Recital Series: Lindemann Young Artist Concert 2020 by Park Avenue Armory

wolberg@mccallassociates.com

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 2020 season marks the eighth year for the Recital Series, which continues to showcase both classical and contemporary repertoire performed by world-class artists at the height of their craft. We opened the season in January with a program by Italian soprano Rosa Feola partnering with pianist Iain Burnside performing works by Martucci, Liszt, Respighi, Rossini, and Ponchielli, deemed a “Critic’s Pick” by The New York Times. Following this program, “one of the cello realm’s most brilliant young princes” (HuffPost) Nicolas Altstaedt will perform all of J.S. Bach’s suites for solo cello on March 11 and 12. Tenor Allan Clayton will make his North American recital debut at the Armory, with an all-English-language program on April 27 and 29. Named a “leader of a new generation of opera stars” by The New York Times, charismatic American mezzo-soprano Jamie Barton will appear on the Recital Series on May 15 and 17, paying special attention to female composers, to create a gender-balanced program. Barton—described by The Guardian as “a great artist, no question, with an imperturbable steadiness of tone, and a nobility of utterance that invites comparison not so much with her contemporaries as with mid-20th century greats such as Kirsten Flagstad”—endeavors to use her voice and programming choices to lift up women, queer people, and other marginalized communities. New music ensemble Alarm Will Sound will give the New York premiere of Grammy- and Pulitzer Prize-winning composer John Luther Adams’ Ten Thousand Birds, August 21 and 22. Continuing in the tradition of inviting engaging ensembles to use the Armory in unusual ways, this premiere will take over the entirety of the Armory’s historic rooms along with the Wade Thompson Drill Hall. Rounding out the 2020 Recital Series will be Austrian bass Günther Groissböck, most recently named “a revelation” by The New York Times for his performance as Baron Ochs in the Met Opera’s December 2019 production of Der Rosenkavalier. His recitals on November 8 and 9 will showcase his unique artistry and dynamic voice in a program featuring Brahms, Schubert, Rachmaninoff, and Tchaikovsky. This year’s program offers a beautiful range of chamber music experiences in one of the only spaces that could provide such a personal encounter—the Board of Officers Room. We hope you will join us for these magical moments in music. Rebecca Robertson Founding President & Executive Producer Pierre Audi Marina Kellen French Artistic Director

2020 RECITAL SERIES IN THE RESTORED BOARD OF OFFICERS ROOM

LINDEMANN YOUNG ARTIST CONCERT GABRIELLA REYES, soprano MEGAN ESTHER GREY, mezzo-soprano NATE RASKIN, piano tuesday, february 18 at 7:30pm thursday, february 20 at 7:30pm

The Metropolitan Opera Young Artist Recital Series is made possible by the Anthony B. and Judith W. Evnin Endowment Fund, in honor of Sarah Billinghurst Solomon. The Recital Series is supported in part by The Reed Foundation. Support for Park Avenue Armory's artistic season has been generously provided by the Charina Endowment Fund, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, The Emma and Georgina Bloomberg Foundation, the Marc Haas Foundation, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. The artistic season is also 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. Additional support has been provided by the Armory's Artistic Council. SEASON SPONSORS

PROGRAM Ernest Chausson 2 Duos, Op. 11, No. 2 “Le Réveil” (1883) Gabriella Reyes, soprano & Megan Esther Grey, mezzo-soprano Nate Raskin, piano Georges Bizet “Chanson d’Avril” (1871) “Adieux de l’hôtesse arabe” (1867) Claude Debussy Proses Lyriques, No. 3 “De fleurs” (1892-93) Hector Berlioz “La mort d’Ophélie,” H 92 (1842) “Zaïde,” H 107 (1845)

Gabriella Reyes, Soprano Nate Raskin, piano

Gustav Mahler Rückert-Lieder (1901-02) Ich atmet’ einen Lindenduft Blicke mir nicht in die Lieder! Liebst du um Schönheit Um Mitternacht Ich bin der Welt abhanden gekommen

Megan Esther Grey, mezzo-soprano Nate Raskin, piano

Intermission Dominick Argento From The Diary Of Virginia Woolf, excerpts (1975) I. The Diary (April, 1919) II. Anxiety (October, 1920) V. Rome (May, 1935) VI. War (June, 1940) VII. Parents (December, 1940) VIII. Last Entry (March, 1941) Joaquín Turina

Megan Esther Grey, mezzo-soprano Nate Raskin, piano

Poema en forma de canciones, Op. 19 (1917) Gabriella Reyes, soprano Dedicatoria Nate Raskin, piano Nunca olvida Cantares Los dos miedos Las locas por amor

Camille Saint-Saëns El desdichado (1871) Gabriella Reyes, soprano & Megan Esther Grey, mezzo-soprano Nate Raskin, piano This performance is approximately 90 minutes including a 15-minute intermission.

The piano for this performance has been generously provided by Yamaha.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

ABOUT THE PROGRAM It is a highlight of the Lindemann Young Artist Development Program’s season to be returning to Park Avenue Armory and the elegance of the Board of Officers Room. For this evening of art song, these young artists are encouraged to take the creative reins and seek out music which speaks to them personally, inspiring them to share their thoughts and feelings about the music with an audience. Performing in a setting as intimate as this allows the singers to explore the wide range of vocal colors and dynamics at their disposal and to draw on their artistic expression to connect with the audience. Accompanying the young artists this evening is the wonderfully talented pianist, Nate Raskin. A former Lindemann Artist himself, Nate recently took up the position of Staff Coach to the Lindemann Program and has been the guiding and supporting force behind the preparation for this evening’s recital. Sophie Joyce Executive Director, Lindemann Young Artist Development Program

It is a great privilege to program and accompany a song recital under any circumstance, but particularly so for the gifted young artists in the Lindemann Young Artist Development Program. A recital is an intimate conversation between singer and pianist, between performers and the audience, and between composers and poets. I am thrilled to bring this conversation to you tonight with two powerful and special singers, Gabriella Reyes and Megan Esther Grey. With guidance from the great programming instincts of Matthew Epstein, and unending support from the Lindemann Program’s Executive Director Sophie Joyce, we have devised a concert that we hope will engage, delight, and challenge, hopefully in equal measure. I would also like to express gratitude to Ken Noda, who remains an inspiration as Honorary Teacher of the Lindemann Program for his dedication to the art of song and to the equally important art of teaching young talent. Chausson’s “Réveil,” a lush and romantic invocation of the beautiful morning, provides the backdrop for Gabriella’s five French songs and an introduction to our two soloists, Gabriella and Megan. In her first set, Gabriella and I strove to highlight the operatic side of Mélodie, with two composers primarily known for their grand works of the theatre, Bizet and Berlioz, along with Debussy showing an uncommonly theatrical side to his personality. The first song, Bizet’s “Chanson d’avril,” is energetic though not yet overwrought with drama, as any operatic character’s “entrance aria” should be. The great masterpiece of French exoticism “Adieux de l'hôtesse arabe” lends enigmatic depth to Victor Hugo’s seductive and compelling courtesan. Debussy is at his most unapologetically operatic with “De fleurs,” an almost Wagnerian rendering of the twisted and oppressive greenhouse. We conclude with two Berlioz songs, as different from each other as they are dramatically engaging. First, “La mort d’Ophélie,” a transfixing and hypnotic setting of Ophelia’s death from Hamlet. Finally, the great bolero “Zaïde,” telling the story of a spirited young woman whisked away by a handsome knight. Mahler’s Rückert-Lieder occupy a justifiably revered spot in the recital canon. Though not a formal cycle with an identifiable plot or single narrative voice, these songs hold together precisely because they are so different from one another. These songs, each a masterpiece in its own right, reveal the vastly different moods and feelings that hold reign over us at any given moment, and certainly over the course of a lifetime. “Ich atmet’ einen Lindenduft” is about sense-memory: the evocative power of a single scent and how it immediately transports us to a specific time and place from our past. “Blicke mir nicht in die Lieder” is a coy reminder that to spy an artist’s work before it is finished is akin to betrayal—not that will stop us from performing Turandot or Mahler’s own incomplete 10th

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symphony anytime soon. “Liebst du um Schönheit” is the simplest, humblest love letter. So intimate yet universal, it feels most of us have already written these very words ourselves before ever even coming across the Rückert poem. “Um Mitternacht” portrays those torturous moments where we feel the weight of the entire world on our shoulders, and finally the moment of clarity in submission, resolution only after yielding control. The meaning of the transcendental finale “Ich bin der Welt abhanden gekommen” is impossible to grab and to hold onto. If anything, the song is the opposite: a gesture of letting go. Letting go of self, past, regrets, fears, whatever is weighing on us at any given moment. Dominick Argento wrote his song cycle From the Diary of Virginia Woolf in 1974 for the great British mezzo-soprano Janet Baker. Argento, who died one year ago this week, was inspired by Woolf ’s probing introspection in her many diary entries. The author was famously self-analytical about her writing, even in her diary, where the intended audience is only herself. Her prose, so sweeping and lyrical, serves to contrast as well as highlight her deep and constant struggle with her own mental illness, which ultimately claimed her life in 1941. The entries excerpted here, lifted by Argento’s insightful and textured musical settings, show a deeply reflective, thoughtful, and ultimately troubled mind. We end the concert in Spain, first with Joaquin Turina’s Poema en forma de canciones. A portrait of a passionate, obsessive and tumultuous relationship that ends before the cycle begins—or possibly in the course of the first song, an expressive and vivid piano solo. We follow the aftermath of a breakup through the eyes of a lover capable of being biting, tender, angry, loving, confident, and broken all at once, before finally joyfully liberating herself in the triumphant and dance-like finale. A proper coda to the Turina is Saint-Saëns’ duet “El desdichado,” an anthem for spurned lovers everywhere. Our two singers confidently announce that there is no use for love—in fact, all they feel for those poor oppressed lovers is pity for their “eternal torment.” Saint-Saëns’ setting, however, subtly undermines our singers’ declared distaste for love with his understatedly seductive rhythms and sensual harmonies. Saint-Saëns makes it seem more likely that these two will find themselves once again singing the love’s praises, and maybe not before too long. Nate Raskin Staff Coach, Lindemann Young Artist Development Program

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

ABOUT THE ARTISTS GABRIELLA REYES

Nicaraguan-American soprano Gabriella Reyes will sing Liù in Turandot and the First Lady in The Magic Flute during the Met’s 2019–20 season. She made her company debut in the Met’s Summer Recital Series last summer and made her house debut singing the Priestess in Aida in 2018, appearing as Nella in Gianni Schicchi later that year. In 2017, she sang the First Lady in excerpts from Die Zauberflöte with the Los Angeles Philharmonic, led by Gustavo Dudamel, at Walt Disney Concert Hall and also debuted as a soloist with New York Choral Society and in Beethoven’s Symphony No. 9 with the New Haven Symphony Orchestra. She has since returned to the New York Choral Society for Tippet’s A Child of Our Time at Carnegie Hall. A grand finalist in the 2017 Metropolitan Opera National Council Auditions, Reyes was recently named as one of Lincoln Center’s 2019 Emerging Artists. She is also a 2018 recipient of a Sara Tucker Study Grant from the Richard Tucker Music Foundation, a recipient of the 2019 Richard Tucker Career Grant, and the 2019 recipient of the Hildegard Behrens Foundation Award. In the summer of 2019, Reyes made her debut at the Santa Fe Opera singing Musetta in La Bohème. She received her bachelor’s degree from Boston Conservatory and master’s degree from Boston University. Gabriella Reyes’ participation in the Lindemann Young Artist Development Program is sponsored by the Elroy and Terry Krumholz Foundation.

MEGAN ESTHER GREY

Lauded for her “luminous” (Opera Wire) and “powerful yet stylish mezzo” (Washington Classical Voice) mezzo-soprano Megan Esther Grey is in her second year of the Lindemann Young Artist Development Program. A native of Cedar Falls, Iowa, the 2019–20 season sees her Met debut as Kate Pinkerton in Madama Butterfly and appearances as Second Lady in The Magic Flute and Käthchen in Werther. She will also make a return to Wolf Trap Opera as a Filene Young Artist as Carolina in Hans Werner Henze’s Elegy for Young Lovers, and in recital with Steven Blier. A grand finalist of the 2018 Metropolitan Opera National Council Auditions, she is a recent graduate of the University of Northern Iowa, where she completed her master’s and bachelor’s degrees and performed the role of Hansel in Hansel and Gretel. In summer 2017, she sang Proserpina in the U.S. stage premiere of Monteverdi’s L’Orfeo orchestrated by Respighi at the Chautauqua Opera Company, where she spent two summers as a Studio Artist. Her other roles have included l'Enfant in Ravel’s L’Enfant et les Sortilèges, Mrs. McLean in Floyd’s Susannah, and Mrs. Page in

Nicolai’s The Merry Wives of Windsor. In 2018, she was a young artist at the Merola Opera Program and participated in the Schwabacher Summer Concerts. A recipient of numerous competitive honors, Grey has been distinguished in competition by Opera Index; Classical Singer; the National Opera Association; the National Association of Teachers of Singing, Central Region; and the Presser Foundation. This past summer, she was a Filene Young Artist at Wolf Trap Opera, where she sang the roles of Hippocratine in Gluck’s L'île de Merlin and the Drummer in Ullmann’s Der Kaiser von Atlantis. Megan Esther Gray’s participation in the Lindemann Young Artist Development Program is sponsored by the Kern Family, in memory of Ralph W. Kern.

NATE RASKIN

Pianist Nate Raskin is an assistant conductor at the Metropolitan Opera and a staff coach for the Met’s Lindemann Young Artist Development Program. He joined the Met roster for the 2019 Ring Cycle and this season serves on the music staff of Maria Stuarda and La Bohème. He has prepared productions and performed at Wolf Trap Opera, the Chautauqua Institution, and the Castleton Festival, and this season collaborates with the Philadelphia Orchestra in the same capacity. As a frequent recital partner, Raskin has been recently seen with the next generation of exciting singers in venues in South Korea, Washington D.C., Santa Fe, New York City, among others, and is featured this season in concert in the Carnegie Hall Citywide series. Also an avid educator, he has taught diction classes at The Juilliard School and classes in art song at the Merit School of Music. Raskin is a graduate of the Lindemann Young Artist Development Program, The Juilliard School, and Northwestern University. He also trained at the Aspen Music Festival, Middlebury College Language Schools, and in Vienna, Austria. He is indebted to his many mentors and teachers, including Ken Noda, Margo Garrett, Jonathan Feldman, Brian Zeger, Diane Richardson, Sylvia Wang, and Carolyn Hague.

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TEXTS AND TRANSLATIONS CHAUSSON 2 Duos, Op. 11, No. 2 “Le Réveil” Text by Honoré de Balzac Mon coeur, lève-toi! Déjà l’alouette Secoue en chantant son aile au soleil. Ne dors plus, mon cœur, car la violette Élève à Dieu l'encens de son réveil.

Wake up, my heart! Already the lark Shakes his wings, singing under the sun. Sleep no more, my heart, for the violet Raises to God the fragrance of its waking.

Chaque fleur vivante et bien reposée Ouvrant tour à tour les yeux pour se voir à dans son calice un peu de rosée, Perle d'un jour, qui lui sert de miroir.

Every flower living and well rested Opens, by and by their eyes to behold In its chalice a little dew, Pearl of a day, which serves as a mirror.

On sent dans l'air pur que l'ange des roses à passé la nuit à bénir les fleurs. On voit que pour lui toutes sont écloses Il vient d'en haut raviver leurs couleurs.

We feel in the pure air that the angel of roses Spent the night to bless the flowers. We see that for him all have hatched He comes from above to revive their colors.

Ainsi, lève-toi. Puisque l'alouette Secoue en chantant son aile au soleil Rien ne dort plus, mon cœur, car la violette Élève à Dieu l'encens de son réveil.

So rise up as well. For the lark Shakes his wings, singing under the sun. Nothing remains asleep, my heart, for the violet Raises to God the fragrance of its waking.

BIZET Chanson d’avril Text by Louis Hyacinthe Bouilhet Lève-toi! lève-toi! le printemps vient de naître! Là-bas, sur les vallons, flotte un réseau vermeil! Tout frissonne au jardin, tout chante et ta fenêtre, Comme un regard joyeux, est pleine de soleil!

Get up! Get up! Spring has just been born! Over those valleys a rosy mist is floating! Everything in the garden trembles and sings; Your window is full of sunshine, like a joyful gaze.

Du côté des lilas aux touffes violettes, Mouches et papillons bruissent à la fois Et le muguet sauvage, ébranlant ses clochettes, A réveillé l'amour endormi dans les bois!

Around the bunches of purple flowering lilac butterflies and bees buzz and hum together, And the lily of the wild valley swaying its little bells, has woken up Eros who was sleeping in the woods.

Puisqu’Avril a semé ses marguerites blanches, Laisse ta mante lourde et ton manchon frileux, Déjà l'oiseau t'appelle et tes soeurs les pervenches Te souriront dans l'herbe en voyant tes yeux bleus!

Now that April has scattered its white daisies, Leave aside your heavy cloak and cold-weather muff! The birds are already calling you, and your sisters the periwinkles will smile in the grass when they see your blue eyes.

Viens, partons! au matin, la source est plus limpide Lève-toi! viens, partons! N'attendons pas du jour les brûlantes chaleurs; Je veux mouiller mes pieds dans la rosée humide, Et te parler d’amour sous les poiriers en fleurs.

Let’s get going! The stream is clearer in early morning. Get up! Let’s get going! Let’s not wait for the day’s burning heat. I want to wet my feet in the moist dew, and talk to you of love under the blossoming pear-trees.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

BIZET Adieux de l’hôtesse arabe Text by Victor Hugo Puisque rien ne t’arrête en cet heureux pays, Ni l’ombre du palmier, ni le jaune maïs, Ni le repos, ni l’abondance, Ni de voir à ta voix battre le jeune sein De nos sœurs, dont, les soirs, le tournoyant essaim Couronne un coteau de sa danse,

Since nothing can keep you in this happy land, neither shade-giving palm nor yellow corn, nor repose, nor abundance, nor the sight of our sisters’ young breasts trembling at your voice as, in a whirling swarm at evening, they garland a hillside with their dance,

Adieu, beau voyageur! Hélas adieu. Oh! que n’es-tu de ceux Qui donnent pour limite à leurs pieds paresseux Leur toit de branches ou de toiles! Que, rêveurs, sans en faire, écoutent les récits, Et souhaitent, le soir, devant leur porte assis, De s’en aller dans les étoiles!

Farewell, fair traveler! Ah! Why are you not like those whose indolent feet venture no further than their roofs of branch or canvas! Who, musing, listen passively to tales, and dream at evening, sitting before their door, of wandering among the stars!

Si tu l’avais voulu, peut-être une de nous, O jeune homme, eût aimé te servir à genoux Dans nos huttes toujours ouvertes; Elle eût fait, en berçant ton sommeil de ses chants, Pour chasser de ton front les moucherons méchants, Un éventail de feuilles vertes.

Had you so wished, perhaps one of us, O young man, would fain have served you, kneeling, in our ever-open huts; lulling you asleep with songs, she would have made, to chase the noisome midges from your brow, a fan of green leaves.

Si tu ne reviens pas, songe un peu quelquefois Aux filles du désert, sœurs à la douce voix, Qui dansent pieds nus sur la dune; O beau jeune homme blanc, bel oiseau passager, Souviens-toi, car peut-être, ô rapide étranger, Ton souvenir reste à plus d’une! Hélas! Adieu! bel étranger! Souviens-toi!

If you do not return, dream at times of the daughters of the desert, sweet-voiced sisters, who dance barefoot on the dunes; O handsome young white man, fair bird of passage, remember – for perhaps, O fleeting stranger, more than one maiden will remember you! Alas! Farewell, fair stranger! Remember!

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DEBUSSY Proses Lyriques, No. 3 “De Fleurs” Text by Claude Debussy Dans l’ennui si désolément vert De la serre de douleur, Les Fleurs enlacent mon cœur De leurs tiges méchantes. Ah! quand reviendront autour de ma tête Les chères mains si tendrement désenlaceuses?

In the banality so desolately green Of sorrow’s hothouse, The Flowers entwine my heart With their wicked stems. Ah! when shall they return about my head, Those dear hands, so tenderly disentwining?

Les grands Iris violets Violèrent méchamment tes yeux, En semblant les refléter, Eux, qui furent l’eau du songe Où plongèrent mes rêves si doucement Enclos en leur couleur; Et les lys, blancs jets d’eau de pistils embaumés, Ont perdu leur grâce blanche Et ne sont plus que pauvres malades sans soleil!

The tall violet Irises Wickedly violated your eyes, While seeming to reflect them, They, who were the dream-water Into which my dreams plunged, so softly Enclosed in their colour; And the lilies, white pistil-scented fountains, Have lost their white grace And are but poor, sickly, sunless things!

Soleil! ami des fleurs mauvaises, Tueur de rêves! Tueur d’illusions, Ce pain béni des âmes misérables! Venez! Venez! Les mains salvatrices! Brisez les vitres de mensonge, Brisez les vitres de maléfice, Mon âme meurt de trop de soleil!

Sun! friend of evil flowers, Destroyer of dreams, destroyer of illusions, This blessed wafer of wretched souls! Come! Come! Redeeming hands! Shatter the panes of mendacity, Shatter the panes of evil, My soul is dying of too much sun!

Mirages! Plus ne refleurira la joie de mes yeux, Et mes mains sont lasses de prier, Mes yeux sont las de pleurer! Éternellement ce bruit fou Des pétales noirs de l’ennui, Tombant goutte à goutte sur ma tête Dans le vert de la serre de douleur!

Mirages! Mirages! The joy of my eyes will never reflower, And my hands are weary of praying, My eyes are weary of weeping! Eternally this insane sound Of banality’s black petals Falling drop by drop on my head In the green of sorrow’s hothouse!

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BERLIOZ La mort d’Ophélie, H 92 Text by William Shakespeare, translated by Ernest Legouvé Auprès d’un torrent, Ophélie Cueillait, tout en suivant le bord, Dans sa douce et tendre folie, Des pervenches, des boutons d’or, Des iris aux couleurs d’opale, Et de ces fleurs d’un rose pâle, Qu’on appelle des doigts de mort.

Beside a brook, Ophelia Gathered along the water’s bank, In her sweet and gentle madness, Periwinkles, crow-flowers, Opal-tinted irises, And those pale purples Called dead men’s fingers.

Puis élevant sur ses mains blanches Les riants trésors du matin, Elle les suspendait aux branches, Aux branches d’un saule voisin. Mais, trop faible, le rameau plie, Se brise, et la pauvre Ophélie Tombe, sa guirlande à la main.

Then, raising up in her white hands The morning’s laughing trophies, She hung them on the branches, The branches of a nearby willow. But the bough, too fragile, bends, Breaks, and poor Ophelia Falls, the garland in her hand.

Quelques instants sa robe enflée La tint encor sur le courant, Et comme une voile gonflée, Elle flottait toujours chantant, Chantant quelque vieille ballade, Chantant ainsi qu’une naiade Née au milieu de ce torrent.

Her dress, spread wide, Bore her on the water awhile, And like an outstretched sail She floated, still singing, Singing some ancient lay, Singing like a water-sprite Born amidst the waves.

Mais cette étrange mélodie Passa, rapide comme un son. Par les flots la robe alourdie Bientôt dans l’abîme profond; Entraîna la pauvre insensée, Laissant à peine commence Sa mélodieuse chanson.

But this strange melody died, Fleeting as a snatch of sound. Her garment, heavy with water, Soon into the depths Dragged the poor distracted girl, Leaving her melodious lay Hardly yet begun.

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BERLIOZ Zaïde, H 107 Text by Eugene-Auguste Roger de Bully Ma ville, ma belle ville, C’est Grenade au frais jardin. C’est le palais d’Aladin, Qui vaut Cordoue et Séville.

My city, my lovely city, Is Granada with its cool garden. Aladdin’s palace is there, The equal of Cordova and Seville.

Tous ses balcons sont ouverts, Tous ses bassins diaphanes, Toute la cour des Sultanes S’y tient sous les myrthes verts.

All her balconies are open, All her fountains’ basins clear; All the sultans’ court Is held beneath the green myrtles.

Ainsi près de Zoraïde, A sa voix donnant l'essor, Chantait la jeune Zaïde, Le pied dans ses mules d’or.

Thus near to Zoraide, Letting her voice run free, Sang the young Zaide, Her feet in golden sandals.

La reine lui dit: “Ma fille, D'où viens-tu donc?” Je n’en sais rien. “N'as-tu donc pas de famille?” Votre amour est tout mon bien;

The queen said to her, “My girl, Where do you come from?” I know not. “Have you then no family?” Your love is all my happiness.

O ma reine, j’ai pour père Ce soleil plein de douceurs; La sierra, c’est ma mère, Et les étoiles mes soeurs.

Oh my queen, for father I have This sun full of sweetness; The sierra is my mother, And my sisters are the stars.

Ce pendant sur la colline, Zaïde à la nuit pleurait: “Hélas! je suis orpheline, De moi qui se chargerait?”

But then upon the hill Zaide wept to the night: “Ah! I am just an orphan, Who will care for me?”

Un cavalier vit la belle, La prit sur sa selle d’or. Grenade, hélas! est loin d'elle, Mais Zaïde y rêve encor.

A knight saw the pretty girl, Took her upon his golden saddle. Granada, alas, is far from her, But Zaide still dreams of it.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

MAHLER Rückert-Lieder Text by Friedrich Rückert Ich atmet’ einen Lindenduft!

I breathed a gentle fragrance!

Ich atmet’ einen Lindenduft! Im Zimmer stand Ein Zweig der Linde, Ein Angebinde Von lieber Hand. Wie lieblich war der Lindenduft! Wie lieblich ist der Lindenduft! Das Lindenreis Brachst du gelinde! Ich atme leis Im Duft der Linde Der Liebe linden Duft.

I breathed a gentle fragrance! In the room stood A branch of Linden, A gift From loving hand. How lovely was the linden scent! How dear is the scent of linden! The twig of linden Broke you gently! I breathe quietly in the smell of the Linden The gentle fragrance of love.

Blicke mir nicht in die Lieder

Don’t look at me in my songs!

Blicke mir nicht in die Lieder! Meine Augen schlag’ ich nieder, Wie ertappt auf böser That; Selber darf ich nicht getrauen, Ihrem Wachsen zuzuschauen: Deine Neugier ist Verrath.

Don’t look at me in my songs! My eyes I close, As if caught in a bad deed; I myself don’t trust to watch them grow: Your curiosity is treason

Bienen, wenn sie Zellen bauen, Lassen auch nicht zu sich schauen, Schauen selber auch nicht zu. Wann die reichen Honigwaben Sie zu Tag gefördert haben, Dann vor allen nasche du!

Bees, when they build honeycomb, Don’t let themselves be watched, and don’t even watch themselves. When the rich honeycomb first exists, then above all you may take a taste!

Liebst du um Schönheit

If you love for beauty

Liebst du um Schönheit, O nicht mich liebe! Liebe die Sonne, Sie trägt ein gold’nes Haar!

If you love for beauty, Oh do not love me! Love the sun, She wears golden hair!

Liebst du um Jugend, O nicht mich liebe! Liebe den Frühling, Der jung ist jedes Jahr! Liebst du um Schätze, O nicht mich liebe. Liebe die Meerfrau, Die hat viel Perlen klar.

If you love for the sake of youth, Oh do not love me! Love the spring, Which is young every year! If you love for wealth, Oh do not love me. Love the mermaid, She has many clear pearls.

Liebst du um Liebe, O ja, mich liebe! Liebe mich immer, Dich lieb' ich immerdar.

If you love for love, Oh yes love me! Love me always, I love you always.

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Um Mitternacht

At Midnight

Um Mitternacht Hab’ ich gewacht Und aufgeblickt zum Himmel; Kein Stern vom Sterngewimmel Hat mir gelacht Um Mitternacht.

At midnight Have I wathed And looked up to the heaven; No star from the crowd of stars Has smiled at me At midnight.

Um Mitternacht Hab’ ich gedacht Hinaus in dunkle Schranken. Es hat kein Lichtgedanken Mir Trost gebracht Um Mitternacht.

At midnight Have I thought In dark spaces. No thoughts of light Have brought me consolation At midnight

Um Mitternacht Nahm ich in Acht Die Schläge meines Herzens; Ein einz’ger Puls des Schmerzens War angefacht Um Mitternacht.

At midnight I was attentive To the beating of my heart; A single pulse of pain Was burning At midnight.

Um Mitternacht Kämpft’ ich die Schlacht, O Menschheit, deiner Leiden; Nicht konnt’ ich sie entscheiden Mit meiner Macht Um Mitternacht.

At midnight I fought the battle, Oh mankind, of your suffering; I was not able to resolve it With my might At midnight.

Um Mitternacht Hab’ ich die Macht In deine Hand gegeben!

At midnight I have given the might Into your hands!

Herr über Tod und Leben Du hältst die Wacht Um Mitternacht!

Lord of death and life You hold watch At midnight!

Ich bin der Welt abhanden gekommen

I have been lost by the world

Ich bin der Welt abhanden gekommen, Mit der ich sonst viele Zeit verdorben, Sie hat so lange von mir nichts vernommen, Sie mag wohl glauben, ich sei gestorben.

I have been lost by the world, With which I have otherwise wasted a lot of time, It has heard nothing of me for such a long time, It would likely believe, that I have died.

Es ist mir auch gar nichts daran gelegen, Ob sie mich für gestorben hält, Ich kann auch gar nichts sagen dagegen, Denn wirklich bin ich gestorben der Welt.

It is nothing to me, if the world considers me dead, I can also not deny it, Because really I am truly dead to the world.

Ich bin gestorben dem Weltgewimmel, Und ruh’ in einem stillen Gebiet. Ich leb’ allein in mir und meinem Himmel, In meinem Lieben, in meinem Lied.

I am dead to the world’s turmoil, And I rest in a quiet place. I live alone in my heaven, In my love, in my song.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

ARGENTO From the Diary of Virginia Woolfe, excerpts Text by Virginia Woolfe This text is represented below in the manner from Woolf ’s own diary, rather than Argento’s extended settings for musical purposes. The sections that have been omitted are represented by bracketed ellipses. I. The Diary (April, 1919) What sort of diary should I like mine to be? Something so elastic that it will embrace anything, solemn, slight or beautiful that comes into my mind. I should like it to resemble some deep old desk… in which one flings a mass of odds and ends without looking them through. I should like to come back, after a year or two, and find that the collection had sorted itself and refined itself and coallescend, as such deposits so mysteriously do, into a mould, transparent enough to reflect the light of our life. II. Anxiety (October, 1920) Why is life so tragic; So like a little strip of pavement over an abyss. I look down; I feel giddy; I wonder how I am ever to walk to the end. But why do I feel this: Now that I say it I don’t feel it. The fire burns; we are going to hear the Beggar’s Opera. Only it lies all about me; I can’t keep my eyes shut […] And with it all how happy I am—If it weren’t for my feeling that it’s a strip of pavement over an abyss. V. Rome (May, 1935) Rome: tea. Tea in café. Ladies in bright coats and white hats. Music. Look out and see people like movies. Ices. Old man who haunts the Greco […] Fierce large jowled old ladies. Talking about Monaco. Talleyrand. Some very poor black wispy women. The effect of dowdiness produced by wispy hair. The Prime Minister’s letter offering to recommend me for the Companion of Honour. No. VI. War (June, 1940) This, I thought yesterday, may be my last walk […] the war—our waiting while the knives sharpen for the operation—has taken away the outer wall of security. No echo comes back. I have no suroundings […] Those familiar circumvolutions—those standards which have for so many years given back an echo and so thickened my identity are all wide and wild as the desert now. I mean, there is no “autumn,” no winter. We pour to the edge of a precipice… and then? I can’t conceive that there will be a 27th June 1941. VII. Parents (December, 1940) How beautiful they were, those old people—I mean father and mother—how simple, how clear, how untroubled. I have been dipping into old letters and father’s memoirs. He loved her: oh and was so candid and reasonable and transparent… How serene and gay even, their life reads to me: no mud; no whirlpools […] And so human—with the children and the little hum and song of the nursery. But if I read as a contemporary I shall lose my child’s vision and so must stop. Nothing turbulent; nothing involved; no introspection. VIII. Last Entry (March, 1941) […]No. I intend no introspection. I mark Henry James’ sentence: observe perpetually. Observe the oncome of age. Observe greed. Observe my own despondency. By that means it becomes serviceable. Or so I hope. I insist upon spending this time to the best advantage. I will go down with my colours flying […] Occupation is essential. And now with some pleasure I find that it’s seven; and must cook dinner. Haddock and sausage meat. I think it is true that one gains a certain hold on sausage and haddock by writing them down.

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TURINA Poema en forma de canciones Text by Ramón de Campoamor Nunca olvida

Never forget

Ya que este mundo abandono Antes de dar cuenta a Dios aquí para entre los dos mi confesión te diré.

Since I am leaving this earth And before I give my account to the Lord, Here between the both of us, I will confess to you.

Con toda el alma perdono hasta a los que siempre he odiado. ¡A ti que tanto te he amado nunca te perdonaré!

With all my soul I forgive, Even those whom I have hated. But you, whom I have loved so much, I will never forgive.

Cantares

Songs

Màs cerca de mí te siento Cuando más huyo de tí Pues tu imagen es en mí Sombra de mi pensamiento.

The more I flee from you, The more I sense you near. For your image lingers in me, As a shadow of my thoughts.

Vuélvemelo a decir Pues embelesado ayer Te escuchaba sin oir Y te miraba sin ver.

Tell me again, For yesterday, I was spellbound, Listening to you without hearing you. And I looked at you without seeing.

Los dos miedos

The Two Fears

Al comenzar la noche de aquel día Ella lejos de mí, ¿Por qué te acercas tanto? Me decía, Tengo miedo de ti.

As that night commenced that day, She said, far from me, “Why do you approach me so?” “I am afraid of you.”

Y después que la noche hubo pasado Dijo, cerca de mí: ¿Por qué te alejas tanto de mi lado? ¡Tengo miedo sin ti!

And after the night had passed, She said, near to me, “Why do you stay so far from my side?” “I am afraid without you.”

Las Locas por amor

Those Crazy for Love

Te amaré diosa Venus si prefieres Que te ame mucho tiempo y con cordura

I will love you, Venus, if you would prefer That I love you for a long time and with sensibility.

Y respondió la diosa de Citeres: Prefiero como todas las mujeres Que me amen poco tiempo y con locura. Te amaré diosa Venus, te amaré.

And goddess of Cythera responded, I prefer, as all women do, That you love me briefly and madly. I will love you, Venus! I will love you!

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

SAINT-SAĂ&#x2039;NS El desdichado Text by Paul Jules Barbier QuĂŠ me importa que florezca El arbol de mi esperanza, Si se marchitan las flores, Y jamas el fruto cuaja. Ha!

What does it matter to me whether The tree of ruined hopes blossoms, If God wishes it to wither Without ever bearing fruit.

Dicen que el amor es gloria, Y yo digo que es infierno. Pues siempre estan los amantes En un continuo tormento! Ay!

They say love is glorious! But I say that it is hell. Look at the poor lovers In their eternal torment!

El feliz y el desdichado, Suspiran con diferencia: Unos publican sus gustos, Y otros publican sus penas. Ha!

The happy and the unhappy one, In sighs and tears! One sighs with joy, And the other with sorrow.

armoryonpark.org | @ParkAveArmory | #RecitalSeries

ABOUT THE ARMORY Part American palace, part industrial shed, Park Avenue Armory supports unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create, students to experience, and audiences to see productions that cannot be done elsewhere in New York City. Since its first production in September 2007, the Armory has presented and commissioned immersive performances, installations, and cross-disciplinary collaborations in its vast Wade Thompson Drill Hall that defy traditional categorization and challenge artists to push the boundaries of their practice. Such has been its impact that recently TIME Magazine said that “Park Avenue Armory has turned into New York’s undisputed main stage for presenting cutting-edge, visually inventive theater.” Programmatic highlights from the Armory’s first 12 years include Bernd Alois Zimmermann’s harrowing Die Soldaten, in which the audience moved “through the music;” Ernesto Neto’s sprawling and gauzy anthropodino; the event of a thread, a site-specific installation by Ann Hamilton; the final performances of the Merce Cunningham Dance Company across three separate stages; WS by Paul McCarthy, a monumental installation of fantasy, excess, and dystopia; an immersive Macbeth set in a Scottish heath with Kenneth Branagh; Bach’s St. Matthew Passion staged by Peter Sellars and performed by Sir Simon Rattle and the Berliner Philharmoniker; Heiner Goebbels’ De Materie with floating zeppelins and a flock of 100 sheep; an acclaimed The Hairy Ape, directed by Richard Jones and starring Bobby Cannavale; Pierre Boulez’s masterwork Répons, performed by Ensemble intercontemporain under the baton of Matthias Pinscher; Simon Stone’s award-winning Yerma, starring Billie Piper; Nick Cave’s The Let Go, an immersive, multi-sensory dance-based town hall; Ivo van Hove’s adaptation of Visconti’s The Damned, starring Comédie-Française; William Kentridge’s devastating The Head & The Load; Sam Mendes’ The Lehman Trilogy; and Satoshi Miyagi’s brilliant production of Antigone. In its historic period rooms, the Armory offers more intimate performances and programs, including its acclaimed Recital Series, which showcases musical talent from across the globe within the restored Board of Officers Room. Among the performers have been Christian Gerhaher, Nadine Sierra, Igor Levitt, Barbara Hannigan, and Lawrence Brownlee. Curated by jazz pianist and MacArthur Fellow Jason Moran, the Artists Studio series of interventions in the Veterans Room includes a diverse mix of artists and musicians, including Raashad Newsome, Ryuchi Sakamoto, Miya Masaoka, and Roscoe Mitchell, whose practices defy categorization and expressly mirror the innovative spirit of the exceptional young artists present at the room’s inception. The Armory also offers a conversation/performance series called Interrogations of Form that explores, often in day-long sessions, a range of themes and relevant topics on the state of culture in America today and features artists, scholars, cultural leaders, and social trailblazers such as Carrie Mae Weems, Theaster Gates, Ta-Nehisi Coates, Toshi Reagon, Lil’ Buck, Mira Nair, Elizabeth Alexander, Damian Woetzel, Lynne Nottage, Hank Willis Thomas, George Bearskin, Beedoskah Stonefish, and Tony Kushner. The Armory’s Artist-in-Residence Program supports artists across genres in the creation and development of new work and is an important pipeline for future commissions for the Wade Thompson Drill Hall and the historic rooms. Current artists-inresidence in a variety of artistic disciplines include: two-time Pulitzer Prize-winning playwright and screenwriter Lynn Nottage; vocalist and composer Sara Serpa; Tony Award-winning set designer Mimi Lien; Tony-Award-winning set designer and director Christine Jones and choreographer Steven Hoggett; Obie winner and Pulitzer-short-listed playwright Branden Jacob-Jenkins and performance artist Carmelita Tropicana; social practice artist Theaster Gates; and choreographer and FLEXN dance pioneer Reggie “Regg Roc” Gray. Park Avenue Armory was built between 1877 and 1881 by the Seventh Regiment, a volunteer unit of the National Guard that included the economic leaders of New York. It has been hailed as containing “the single most important collection of 19th-century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, which has an 80-foot-high barrel-vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $210-million renovation designed by Herzog & de Meuron with Platt Byard Dovell White Architects. The Armory has restored four historic rooms including the Veterans Room and the Board of Officers Room, causing Roberta Smith of The New York Times to write: “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.”

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

PARK AVENUE ARMORY STAFF Rebecca Robertson, Founding President and Executive Producer Pierre Audi, Marina Kellen French Artistic Director Lissa Frenkel, Managing Director Susan Neiman, Chief Financial and Administration Officer Artistic Planning and Programming Michael Lonergan, Producing Director Avery Willis Hoffman, Program Director Seth Shepsle, General Manager, Programming Darian Suggs, Associate Director, Public Programs Jessica Wasilewski, Senior Producer Jenni Bowman, Producer Andreas Yung-Chih Huang, Production Coordinator Cory Sierra, Programming Intern Design and Collections Kirsten Reoch, Director of Design and Construction David Burnhauser, Collection Manager Development Melanie Forman, Chief Development Officer Charmaine Portis, Executive Assistant to the Chief Development Officer Matthew Bird, Senior Director of Development Allison Kline, Director of Institutional Giving Rachel Cappy Risso-Gill, Director of Individual Giving Melissa Stone, Associate Director of Special Events Kaitlin Overton, Manager of Institutional Giving Jennifer Ramon, Manager of Individual Giving Surina Gangwani, Senior Coordinator Special Events Katie Burke, Individual Giving Coordinator Education Cassidy L. Jones, Chief Education Officer Monica Weigel McCarthy, Director of Education Aarti Ogirala, Associate Director of Education Chelsea Emelie Kelly, Director of Youth Corps Pip Gengenbach, Education Manager Drew Petersen, Education Special Projects Manager Sharlyn Galarza, Education Coordinator Rabia Kahn, Oscar Montenegro, Arts Education Interns Kate Bell, Donna Costello, Alexander Davis, Asma Feyijimni, Hawley Hussey, Larry Jackson, Hector Morales, Peter Musante, Drew Petersen, Leigh Poulos, Vickie Tanner, Teaching Artists Emily Bruner, Sharlyn Galarza, Nancy Gomez, Ashley Ortiz, Neil Tyrone Pritchard, Biviana Sanchez, Catherine Talton, Teaching Associates Stephanie Mesquita, Paola Ocampo, Biviana Sanchez, Naomi Santiago, Teaching Assistants Mohamed Adesumbo, Shaun Cromwell, Afrika Davis, Jacqueline Farquharson, Amalineda Jean Francois, Gabriel Price, Francisco Robles, Silas Rodriguez, Dorsren Sween, Youth Corps

Executive Office Lori Nelson, Executive Assistant to the President Nathalie Etienne, Administrative Assistant, Presidentâ&#x20AC;&#x2122;s Office Facilities and Operations Aurelio Roman, Director of Facilities Joseph Sanders, Facilities Manager Marc Von Braunsberg, Security Manager Darrell Thimoleon, Office Manager William Say, Superintendent Reginald Hunter, Chief Engineer Chris Sperry, Assistant Building Engineer Jonathan Alaba, Benny Arroyo, Leandro Dasso, Mayra DeLeon, Mario Esquilin, Olga Cruz, Kariema Levy, Fabian Meusa, Cristina Moreira, Dyquell Roberson, Robert Rodriguez, Ron Schrouder Porters Finance Christy Kidd, Controller Khemraj Dat, Accountant Information Technology Dion Bullock, Chief Information Officer Oku Okoko, Network Engineer Marketing and Communications Lesley Alpert-Schuldenfrei, Director of Marketing Nick Yarbrough, Digital Marketing Manager Allison Abbott, Press & Editorial Manager Production Paul King, Director of Production Claire Marberg, Production Manager Nicholas Lazzaro, Technical Director Lars Nelson, Technical Director Brandon Walker, Technical Director Ticketing and Event Management Turna Mete, Stephanie Scherr, Interim Box Office Managers Bobby Wolf, Senior House Manager Jonatan Amaya, Daniel George, and Terrelle Jones, House Managers Stephanie Mesquita, Rentals Associate Production Acknowledgments Sarah Billinghurst Solomon and Matthew Epstein, Artistic Consultants for Vocal Recitals Nicole Brancato, Page Turner

armoryonpark.org | @ParkAveArmory | #RecitalSeries

NEXT AT THE ARMORY MONTEVERDI’S MARIA VESPERS

INTERROGATIONS OF FORM

The magnificent Marian Vespers are one of Claudio Monteverdi’s greatest musical achievements. Monteverdi, the first composer to develop opera to its full dramatic and musical potential, breathed new life into the religious music of his day, combining traditional composition style with a modern, free way of setting words to music that led to the creation of musical theater. This monumental work written in 1610 will be performed in the Wade Thompson Drill Hall, directed by the Armory’s Marina Kellen French Artistic Director, Pierre Audi, in a fresh visual and spatial interpretation, first presented by the Dutch National Opera at the Holland Festival in 2017. The production was developed in collaboration with Belgian artist Berlinde de Bruyckere with her massive, haunting Cripplewood sculpture that suggests vulnerability and fragility of man, as the central visual element. Conductor Raphaël Pichon leads the world-renowned orchestra and choral ensemble, Pygmalion as it performs this ambitious and inspiring tour de force, using period instruments, to create a sonic kaleidoscope set in a spellbinding ritualistic gathering. A Park Avenue Armory, Dutch National Opera, and Holland Festival Production.

Held in our historic period rooms, these insightful conversations throughout the year feature artists, scholars, cultural leaders, and social trailblazers who gather to offer new points of view and unique perspectives on Armory productions, explore a range of themes and relevant topics, and encourage audiences to think beyond conventional interpretations and perspectives of art.

march 21–29, 2020

ARTISTS STUDIO

“…it was a block of music that made you think as the room does: Take note. Listen deeply. The rest of the world is not like this…that sublime and exclusive room, almost too opulent for this world.” —The New York Times

“The Park Avenue Armory has two consistent modes: The first is to overwhelm; the second is to inspire a quiet conviction that you’re missing something amazing in another part of the building. Both struck with full force… filling the gilded, schizo-baroque rooms and halls with a dazzling mix of artists, thinkers, and impresarios” —Artforum

UPCOMING EVENT:

100 YEARS | 100 WOMEN: A CELEBRATION OF COMMISSIONS

may 16, 2020

Park Avenue Armory, with lead partner National Black Theatre, has invited ten New York City-based cultural institutions to join 100 Years |100 Women, a two-part, multidisciplinary initiative marking the centennial of the ratification of the 19th Amendment. The final part of this initiative, this event features the showcase and celebration of 100 commissions by 100 artists who self-identify as women responding to this significant anniversary in the Armory’s Wade Thompson Drill Hall and historic rooms.

UPCOMING PERFORMANCE:

KRENCY GARCIA: EL PRODIGIO

tuesday, march 3, 2020 at 7pm & 9pm

Dominican accordionist El Prodigio brings his syncopated merengue playing to the Armory in an explosion of sound and joy. He and fellow band members introduce us to the multiple styles of merengue playing found in the Dominican Republic. El Prodigio, known for his contemporary and improvisational compositions, will travel through some of the rich musical styles of accordion merengue from the “güira” and the “tabura” and to the “perico ripiao.” Joined by his ensemble band, El Prodigio delivers an updated contemporary sound with harmonic and rhythmic colors resulting in an updating of this infectious musical form.

For more information and to purchase tickets, please visit armoryonpark.org.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

NEXT IN THE RECITAL SERIES NICOLAS ALTSTAEDT, cello march 11 & 12

As one of the most versatile and sought after performers today, German-French cellist Nicolas Altstaedt makes his Armory debut performing Johann Sebastian Bachâ&#x20AC;&#x2122;s iconic Six Suites for Cello. The Six Suites for Cello are considered the Baroque composerâ&#x20AC;&#x2122;s most recognizable set of chamber music and are noted for their rich texture and emotional resonance. Experience Altstaedt as he performs this marathon set in the intimate setting of the Board of Officers Room.

ALLAN CLAYTON, tenor JAMES BAILLIEU, piano april 27 & 29

The Royal Philharmonic Society Singer of the Year Award winner, tenor Allan Clayton is a fearless artist who brings to his performances intelligence and disregard for tradition that has garnered critical raves around the world. In his North American recital debut, Clayton has devised an all-Englishlanguage program that will highlight his range and include works from Henry Purcell, Nico Muhly, Samuel Barber, Edward Elgar, and Ralph Vaughan Williams. Pianist James Baillieu returns to the Armory to partner with Clayton on this program.

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OTHER HAPPENINGS AT THE ARMORY HISTORIC INTERIORS TOURS

Get an insider’s look at the Armory with a guided walking tour of the building with our staff historian. Explore from the soaring 55,000-square-foot Wade Thompson Drill Hall to the extraordinary interiors designed by Louis Comfort Tiffany, Stanford White, Herter Brothers, and others, and learn about the design plans by acclaimed architects Herzog & de Meuron.

MALKIN LECTURE SERIES

Each fall, the popular Malkin Lecture Series presents scholars and experts on topics relating to the Armory and the civic, cultural, and aesthetic life of New York City in the 19th and early 20th centuries. Lecture topics have ranged from history makers like Abraham Lincoln and Theodore Roosevelt to Gilded Age society’s favorite restaurants and the Hudson River painters.

ARTISTS-IN-RESIDENCE

Launched in 2010, the Armory’s artist-in-residence program supports artists across genres in the creation and development of new work. Each artist sets up a studio in one of the Armory’s period rooms, providing a unique backdrop that can serve as both inspiration and as a collaborator in their project development. Residencies also include participation in the Armory’s arts education program with artists working closely with the Armory’s Youth Corps interns. Current artists-inresidence include two-time Pulitzer Prize-winning playwright and screenwriter Lynn Nottage; vocalist and composer Sara Serpa; Tony Award-winning set designer Mimi Lien; Tony Award-winning set designer and director Christine Jones and choreographer Steven Hoggett; playwright Branden JacobsJenkins and performance artist Carmelita Tropicana; social practice artist Theaster Gates; and choreographer and FLEXN dance pioneer Reggie “Regg Roc” Gray.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

JOIN THE ARMORY FRIEND $100

$70 is tax deductible » Members only pre-sale or preferred access for performance tickets » Free admission for you and a guest to visual art installations » Invitation to the opening night preview for visual art installations » Discount on Armory Guided Tours » 20% Discount on Members Subscription Packages » Discounts on local restaurants

SUPPORTER $250

$200 is tax deductible All benefits of the Friend membership plus: » Fees waived on ticket exchanges* » Two free tickets to guided tours *** » Discount on tickets to the Malkin Lecture Series, Artists Talks, and Public Programs*

Members of this exclusive group are offered unique and intimate opportunities to experience the Armory, including invitations to private tours and VIP receptions with world-class artists and access to priority seating.

AVANT-GARDE STARTING AT $350

Sponsored by SHOWTIME®, The Avant-Garde is a forwardthinking group of Park Avenue Armory supporters in their 20s to 40s that offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission. Members receive exclusive benefits throughout the year, including priority ticketing, special receptions, talks, and VIP events.

EDUCATION COMMITTEE STARTING AT $5,000

The Armory’s arts education program reaches thousands of public school students each year, immersing them in the creative process of exceptional visual and performing artists and teaching them to explore their own creative instincts. Education Committee members are invited to special events, meetings, and workshops that allow them to witness the students’ progress and contribute to the growth of the program.

ASSOCIATE $500

$370 is tax deductible All benefits of the Supporter membership plus: » Members concierge ticket service » Free admission for two additional guests (a party of four) to Armory visual art installations » Two complimentary passes to an art fair**

ARTISTIC COUNCIL

BENEFACTOR $1,000

$780 is tax deductible All benefits of the Associate membership plus: » Recognition in 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 select programs in our historic period rooms* For more information about membership, please call (212) 616-3958 or e-mail members@armoryonpark.org. For information on ticketing, or to purchase tickets, please call the Box Office at (212) 933-5812.

*Subject to ticket availability **Certain restrictions apply

CHAIRMAN’S CIRCLE STARTING AT $2,500

The Artistic Council is a leadership group that champions and supports groundbreaking “only at the Armory” productions with the world’s most sought-after artists. Members receive the closest look behind the scenes at how works are brought to life through monthly events that include intimate discussions with artists, private performances, and special travel opportunities. This group is by invitation only and is generously supported by Cartier.

LEGACY CIRCLE

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 out-of-the-box artistic programming, Education Programs, and historical preservation into the future. Members of the Legacy Circle are invited to special behind-the-scenes events and intimate receptions to enrich their Armory experiences.

***Reservations required

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PARK AVENUE ARMORY BOARD OF DIRECTORS Chairman Emeritus Elihu Rose, PhD

Vice Presidents Ken Kuchin Pablo Legorreta Emanuel Stern

Co-Chairs Adam R. Flatto Amanda J.T. Riegel

Marina Abramović Abigail Baratta Martin Brand Cora Cahan Hélène Comfort Paul Cronson Tina R. Davis Marc de La Bruyère Emme Levin Deland Thomas J. DeRosa Sanford B. Ehrenkranz David Fox Andrew Gundlach Marjorie L. Hart

Edward G. Klein, Major General NYNG (Ret.) Mary T. Kush Ralph Lemon Heidi McWilliams Joel Press Genie H. Rice Janet C. Ross Joan Steinberg Mimi Klein Sternlicht Deborah C. van Eck Peter Zhou

Benigno Aguilar and Gerald Erickson Abigail and Joseph Baratta Wendy Belzberg and Strauss Zelnick Sonja and Martin J. Brand Emy Cohenca Elizabeth Coleman Hélène and Stuyvesant Comfort Emme and Jonathan Deland Leslie and Thomas DeRosa Jennie L. and Richard K. DeScherer Krystyna Doerfler Lisa and Sanford B. Ehrenkranz Caryl S. Englander

Adam R. Flatto Kim and Jeff Greenberg Barbara and Andrew Gundlach Janet Halvorson Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan Mary T. Kush Almudena and Pablo Legorreta Christina and Alan MacDonald Jennifer Manocherian Kim Manocherian Gwen and Peter Norton Lily O’Boyle

Slobodan Randjelović and Jon Stryker Amanda J.T. and Richard E. Riegel Susan and Elihu Rose Janet C. Ross Sana H. Sabbagh Stacy Schiff and Marc de La Bruyère Diane and Tom Smith Brian S. Snyder Joan and Michael Steinberg Emanuel Stern Mimi Klein Sternlicht Deborah C. van Eck Robert Vila and Diana Barrett Mary Wallach Peter Zhou and Lisa Lee

Co-Chairs Lisa and Sanford B. Ehrenkranz Marjorie and Gurnee Hart

Wendy Belzberg and Strauss Zelnick Emme and Jonathan Deland Adam Flatto Ken Kuchin Heidi McWilliams

Gwen Norton Amanda Thompson Riegel Rebecca Robertson and Byron Knief Susan and Elihu Rose Joan and Michael Steinberg

Secretary Gwendolyn Adams Norton

President Rebecca Robertson

Treasurer Harrison M. Bains

Vice Chair Wendy Belzberg Founding Chairman, 2000–2009 Wade F.B. Thompson

Director Emerita Angela E. Thompson

PARK AVENUE ARMORY ARTISTIC COUNCIL Co-Chairs Noreen Buckfire Michael Field and Doug Hamilton Caryn Schacht and David Fox Heidi and Tom McWilliams

LEGACY CIRCLE Founding Members Angela & Wade F.B. Thompson

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

SUPPORTERS 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 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 and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous

$500,000 to $999,999 Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz Adam R. Flatto Marina Kellen French 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

$250,000 to $499,999 American Express Michael Field and Doug Hamilton Ford Foundation The Marie-Josée and Henry R. Kravis Foundation Leonard & Judy Lauder Fund 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 Abigail and Joseph Baratta Lisa Belzberg Booth Ferris Foundation Sonja and Martin J. Brand The W. L. Lyons Brown Jr. Charitable Foundation Hélène and Stuyvesant Comfort Caroline and Paul Cronson Emme and Jonathan Deland Leslie and Tom DeRosa Howard Gilman Foundation Barbara and Andrew Gundlach Marjorie and Gurnee Hart Anna-Maria and Stephen Kellen Foundation, Inc. Kirkland & Ellis LLP Mary T. Kush Mr. and Mrs. Lester Morse New York State Council on the Arts Stavros Niarchos Foundation Gwendolyn Adams Norton and Peter Norton

Donald Pels Charitable Trust Daniel and Joanna S. Rose Mrs. Arthur Ross Caryn Schacht and David Fox Stacy Schiff and Marc de La Bruyère Harold and Mimi Steinberg Charitable Trust M K Reichert Sternlicht Foundation Mr. William C. Tomson Deborah C. van Eck Edward Jay Wohlgemuth Peter Zhou and Lisa Lee

TEFAF NY Tishman Speyer Barbara and Donald Tober Robert and Jane Toll Toyota Bob Vila and Diana Barrett Mary Wallach David and Cynthia Wassong Welltower Inc. Yanghyun Foundation Anonymous (3)

$25,000 to $99,999

$10,000 to $24,999

Benigno Aguilar and Gerald Erickson Jamie Alter and Michael Lynton The Avenue Association Ginette Becker Emma Bloomberg The Emma and Georgina Bloomberg Foundation Elana and Aryeh Bourkoff Noreen and Ken Buckfire Cartier Betsy and Edward Cohen Joyce B. Cowin The Cowles Charitable Trust Mary Cronson / Evelyn Sharp Foundation Jennie L. and Richard K. DeScherer IAC Krystyna Doerfler Peggy and Millard Drexler Family Foundation Andrew L. Farkas, Island Capital Group & C-III Capital Partners The Garcia Family Foundation Elizabeth Morse Genius Foundation Givenchy Horace W. Goldsmith Foundation Allen and Deborah Grubman Gucci Janet Halvorson Anita K. Hersh Karen Herskovitz Jennie A. Kassanoff and Daniel H. Schulman The Emily Davie and Joseph S. Kornfeld Foundation The Lynton Foundation Lili Lynton and Michael Ryan Christine and Richard Mack Scott D. Malkin Marc Haas Foundation Moncler Cindy and David Moross National Endowment for the Arts Lily O'Boyle Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Rebecca Robertson and Byron Knief Sana H. Sabbagh The Fan Fox & Leslie R. Samuels Foundation Stephen M. Sangillo Paul Schnell Shizuoka Prefecture Showtime The Shubert Foundation Sydney and Stanley S. Shuman Amy and Jeffrey Silverman Sanford L. Smith Diane and Tom Smith Joan and Michael Steinberg Debbie and Jeffrey Stevenson Jon Stryker and Slobodan Randjelovic´

AECOM Tishman Harrison and Leslie Bains BDO Canada LLP Bennett Jones Boston Consulting Group Frank and Deenie Brosens Foundation Marian and Russell Burke Colin and Elizabeth Callender Xin Li and Lyor Cohen The Jacques and Emy Cohenca Foundation Elizabeth Coleman Dr. Tony Coles and Robyn Coles Con Edison Jim Daras and Mary Quick William F. Draper Cheryl and Blair Effron Ehrenkranz & Ehrenkranz LLP Caryl S. Englander The Lehoczky Escobar Family Fasken Maritineau Seymour and Renee Flug Teri Friedman and Babak Yaghmaie Lorraine Gallard and Richard H. Levy Barbara and Peter Georgescu The Georgetown Company Kiendl and John Gordon Kim and Jeff Greenberg Leo and Jacklyn Greenberg Cecilia Greene and Paul Verbinnen Mr. and Mrs. Peter S. Gregory Lawrence and Sharon Hite Carola Jain Kekst Suzie and Bruce Kovner Leon Levy Foundation Christina and Alan MacDonald Kim Manocherian Andrea Markezin Press and Joel Press James C. Marlas and Marie Nugent-Head Marlas Sylvia and Leonard Marx, Jr. Prakash and Anjali Melwani Danny and Audrey Meyer Abby and Howard P. Milstein Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Achim and Colette Moeller Nardello & Co. Enid Nemy, Dorothy Strelsin Foundation Patty Newburger and Bradley Wechsler Michael and Elyse Newhouse PBDW Architects Gabriela Peréz Rocchiette Michael Peterson Joan and Joel I. Picket Richard and Lisa Plepler Frederick and Nancy Poses Anne and Skip Pratt

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Tracey and Robert Pruzan Shari Redstone Deborah Rose Aby and Samantha Rosen Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Kevin and Pascaline Ryan Mr. and Mrs. William H. Sandholm Nancy and Larry Sanitsky Stephen and Christine Schwarzman Dr. and Mrs. Thomas P. Sculco Bob and Eva Shaye Stephanie and Fred Shuman Sidley Austin LLP Skadden, Arps, Slate, Meagher & Flom LLP Brian S. Snyder Jonathan Sobel Howard & Sarah D. Solomon Foundation Sotheby's Barry Sternlicht Michael and Veronica Stubbs Merryl and James Tisch Brian and Jane Williams Lisa and David Wolf Anonymous (5)

$5,000 to $9,999 Lee and Elizabeth Ainslie Fabrizio and Enrica Arengi Bentivoglio Mary Ann and Frank Arisman Sarah Arison Arne and Bonnie Arnesen Jody and John Arnhold Helaine and Victor Barnett Allen Adler and Frances Beatty Tony Bechara Candace and Rick Beinecke Franklin and Marsha Berger Amy Bermingham and Charles Wilson Katherine and Marco Birch Patricia Blanchet Sara and Mark Bloom John Lambert and Ramona Boston Nick and Jaime Botta Nicholas Brawer Catherine and Robert Brawer Daniel and Estrellita Brodsky Cliff and Amanda Brokaw Mr. and Mrs. Kevin Brown Amanda M. Burden Mary and Brad Burnham Canard, Inc. Janine Carendi MacMurray Valentino D. Carlotti Michele and Marty Cohen Betsy Cohn Chris and Christina Combe Connelly McLaughlin & Woloz Sophie Coumantaros David and Ide Dangoor Jason and Mary Dillow Jessie Ding Jeanne Donovan Fisher Dr. Ronald and Beth Dozoretz Andra and John Ehrenkranz Mashid and Jamshid Ehsani Martin and Rebecca Eisenberg Foundation Dr. Nancy Eppler-Wolff and Mr. John Wolff The Felicia Fund Andrew and Theresa Fenster Fisher Marantz Stone Gail Flatto Melanie and Robert Forman Michael and Jill Franco Amandine Freidheim Bart Friedman and Wendy A. Stein

Heather Hoyt Georges Sylvia Golden and Warren Friedman Lloyd and Victoria Goldman David and Lisa Golub George and Patty Grunebaum Agnes Gund Mimi and Peter Haas Fund Molly Butler Hart and Michael D. Griffin Herzog & de Meuron Fernand and Nicole Lamesch Lazard Chad A. Leat Mr. and Mrs. Richard LeFrak Denise Lefrak Gail and Alan Levenstein George S. Loening The Honorable and Mrs. Earle I Mack Shelly and Tony Malkin Charles and Georgette Mallory Steve and Sue Mandel Marian Goodman Gallery Diane and Adam E. Max John McGinn Raymond J. McGuire Michael McMahon Claude Shaw and Lara Meiland-Shaw Joyce F. Menschel Sergio and Malu Millerman The Donald R. Mullen Family Foundation, Inc. Beth and Joshua Nash Martin H. Nesbitt and Dr. Anita K. Blanchard David Orentreich, MD / Orentreich Family Foundation Daniel and Susan Pollack Susan Porter Preserve New York, a grant program of Preservation League of New York Helaine and Michael Pruzan David Remnick and Esther Fein Richenthal Foundation Renee Rockefeller Jonathan F.P. and Diana Rose Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Deborah and Chuck Royce Reed Rubin and Jane Gregory Rubin Seymour and Robyn Sammell Erica Samuels Richard and Ann Sarnoff Susan and Charles Sawyers Michael and Susan Schonbrun Steve Schroko and Frank Webb Sara Lee and Axel Schupf Lise Scott and D. Ronald Daniel Marshall Sebring and Pepper Binkley Jonathan Sheffer Zack Sherman and Francesca Bodini Lea Simonds Albert Simons III Skidmore, Owings & Merrill Marva Smalls Stephanie and Dick Solar Patricia Brown Specter Dr. and Mrs. Eugene E. Stark, Jr. Judy and Michael Steinhardt Beatrice Stern The Jay and Kelly Sugarman Foundation Sharzad and Michael Targoff Frederick O. Terrell and Jonelle Procope Dave and Karen Thomas Laurie M. Tisch Illumination Fund Lizzie and Jonathan Tisch Michael Tuch Foundation Jordan and Heather Turkewitz L.F. Turner Jason van Itallie Viacom Andrew E. Vogel and VĂŠronique Mazard

Anastasia Vournas and J. William Uhrig Saundra Whitney Eva Sanchez-Ampudia and Cyrille Walter Mati Weiderpass and Nikolas Chen Isak and Rose Weinman Foundation, Inc. Michael Weinstein Kevin Wendle Gary and Nina Wexler Francis H. Williams and Keris A. Salmon W. Weldon and Elaine Wilson Maria Wirth Cynthia Young and George Eberstadt Zubatkin Owner Representation, LLC Anonymous (5)

$2,500 to $4,999 Abigail Kirsch Catering David and Amy Abrams Roger Alcaly and Helen Bodian Elliot and Nancy Alchek Susan Heller Anderson Michael and Leslie Arlein Louis and Gabrielle Bacon Susan Baker and Michael Lynch Femenella & Associates Peter Balis Candy Barasch Laurel Beebe Barrack Mr. Lawrence B. Benenson Jonathan and Marjaleena Berger Stephen Berger and Cynthia Wainwright Judy and Howard Berkowitz Stephanie Bernheim Mr. and Mrs. Robert Birnbaum Allison M. Blinken Leslie Bluhm and David Helfand Michael and Polly Brandmeyer Carolyn S. Brody Stafford and Laura Broumand Arthur and Linda Carter Cesar and Ana Carvalho Melanie Charlton Alexandre and Lori Chemla Cloud Catering & Events Francis Levy and Hallie Cohen Ellie and Edgar Cullman Joshua Dachs / Fisher Dachs Associates Joan K. Davidson (The J.M. Kaplan Fund) Jeffrey De Flavio Antoinette Delruelle and Joshua L. Steiner Anne Delaney Spencer Ross and James Delavan Anna Denton John and Amy Downer Jane Ehrenkranz and Robert Draizen Christopher Duda Luis Felipe P Dutra Leite Karen Eckhoff Anne and Joel Ehrenkranz Leland and Jane Englebardt Jared Feldman / Anchin Private Client Haiki and Ziel Feldman Kyle Fisher Megan Flanigan Ella M. Foshay and Michael B. Rothfeld Gwen and Austin Fragomen Hugh Freund Michael Finkelstein and Sue-Ann Friedman Linda Gad Buzzy Geduld Martin and Lauren Geller Sarah Jane and Trevor Gibbons Glickenhaus Foundation Sarah Gould and David Steinhardt Great Performances Robert Haddock and Ann Stanton

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

Raymond Hannigan Mark Hauser Richard and Susan Hayden Herrick Feinstein LLP Ian and Lea Highet Susanna Hong Lauran Paten Hughes Glenn Hutchins, Hutchins Family Foundation Phyllis Hyde Kenneth and Jill Iscol Judith Jadow Paul Kanavos and Dayssi Olarte de Kanavos Jeanne Kanders Rita J. and Stanley H. Kaplan Family Foundation Herbert Kasper Adrienne Katz Saundra Keinberger The Charles & Lucille King Family Foundation Diana King* / The Charles & Lucille King Family Foundation Nancy Kestenbaum and David Klafter Phyllis L. Kossoff Douglas and Judith Krupp George & Lizbeth Krupp Bill Lambert Nancy L. Lane Lazarus Charitable Trust Julia Ledda Dorothy Lee Jeanette Lerman-Neubauer and Joe Neubauer Phyllis Levin Gina Giumarra MacArthur Linda Macklowe Mehdi Mahmud John and Paula Mahoney Ann Maloney Alan and Laura Mantell Ruth H. Marcon Iris Z Marden Judith and Michael Margulies Joanie Martinez-Rudkovsky Bonnie Maslin Nina B. Matis Peter and Leni May Rick and Dee Mayberry Christopher McHugh Constance and H. Roemer McPhee William and Pamela Michaelcheck Robert and Bethany Millard Sandra Earl Mintz Robert and Stacey Morse Saleem and Jane Muqaddam Mary Kathryn Navab Nancy Newcomb and John Hargraves Jesse and Stéphanie Newhouse Peter and Susan Nitze Northern Bay Contractors, GDO Contracting Corp & Phoenix Contracting Stephen Novick Susan and Marvin Numeroff Christian and Katia Oberbeck Nancy and Morris W. Offit Kathleen O'Grady Gerry Ohrstrom Peter and Beverly Orthwein David and Nicole Palamé Robin and Carlos Palomares Madison J Papp Scott and Kelley Parel Prashant and Avani Parikh Stuart and Laura Parker Lee and Lori Parks Liz and Jeff Peek Louis and Barbara Perlmutter Elizabeth Peyton Rebecca Pietri Marnie Pillsbury Cynthia Hazen Polsky and Leon Polsky

Sharon Prince Elese Reid Diana and Charles Revson Michael D. Rhea Frank and Kimba Richardson Heidi Rieger Laura and Gerald Rosberg Rose Brand Susan and Jon Rotenstreich Hope Rothschild Bonnie J. Sacerdote Jane Fearer Safer Jeffrey Sagansky and Christy Welker Nathan Saint-Amand Susan Savitsky Fuad Sawaya Jane Hartley and Ralph Schlosstein Sabina and Wilfred Schlumberger Caroline Schmidt-Barnett Victoria Schorsch Lynn Schwab Bernard and Denise Schwartz Seaboard Weatherproofing & Restoration Peggy Siegal Douglas Sills Denise Simon and Paulo Vieiradacunha Laura Skoler David and Shelley Sonenberg Daisy M. Soros Stephen and Constance Spahn Justin and Shirley Steinberg Doug C. Steiner Colleen Stenzler Melissa Stewart Leila Maw Straus Bonnie and Tom Strauss Tastings NYC Ellen and Bill Taubman Thomas and Diane Tuft Olivia Tyson John and Eva Usdan Christine van Itallie Ambassador and Mrs. William J. vanden Heuvel Wendy vanden Heuvel Olga Geroulanos-Votis and George Votis Rosemary Vrablic Amanda and John Waldron Felicity Waley-Cohen Susan and Kevin Walsh Arete Warren Peter Wasserman Lauren and Andrew Weisenfeld Jacqueline Weld Drake Katherine Wenning and Michael Dennis Mindy White Claire and Matthew Wittman Frederic Fekkai and Shirin von Wulffen Amy Yenkin and Robert Usdan Lauren and Paul Young Judy Francis Zankel Yuliya Zhang Xin Zhang Richard and Franny Heller Zorn Anonymous (5)

$1,000 to $2,499 Sallie Abelow Marina Abramović Travis Acquavella Katie Adams Schaeffer Catherine Adler Hank Alpert Diana Diamond and John Alschuler Eric Altmann John and Jennifer Argenti Dr. Lora Aroyo

armoryonpark.org | @ParkAveArmory | #RecitalSeries

Milton and Sally Avery Arts Foundation Sarah Azad-Bowman Billie Banks Stefan Beckman Norton Belknap Mr. Alan Bell and Mr. David Ziff Elaine S. Bernstein Friederieke Biggs Claudia and George Bitar Hana and Michael Bitton Charles and Ellen Bock Dr. Suzy and Mr. Lincoln Boehm Marisa Rose and Robin von Bokhorst Sheldon and Jill Bonovitz Melanie Bouvard Louis and Ruth Brause Mark and Anne Brennan Diane Britz Lotti Marc Brodherson and Sarah Ryan Stacey Bronfman Elizabeth Brooks Karen Brooks Spencer Brownstone David Bruson Philip Buckner Vineet Budhraja and Rebecca Bagdonas Cora Cahan and Bernard Gersten Sally Peterson and Michael Carlisle Marissa Cascarilla Eleanor Cayre Sommer Chatwin Shirin and Kasper Christoffersen Sana Clegg Bradley I. Collins Alexander Cooper Henry and Vanessa Cornell Judith-Ann Corrente Pedro and Marcela Gonzalez de Cosio Mimi Ritzen Crawford Nora Creedon Andrew and Abby Crisses Austen and Ernesto Cruz Beth Nowers and Jack Curtin Sasha Cutter and Aaron Hsu Charles and Norris Daniels Richard and Peggy Danziger David Burke Tavern Virginia Davies and Willard Taylor Jonathan and Margot Davis Christina R. Davis Henry and Kristina Davison Eric de Cholnoky Chiara de Rege Richard and Barbara Debs Gena Delbridge Stephen and Nola Deutsch Mary Dillow Renee Domingo Frederick Doner and Michele Oka Doner Peter Droste Susan Dryfoos Molly A. Duffy John and Eleanor Dunn David and Frances Eberhart Foundation Yevgeniya Elkus Patricia Ellis Allen and Heidi Roberts Maria Etchebarne Lydia Fine Lori Finkel and Andrew Cogan John and Carol Finley Laura Jane Finn Robert and Kimia Finnerty Barbara G. Fleischman Christina Floyd Di Donna Jeff and Sheryl Flug Frances Fontaine Kelly Fradin

Betsy Frank Molly and Linc Frank Jamie Frankfurt and Pamela Hanson Fried, Frank, Harris, Shriver & Jacobson LLP Eleanor Friedman and Jonathan Cohen Leslie Fritz Karen Frome Scott Fulmer and Susan Kittenplan Fulmer Gail Furman David and Danielle Ganek Bruce and Alice Geismar Samantha and John Gellert Tracey and Scott Gerber Zohair and Vanessa Ghenania Christopher Girr Katja Goldman Golub Captial LLC Nina Gorrissen von Maltzahn Jan M. Guifarro Frances and Gerard Guillemot Vanessa Handal Lana and Steve Harber Gillian Hearst Shaw Mary and Charles Hesdorffer Stephanie and Stephen Hessler In memory of Maria E. Hidrobo Kaufman Brian and Tania Higgins William T. Hillman Gregor Hochmuth Barbara Hoffman Richard and Judith Hoffman Elisabeth Holder Richard and Roberta Huber Richard and Sharon Hurowitz Beeta Jahedi William and Weslie Janeway Morton and Linda Janklow David and Suzanne Johnson Leslie Johnson Christopher and Hilda Jones Mike and Roberta Joseph Patricia S. Joseph Laura Schwartz and Arthur Jussel Jonathan Kane Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Kalliope Karella Alicia Ernst and John Katzman Victoria Reese and Greg Kennedy Susan Kessler Jana and Gerold Klauer Major General Edward G. Klein, NYNG (Ret.) Gloria and Richard Kobrin Sheila Nevins and Sidney Koch Jia Yi Xu and Jayce Koffey Kameron Kordestani Ezriel Kornel MD Kate Krauss Nanette L. Laitman Jerome LaMaar Barbara Landau Barbara and Richard Lane Sydie Lansing William P. Lauder Fund Kate Lauprete Mark and Taryn Leavitt Ralph Lemon Josh and Tamara Leuchtenburg Alexia and David Leuschen Michael Clifford and Robert Levy Susan Lipson Harry and Melissa Lis Jane K. Lombard Christopher Lowell and Kerry Bishe Donna and Wayne Lowery Heather Lubov John D. and Catherine T. MacArthur Foundation Reeva and Ezra P. Mager FranĂ§ois and Ketty Maisonrouge

The Marcus Family Foundation Sarah Maslin Nir Match65 Larry and Mary McCaffrey Deborah Berke and Peter McCann Orin McCluskey Nancy McCormick Cristina von Bargen and Jonathan McHardy Melanie McLennan Rebecca Gold Milikowsky Claire Milonas Marcia and Richard Mishaan Whitney and Andrew Mogavero Robert Taff and J. Philip Moloney Elizabeth Moran Helen Nash Helen Stambler Neuberger and Jim Neuberger Thomas and Carolina de Neufville Sheila Newhouse Lynn Nottage Lisbeth Oliver Joey O'Loughlin Arlena Olsten Liza and John Olympitis Catherine Orentreich Robert Ouimette and Lee Hirsch Deborah Pagani Nicole PalamĂŠ Mario Palumbo and Stefan Gargiulo Alex and Christina Panos Mindy Papp Annie Pell Michelle Perlin Brian and Emilia Pfeifler Dusty and Yesim Philip Caroline Wamsler and DeWayne Phillips Patricia Picciotto John and Marie Noelle Pierce Robert and Veronique Pittman Lyon and Hillary Polk Geri and Lester Pollack Joyce Pomeroy Schwartz Michael Poppo Laura Poretzky-Garcia Joshua and Anne Prentice Diane Archer and Stephen Presser Prime Parking Systems Francesca Proietti David and Leslie Puth Martin and Anna Rabinowitz Jennifer Reardon Diana and John Rice Julie Richardson Leslee and Leslee Rogath Joseph Zimmel and Sheryl Ronzello Jeffrey and Marjorie Rosen Marjorie P. Rosenthal David and Meg Roth Jane Royal and John Lantis Merle Rubine and Elliot M. Glass Susan Rudin Victoria Love Salnikoff Christine Sare Elizabeth Sarnoff and Andrew Cohen Matthew and Haley Satnick Paul H. Scarbrough, Akustiks, LLC. Diane Schafer Charlie and Lindsey Schilling Pat Schoenfeld Nadine Shaoul and Mark Schonberger Paolo Sciarra Michael and Alex Shuman Paula Diane Silver Carla Emil and Rich Silverstein Bonnie Simon Randy and Jan Slifka Mary Elizabeth Snow Nathalie Angles and Kenneth Soehner

Marybeth Sollins Jonah and Katie Sonnenborn Helene and Robert Sorin John Spofford Squadron A Foundation Mark Stamford Lauren Starke and Aric Domozick Gayfryd Steinberg and Michael Shnayerson Jeffrey and Susan Stern Michael and Marjorie Stern Tricia Stevenson Alan and Donna Stillman Jennifer Stockman Andy and Dana Stone Stella Strazdas and Henry Forrest Summit Security Services, Inc. Harold and Estelle Tanner Yen Ha and Richard Tesler Jennifer Tipton Susan B. Tirschwell Kris Togias Tow Foundation Raymond & Jean Troubh Yolanda Turocy Maria Vecchiotti Jerome and Maria Villalba John and Barbara Vogelstein Kay Kimpton Walker Walter B. Melvin Architects, LLC Ayse Weinberg Karla Wheeler Shelby White Jon and Reva Wurtzburger Dan and Nancy Yih Meghan and Michael Young Toni Young Samiah Zafar Anonymous (4) List as of January 31, 2020 * Deceased

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

METROPOLITAN OPERA BOARD OF DIRECTORS Ann Ziff Chairman Dr. Frayda B. Lindemann President and Chief Executive Officer

Mercedes T. Bass Vice Chair William C. Morris Chair of the Executive Committee Jeanette Lerman-Neubauer Secretary Betsy Cohen Treasurer Tod Johnson Vice President

Christine F. Hunter Honorary Chair James W. Kinnear Honorary Chair Paul M. Montrone President Emeritus Executive Committee Mercedes T. Bass Frank A. Bennack, Jr. Betsy Cohen Judith-Ann Corrente Elizabeth M. Eveillard Ekkehart Hassels-Weiler Christine F. Hunter Tod Johnson Jeanette Lerman-Neubauer Dr. Frayda B. Lindemann William C. Morris Robert L. Turner Ann Ziff

Managing Directors Mrs. Veronica Atkins Mercedes T. Bass Frank A. Bennack, Jr. C. Graham Berwind, III Susan S. Braddock Noreen Buckfire Alexa Bator Chae Nabil N. Chartouni Betsy Cohen Leonard S. Coleman, Jr. Judith-Ann Corrente Rena De Sisto Elizabeth M. Eveillard Kenneth R. Feinberg Austin T. Fragomen, Jr. Marina Kellen French Beth A. Grosshans Ekkehart Hassels-Weiler Rolf Heitmeyer Marlene Hess H. M. Agnes Hsu-Tang, Ph.D. Christine F. Hunter Frederick Iseman David Henry Jacobs Tod Johnson James W. Kinnear Bruce Kovner Camille D. LaBarre Harry T. Lee Jeanette Lerman-Neubauer Dr. Frayda B. Lindemann Frances Marzio Kathryn A. Miller William C. Morris Sana H. Sabbagh Laura J. Sloate Marc I. Stern Ambassador Nicholas F. Taubman Douglas Dockery Thomas Robert I. Toll Robert L. Turner Ann Ziff

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Honorary Directors Bruce Crawford Edgar Foster Daniels Emily Fisher Landau Mrs. Walter J. Laughery, Jr. Mrs. Alexander M. Laughlin Paul M. Montrone Howard Solomon Advisory Directors Virginia Barbato M. Beverly Bartner Ellen S. Berelson Stephen Berger Stanley M. Bergman Ms. Angela Chao Carol E. Domina Gordon P. Getty Richard Gilbert Nancy A. Green H. Alexandra Kauka Hamill Howard W. Hunter Linda E. Johnson Dr. Herbert G. Kloiber Dr. David G. Knott Theodore A. Kurz Dominique Laffont Marguerite L. Lee Helen Y. Little Andrew J. Martin-Weber Dafna Meitar-Nechmad Richard J. Miller, Jr. William R. Miller Linda Mirels Franci Neely Marta Nottebohm Ellen F. Oelsner Katharina Otto-Bernstein Miss Leontyne Price Dr. Steve Prystowsky Donna Kesselman Raggio, M.D. Mark H. Rosenberg Winthrop Rutherfurd, Jr. Jacqui Smith Daisy M. Soros Kimberly V. Strauss John J. Veronis Arete S. Warren

Members of the Association Mahmoud M. Abdallah Dr. Joan Taub Ades Agnieszka R. Balaban R. Joseph Barnett Jane Beasley Eleanor N. Caulkins Dr. Patrizia A. Cavazzoni Betsy Cohn Robert J. Cubitto Robert G. Edge Beatrice Esteve Bryan M. Fabiano Sanford H. Fisher Heather H. Georges Rosalind Glaser G. Morris Gurley Barbara Guss Mrs. Randolph H. Guthrie

Erik Hartmann Ronnie S. Hawkins Matthew G. Hurd Vikas Kapoor Mrs. Martin S. Kimmel Klaus Kleinfeld Meyer G. Koplow C. Thomas Kunz Sandra Ourusoff Massey John L. McGraw Cynthia D. Sculco Paul J. Sekhri Mrs. William F. Sondericker Jackson Tai Barry Tucker George L. Van Amson Sharon Wee Michael J. Woods

Young Associate Directors Amanda S. Brainerd Marco Fiorese Jordan A. D. Fudge Robert M. Iommazzo So-Chung Shinn Lee Pedro Magalhães Julie Warner McAskin Maxwell J. Murphy Evelyn M. M. Popp Chad J. Shampine Itai Shoffman Siddhartha Shukla Kevin M. Tagami Eric S. Wei Kevin Woodruff Satoko Yahata

LINDEMANN YOUNG ARTIST DEVELOPMENT PROGRAM SUPPORTERS The Metropolitan Opera is grateful to the following donors for their generous support of the Lindemann Young Artist Development Program. For more information, please call Kathy Liu, Director of Major Gifts, at 212.870.4570. $500,000 +

$50,000 to $99,999

Dr. Frayda B. Lindemann*

$250,000 to $499,999 The Starr Foundation** Estate of Irene Spiegelman

$100,000 to 249,999 William Randolph Hearst Foundation** Max Kade Foundation, Inc. Mr. and Mrs. Dennis W. LaBarre Dominique and Frédéric Laffont Annette Merle-Smith Estate of Theodora Petropulos Estate of Craig Risser

The Bodman Foundation Epstein Teicher Philanthropies, in memory of Milton S. Teicher Anthony B. and Judith W. Evnin Fund, in honor of Sarah Billinghurst** The Sybil B. Harrington Endowment Fund** The Kern Family, in memory of Ralph W. Kern The Elroy and Terry Krumholz Foundation Dr. Nancy Maruyama and Charles Cahn Estate of Teresa Troisi The Alice Tully Foundation**

$35,000 to $49,999 The Theodore H. Barth Foundation Fondation Rumsey-Cartier Daniel and Janet Mordecai Foundation, Inc.

$25,000 to 34,999

$10,000 to 24,999 Susan A. Babson Opera Fund for Emerging Artists The Barker Welfare Foundation Pamela and Bill Craven Sunny Hayward and Richard S.D. Johnson The Erich P. Holzer Charitable Remainder Trust** Jane Kober Jeannette and H. Peter Kriendler Charitable Trust Barbara Lincoln and Tim Murphy, in memory of Emma Skoff Lincoln The Nancy Peery Marriott Foundation Estate of Alice Meyer David Shustak, in memory of Herbert J. Frank C.F. Roe Slade Foundation Hans J. Heinz and Tatiana Troyanos Memorial Fund** * Annual contributions and income on designated endowment funds ** Income on designated endowment funds

Estate of Jack Bakal The Hildegard Behrens Foundation Eleanor N. Caulkins Jephson Educational Trusts

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at East 67th Street

ABOUT THE BOARD OF OFFICERS ROOM “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 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 programing. 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.

The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation. Cover photo by James Ewing.