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Location

Duration

1 hour 20 minutes, no intermission

Date & Times
Event Info

Performed in French with English surtitles.

U.S. Premiere of staged production created at the SEIJI OZAWA MATSUMOTO FESTIVAL in August 2012 under the artistic direction of Seiji Ozawa

RELATED VIDEOS:
Inside Joan of Arc at the Stake
Pre-Concert Insights: Honegger's "Joan of Arc at the Stake"

Program

Honegger

Joan of Arc at the Stake (staged)

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Artists

Alan Gilbert

Conductor

Alan Gilbert

Conductor

Alan Gilbert

Conductor

The 2016–17 season marks Alan Gilbert’s eighth and final season as Music Director of the New York Philharmonic. 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. The Financial Times called him “the imaginative maestro-impresario in residence.

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 2016–17 season by Esa-Pekka Salonen and violinist Leonidas Kavakos, respectively — as well as Artist-in-Association, currently held by pianist Inon Barnatan, who inaugurated the role in the 2014–15 season; an annual festival, which this season is Beloved Friend — Tchaikovsky and His World, featuring Russian-born Semyon Bychkov conducting works by Tchaikovsky as well as composers he was influenced by and whom he influenced; 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. During his tenure the Philharmonic launched the New York Philharmonic Global Academy, partnerships with cultural institutions to offer training of pre-professional musicians, often alongside performance residencies. These include the Shanghai Orchestra Academy and Residency Partnership and collaborations with Santa Barbara’s Music Academy of the West and the Shepherd School of Music at Rice University. Alan Gilbert and the Philharmonic also launched a five-year partnership with the University Musical Society at the University of Michigan.

Alan Gilbert concludes his final season as Music Director with four programs that reflect signature themes of his tenure, featuring works that hold particular meaning for him and musicians with whom he has formed close relationships. These include a pairing of Beethoven’s Ninth Symphony with Schoenberg’s A Survivor from Warsaw; Wagner’s complete Das Rheingold in concert; the New York Premiere of Composer-in-Residence Esa-Pekka Salonen’s Wing on Wing alongside Artist-in-Residence Leonidas Kavakos in Brahms’s Violin Concerto and the New York Premiere of Aeriality by Anna Thorvaldsdottir, the second Kravis Emerging Composer, an honor introduced during Alan Gilbert’s tenure; and an exploration of how music can effect positive change in the world. Other 2016–17 season highlights include three World Premieres; Dvořák’s Symphony No. 9, From the New World, as part of the New York Philharmonic’s 175th anniversary celebrations; Mahler’s Fourth Symphony and Handel’s Messiah; the World Premiere presentation of Gershwin’s score to Manhattan, performed live to the film; Ligeti’s Mysteries of the Macabre; a concert with friends celebrating his 50th birthday; works by John Adams marking the composer’s 70th birthday; and the EUROPE / SPRING 2017 tour. As part of the New York Philharmonic Global Academy, he will lead the Orchestra in its third annual performance residency through the Shanghai Orchestra Academy and Residency Partnership, and will lead the Philharmonic and Academy Festival Orchestra together in Santa Barbara through the partnership with Santa Barbara’s Music Academy of the West.

Last season’s Philharmonic highlights included R. Strauss’s Ein Heldenleben to welcome newly appointed Concertmaster Frank Huang; Carnegie Hall’s 125th anniversary Opening Night Gala; premieres by William Bolcom, Franck Krawczyk, Magnus Lindberg, and Marc Neikrug; works by Sibelius in celebration of the 150th anniversary of the composer’s birth; as well as Mahler’s Das Lied von der Erde and an all-Mozart program. He also co-curated the second NY PHIL BIENNIAL — during which he conducted works by Boulez and Stucky, in tribute to the late composers, as well as premieres by William Bolcom, John Corigliano, and Per Nørgård, the second recipient of The Marie-Josée Kravis Prize for New Music at the New York Philharmonic, an honor introduced during Alan Gilbert’s tenure. The Music Director also performed violin in Messiaen’s Quartet for the End of Time alongside Philharmonic principals and Mr. Barnatan. Under the New York Philharmonic Global Academy he led the Orchestra in its second performance residency in Shanghai and made his second appearance conducting the Music Academy of the West’s Academy Festival Orchestra.

Previous high points among Mr. Gilbert’s Philharmonic appearances include critically celebrated staged productions such as 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; Philharmonic 360 at Park Avenue Armory (2012), the acclaimed spatial music program featuring Stockhausen’s Gruppen; A Dancer’s Dream: Two Works by Stravinsky (2013, and later presented in movie theaters internationally); a staged production of Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson that was broadcast on Live From Lincoln Center, earning Mr. Gilbert an Emmy nomination for Outstanding Music Direction (2014); and the U.S. Premiere of a staging of Honegger’s Joan of Arc at the Stake featuring Oscar winner Marion Cotillard (2015). Other highlights include the first two editions of the NY PHIL BIENNIAL; World Premieres of works by Christopher Rouse, Magnus Lindberg, Peter Eötvös, and composers featured on CONTACT!; the score from 2001: A Space Odyssey, performed live to the film; Mahler’s Second Symphony, Resurrection, on A Concert for New York on September 10; the Verdi Requiem; the conclusion of The Nielsen Project, the multi-year initiative to perform and record the Danish composer’s symphonies and concertos; Mr. Gilbert’s Philharmonic debut as violin soloist in J.S. Bach’s Concerto for Two Violins; six concerts at Carnegie Hall; and ten tours around the world. In August 2015 he led the Mahler Chamber Orchestra in the U.S. Stage Premiere of George Benjamin’s Written on Skin, co-presented by the New York Philharmonic and Lincoln Center, the inaugural production of the Lincoln Center–New York Philharmonic Opera Initiative.

Conductor laureate of the Royal Stockholm Philharmonic Orchestra and former principal guest conductor of Hamburg’s NDR Symphony Orchestra, he regularly conducts leading orchestras nationally and internationally, such as the Boston Symphony Orchestra, The Philadelphia Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Berlin Philharmonic, Munich Philharmonic, Leipzig Gewandhaus Orchestra, Bavarian Radio Symphony Orchestra, Orchestra dell’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. This season Mr. Gilbert returns to the foremost European orchestras, records Beethoven’s complete piano concertos with the Academy of St Martin in the Fields and Inon Barnatan, and conducts Gershwin’s Porgy and Bess at Milan’s Teatro alla Scala, his first time leading a staged opera there.

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 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. He received his second Emmy nomination for Outstanding Music Direction for Sinatra: Voice for a Century, broadcast on Live From Lincoln Center in 2015. Mr. Gilbert conducted Messiaen’s Des Canyons aux étoiles on a recent album recorded live at the Santa Fe Chamber Music Festival.

Alan Gilbert studied at Harvard University, The Curtis Institute of Music, and Juilliard and was assistant conductor of The Cleveland Orchestra (1995–97). He received Honorary Doctor of Music degrees from Curtis in May 2010 and from Westminster Choir College in May 2016, 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, in 2015 he received a Foreign Policy Association Medal for his commitment to cultural diplomacy and was named Officier de l’Ordre des Arts et des Lettres, and in 2016 he received New York University’s Lewis Rudin Award for Exemplary Service to New York City in recognition of his leadership in making New York one of the world’s great centers for music and the arts.

Visit Alan Gilbert's Official Website

Learn more about Alan Gilbert
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Côme de Bellescize

Director

Côme de Bellescize

Director

Come de Bellescize

Director

French author and theatrical stage director Côme de Bellescize received his bachelors of arts degree in literature from La Sorbonne and studied acting at L’École Claude Mathieu before deciding to dedicate himself to writing and directing, creating the company Théâtre du Fracas with Vincent Joncquez. From 2004 to 2007 he wrote and directed Les Errants, which received the Paris jeunes talents award. He went on to direct Maxim Gorki’s Sun’s Children in Paris and Catherine Anne’s Ah! Anabelle ... at the Théâtre Nanterre-Amandiers. He then wrote Amédée, which he directed at Paris’s Théâtre de la Tempête, which earned him a best author nomination for the Beaumarchais Figaro award. During the summer of 2013 he participated in the Opéra en Création workshop at the European Academy of Music in Aix and directed Viardot’s la liberté for the Festival of Aix en Provence. In June 2014 he returned to the European Academy of Music/Festival of Aix en Provence to stage Rossini’s La Scala di seta (The Silken Ladder). Future projects include a new production of Berlioz’s Béatrice et Bénédict, conducted by Seiji Ozawa, at the Matsumoto Seiji Ozawa Festival in August 2015, and his new play Eugénie, which will be premiered at Paris’s Théâtre du Rond-Point in autumn 2015. He first staged this production of Honegger’s Joan of Arc at the Stake in 2012 at Japan’s Matsumoto Seiji Ozawa Festival, under the baton of Kazuki Yamada coordinated by the artistic direction of Seiji Ozawa; it was revived in concert versions in February 2015 in Monaco and Toulouse, and the staging was revived in March 2015 at the new Philharmonie de Paris.

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Blanche D'Harcourt

Artistic Advisor

Blanche D'Harcourt

Artistic Advisor

Artistic Advisor

Pianist Blanche d’Harcourt (artistic advisor) studied at Paris’s École Normale de Musique, with Helena Costa at the Salzburg Mozarteum, and with Jean Fassina in Paris. For several years her duo with Italian singer Maria-Fausta Gallamini performed extensively in Italy, Spain, the U.S., Japan, Belgium, and France; France 3 devoted a week of the television show Carnets de notes to them. At the same time she gave solo recitals throughout Europe and performed chamber music with Hugh Mackenzie, Philippe Hirshhorn, and Lorenzo Gatto. More recently she joined Mitsuko Shirai and actress Cécile de France in programs set around Robert and Clara Schumann’s correspondence. After working with Marthe Keller and Georges Wilson for a production of Honegger’s Joan of Arc at the Stake with Seiji Ozawa, Ms. Keller invited her to develop a program of German Romantic melodramas performed in Vienna, Lausanne, and Nuremberg, and at the Verbier Festival, Carnegie Hall, and Saito Kinen Festival. She served as artistic director of Belgium’s Enghien International Musical Encounters (1993–2010) and is now the director of Switzerland’s Seiji Ozawa International Academy.

Learn more about Blanche D'Harcourt

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Jane Piot

Assistant Director

Jane Piot

Assistant Director

Assistant Director

Learn more about Jane Piot

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Sigolène de Chassy

Set Design

Sigolène de Chassy

Set Design

Set Design

After completing her studies at the Paris National School of Fine Arts, Sigolène de Chassy joined the National Theatre of Strasbourg’s set design department. After teaching at Stanford University, she returned to France, where she became scenographer Nicky Rieti’s assistant and worked with numerous theater directors. At the same time she directed, worked with new circus, and continued her research in painting, engraving, and sculpture, and conceived installations and performances. Ms. de Chassy began collaborating with Côme de Bellescize in 2004, with their most recent musical collaboration being a production of Joan of Arc at the Stake, first mounted at the 2012 Saito Kinen Festival, where the two returned in 2015 to mount Berlioz’s Beatrice and Benedict under the musical direction of Seiji Ozawa.

Learn more about Sigolène de Chassy

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Thomas Costerg

Lighting Design

Thomas Costerg

Lighting Design

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Colombe Lauriot Prévost

Costume Design

Colombe Lauriot Prévost

Costume Design

Costume Design

After studying fashion design and historical costume, Colombe Lauriot Prévost educated herself on the job in various artistic fields including haute couture, cabaret, musicals, cinema, circus, theater, and opera. She recently worked with Stephane Ricordel for the circus show Gala de l’union des artistes, with Pierre Notte at the Théâtre du Rond-Point, and with Jeremie Lippmann on an adaptation of Venus in Fur. For film, she designed the costumes of Alexander Sokurov’s most recent movie, Francofonia, which is selected for the Cannes Festival 2015. She collaborates regularly with Côme de Bellescize for theatrical and opera productions, and is part of the team working on the new production of Berlioz’s Beatrice and Benedict for the 2015 Seiji Ozawa Festival.

Learn more about Colombe Lauriot Prévost

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Peter Fitzgerald

Sound Design

Peter Fitzgerald

Sound Design

Sound Design

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Marion Cotillard

Actress (Joan)

Marion Cotillard

Actress (Joan)

Marion Cotillard

Actress (Joan)

Academy Award winner Marion Cotillard is internationally renowned for her unbridled commitment to her art, challenging herself with each new role. In 2008 she became the second French actress to ever win an Oscar — and the first to win an acting award for a film in the French language — for her iconic portrayal of Edith Piaf in La Vie en Rose (2007). Ms. Cotillard’s credits include the successful French Taxi film series, written by Luc Besson; Yann Samuell’s Love Me If You Dare; and Tim Burton’s Big Fish. She garnered her first Cesar Award for Best Supporting Actress for her performance in Jean-Pierre Jeunet’s A Very Long Engagement. She then went on to star in Ridley Scott’s A Good Year, Michael Mann’s Public Enemies, and Rob Marshall’s Nine, the screen adaptation of the hit musical (a performance that brought her Golden Globe and Critics’ Choice Award nominations, and for which she shared in a SAG Award nomination for Outstanding Motion Picture Cast Performance). Her first leading role in an American movie was Ewa Cybulska, a Polish immigrant who wants to experience the American dream, in James Gray’s The Immigrant (2013). In that same year she appeared in Guillaume Canet’s Blood Ties opposite Clive Owen, Billy Crudup, Mila Kunis, and Zoe Saldana, and in 2014 she starred as Sandra in Two Days, One Night, the Belgian film by the Dardenne brothers; her performance was unanimously praised at the 67th Cannes Film Festival, and earned several critics awards, her second Oscar nomination, and her sixth César nomination. In 2010 Marion Cotillard was named Knight of the Order of Arts and Letters for her contribution to the enrichment of French culture. She first performed the title role in Honegger’s Joan of Arc at the Stake in 2005, and just completed a tour of Côme de Bellescize’s staged production in Monaco, Toulouse, and Paris. Marion Cotillard has said that she has long felt a connection to Joan of Arc in this telling; her mother, actress Niseema Theillaud, also portrayed Joan in Honegger’s oratorio. In addition to her March 2015 performances as Honegger’s Joan at the Philharmonie de Paris, Ms. Cotillard appeared as Honegger’s Joan in concert versions with the Orléans Orchestra in 2005 and the Barcelona Symphony Orchestra in 2012.

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Éric Génovèse

Actor (Brother Dominique)

Éric Génovèse

Actor (Brother Dominique)

Eric Genovese

Actor (Brother Dominique)

Eric Génovèse (Brother Dominique), Sociétaire de la Comédie Française, graduated from the Paris National Conservatory for Drama in 1991. He simultaneously leads three different careers: as an actor, narrator in musical pieces, and stage director of theater and opera. Named a Chevalier dans l’Ordre des Arts et Lettres, he has performed major roles in works by playwrights including Pasolini and Corneille, in stagings by acclaimed directors such as Brigitte Jaques-Wajeman and Stanislas Nordey. He first appeared with the Comédie Française in 1993 in a production of Claudel’s L’Echange, and went on to perform major roles in important classical and contemporary dramas by Shakespeare, Molière, Feydeau, Rostand, Duras, Kushner, Copi, Noren, La Fontaine, and others. Mr. Génovèse’s musical interests, which began with childhood piano lessons, led to his work as narrator in concert performances with an array of orchestras and conductors, including Kurt Masur, John Nelson, Emmanuel Krivine, Alain Altinoglu, and Jean-Christophe Spinosi, as well as composer Vladimir Cosma. He has also appeared with the Wanderer Trio, pianists Claire Désert and Muza Rubackyté, and baritone Matthias Goerne. In the summer of 2012 he made his Japanese debut at the Saito Kinen Festival with Seiji Ozawa for the World Premiere of this production of Honegger’s Joan of Arc at the Stake. Eric Génovèse’s first project as a director was the 2001 production of Robert Garnier’s Les Juives, staged in Paris. He has since directed Fernando Pessoa’s Le Privilège des Chemins at la Comédie Française, and Jean-René Lemoine’s Erzulie Dahomey. He directed Verdi’s Rigoletto at Bordeaux Opera in 2007, and was invited back to stage Rolph Liebermann’s Die Schule der Frauen. He has also directed productions of Mozart’s Così fan tutte at Théâtre des Champs Elysées in Paris, and made his Vienna Staatsoper debut with Donizetti’s Anna Bolena.

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Christian Gonon

Actor (Narrator)

Christian Gonon

Actor (Narrator)

christian gonon

Actor (Narrator)

Christian Gonon (Narrator), Sociétaire de la Comédie Française, entered the Jean Périmony Course when he moved to Paris at age 18, and in 1982 he enrolled in the École Nationale Supérieure des Arts et Techniques du Théâtre. In July 1998 he joined the Comédie Française as an auxiliary in the role of Pacorus in Pierre Corneille’s Suréna; after that performance and his portrayal of Eilif in Bertolt Brecht’s Mother Courage and Her Children he became a resident of the troop. Mr. Gonon has since appeared in numerous roles, including Maxime in Corneille’s Cenna (2000), Bassanio in Shakespeare’s The Merchant of Venice (2001), and Man and The Fox in La Fontaine’s Fables (2004). He acted in and directed Fabrice Melquiot’s Bouli Miro (2004), played Cassius in Paul Claudel’s Tête d’or (2006), Gremio in Shakespeare’s The Taming of the Shrew (2007), and Jack in Michel Vinaver’s The Ordinary (2009). He became a regular member of the Comédie Française in January 2009. Christian Gonon’s engagements outside the Comédie Française have included the roles of de Guiche in Edmond Rostand’s Cyrano de Bergerac at Théâtre Mogador (1983), Edward in Caryl Churchill’s The Seventh Heaven at the Théâtre du Chaudron (1992), D’Artagnan in Jean-Louis Martin Barbaz’s production of the Three Musketeers (for which he won the Jean Marais Prize for best actor in 1991), and Maffio in Victor Hugo’s Lucretia Borgia at Regional Théâtre 71. Mr. Gonon has also appeared in an array of short films, including Jean-Max Peteau’s Memento (1992, for which he received the Grand Prize of Avoriaz and the Audience Award at Clermont Ferrand in 1993) and Guillaume Georget’s Chambre Oscure. 

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Erin Morley

Soprano (Virgin)

Erin Morley

Soprano (Virgin)

Soprano (Virgin)

Erin Morley made her breakthrough performance as Marguerite de Valois in Meyerbeer’s Les Huguenots at Bard SummerScape. In the 2014–15 season she makes company debuts at the Opéra national de Paris (as Konstanze in Mozart’s The Abduction from the Seraglio), Vienna Staatsoper (Gilda in Verdi’s Rigoletto and Sophie in R. Strauss’s Der Rosenkavalier), and Palm Beach Opera (Marie in Donizetti’s The Daughter of the Regiment); she also returns to The Metropolitan Opera (Olympia in Offenbach’s The Tales of Hoffmann). In concert, she sings Mater Gloriosa in Mahler’s Symphony No. 8 with the Boston Symphony Orchestra, led by Andris Nelsons at Tanglewood, as well as Mozart concert arias for the opening of Lincoln Center’s Mostly Mozart Festival, led by Louis Langrée. Earlier in the summer, she recorded the role of Sylvie in Gounod’s La Colombe with Mark Elder for Opera Rara. Future projects include returns to The Metropolitan Opera, Opéra national de Paris, and Bavarian Staatsoper; debuts at Glyndebourne and Houston Grand Opera; and a European and American tour singing Angelica in Handel’s Orlando with The English Concert and Harry Bicket. Ms. Morley appeared as Sophie in Der Rosenkavalier at The Metropolitan Opera in the 2013–14 season, and later made company debuts at Opéra de Lille and Opéra de Dijon (Sandrina in Mozart’s The Pretend Garden-Girl in both theaters), as well as Bavarian Staatsoper (Gilda in Rigoletto). She returned to Santa Fe Opera in summer 2014 for Mozart’s The Impresario (Madame Silberklang) and Stravinsky’s Le Rossignol (title role).

Learn more about Erin Morley

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Simone Osborne

Soprano (Marguerite)

Simone Osborne

Soprano (Marguerite)

Soprano (Marguerite)

Simone Osborne (Marguerite) was one of the youngest winners of the Metropolitan Opera National Council Auditions and recently completed her tenure as a member of the Canadian Opera Company Studio Ensemble. In the 2014–15 season, she appears as Nannetta in Robert Carsen’s production of Verdi’s Falstaff at the Canadian Opera Company, and makes her role debut as Donizetti’s Lucia di Lammermoor at Edmonton Opera. Ms. Osborne returned to the Canadian Opera Company as Oscar in Verdi’s Un ballo in maschera and as Musetta in Puccini’s La bohème in the 2013–14 season. She has appeared with the Vancouver Symphony singing Richard Strauss songs and Beethoven’s Symphony No. 9. Recently, she made her Opera Hamilton debut as Gilda in Verdi’s Rigoletto and returned to Vancouver Opera as Pamina in Mozart’s The Magic Flute. In the 2012–13 season she made debuts with the Los Angeles Philharmonic under Gustavo Dudamel as Barbarina in Christopher Alden’s production of Mozart’s The Marriage of Figaro, and at Carnegie Hall with pianist Warren Jones as part of the Marilyn Horne Song Celebration. She also participated in Viva Verdi! with Lotfi Mansouri in Zurich to celebrate the composer’s bicentennial. Simone Osborne won the Marilyn Horne Foundation Competition at the Music Academy of the West (2008) and International Czech and Slovak Opera Competition (2007), and was a prizewinner at the George London Foundation Competition, Palm Beach Opera Competition, Sylva Gelber Foundation, and Jaqueline Desmarais Foundation. She made her Saito Kinen Festival debut in 2012 as Marguerite in Côme de Bellescize’s production of Honegger’s Joan of Arc at the Stake, under the guidance of Seiji Ozawa; she recently reprised the role with Orchestre Philharmonique de Monte-Carlo, Orchestre National du Capitole de Toulouse, and Orchestre de Paris, all under Kazuki Yamada.

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Faith Sherman

Mezzo-Soprano (Catherine)

Faith Sherman

Mezzo-Soprano (Catherine)

Mezzo-Soprano (Catherine)

Last season, mezzo-soprano Faith Sherman made her German operatic debut as Concepcion in Ravel’s L’Heure espagnole at Oper Frankfurt, and premiered the lead role in Ricky Ian Gordon’s Rappahannock County at Virginia Opera. She covered the role of the Composer in Richard Strauss’s Ariadne auf Naxos at Houston Grand Opera, sang the Verdi Requiem with period instruments at the Ludwigsburger Schlossfestspiele and Opéra de Vichy under Michael Hofstetter, and was presented in recital at The Arts at St. Matthew’s (a ministry of St. Matthew’s Episcopal Church in Wilton, Connecticut) and The Artist Series Concerts of Sarasota (in Sarasota, Florida). Future engagements include Houston Grand Opera, Seattle Opera, and English National Opera. While earning her artist diploma at The Juilliard School, Ms. Sherman performed in Mozart’s Requiem on the 9/11 Memorial Concert at Carnegie Hall, as well as the programs Songs of Peace and War and 100 years of Juilliard Composers in Song with the New York Festival of Song. Her appearances with the Juilliard Opera Center include Clytemnestre in Gluck’s Iphigénie en Aulide, Ramiro in Mozart’s La finta giardiniera, Fay Doyle in the World Premiere of Lowell Liebermann’s Miss Lonelyhearts, and Hermia in Britten’s A Midsummer Night’s Dream. She has sung Brahms’s Alto Rhapsody with the Cincinnati Conservatory Orchestra, Mrs. Allan in Argento’s The Voyage of Edgar Allan Poe, and Mother/Witch in Humperdinck’s Hänsel und Gretel. Faith Sherman was a member of San Francisco Opera’s Merola Program, where she sang the title role in scenes from Rossini’s La Cenerentola. In 2007 she won the Houston Grand Opera Eleanor McCollum Competition and the New England Regional Metropolitan Opera Auditions; she was also a semi-finalist in the 2007 Metropolitan Opera National Auditions and the 2011 Neue Stimmen International Singing Competition.

Learn more about Faith Sherman

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Thomas Blondelle

Tenor

Thomas Blondelle

Tenor

Thomas Blondelle

Tenor

In 2014 tenor Thomas Blondelle returned to Opéra National du Rhin in Alsace for his first performance as Erik in Wagner’s The Flying Dutchman, and to the BBC Scottish Symphony Orchestra for his debut as Tambour-Major in Berg’s Wozzeck. A member of Deutsche Oper Berlin since 2008, his repertoire and new productions during the 2014–15 season include Berlioz’s Romeo et Juliette, Male Chorus in Britten’s The Rape of Lucretia, Tamino in Mozart’s The Magic Flute, Prince in Prokofiev’s The Love for Three Oranges, and Sinovi Ismailov in Shostakovich’s Lady Macbeth of Mtsensk. In 2011 Blondelle won the second prize at the Queen Elisabeth Competition in Brussels; his other honors include prizes at Barcelona’s Vinas Competition (2005) and Vienna’s Belvedere Competition (2012). Mr. Blondelle has sung at Munich Opera and the Lucerne, Schleswig-Holstein, and Saito Kinen music festivals, and at Munich’s Bavarian Staatsoper and Vienna’s Volksoper. He has appeared at De Nederlandse Opera (as David in Wagner’s Die Meistersinger von Nürnberg in 2013), and made his U.S. debut in 2014 in Kevin Puts’s Silent Night at Cincinnati Opera. He returned to the BBC Proms in 2014 for Richard Strauss’s Salome, and has performed at the Grand Théâtre de Luxemburg, De Vlaamse Opera, Deutsche Oper am Rhein Düsseldorf-Duisburg, Braunschweig Staatsoper, and Opéra de Toulon. In recital and concert, Blondelle has appeared with renowned orchestras and worked with conductors including Marc Albrecht, Bertrand de Billy, Michail Jurowski, Andrew Litton, Jiří Kout, Sigiswald Kuijken, Kent Nagano, Jonathan Nott, Sir Simon Rattle, Carlo Rizzi, Donald Runnicles, Ulf Schirmer, Michael Schønwandt, Steven Sloane, and Kazuki Yamada. In 2015–16 Thomas Blondelle will sing Debussy’s Pélléas et Mélisande (in Berlin), Salome (Luxemburg), Weber’s Der Freischütz (Stuttgart), Wagner’s Das Liebesverbot (Strasbourg), and Lehár’s Der Graf von Luxemburg (Wiesbaden). He will also appear in solo concerts at the Vlaamse Opera and Concertgebouw Amsterdam, and make his Chinese debut touring a French song recital program.

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Steven Humes

Bass

Steven Humes

Bass

Steven Humes NY Philharmonic

Bass

Bass Steven Humes has appeared at the Bavarian Staatsoper, Teatro Real Madrid, Hamburg Staatsoper, Festspielhaus Baden-Baden, the Bolshoi Theatre, Salzburg Festival, Rome’s Rieti Festival, and Tokyo’s Bunka Kaikan and NHK theaters. In the United States he has performed with Los Angeles Opera, Atlanta Opera, Opera Theatre of St. Louis, and Boston Lyric Opera, as well as at Chicago’s Ravinia Festival, among others. Recent and upcoming engagements include additional performances of Côme de Bellescize’s production of Honegger´s Joan of Arc at the Stake in Toulouse, Monaco, and Paris; Don Giovanni in Boston; Banco in Verdi’s Macbeth in St. Gallen; his role debut as King Marke in Wagner’s Tristan und Isolde in Paris, led by Daniele Gatti; Arabella at the Bavarian Staatsoper; and Wagner’s Das Rheingold in Odense. As a concert soloist, Mr. Humes has performed Beethoven’s Symphony No. 9, the Mozart Requiem, Dvořák’s Stabat Mater, the Verdi Requiem, and Bach’s St. Matthew Passion. He has performed with the Atlanta, Charlotte, and New Haven symphony orchestras, and he regularly appears with the Bavarian Radio Symphony Orchestra and Munich Philharmonic. Recent operatic roles include Rocco in Beethoven’s Fidelio and Daland in Wagner’s The Flying Dutchman (Teatro Regio di Torino), his role debut as King Heinrich in Wagner’s Lohengrin (Bejing), Fafner in Das Rheingold and Siegfried in Wagner’s Ring Cycle (Bavarian Staatsoper and a new production at Théâtre de Genève), Commendatore in Mozart’s Don Giovanni (Théâtre des Champs Elysées), Richard Strauss’s Die Frau ohne Schatten, Arabella (Salzburg Festival, conducted by Christian Thielemann), and Ariadne auf Naxos (in Baden-Baden, also under Thielemann), Handel’s Semele with Rinaldo Alessandrini (Canadian Opera Company in Toronto), Vodnik in Dvořák’s Rusalka (Opera Rome), and King Karl in Schubert’s Fierrabras (in Brussels).

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New York Choral Artists, Joseph Flummerfelt, director

Chorus

New York Choral Artists, Joseph Flummerfelt, director

Chorus

Chorus

Founded in 1979 by Joseph Flummerfelt, the New York Choral Artists has since then been a regular part of the New York Philharmonic season. Its many collaborations with the Orchestra include a memorial performance of Brahms’s A German Requiem, conducted by Kurt Masur, immediately following the events of 9/11. In more recent years, appearances have included Britten’s War Requiem and Mahler’s Symphony No. 8 led by Lorin Maazel. Highlights of Philharmonic collaborations under the direction of Alan Gilbert include Bach’s B-minor Mass, Beethoven’s Missa solemnis, Mendelssohn’s Elijah, Ligeti’s Le Grande Macabre, and in January 2015, the Verdi Requiem. Noteworthy among its Philharmonic recordings are the Grammy-nominated release of Mahler Symphony No. 3 conducted by Bernstein, Shostakovich’s Symphony No. 13 with Masur, and John Adams’s Grammy Award–winning On the Transmigration of Souls with Maazel. In 2014 the New York Choral Artists also appeared with the Vienna Philharmonic and the San Francisco Symphony in Carnegie Hall. Jacqueline Pierce is the group’s manager.

Learn more about New York Choral Artists, Joseph Flummerfelt, director

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Joseph Flummerfelt

Director

Joseph Flummerfelt

Director

Joseph Flummerfelt

Director

For more than 40 seasons Joseph Flummerfelt has been preparing choral performances for the New York Philharmonic. Named Conductor of the Year in 2004 by Musical America, he is the founder and musical director of the New York Choral Artists, and was an artistic director of the Spoleto Festival USA for 37 years and conductor of the Westminster Choir for 33 years. He has collaborated with such conductors as Claudio Abbado, Daniel Barenboim, Leonard Bernstein, Pierre Boulez, Chailly, Colin Davis, Alan Gilbert, Carlo Maria Giulini, Lorin Maazel, Kurt Masur, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Wolfgang Sawallisch, Robert Shaw, and William Steinberg. Dr. Flummerfelt’s choirs have been featured on 45 recordings, including Grammy Award–winning versions of Mahler’s Symphony No. 3 with Bernstein, Barber’s Antony and Cleopatra, and John Adams’s On the Transmigration of Souls. He has also received two Grammy nominations, and his Delos recording of Brahms’s choral works — Singing for Pleasure, with the Westminster Choir — was chosen by The New York Times as a favorite among Brahms recordings. Joseph Flummerfelt’s honors include Le Prix du Président de la République from L’Académie du Disque Français and five honorary doctoral degrees. He is sought out as a guest conductor and master teacher of choral conducting in New York and throughout the United States.

Learn more about Joseph Flummerfelt

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Brooklyn Youth Chorus

Chorus

Brooklyn Youth Chorus

Chorus

Chorus

Brooklyn Youth Chorus is a collective of young singers and vocal ensembles re-envisioning choral music performance through artistic innovation, collaboration, and their distinctively beautiful sound. Brooklyn Youth Chorus combines intensive voice training and music study with exceptional performance experiences. The chorus has appeared with acclaimed orchestras — including the New York Philharmonic, London and Atlanta Symphony Orchestras, and Mariinsky Orchestra — led by leading conductors such as Alan Gilbert, Robert Spano, Marin Alsop, and James Levine. Additionally, the chorus has performed with major recording artists such as Barbra Streisand, Thom Yorke, Elton John, Grizzly Bear, and John Legend. Brooklyn Youth Chorus’s repertoire includes more than 70 original works and world premieres. The chorus won a Grammy Award for the world premiere live recording of John Adams’s On the Transmigration of Souls with the New York Philharmonic. Commissioned composers include Pulitzer Prize winners Caroline Shaw, Julia Wolfe, David Lang, and Paul Moravec, as well as Nico Muhly, Bryce Dessner, Missy Mazzoli, Phil Kline, Shara Worden, Richard Reed Parry, and Sarah Kirkland Snider. Awarded the 2014 Richard B. Fisher Next Wave Award last year for its production of Black Mountain Songs, Brooklyn Youth Chorus has garnered a strong reputation as an arts producer. Other featured productions include Brooklyn Village, co-produced with the Brooklyn Philharmonic and Roulette in 2012; and Tell the Way, co-produced with St. Ann’s Warehouse in 2011. The chorus has also appeared at important contemporary-music festivals including BAM’s Next Wave and Crossing Brooklyn Ferry festivals, Ecstatic Music Festival, MusicNOW, 21c Liederabend, and Prototype Festival. Founded in 1992 by artistic director Dianne Berkun Menaker, Brooklyn Youth Chorus’s after-school program encompasses more than 550 students in multi-level training divisions and advanced performing ensembles at its headquarters in Cobble Hill and locations in Bedford-Stuyvesant, Red Hook, and Sunset Park, Brooklyn.

Learn more about Brooklyn Youth Chorus

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Dianne Berkun Menaker

Director

Dianne Berkun Menaker

Director

Director

Dianne Berkun Menaker is the founder and artistic director of Brooklyn Youth Chorus. Under her visionary leadership, the chorus has become one of the most highly regarded ensembles in the country and has stretched the artistic boundaries for the youth chorus. She has prepared choruses for performances with acclaimed conductors, including Alan Gilbert, Marin Alsop, James Levine, Charles Dutoit, and Robert Spano. Most notably, she prepared the chorus for its 2002 debut with the New York Philharmonic in John Adams’s On the Transmigration of Souls, the recording for which the chorus won a Grammy Award in 2005. Ms. Berkun Menaker has also prepared the Chorus for appearances and recordings with artists such as Barbra Streisand, Elton John, Lou Reed, Philip Glass, Grizzly Bear, John Legend, Natasha Bedingfield, and Alicia Keys. Out of a desire to showcase the chorus’s versatility and uniquely beautiful sounds, she has developed an active commissioning program, collaborating with some of the most important composers of our time. Ms. Berkun Menaker is a regular choral clinician and teaching artist for such organizations as the New York Philharmonic and The Weill Music Institute at Carnegie Hall and has also presented workshops and master classes for New York University, New York State School Music Association, the American Choral Directors Association, and the New York City Department of Education. She is the creator of the chorus’s Cross-Choral Training program, a proven holistic and experiential approach to developing singers in a group setting encompassing both voice and musicianship pedagogy.

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Pierre Vallet

Chorus Master

Pierre Vallet

Chorus Master

Chorus Master

French conductor Pierre Vallet (chorus master) is co-founder and music director of the Bahamas International Opera Festival, opening in 2016. A long-serving member of The Metropolitan Opera — first as a pianist and coach and, more recently, a staff conductor — he has led operas around the world, including Wagner’s Tannhäuser at the Opéra national de Paris. He has been chorus master for Britten’s War Requiem (Saito Kinen Festival Orchestra at Carnegie Hall); Berlioz’s La Damnation of Faust; Mahler’s Symphony No. 2, Resurrection; Schoenberg’s Gurrelieder; and Beethoven’s Ninth Symphony. He has appeared as conductor and lecturer at the Tokyo Cantat choral festival, conducted at the Spoleto Festival USA, and regularly leads the Greenwich Village Orchestra. In April 2015 he conducts the Royal Philharmonic Orchestra, and his CD of the Chopin piano concertos with Elizabeth Sombart and the Royal Philharmonic Orchestra will be released in March 2015. Pierre Vallet’s musical partnership with Seiji Ozawa has included collaborating on some 40 operatic productions and concerts throughout Japan, the U.S., and Europe, including the first production of this staging of Honegger’s Joan of Arc at the Stake at the Saito Kinen Festival.

Learn more about Pierre Vallet

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Dan Saunders

Musicial Preparation

Dan Saunders

Musicial Preparation

Musicial Preparation

Learn more about Dan Saunders

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Thijs Beuming

Supernumerary

Thijs Beuming

Supernumerary

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Watch

Special Thanks
This concert is made possible with generous support from The Andrew W. Mellon Foundation. Major support is also provided by Laura Chang and Arnold Chavkin and an anonymous donor.

U.S. Premiere of staged production created at the SEIJI OZAWA MATSUMOTO FESTIVAL in August 2012 under the artistic direction of Seiji Ozawa
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