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There will be no late seating for this performance. Please allow enough time to arrive at the hall so that you are seated on time

A Dancer's Dream: Two Works by Stravinsky

This concert is now past.
A Dancer's Dream
Location: Avery Fisher Hall (Directions)
Price Range: $38.00 - $135.00

Concert Duration

2 hours
Thu, Jun 27, 2013
7:30 PM
Fri, Jun 28, 2013
8:00 PM
Sat, Jun 29, 2013
8:00 PM

Program (Click the red play button to listen)


The Fairy's Kiss

Suite from The Fairy's Kiss (1945)

The ballet Le baiser de la fée was commissioned by Ida Rubinstein and choreographed by Bronislava Nijinska, sister of the legendary dancer Vaslav Nijinksy. Mounted in November 1928, it commemorates the thirty-fifth anniversary of the death of Tchaikovsky, Stravinsky’s favorite Russian composer. Stravinsky’s homage transforms several of Tchaikovsky’s early piano pieces and songs, but also interweaves his own music. The magic he works on the derived texts is sometimes minimal, such as slowing down the original, or scoring it for different instruments; at other times the transformation amounts to recomposition. Stravinsky later even revealed that he could no longer remember “which music is Tchaikovsky’s and which mine.” In 1945 Stravinsky created this suite, about half the length of the full ballet. The dark, gripping tale, based on Hans Christian Andersen’s 1861 story The Ice Maiden, tells of a boy kissed and abducted by a sinister Fairy from his mother in a snowstorm. Years pass, and the villagers are about to celebrate the impending wedding of the now-young man and his fiancée. The Fairy is also there in the guise of a gypsy woman, and as they dance she puts him under her spell. When she appears in a wedding veil, the young man embraces her, thinking she is his beloved. But the Fairy throws off her disguise and spirits him off to her wintery kingdom, where she makes him hers forever with another kiss. Stravinsky described the ballet as “an allegory of Tchaikovsky himself. The fairy’s kiss on the heel of the child is also the muse marking Tchaikovsky at his birth—though the muse did not claim Tchaikovsky at his wedding as she did the young man in the ballet, but rather at the height of his powers.” This lyrical melding of two Russian masters is sure to captivate you.

Neige, for piano four hands (excerpt)


Petrushka (original 1911 version)

Petrushka (1911, original version)

“I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra retaliates with menacing trumpet blasts. The outcome is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet.” That was Stravinsky’s description of what would become one of his most celebrated ballets: Petrushka. The complex rhythms and offbeat meters, the predominance of the winds, brass, and percussion, and edgy harmonies create a startling effect that is positively enthralling even a century later. Highlights to listen for: the teeming hustle and bustle and folk-like character of the Shrovetide Fair; the iconoclastic juxtaposing of key signatures and the jarring trumpet calls that symbolize the pathetic Petrushka; and the musical violence of his death at the hands of the Moor. In the end, only the jeering ghost of Petrushka remains.



Alan Gilbert

New York Philharmonic Music Director Alan Gilbert began his tenure in September 2009. The first native New Yorker to hold the post, he has sought to make the Orchestra a point of pride for the city and country. As New York magazine wrote, “The Philharmonic and its music director Alan Gilbert have turned themselves into a force of permanent revolution.”

Mr. Gilbert and the Philharmonic have forged artistic partnerships, introducing the positions of The Marie-Josée Kravis Composer-in-Residence and The Mary and James G. Wallach Artist-in-Residence, held in the 2014–15 season by Christopher Rouse and violinist Lisa Batiashvili, respectively, as well as the new position of Artist-in-Association, inaugurated by Inon Barnatan this season; an annual festival, which this season is Dohnányi / Dvořák; CONTACT!, the new-music series; and the NY PHIL BIENNIAL, an exploration of today’s music by a wide range of contemporary and modern composers inaugurated in spring 2014.

In the 2014–15 season Alan Gilbert conducts the U.S. Premiere of Unsuk Chin’s Clarinet Concerto, a Philharmonic co-commission, alongside Mahler’s First Symphony; La Dolce Vita: The Music of Italian Cinema with Joshua Bell, Renée Fleming, and Josh Groban; Verdi’s Requiem; a staging of Honegger’s Joan of Arc at the Stake featuring Oscar winner Marion Cotillard; World Premieres by John Adams, Peter Eötvös, and Christopher Rouse; works by contemporary Nordic composers during CONTACT!; and the Silk Road Ensemble and Yo-Yo Ma’s 15th-anniversary celebration. He concludes The Nielsen Project, the multi-year initiative to perform and record the Danish composer’s symphonies and concertos, the first release of which was named by The New York Times as among the Best Classical Music Recordings of 2012. The Music Director presides over the EUROPE / SPRING 2015 tour with stops including London, featuring Giants Are Small’s theatrical reimagining of Stravinsky’s ballet Petrushka as part of the Orchestra’s second International Associate residency at the Barbican Centre; Cologne, where he leads the World Premiere of Peter Eötvös’s Senza sangue, a Philharmonic co-commission; and returns to Dublin and Paris.

Last season’s highlights included the inaugural NY PHIL BIENNIAL; Mozart’s three final symphonies; the U.S. Premiere of Mark-Anthony Turnage’s Frieze coupled with Beethoven’s Ninth Symphony; World Premieres; an all-Britten program celebrating the composer’s centennial; the score from 2001: A Space Odyssey as the film was screened; the ASIA / WINTER 2014 tour; and a staged production of Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson. High points of Mr. Gilbert’s first four Philharmonic seasons included the critically celebrated productions of Ligeti’s Le Grand Macabre (2010) and Janáček’s The Cunning Little Vixen (2011) — both cited as the top cultural events of their respective years — as well as Philharmonic 360 at Park Avenue Armory (2012), the acclaimed spatial music program featuring Stockhausen’s Gruppen, and A Dancer’s Dream: Two Ballets by Stravinsky (2013, and later presented in movie theaters internationally). Other highlights included World Premieres of works by Magnus Lindberg, John Corigliano, Christopher Rouse, and composers featured on CONTACT!; Mahler’s Second Symphony, Resurrection, on A Concert for New York on September 10; Mr. Gilbert’s Philharmonic debut as violin soloist in J.S. Bach’s Concerto for Two Violins; five concerts at Carnegie Hall; six tours to Europe; and the Asia Horizons tour.

Conductor laureate of the Royal Stockholm Philharmonic Orchestra and principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras nationally and internationally, such as the Boston Symphony Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Berlin Philharmonic, Orchestra della Accademia Nazionale di Santa Cecilia, and Orchestre Philharmonique de Radio France. He has appeared at The Metropolitan, Los Angeles, Zurich, Royal Swedish, and Santa Fe opera companies. In 2014–15 he conducts the Leipzig Gewandhaus Orchestra’s season-opening concerts and on tour in Lucerne, Berlin, and London; Mozart’s Don Giovanni at The Metropolitan Opera; and The Philadelphia, Munich Philharmonic, Berlin Philharmonic, and NDR Symphony orchestras.

In September 2011 Alan Gilbert became Director of Conducting and Orchestral Studies at The Juilliard School, where he is also the first holder of Juilliard’s William Schuman Chair in Musical Studies. He made his acclaimed Metropolitan Opera debut in 2008 leading John Adams’s Doctor Atomic; the DVD and Blu-ray of this production received the 2012 Grammy Award for Best Opera Recording. Renée Fleming’s recent Decca recording Poèmes, on which he conducted, received a 2013 Grammy Award. Earlier releases garnered Grammy Award nominations and top honors from the Chicago Tribune and Gramophone magazine.

Mr. Gilbert studied at Harvard University, The Curtis Institute of Music, and Juilliard and was assistant conductor of The Cleveland Orchestra (1995–97). In May 2010 he received an Honorary Doctor of Music degree from Curtis, and in December 2011 he received Columbia University’s Ditson Conductor’s Award for his “exceptional commitment to the performance of works by American composers and to contemporary music.” In 2014 he was elected to The American Academy of Arts & Sciences, and he received a 2015 Foreign Policy Association Medal for his commitment to cultural diplomacy.

Visit Alan Gilbert's Official Website

Learn more about Alan Gilbert


Designer, Director

Doug Fitch

Visual artist, designer, and director Doug Fitch’s Giants Are Small productions for Alan Gilbert and the New York Philharmonic include Ligeti’s Le Grand Macabre (cited as the top opera of 2010 by The New York Times, New York magazine, and Time Out New York), Janáček’s The Cunning Little Vixen (2011, New York magazine’s “Best Classical Event of the Year”), A Dancer’s Dream: Two Works by Stravinsky (2013, later screened in movie theaters worldwide); and HK Gruber’s Gloria – A Pig Tale (2014, with forces from The Juilliard School as part of the NY PHIL BIENNIAL). This fall Mr. Fitch was the inaugural WBFO visiting artist at SUNY, where he created an opera of images, How Did We...? In 2013 he directed and performed in the premiere of Matthew Suttor’s musical setting of Blaise Cendrar’s poem La Prose du Transsibérien et de la Petite Jehanne de France with the Taos Chamber Music Group. He has created productions for Los Angeles Opera, Los Angeles Philharmonic, and Santa Fe Opera, and directed projects for Canada’s National Arts Centre, Royal Stockholm Philharmonic Orchestra, and Tanglewood (Elliot Carter’s What Next?, screened at The Museum of Modern Art). Doug Fitch’s creative life began with his family’s touring puppet theater. While studying visual arts at Harvard University, he collaborated with director Peter Sellars, including on of Wagner’s Der Ring des Nibelungen. He also studied cooking at Paris’s La Varenne and design at Institut d’Architecture et d’Etudes Urbaines in Strasbourg, France. He emerged as an architectural designer in the 1980s, and collaborated with Mimi Oka on edible art installations called Orphic Feasts, leading to their book, Orphic Fodder. Other projects have included Robert Wilson’s Civil Wars (at the American Repertory Theatre) and Jim Henson of The Muppets (in England). In co-production with Universal Music and Deutsche Grammophon, Mr. Fitch, Edouard Getaz, and Frederic Gumy are developing Peter+Wolf in Hollywood for an iPad app, CD, digital album, and live show.

Learn more about Doug Fitch


Choreographer, Dancer

Karole Armitage by Marco Mignani

Karole Armitage, director of the New York–based Armitage Gone! Dance Company, was rigorously trained in classical ballet. As a professional dancer she performed in Balanchine’s Grand Théâtre de Genève Company and in the Merce Cunningham Dance Company. Ms. Armitage is renowned for pushing the boundaries to create works that blend dance, music, and art, drawing upon her technical knowledge of dance to blend virtuosity with conceptual ideas from the frontiers of movement research. She directed the Ballet of Florence Italy (1995–98) and the Biennale of Contemporary Dance in Venice (2004), served as resident choreographer for the Ballet de Lorraine in France (1999–2004), and created works for many companies, including The Bolshoi Ballet, Ballet Nacional de Cuba, Les Ballets de Monte Carlo, Paris Opéra Ballet, Kansas City Ballet, and Alvin Ailey Dance Theater. Ms. Armitage collaborates frequently with composers and artists, including Jeff Koons, Brice Marden, David Salle, and Phillip Taaffe. She choreographed two Broadway productions (Passing Strange and Hair, the latter earning her a Tony nomination), videos for Madonna and Michael Jackson, and several films for Merchant Ivory Productions. Known for directing opera, she choreographed Janáček’s The Cunning Little Vixen for the New York Philharmonic (2011) as well as the Cirque du Soleil production Amaluna (2012). Ms. Armitage was awarded Commandeur de l’Ordre des Arts et des Lettres, France’s most prestigious award, in 2009, received a doctorate of the arts from the University of Kansas in 2013, and is the recipient of a Guggenheim Fellowship.

Learn more about Karole Armitage



Edouard Getaz Edouard Getaz is co-founder and producer of Giants Are Small. Born in 1973 in Lausanne, Switzerland, he is now a New York–based producer and director. Mr. Getaz has produced a wide variety of events, from major fashion shows to music festivals and large historical celebrations, including several New York Philharmonic projects: Stravinsky’s L’Histoire du soldat (2005, directed by Doug Fitch), Le Grand Macabre (2010), The Cunning Little Vixen (2011), and A Dancer’s Dream: Two Works by Stravinsky (2013). Petrushka is the fifth creation produced by Mr. Getaz (who is the show’s video director). With Doug Fitch, Mr. Getaz has also created Giants Are Small’s adaptation of Peter and the Wolf with the Los Angeles Philharmonic at Walt Disney Concert Hall (2008). In co-production with Universal Music / Deutsche Grammophon, and with his partners Doug Fitch and Frederic Gumy, he is currently developing: Peter+Wolf in Hollywood, which will result in an iPad app, CD, digital album, and live show. Mr. Getaz has directed two short films, Virgin Red (2005) and Freud’s Magic Powder (2009, in co-production with the Swiss National Television); both were premiered at the Locarno Film Festival and selected for major festivals worldwide. For Citibank’s 200th anniversary in 2011 Mr. Getaz directed the music video Proud, which won major awards (including the PR Week Award). He has directed video campaigns for the Michael J. Fox Foundation and the International Olympic Committee. Edouard Getaz holds a master in law from the Fribourg University and a certificate in film directing and production from New York University.

Learn more about Edouard Getaz



Since its founding in 2007 by American director/visual artist Doug Fitch, Swiss filmmaker/producer Edouard Getaz, and multimedia entrepreneur Frederic Gumy, Giants Are Small has become one of the most groundbreaking and critically acclaimed New York City production companies. Collaborating with some of today’s finest orchestras and outstanding talents, Giants Are Small is known for its extraordinary range of genre-bending fusions of theater, live filmmaking, and music. In 2010 Giants Are Small created a production of Ligeti’s Le Grand Macabre with the New York Philharmonic, conducted by Alan Gilbert, which was cited as 2010’s best opera of the year by The New York Times, New York magazine, and Time Out New York. The Philharmonic collaboration continued with the 2011 production of Janáček’s The Cunning Little Vixen (New York magazine’s “Best Classical Event of the Year”) and A Dancer’s Dream: Two Works by Stravinsky (2013, and later screen in movie theaters worldwide); and HK Gruber’s Gloria – A Pig Tale for the NY PHIL BIENNIAL (with Alan Gilbert conducting forces from The Juilliard School). The 2015 production of Petrushka during the Orchestra’s EUROPE / SPRING 2015 tour marks the company’s fourth collaboration with the Philharmonic. In 2008 at Walt Disney Concert Hall, Giants Are Small presented a new version of Prokofiev’s Peter and the Wolf with the Los Angeles Philharmonic in a production that merged live classical music, live animation, and video effects in real time. In 2014 Giants Are Small Discovery was launched; these exploratory productions, drawing on diverse musical genres, apply its signature treatment to smaller scale works in a range of cultural spaces; Dadabomb and Gloria – A Pig Tale were the first two works presented under this label. In co-production with Universal Music and Deutsche Grammophon, Giants Are Small is currently developing Peter+Wolf in Hollywood, which will result in an iPad app, CD, digital album, and live show.

Learn more about Giants Are Small


Lighting Design

Scenic and lighting designer Clifton Taylor’s Broadway credits include Jay Johnson: The Two and Only (which received Ovation Award and LA Drama Critics Circle Nomination), Frozen (Lortel Nomination), and Hot Feet, (Henry Hewes Nomination). His recent Off-Broadway credits include Freud’s Last Session, On the Town, and Face the Music with City Center Encores!; Anne of Green Gables with Theatreworks / Lortel; and Endgame with the Irish Repertory Theater. Mr. Taylor also has extensive work in both new and repertory opera including several projects with Doug Fitch’s Giants Are Small company, the Tanglewood Music Center, numerous projects at New York’s Asia Society, a lab for new work by Asian artists, Pocket Opera of New York, Juilliard School, New York Philharmonic, and the Opera de Lorraine (at Paris’s Théâtre du Chatelet). His designs have also been commissioned for dance repertories of the Alvin Ailey American Dance Theater, Rambert Dance Company, American Ballet Theatre, San Francisco Ballet, Scottish National Ballet, Les Grands Ballets Canadiens, Ballet de Lorraine (Nancy, France), Ballet Jazz de Montreal, San Francisco Ballet, Maggio Danza (Florence, Italy), Sardono Dance Theatre (Indonesia), and Ballet Company of Rio de Janeiro, among many others. Clifton Taylor’s designs have been featured at the world’s major arts festivals including the Venice Bienalle, Vienna Festival, New Crowned Hope, Jacob's Pillow, Singapore’s Festival of Asian Arts, Arts Summit/Jakarta, Hong Kong Festival, Istanbul Festival, Hamburg Summer Festival, Lincoln Center Festival, and BAM/Next Wave. He previously designed for Gotham Chamber Opera in Ariadne Unhinged and Eliogabalo.


Costume Design

Irina Kruzhilina is a New York City–based costume designer whose work has been seen in venues including Brooklyn Academy of Music, the National Theatre in Prague, Fischer Center at Bard College, and a barge on the East River in Queens. Ms. Kruzhilina has designed costumes for dozens of theater, dance, opera, and puppetry performances, such as The Merchant of Venice, Don Juan in Prague with David Chambers, Three Graces by Ruth Margraff, Arctic Hysteria with Else-Marie Laukvik, Song for New York with Mabou Mines, DNAWORKS’s HaMapah, SCRAP Performance Group’s TIDE, and Adam McKinney’s Heliotrope. Her work has appeared at the Philadelphia Live Arts, Spoleto Fringe, and DAH Teater (Belgrade, Serbia) festivals. A native of Moscow, Russia, Ms. Kruzhilina is dedicated to connecting Western and Eastern European theater through international collaborations, which led to multiple productions with Plovdiv Dramatischen Theatre in Bulgaria and director Stayko Murdjev, and with director Alexander Sharovsky at the Russian Drama Theatre in Baku, Azerbaijan. Irina Kruzhilina received the 2007 NEA/TCG Career Development Program for Theatre Designers, and is a Chashama resident.


Master Puppeteer

Matt Acheson is a New York City–based artist. He has performed, built, and toured extensively with Basil Twist’s productions of Symphonie Fantastique, Petrushka, and Master Peter’s Puppet Show, as well as Dan Hurlin’s productions of Hiroshima Maiden and Disfarmer. He has also worked with Mabou Mines’s Peter and Wendy, Paula Vogel’s A Long Christmas Ride Home, Tom Lee’s Ko’Olau, and Chris Green’s Luybo. Mr. Acheson was the puppetry rehearsal director for The Metropolitan Opera’s production of Puccini’s Madama Butterfly and worked closely with choreographer Nami Yamamoto on A Howling Flower and Flying with My Shooting Stars. His film credits include In the House of the Sin Eater, which he wrote, directed, and designed with filmmaker Paul Kloss. Other projects have included Rinna Groff’s Compulsion, for which he built the marionettes and supervised the puppetry. Most recently, he was the resident puppetry director for the Broadway production of War Horse at Lincoln Center Theater and currently serves as the associate puppetry director for the show’s North American tour. Matt Acheson directs the St. Ann’s Warehouse Puppet Lab and is in production for the new Radio City Music Hall spectacular, which will be premiered in 2014. These performances mark his first collaboration with Giants Are Small.  


Make-Up Artist

After graduating from St. John’s University, make-up artist Margie Durand began an internship in post-production film editing until a surprise opportunity to work on a New York University student film led her to shift her focus to make-up artistry. Her career was established when make-up artist Francois Nars invited her to observe him at Calvin Klein, Dolce & Gabbana, and Marc Jacobs fashion shows, followed by her honing her skills in fashion make-up in editorial, music videos, and television commercials. Ms. Durand left fashion to work in the make-up department at New York City Opera. During the off-season she worked on independent films, such as I Shot Andy Warhol and Requiem for a Dream. Her other work as a make-up artist in film includes her contributions to major films such as The Manchurian Candidate, Across the Universe, The Wrestler, and Noah. Ms. Durand was the make-up department head for Sex and the City: The Movie, the pilot for the AMC series Mad Men, and Black Swan.


Make-Up Artist


Principal Dancer

Sara Mearns by Arthur Elgort

Sara Mearns was born in Columbia, South Carolina, and began her dance training at the age of three with Ann Brodie at the Calvert-Brodie School of Dance in Columbia. Following study with Patricia McBride at Dance Place, School of North Carolina Dance Theatre, South Carolina Governor’s School for the Arts and Humanities, and the School of American Ballet (the official school of New York City Ballet), she became an apprentice with New York City Ballet in 2003 and danced a featured role in Michel Fokine’s Chopiniana in 2004. Ms. Mearns joined the Company as a member of the corps de ballet in 2004, was promoted to the rank of soloist in 2006, and was promoted to principal dancer in 2008.

At the age of 19, while still a member of the corps de ballet, Ms. Mearns performed her first featured role as Odette/Odile in Peter Martins’s Swan Lake. She has since appeared in featured roles in works choreographed by George Balanchine (including Apollo, Brahms-Schoenberg Quartet, Concerto Barocco, Jewels, George Balanchine’s The Nutcracker™, Serenade, Stars and Stripes, Symphony in C, and Walpurgisnacht Ballet), Jerome Robbins (such as Dances at a Gathering, The Goldberg Variations, and In the Night), Jerome Robbins and Twyla Tharp (Brahms/Handel), Peter Martins (Barber Violin Concerto, Beethoven Romance, Chichester Psalms, Fearful Symmetries, among others), Christopher Wheeldon (including DGV: Danse à Grande Vitesse, Les Carillons and Polyphonia), Alexei Ratmansky (Concerto DSCH, Namouna, A Grand Divertissement, and Russian Seasons); Susan Stroman (Double Feature and Frankie and Johnny…and Rose); and Richard Tanner (Sonatas and Interludes).

In 2011 Sara Mearns originated the role of Honorata in Paul McCartney’s Ocean’s Kingdom with choreography by Peter Martins, and she was nominated for a Benois de la Danse award for her performance. In 2003 she was a recipient of the Mae L. Wien Award and a nominee for the Princess Grace Award.

Learn more about Sara Mearns


Principal Dancer

Amar Ramasar was born in the Bronx, New York. He began his studies at the School of American Ballet, the official school of New York City Ballet, in 1993. He also studied at the American Ballet Theatre Summer Program and The Rock School of Pennsylvania Ballet. In July 2000 Mr. Ramasar was invited to become an apprentice with New York City Ballet, and in July 2001 he joined the company as a member of the corps de ballet. He was promoted to the rank of soloist in March 2006 and in October 2009 was promoted to principal. Mr. Ramasar’s featured roles at New York City Ballet have included those in George Balanchine’s choreography for Agon, Allegro Brillante, A Midsummer Night’s Dreamand George Balanchine’s The Nutcracker; Jerome Robbins’s 2 & 3 Part Inventions, Concertino, Dances at a Gathering, Fancy Free, and West Side Story Suite; and Peter Martins’s A Fool For You, Concerto for Two Solo Pianos, Fearful Symmetries, Les Gentilhommes, Guide to Strange Places, The Infernal Machine, and Swan Lake. Mr. Ramasar was featured in the 2010 film adaptation of Jerome Robbins’s N.Y. Export: Opus Jazz. Amar Ramasar was a Mae L. Wien Award recipient in 2000.


Dancer / Assistant Choreographer

Abbey Roesner began her dance training at the Baltimore School for the Arts (BSA). After attending the school’s TWIGS (To Work in Gaining Skills) program, she then enrolled there as a full-time high school student. After graduating second in her class, she continued her studies at The Juilliard School, where she received her bachelor in fine arts degree in 2006. Ms. Roesner started her professional career freelancing in New York City, dancing for companies and choreographers including The Metropolitan Opera Ballet, Chamber Dance Project, Wally Cardona, and Davis Robertson. She left the United States in 2007 to join Les Grands Ballets Canadiens de Montreal. There, she danced works by Ohad Naharin, Stijn Celis, George Balanchine, and Fernand Nault while touring throughout Canada and Europe. Abbey Roesner joined Armitage Gone! Dance Company in June 2008, where she is in her fifth season, while also working at Dance Theater of Harlem with Francesca Harper and Harlem Dance Works 2.0. Ms. Roesner has also danced with Julia Gleich and Norte Maar, and collaborated with director Robert Woodruff and choreographer Brook Notary. She assists with teaching and recruitment for Elliot Feld’s Ballet Tech School.


Performer / Puppeteer

William da Silva is an actor, circus artist, and playwright. While in his native Brazil, he was an active member of the acclaimed street theater group Mambembe Música e Teatro Itinerante for four years and wrote several plays which have been produced in theater festivals throughout Brazil. He was accepted on full scholarship to the Dell’Arte International School of Physical Theatre in California, from which he obtained his masters in June 2011; while there, he played leading roles in Iphigenia Must Die (an adaptation of Euripides’s Iphigenia at Aulis), an adaptation of The Musicians of Bremen, and Land of Dreams, which he co-wrote. Mr. da Silva studied Balinese dance and shadow puppetry in Bali, and he spent the 2011–12 season in New York as an active performer and teacher at the Circus Warehouse, specializing in wire walking, juggling, acrobatics, and character clown work. In July 2013 Mr. da Silva was engaged by Ferrari World in Abu Dhabi to help create and star in Red, a circus-theater production that performs 12 times each week in a 700-seat theater in Ferrari World, the world’s largest indoor theme park. William da Silva was recently appointed company manager and director of the show.


Performer / Puppeteer




Steadicam Operator


Tripod Camera


Cover Dancer


Music Consultant


The Moor (pre-recorded video appearance)

Eric Owens by Paul Sirochman

The New York Philharmonic has named bass-baritone Eric Owens The Mary and James G. Wallach Artist-in-Residence for the 2015–16 season. In addition to appearing as soloist throughout the season, Mr. Owens will expand the role of the Philharmonic’s Artist-in-Residence by curating programs and participating in educational activities.

Eric Owens began his 2014–15 season by rejoining Simon Rattle, Peter Sellars, and the Berlin Philharmonic for J.S. Bach’s St. Matthew Passion at the Lucerne Festival and BBC Proms, as well as at Park Avenue Armory as part of Lincoln Center’s White Light Festival. He performs the Verdi Requiem with the New York Philharmonic and with the Toronto Symphony Orchestra, the latter conducted by Andrew Davis. Mr. Owens’s other orchestral appearances include Ravel’s L’Enfant et les sortilèges with the Swedish Radio Symphony led by Esa-Pekka Salonen, whom he will join again with the Chicago Symphony Orchestra for the same opera as well as for Debussy’s Pelléas et Mélisande, in which Mr. Owens makes his role debut as Golaud. Eric Owens also joins the Chicago Symphony Orchestra and Riccardo Muti for Beethoven’s Ninth Symphony. Mr. Owens opened his operatic season by returning to Lyric Opera of Chicago, where he has been appointed their community ambassador, for performances of Gershwin’s Porgy and Bess, directed by Francesca Zambello. He also appears in his title role debut of Wagner’s Der fliegende Holländer with Washington National Opera conducted by Phillipe Auguin. This season Mr. Owens makes additional role debuts as King Philip II in Verdi’s Don Carlo at Opera Philadelphia, Scarpia in Puccini’s Tosca with Leonard Slatkin and the Detroit Symphony Orchestra, and the title role in Verdi’s Macbeth at the Glimmerglass Festival, where he returns as an artist-in-residence.

Eric Owens made his New York Philharmonic debut in June 2003 singing selections from Gershwin’s Porgy and Bess, led by then Philharmonic Music Director Lorin Maazel, during the Orchestra’s residency at Sardinia’s Teatro Lirico di Cagliari. Since Alan Gilbert became Music director this relationship has grown through the Giants Are Small productions of Ligeti’s Le Grand Macabre, in which he appeared as Nekrotzar (May 2010), and A Dancer’s Dream (as The Moor in the prerecorded video component, June 2013), as well as in Beethoven’s Missa solemnis (June 2010), J.S. Bach’s Mass in B minor (March 2013), and the Verdi Requiem (January 2015).

Learn more about Eric Owens


Petrushka (pre-recorded video appearance)

Countertenor Anthony Roth Costanzo will return to The Metropolitan Opera in 2013–14 for a new production of Johann Strauss II’s Die Fledermaus and for a revival of the Baroque pastiche The Enchanted Island, in which he performed both Ferdinand and Prospero in 2012–13, after making his debut as Unulfo in Handel’s Rodelinda. He has recently appeared with The Glimmerglass Festival, Opera Philadelphia, Canadian Opera Company, New York City Opera, Boston Lyric Opera, Michigan Opera Theater, Palm Beach Opera, North Carolina Opera, and Juilliard Opera. In 2010 Mr. Costanzo played Prince Go-Go in the New York Philharmonic’s acclaimed production of Ligeti’s Le Grand Macabre. He has been a featured soloist at Carnegie Hall, Kennedy Center, Mostly Mozart Festival, and with the orchestras of Cleveland, Indianapolis, Alabama, Detroit, Denver, and Seattle. Among other awards, he won first place at Operalia in 2012 and was a 2009 Grand Finals Winner of the Metropolitan Opera National Council Auditions. Mr. Costanzo played Francis in the Merchant Ivory film A Soldier’s Daughter Never Cries. Anthony Roth Costanzo graduated magna cum laude from Princeton University and received his master’s from Manhattan School of Music.



Eric Huebner

Pianist Eric Huebner joined the roster of the New York Philharmonic in January 2012. A native of Los Angeles, he is a graduate of The Juilliard School, where he studied with Jerome Lowenthal, and has been a guest pianist with the Philharmonic since 2004. Mr. Huebner has been featured in orchestral works by Stravinsky, Ives, R. Strauss, and Milhaud, among others.

In June 2012 he will perform as soloist with Musicians from the Philharmonic in the World Premiere of Elliott Carter’s Two Controversies and a Conversation — a double concerto for piano and percussion with percussionist Colin Currie — on the CONTACT! program, conducted by David Robertson.

An active soloist and chamber musician, Mr. Huebner has twice been a featured recitalist at the Ojai Festival in California. He has also appeared on the Monday Evening Concerts and Piano Spheres series in Los Angeles in addition to solo appearances at the Carlsbad Music Festival, Miller Theater and (le) Poisson Rouge. He has performed at Zankel Hall as soloist in Ligeti’s Piano Concerto and at Alice Tully Hall in Messiaen’s Oiseaux Exotiques, both conducted by David Robertson. Since 2001 Mr. Huebner has been a member of Antares, a quartet comprising clarinet, violin, cello, and piano. A first-prize winner of the 2002 Concert Artists Guild International Competition, Antares has performed in major chamber music venues throughout the United States.

Eric Huebner is currently assistant professor of piano at the University at Buffalo, where he maintains an active piano studio and performs as part of the Slee Sinfonietta. He has recorded a wide variety of solo piano and chamber music for the Col Legno, Centaur, Bridge, Albany, Tzadik, Innova, New Focus Recordings, and Mode Records labels.

Learn more about Eric Huebner



Steven Beck

American pianist Steven Beck was born in 1978. He is a graduate of the Juilliard School, where his teachers were Seymour Lipkin, Peter Serkin and Bruce Brubaker.

Mr. Beck made his debut with the National Symphony Orchestra, and has toured Japan as soloist with the New York Symphonic Ensemble. Other orchestras with which he has appeared include the New Juilliard Ensemble (under David Robertson), Sequitur, the Jupiter Symphony Chamber Players, and the Virginia Symphony.

Mr. Beck has performed as soloist and chamber musician at the Kennedy Center, Alice Tully Hall, Weill Recital Hall at Carnegie Hall, Merkin Hall, Miller Theater, Steinway Hall, Tonic, and Barbes, as well as on the New York Philharmonic Ensembles Series and WNYC; summer appearances have been at the Aspen Music Festival, Lincoln Center Out of Doors, the Greenwich Music Festival, the Woodstock Mozart Festival, and the Wellesley Composers' Conference. He is an Artist Presenter and regular performer at Bargemusic (where he recently performed all of the Beethoven piano sonatas), performs frequently as a musician with the Mark Morris Dance Group, and has performed with the New York City Ballet. He has worked with Elliott Carter, Henri Dutilleux, George Perle, and Charles Wuorinen, and has appeared with ensembles such as Speculum Musicae, the Da Capo Chamber Players, the Manhattan String Quartet, the Pacifica String Quartet, The Metropolis Ensemble, New York Philomusica, the New York New Music Ensemble, Mosaic, the Lyric Chamber Music Society, the Omega Ensemble, Ensemble Sospeso, the Orchestra of the S.E.M. Ensemble, Counterinduction, the American Contemporary Music Ensemble, the East Coast Composers' Ensemble, the Fountain Ensemble, Friends and Enemies of New Music, Lost Dog, and Antisocial Music. He is a member of the new music ensemble Future In Reverse (FIRE) as well as the notorious Knights of the Many-Sided Table. His recordings are on the Albany, Bridge, Monument, Mulatta, and Annemarie Classics labels.

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Special Thanks

These concerts are sponsored by Yoko Nagae Ceschina. Generous support from The Andrew W. Mellon Foundation, The Susan and Elihu Rose Foundation, Donna and Marvin Schwartz, the Mary and James G. Wallach Family Foundation, and an anonymous donor.


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