historic Interiors Tours***

» Discount on tickets to the Malkin Lecture Series, Artist Talks, and Public Programming*

ASSOCIATE $500

$348 is tax deductible

All benefits of the Supporter membership plus:

» Access to concierge ticket service

» Free admission for two additional guests (a party of four) to visual art installations

» Two free art fair passes**

BENEFACTOR $1,000

$824 is tax deductible

All benefits of the Associate membership plus:

» Recognition in the Armory printed programs

» No wait, no line ticket pick up at the patron desk

» Handling fees waived on ticket purchases*

» Invitation for you and a guest to a private Chairman’s Circle event

» Two complimentary tickets to the popular Malkin Lecture Series*

CHAIRMAN’S CIRCLE STARTING AT $2,500

Chairman’s Circle members provide vital support for the Armory’s immersive arts and education programming and the restoration of our landmark building. In grateful appreciation of their support, they are provided unique and exclusive opportunities to experience the Armory and interact with our world-class artists.

AVANT-GARDE STARTING AT $350

The Avant-Garde is a group for individuals from their 20s to 40s. An Avant-Garde membership offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission.

For information on ticketing, or to purchase tickets, please contact the Box Office at (212) 933-5812 or visit us at armoryonpark.org.

For more information about membership, please contact the Membership Office at (212) 616-3958 or members@armoryonpark.org.

Each membership applies to one household, and one membership card is mailed upon membership activation.

*Subject to ticket availability **Certain restrictions apply ***Reservations required

PARK AVENUE ARMORY ARTISTIC COUNCIL

Co-Chairs

Noreen Buckfire

Lisa Miller

Anonymous (2)

Anne-Victoire Auriault/Goldman Sachs

Gives

Abigail and Joseph Baratta

Noreen and Ken Buckfire

Helene and Stuyvesant Comfort

Caroline and Paul Cronson

Jessie Ding and Ning Jin

Lisa and Sanford B. Ehrenkranz

The Lehoczky Escobar Family

Adam R. Flatto

Roberta Garza

LEGACY CIRCLE

Lorraine Gallard and Richard H. Levy

Barbara and Peter Georgescu

Kim and Jeff Greenberg

Barbara and Andrew Gundlach

Anita K. Hersh

Samhita and Ignacio Jayanti

Wendy Keys

Kameron Kordestani

Fernand Lamesch

Almudena and Pablo Legorreta

Christina and Alan MacDonald

Lily O’Boyle

Valerie Pels

Amanda J.T. and Richard E. Riegel

Susan and Elihu Rose

Janet C. Ross

Caryn Schacht and David Fox

Brian S. Snyder

Joan and Michael Steinberg

John and Lisa Miller

Emanuel Stern

Jon Stryker and Slobodan Randjelović

Merryl and James Tisch

Saundra Whitney

Peter Zhou and Lisa Lee

The Armory’s Legacy Circle is a group of individuals who support Park Avenue Armory through a vitally important source of future funding, a planned gift. These gifts will help support the Armory’s outside-the-box artistic programming, Arts Education Programs, and historic preservation into the future.

Founding Members

Angela and Wade F.B. Thompson

Co-Chairs

Lisa and Sanford B. Ehrenkranz

Marjorie and Gurnee Hart

PATRONS

The Estate of Ginette Becker

Wendy Belzberg and Strauss Zelnick

Emme and Jonathan Deland

Lisa and Sanford B. Ehrenkranz

Adam R. Flatto

Roberta Garza

Marjorie and Gurnee Hart

Ken Kuchin

Heidi McWilliams

Michelle Perr

Amanda Thompson Riegel

Rebecca Robertson and Byron Knief

Susan and Elihu Rose

Francesca Schwartz

Joan and Michael Steinberg

Angela and Wade F.B. Thompson

Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns.

$1,000,000 +

Charina Endowment Fund

Citi

Empire State Local Development Corporation

Adam R. Flatto

Marina Kellen French

Barbara and Andrew Gundlach

Anna-Maria and Stephen Kellen Foundation, Inc.

Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc.

Richard and Ronay Menschel

New York City Council and Council Member

Daniel R. Garodnick

New York City Department of Cultural Affairs

New York State Assemblymember Dan Quart and the New York State Assembly

The Pershing Square Foundation

Susan and Elihu Rose

The Arthur Ross Foundation and J & AR Foundation

Joan Smilow and Joel Smilow*

The Thompson Family Foundation

Wade F.B. Thompson*

The Zelnick/Belzberg Charitable Trust

Anonymous

armoryonpark.org | @ParkAveArmory

$500,000 to $999,999

Bloomberg Philanthropies

Lisa and Sanford B. Ehrenkranz

Ken Kuchin and Tyler Morgan

Almudena and Pablo Legorreta

The Andrew W. Mellon Foundation

Adam R. Rose and Peter R. McQuillan

Donna and Marvin Schwartz

Emanuel Stern

Anonymous

$250,000 to $499,999

American Express

Abigail and Joseph Baratta

Michael Field

The Pierre and Tana Matisse Foundation

The Rockefeller Foundation

Marshall Rose Family Foundation

$100,000 to $249,999

The Achelis and Bodman Foundations

R. Mark and Wendy Adams

Linda and Earle Altman

Booth Ferris Foundation

Hélène and Stuyvesant Comfort

Jessie Ding and Ning Jin

Roberta Garza

Howard Gilman Foundation

Marjorie and Gurnee Hart

Samhita and Ignacio Jayanti

Kirkland & Ellis LLP

Leonard & Judy Lauder Fund

Meta Open Arts

Mr. and Mrs. Lester Morse

New York State Assembly

New York State Council on the Arts

Stavros Niarchos Foundation

Donald Pels Charitable Trust

Slobodan Randjelović and Jon Stryker

Daniel and Joanna S. Rose

Mrs. Janet C. Ross

Caryn Schacht and David Fox

Stacy Schiff and Marc de La Bruyère

Harold and Mimi Steinberg

Charitable Trust

Joan and Michael Steinberg

M K Reichert Sternlicht Foundation

Mr. William C. Tomson

Peter Zhou and Lisa Lee

$25,000 to $99,999

Arthur R. and Alice E. Adams

Charitable Foundation

The Avenue Association

Christine and Turner Batty

Sonja and Martin J. Brand

The Cowles Charitable Trust

Caroline and Paul Cronson

Emme and Jonathan Deland

Andrew L. Farkas & Island Capital Group LLC

Lorraine Gallard and Richard H. Levy

Elizabeth Morse Genius Foundation

Barbara and Peter Georgescu

Horace W. Goldsmith Foundation

Kim and Jeff Greenberg

Agnes Gund

Janet Halvorson

Anita K. Hersh

Kaplen Brothers Fund

Kameron Kordestani

The Emily Davie and Joseph S. Kornfeld Foundation

Jill and Peter Kraus

The Marie-Josée and Henry R. Kravis Foundation

The Lehoczky Escobar Family

George S. Loening

Christina and Alan MacDonald

Christine and Richard Mack

Marc Haas Foundation

The Reed Foundation

Rhodebeck Charitable Trust

Genie and Donald Rice

Amanda J.T. and Richard E. Riegel

Rebecca Robertson and Byron Knief

The Fan Fox & Leslie R. Samuels Foundation

The Shubert Foundation

Sydney and Stanley S. Shuman

Amy and Jeffrey Silverman

Sanford L. Smith TEFAF NY

Merryl and James Tisch

Tishman Speyer

Jane Toll and Robert Toll*

Deborah C. van Eck

Wescustogo Foundation

Anonymous (5)

$10,000 to $24,999

AECOM Tishman

Jody and John Arnhold

Anne-Victoire Auriault/Goldman Sachs Gives

Milton and Sally Avery Arts Foundation

Harrison and Leslie Bains

Mortimer Berkowitz III

Debra and Leon Black

Noreen and Ken Buckfire

Marian and Russell Burke

Tim Cameron Coach

Ania Coffey

Con Edison

Jonathan L. Davis

DHR Global

William F. Draper

James Fingeroth

Jill and Michael J. Franco

Teri Friedman and Babak

Yaghmaie

Martin and Lauren Geller

The Georgetown Company

Kiendl and John Gordon

Ralph and Cornelia Heins

Herzog & de Meuron

Lawrence and Sharon Hite

Jack Shainman Gallery

Kekst

Suzie and Bruce Kovner

Sheila and Bill Lambert

Fernand Lamesch

Julia Ledda and Hassan Taher

Leon Levy Foundation

James Marlas and Marie NugentHead Marlas

Danny and Audrey Meyer

John and Lisa Miller

Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation

Nardello & Co.

National Endowment for the Arts

Jesse and Stéphanie Newhouse

Elyse and Michael Newhouse

Lily O’Boyle

Joan and Joel I. Picket

Anne and Skip Pratt

The Prospect Hill Foundation

Katharine Rayner

Richenthal Foundation

Esther Rosenberg

Fiona and Eric Rudin

May and Samuel Rudin Family Foundation, Inc.

Mrs. William H. Sandholm

Philip Schmerbeck/Herzog & de Meuron USA

Cynthia and Tom Sculco

Brian S. Snyder

Howard & Sarah D. Solomon Foundation

Jean and Gene Stark

Michael and Veronica Stubbs

Allen and Meghan Thorpe

Barbara D. Tober

Susan Unterberg

Saundra Whitney

Isak and Rose Weinman Foundation, Inc.

Gregory Annenberg Weingarten, GRoW @ Annenberg

Michael Weinstein

Maria Wirth

Samiah Zafar and Minhaj Patel

Anonymous (4)

$5,000 to $9,999

Amy and David Abrams

Judy Hart Angelo

Fabrizio and Enrica Arengi Bentivoglio

Arthur J. Gallagher & Co.

Louis and Gabrielle Bacon

Candace and Rick Beinecke

Franklin and Marsha Berger

Sara and Mark Bloom

Emma Bloomberg

The Emma and Georgina Bloomberg Foundation

Nicholas Brawer

Catherine and Robert Brawer

Mary and Brad Burnham

Michael Clifford and Robert Levy

Ben Cohen

Betsy Cohn

Consulate General Of The Kingdom Of The Netherlands

Sissel Cooper and Peter Bos

Joyce B. Cowin

Irene Danilovich

David Schwartz Foundation, Inc.

Jennie L. and Richard K. DeScherer

Krystyna Doerfler

Jeanne Donovan Fisher

Peggy and Millard Drexler Family Foundation

Douglas and Susanne Durst

J. Christopher and Violet Eagan

Martin and Rebecca Eisenberg Foundation

Carla Emil and Rich Silverstein

Caryl S. Englander

Leland and Jane Englebardt

Dr. Nancy Eppler-Wolff and Mr. John Wolff

The Felicia Fund

Andrew and Theresa Fenster

Diane Fogg

Bart Friedman and Wendy A. Stein

Heather & Andrew Georges

Elizabeth and David GranvilleSmith

Dedrea and Paul Gray

Great Performances

Cecilia Greene and Paul Verbinnen

Guenther Greiner

Allen and Deborah Grubman

George and Patty Grunebaum

Molly Butler Hart and Michael D. Griffin

Tania Higgins

Steve Jensen and Mark Grace

Claire King

The David L. Klein, Jr. Foundation

Jo Carole and Ronald S. Lauder

Kate Lauprete

Chad A. Leat

Denise Lefrak

Gail and Alan Levenstein

Jane Lombard

Shelly and Tony Malkin

Charles and Georgette Mallory

Kim Manocherian

Marian Goodman Gallery

Andrea Markezin Press and Joel Press

Arthur J. Gallagher & Co

Mr. and Mrs. Matthew McLennan

Joyce F. Menschel

Helen Nash

Zubatkin Owner Representation, LLC

(3) $2,500 to $4,999 Katie Adams Schaeffer

Allen

Laurel

Sylvia Golden and Warren Friedman

Robert and Trudy Gottesman

Robert S. Gregory

Phillip Gulley

Ian and Lea Highet

Andrea Hirsch

Barbara Hoffman

Johanna Hudgens and Matthew Wilson

Phyllis Hyde

Kamila Islam

Shujaat Islam and Fay Sardjono

Tianyue Jiang

Jim and Leslie Johnson

Jeanne Kanders

Jennie A. Kassanoff and Daniel H. Schulman

Adrienne Katz

Lee Kern

Timothy and Jessica Kisling

Meghan Klopp

Tamika Rose

Marjorie P. Rosenthal

Deborah and Chuck Royce

Susan Rudin

John and Shelby Saer

Jane Fearer Safer

Susan and Charles Sawyers

Benjamin Schor & Isabel Wilkinson Schor

Nicholas and Shelley Schorsch

Stefan and Heidi Selig

Uma Seshamani and Jason van Itallie

Stephanie and Fred Shuman

Douglas Sills

Denise Simon and Paulo Vieira da Cunha

Laura Skoler

Shelley Sonenberg

Daisy M. Soros

Stephen and Constance Spahn

Robert & Amy Stavis

Allison

Melanie

Douglas and Judith Krupp

Lizbeth & George Krupp

Theodore and Adeline Kurz

Jerome and Sara Lande

Heidi and Christian Lange

Lazarus Charitable Trust

Les Yeux Art Foundation Inc.

Phyllis Levin

Susan Stockel

Stella Strazdas and Henry Forrest

Leila Maw Straus

Geri Thomas

Thomas and Diane Tuft

Union Square Events

United States Tennis Association

Mrs. William J. vanden Heuvel

Annabel Buckfire

Amanda M. Burden

Steven and Betsy Bush

Arthur and Linda Carter Sommer Chatwin

Joel and Ulrika Citron

Orla Coleman and Rikki Tahta

Margaret Conklin

Connelly McLaughlin & Woloz

Colin Cowie and Danny Peuscovich

Austen and Ernesto Cruz

Ellie and Edgar Cullman

Joshua Dachs/Fisher Dachs Associates

Joan K. Davidson (The J.M. Kaplan Fund)

Christopher Duda

Susan Dunn and Rob Cunjak

Karen Eckhoff

Anne and Joel Ehrenkranz

Deborah and Ronald Eisenberg Foundation

Leslie Falk

Jared Feldman/Anchin Private Client

Laura Jane Finn

Ella M. Foshay and Michael B. Rothfeld

Gwen and Austin Fragomen

Amandine Freidheim

Eleanor Friedman and Jonathan J. Cohen

Julie Geden

Emanuel E. Geduld

Alexandra Giniger

Rosalind and Eugene Glaser

Gina Giumarra MacArthur

Judith and Michael Margulies

Joanie Martinez-Rudkovsky

Bonnie Maslin

Nina B. Matis

Peter and Leni May

Claudia and Eduardo Mazzi

Peter D. McCann, MD

Ryan McNaughton and Anastasia

Antoniev

Dennis McNeill and Robin Burns McNeill

Constance and H. Roemer McPhee

Saleem and Jane Muqaddam

Leslie and Curt Myers

Nancy Newcomb and John Hargraves

Susan and Peter* Nitze

Stephen Novick

Susan Numeroff

Kathleen O'Grady

Peter and Beverly Orthwein

Robert Ouimette and Lee Hirsch

Claudia and Gunnar Overstrom

Robin and Carlos Palomares

The Pass Family

Sanjay and Leslie Patel

Louis and Barbara Perlmutter

Richard and Rose Petrocelli

Pistachio Culinary Studio & Experiences

Natalya and Nicolas Poniatowski

Phyllis Posnick and Paul Cohen

Jennifer Reardon

Laura and Gerald Rosberg

Deborah Rose

Mary Wallach

Robert Warshaw and Debbie Schmidt

Jacqueline Weld Drake

Amy Yenkin and Robert Usdan

Freya Zaheer and Whit Bernard

Anonymous (8)

$1,000 to $2,499

Diane and Arthur Abbey

Marina Abramović

Ellen Abrams

Travis Acquavella

Gina Addeo

Benigno Aguilar and Gerald Erickson

Eric Altmann

Ksenia Anisimova

Catherine S.G. Atterbury

Joe Baio & Anne Griffin

Barbara and Jude Barbera

Laurie Beckleman

Stefan Beckman

Reid Berman

Richard Berndt and MarieCamille Havard

Elaine S. Bernstein

Bluestem Prairie Foundation

Boehm Family Foundation

Maegan Boger

Jill and Sheldon Bonovitz

Polly Shih Brandmeyer

Daniel and Estrellita Brodsky

Spencer Brownstone

Hugh Burns and Molly Duffy

Dan Peck

Stefani Phipps

John and Marie Noelle Pierce

Maya Polsky and Nicolas Bridon

Brette Popper and Paul Spraos

Charmaine N. Portis

Anne and Josh Prentice

Robert A Press MD

Prime Parking Systems

Rajika and Anupam Puri

David and Leslie Puth

Stephanie Reif

Jill Reiter and Eric Riha

John and Elizabeth Robershaw

Shinuna and Jérémie Robert

Anthony and Susan Roberts

Alexandra Robertson

David and Susan Rockefeller

Marisa Rose and Robin van Bokhorst

Cye Ellis Ross

Meg Roth

Whitney Rouse

Merle Rubine and Elliot M. Glass

Valerie Rubsamen and Cedomir Crnkovic

Susan Rudin

Patty Sachs

Will W. Sachse and Carolyn M.

Hazard

Alexander and Sarah Saint-Amand

Kana Sakurai

Ximena and Tom Sandell

Andres and Lauren Santo

Domingo

Richard and Ann Sarnoff

Herbert A Satzman

Paul H. Scarbrough, Akustiks, LLC.

Michael and Dafna Schmerin

Pat Schoenfeld

Marshall Sebring and Pepper Binkley

Joel and Nan Shapiro

Amy and Sheetal Sharma

Adrianne and William Silver

Esther Simon Charitable Trust

Salwa J. Aboud Smith and Robert P. Smith

James Spindler

Zsofia Stadler

Justin and Shirley Steinberg

Colleen Stenzler

Michael G Stewart

Mr. and Mrs. Charles Stonehill

Noreene Storrie and Wesley G. McCain

Bonnie and Tom Strauss

Studio Institute

Channa Taub

A. Alfred Taubman Foundation

Jennifer Tipton

Conor and Katherine Tochilin

Jean Troubh

Zachary Kress Turner

Saul Unter

Debra Valentine

Alyssa Varadhan

Kay and Sandy Walker

Amber Ward and Nariman Hamed

Sharon Wee

Captain Mati Weiderpass and Nikolas Chen

Lauren and Andrew Weisenfeld

Andrew and Sarah Wetenhall

Shelby White

Sandra Wijnberg and Hugh Freund

Elizabeth Wolfe

Anonymous (11)

List as of January 10, 2023

* Deceased

ABOUT THE BOARD OF OFFICERS ROOM

The Board of Officers Room is one of the most important historic rooms in America and one of the few remaining interiors by Herter Brothers. After decades of progressive damage and neglect, the room completed a revitalization in 2013 by the architecture team at Herzog & de Meuron and executive architects Platt Byard Dovell White Architects to transform the space into a state-of-the-art salon for intimate performances and other contemporary art programming.

The Board of Officers Room is the third period room at the Armory completed (out of 18) and represents the full range of design tools utilized by the team including the removal of accumulated layers on the surfaces, the addition of contemporary lighting to the 1897 chandeliers, new interpretations of the stencil patterns on areas of loss, the addition of metallic finishes on new materials, new programming infrastructure, and custom-designed furniture.

The room’s restoration is part of an ongoing $215-million transformation, which is guided by the understanding that the Armory’s rich history and the patina of time are essential to its character. A defining component of the design process for the period rooms is the close collaboration between architect and artisan. Highly skilled craftspeople working in wood, paint, plaster, and metals were employed in the creation of the building’s original interiors and the expertise and hand of similar artisans has been drawn upon for the renovation work throughout.

armoryonpark.org | @ParkAveArmory

“The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.”

—The New York Times

The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation.