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Gloria – A Pig Tale

This concert is now past.
Location: Grace Rainey Rogers Auditorium at The Metropolitan Museum of Art (Directions)
Price Range: $60.00
Thu, May, 29, 2014
7:00 PM
Fri, May, 30, 2014
7:00 PM
Sun, Jun, 1, 2014
2:00 PM
Join us for this staged production by Alan Gilbert and Giants Are Small, which brought you Le Grand Macabre and The Cunning Little Vixen. A rollicking tale of social satire, this humorous opera explores life in excess, told through the aspirations of the beautiful pig, Gloria. See a glimpse of rehearsal in the video below. Tickets include all-day admission to the Met Museum the day of the concert.

A Co-Presentation of the New York Philharmonic, The Metropolitan Museum of Art, and The Juilliard School

Tickets for Gloria – A Pig Tale are no longer available through the New York Philharmonic.

Please call the Metropolitan Museum of Art at  212-535-7710 to inquire about availability.

See all NY PHIL BIENNIAL concerts.

The 2014-15 Season

Program (Click the red play button to listen)


Gloria – A Pig Tale

HK GRUBER (b. 1943)
Gloria — a Pig Tale (1992–94)

Gloria – A Pig Tale has been noted for its fast-paced action, syncopated rhythms, and challenging vocals. Described as “neo-tonal” and “neo-Viennese,” HK Gruber’s work stands out for its variety of influences (from jazz and cabaret to pop and modern music) as well as its skillful invocation of irony and dark humor. Alan Gilbert led Philharmonic musicians and Mr. Gruber, as chansonnier, in a performance of the composer’s “pan-demonium” Frankenstein!! as part of CONTACT!, the new-music series, in December 2011. Gloria – A Pig Tale tells the story of a pig named Gloria, whose beauty and curly, golden hair leave her ostracized among the other pigs in her sty who are envious of her looks and disdainful of their unconventionality. Gloria’s desire for love and acceptance causes her to fall for a butcher she mistakenly believes to be a prince, but she is rescued in time from her would-be assassin by another outcast, a wild boar named Rodrigo. This unprecedented production will transform the Grace Rainey Rogers Auditorium with an imaginative landscape that brings farm to stage with costumes, sets, and projections. “I enjoy blurring the lines that delineate categories and this production will be no different,” says director/designer Doug Fitch. “Rather than seeing my signature sketchy drawings come to life via live-animation though, I am building soft, full-body, masks that look sort of like large Dubuffet drawings, allowing singers to quickly shift from being a cow to a frog to a pig — like New Yorker cartoons brought to life by a bunch of operatic rednecks!”



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.

Visit Alan Gilbert's Official Website

Learn more about Alan Gilbert


Soprano (Gloria)

American soprano Lauren Snouffer, a recent graduate of the Houston Grand Opera Studio and winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation and a Richard F. Gold Career Grant bestowed by Houston Grand Opera, has appeared at Houston Grand Opera as Elvira in Rossini’s L’italiana in Algeri, Ellie in Kern’s Show Boat in a production by Francesca Zambello led by Music Director Patrick Summers, Lucia in Britten’s The Rape of Lucretia conducted by Rory Macdonald and directed by Arin Arbus, Thibault in a Verdi’s Don Carlos directed by John Caird and conducted by Mr. Summers, and as Rosina in student performances of Rossini’s The Barber of Seville. During the 2013–14 season she sings Pamina in Mozart’s The Magic Flute for her Lyric Opera of Kansas City debut, conducted by Gary Thor Wedow, and joins the roster of Lyric Opera of Chicago in productions of Dvořák’s Rusalka and Mozart’s La clemenza di Tito. Ms. Snouffer joins Matthias Pintscher for J.S. Bach’s St. John Passion with the International Beethoven Project in Chicago, sings Poulenc’s Gloria with Bramwell Tovey and the San Antonio Symphony, Bernstein’s Candide with Marin Alsop and the Sao Paulo Symphony, and Handel’s Messiah with Nicholas McGegan and the Houston Symphony. She appears with the Aspen Contemporary Ensemble in Ligeti’s Mysteries of the Macabre, rings in the New Year with the Baltimore Symphony Orchestra in a Viennese program, and records of Hasse’s Solimano with Il Pomo d’Oro, conducted by Riccardo Minasi, for the Decca label. She has collaborated with Houston’s Mercury Baroque, Juilliard415, and with the AXIOM Ensemble. She was a grand finalist in the 2012 Metropolitan Opera National Council Auditions and is a graduate of Rice University and the Juilliard School.


Mezzo-soprano (Solo pig and other roles)

In the 2013–14 season mezzo-soprano Brenda Patterson joins the American Symphony Orchestra at Carnegie Hall to sing Elsbeth in Richard Strauss’s Feuersnot and returns to The Metropolitan Opera’s roster. She recently triumphed in a number of leading roles at the Hamburg Staatsoper, including Idamante in Mozart’s Idomeneo, Niklausse in Offenbach’s The Tales of Hoffmann, Dorabella in Mozart’s Così fan tutte, Hansel in Humperdinck’s Hansel and Gretel, Cherubino in Mozart’s The Marriage of Figaro, Annio in Mozart’s La clemenza di Tito, and Rosina in Rossini’s The Barber of Seville. She made her Metropolitan Opera debut as a Wood Sprite in Dvořák’s Rusalka and has since returned to the company as Berg’s Lulu, Gluck’s Iphigénie en Tauride, Poulenc’s Dialogues des Carmélites, and The Marriage of Figaro. Other opera engagements include Stephano in Gounod’s Roméo et Juliette (at Opera Colorado), Cherubino (Lyric Opera of Kansas City), Alcina in Haydn’s Orlando Paladino (Glimmerglass Opera), and the soloist in Ariadne Unhinged, a staging of works by Schoenberg, Haydn, and Monteverdi (Gotham Chamber Opera). Also active in concert and chamber music, Ms. Patterson has sung Bach’s Weihnachstsoratorium, Erforsche mich, Gott, und erfahre mein Herz, and Ich liebe den Hochsten von ganzem Gemute (with Orchestra of Saint Luke’s) and Weihnachstsoratorium and Tilge, Höchster, meine Sünde (Handel and Haydn Society). She has sung Berio’s Folk Songs (Greenwich Music Festival) and Mozart’s Requiem (Saint Thomas Church). A passionate performer of new repertoire, has premiered more than 30 works by living composers.

Learn more about Brenda Patterson


Tenor (Gerhard and other roles)

Australian tenor Alexander Lewis is a graduate of The Metropolitan Opera’s Lindemann Young Artist Development Program. This season he featured in The Met’s HD Broadcasts as the title role in Shostakovich’s The Nose, and reprised his performance as Borsa in Verdi’s Rigoletto. He also made his Washington National Opera debut as Flask in Jake Heggie’s Moby Dick. As a young artist he appeared as Vasek in The Met–Juilliard production of Smetana’s The Bartered Bride, conducted by James Levine, and as Ferrando in Mozart’s Cosi fan tutte, conducted by Alan Gilbert. In 2010 he completed The Merola Opera Program in San Francisco where he performed Nemorino in Donizetti’s L’elisir d’amore. Mr. Lewis is also a graduate of The Western Australian Academy of Performing Arts (where he received his B.A. in Music Theatre). His professional musical theater credits include the Sondheim roles of George in Sunday in the Park with George (Victorian Opera Company) and Anthony Hope in Sweeney Todd (Opera Australia), Raoul in Andrew Lloyd Webber’s The Phantom of the Opera, and Frederick Barret in Maury Yeston’s Titanic, the Musical. His concert highlights include the World Premiere of Kiss me, Katherina with The Southern Cross Soloists, Britten’s Serenade for Tenor, Horn, and Strings at The Bangalow Music Festival, Rossini’s Petite messe solennelle, The Met’s Summer Recital series, The Manchester Music Festival, the role of Poisson in The Opera Orchestra of New York's performance of Cilea’s Andriana Lecouvreur, Australia Plays Broadway, and APEC Australia’s Gala Cultural Performance. Alexander has received prizes in The Gerda Lissner, The Licia Albanese-Puccini Foundation, and Opera Index competitions and was also awarded Opera Foundation Australia’s New York Study Award, The Australian National Aria Competition, and The Sir Robert Askin Traveling Scholarship. His upcoming roles include Tamino in Mozart’s The Magic Flute for West Australian Opera and Raoul de St Brioche in Lehár’s The Merry Widow for The Met. 


Baritone (Farmer and other roles)

American baritone Carlton Ford is a graduate of The Juilliard School and Rice University. In the 2012–13 season he made debuts with the New York Philharmonic, Crested Butte Music Festival, and Paris’s Théâtre du Châtelet as Dewain in John Adams’s I Was Looking At The Ceiling And Then I Saw The Sky. His 2013–14 season includes his Florida Grand Opera debut and his role debut as Harlekin in Glimmerglass Festival’s production of Richard Strauss’s Ariadne auf Naxos. During the 2011–12 season Mr. Ford made his Houston Grand Opera debut as Fiorello in Rossini’s The Barber of Seville, followed by the World Premiere of John Glover’s New Arrivals. He is featured on the Emmy-nominated Live From Lincoln Center broadcast of Rogers & Hammerstein’s Carousel with the New York Philharmonic, Carnegie Hall’s 2008 opening night gala filmed for PBS’s Great Performances series, and the Oscar-nominated HBO series Masterclass with Plácido Domingo. In previous seasons, Carlton Ford has sung the roles of Marcello (in Puccini’s La bohème), Gugliemo (Mozart’s Così fan tutte), Demetrius (Britten’s A Midsummer Night’s Dream), Ottone (Moteverdi’s L’incoronazione di Poppea), Voltore in Musto’s Volpone, Dancaïro (Bizet’s Carmen), and Mercutio (Gounod’s Roméo et Juliette). He has also appeared in several roles during his three seasons as a Gerdine Young Artist at the Opera Theatre of St. Louis, and collaborated numerous times in recital with Steven Blier, Michael Barrett, and the New York Festival of Song. A winner of the 2014 Opera Foundation Scholarship, Mr. Ford was a finalist in Houston Grand Opera’s 2012 Eleanor McCollum Competition and a recipient of both First Place and Grand Prize in Chicago’s 2011 Bel Canto Foundation Competition. A native of Chicago, Illinois, he recently completed his residency as a studio artist with the Florida Grand Opera and will spend his 2014–15 season as an ensemble artist with the Deutsche Oper Berlin.



Kevin Burdette’s 2013–14 engagements include Shostakovich’s The Nose with The Metropolitan Opera, Sergeant of Police in Gilbert & Sullivan’s The Pirates of Penzance with Portland Opera, Ko-Ko in Gilbert & Sullivan’s The Mikado with Opera Memphis, Osmin in Mozart’s The Abduction from the Seraglio with Opera Grand Rapids, Mozart’s Requiem with Grand Rapids Symphony, Handel’s Messiah with Seattle Symphony Orchestra, and Dulcamara in Donizetti’s L’elisir d’amore with San Diego Opera. Recent highlights include the roles in Thomas Adès’s The Tempest with The Metropolitan Opera (which received a French Diapason d’Or and 2014 Grammy Award), Berg’s Wozzeck with London’s Philharmonia Orchestra, Donizetti’s La fille du régiment with San Diego Opera, Offenbach’s La Perichole with New York City Opera, Offenbach’s La Grande-duchesse de Gérolstein, and Morrison’s Oscar (creating the role of Justice Wills/Henry B. Isaacson in the World Premiere) with Santa Fe Opera. He also sang Messiah with the Chicago, Cincinnati, and Nashville symphony orchestras and Les Violons du Roy; Leporello in Mozart’s Don Giovanni (with the Los Angeles Philharmonic); Prophet/King in Nico Muhly’s Dark Sisters (World Premiere, co-produced by Gotham Chamber Opera and Opera Philadelphia); Bartolo in Rossini’s Il barbiere di Siviglia (Lyric Opera of Kansas City); Osmin (Teatro Colón, Buenos Aires); Stefano in The Tempest (L’Opéra de Québec); Ogre in Xavier Montsalvatge’s El gato con botas  (U.S. Stage Premiere, Gotham Chamber Opera); Death/Loudspeaker in Viktor Ullmann’s Emperor of Atlantis (Boston Lyric Opera); Nick Shadow in Britten’s The Rake’s Progress (Princeton Festival); and Mr. Scattergood in Menotti’s The Last Savage (Santa Fe Opera debut). This summer he sings Herr Puff in Mozart’s The Impresario and Chamberlain in Stravinsky’s Le Rossignol with Santa Fe Opera, and in 2014–15 he will appear at Opera Philadelphia, Florentine Opera, Boston Lyric Opera, and as Beck Weathers in the World Premiere of Talbot’s Everest with Dallas Opera (World Premiere).


AXIOM, led by music director Jeffrey Milarsky, is dedicated to performing the masterworks of the 20th- and 21st-century repertoire. Since its 2006 debut, the group has rapidly established itself as a leading ensemble on the contemporary music scene. AXIOM’s 2013–14 season has featured works by Druckman and Subotnick in October; Andriessen, Haas, Knussen, and Lang in February; and Boulez and Stockhausen in April. The season is culminating with members of the ensemble performing in HK Gruber’s Gloria – A Pig Tale under the baton of Alan Gilbert at the Metropolitan Museum of Art in May and June, part of the inaugural NY PHIL BIENNIAL. Highlights of AXIOM’s 2012–13 season included works by John Adams, Oliver Knussen, Schoenberg, Takemitsu, and Charles Wuorinen. The 2011–12 season featured the World Premiere of Elliott Carter’s Three Explorations (2011); works by Babbitt, Birtwistle, Boulez, Grisey, and Lindberg; and Wolfgang Rihm’s rarely performed Jagden und Formen. The 2010–11 season focused on music by Magnus Lindberg and Steve Reich, and a concert featuring Morton Feldman’s monumental Rothko Chapel, presented by Lincoln Center as part of its Tully Scope festival. 



Giants Are Small — founded in 2007 by American director and visual artist Doug Fitch, Swiss filmmaker and producer Edouard Getaz, and multimedia entrepreneur Frederic Gumy — creates genre-bending productions that fuse together theater, live filmmaking, puppetry, music, and visual art. Collaborations with the New York Philharmonic have included Ligeti’s Le Grand Macabre (2010, named “Best Opera of the Year” by The New York Times, New York magazine, and Time Out New York), Janáček’s The Cunning Little Vixen (2011, New York’s “Best Classical Event of the Year”), and A Dancer’s Dream (2013, later cinemacast internationally). Other projects have included a new version of Prokofiev’s Peter + Wolf with the Los Angeles Philharmonic and the web series W Hot Culture in 2013. Giants Are Small is developing Peter + Wolf in Hollywood for mobile and site-specific venues, and creating a new adaptation of Petrushka for the New York Philharmonic’s 2015 appearance at London’s Barbican.

Learn more about Giants Are Small


Designer, Director

Doug Fitch

Doug Fitch, as co-founder of Giants Are Small (GAS), has collaborated on several acclaimed New York Philharmonic productions conducted by Alan Gilbert. He designed and directed György Ligeti’s Le Grand Macabre, which was named “Best Opera of the Year” by The New York Times and New York magazine; New York called their second project, Janáček’s The Cunning Little Vixen (2011) the “Best Classical Event of the Year”; the third, A Dancer’s Dream (2013, a theatrical retelling of two Stravinsky ballets), received an international cinemacast in fall 2013, concurrent with the launch of the GAS Webseries W Hot Culture. Mr. Fitch has also created productions for the Los Angeles Opera, Los Angeles Philharmonic, Santa Fe Opera, National Arts Center in Canada, and Royal Stockholm Philharmonic Orchestra. For 15 years he collaborated with artist Mimi Oka to create multi-sensory experiences known as Orphic Feasts, subject of the book Orphic Fodder: Experiments in Dining, or, an Autobiography of an Artistic Collaboration. In the 1980s he emerged as an architectural designer, creating homes and furniture for major clients including violinist Joshua Bell. Doug Fitch’s creative life began with his family’s touring puppet theater. He worked with Jim Henson, collaborated with director Peter Sellars on productions including Wagner’s Ring, and worked with Robert Wilson on Civil Wars at American Repertory Theatre. In Venice Mr. Fitch met Italian architect and designer Gaetano Pesce, an important influence. Born in 1959 in Philadelphia, Doug Fitch graduated magna cum laude in visual studies from Harvard University. He studied cooking at La Varenne, in Paris, and design at Institut d’Architecture et d’Etudes Urbaines, Strasbourg. 

Learn more about Doug Fitch



Edouard Getaz

Producer and filmmaker Edouard Getaz has produced a wide variety of events, from major fashion shows to music festivals, historical celebrations, and concerts. As co-founder of Giants Are Small and in collaboration with the New York Philharmonic, he produced Ligeti’s Le Grand Macabre, which was named “Best Opera of the Year” by The New York Times. New York magazine called their second collaboration, Janáček’s The Cunning Little Vixen (2011), the “Best Classical Event of the Year.” A Dancer’s Dream (June 2013), their third project together, received an international cinemacast in 2013. Mr. Getaz is currently developing two iPad apps: Peter + Wolf in Hollywood and Inside Risk, both scheduled to be launched this winter. Born in 1973 in Lausanne, Switzerland, Edouard Getaz graduated from the Fribourg University Law School and studied film, directing, and production at New York University.

Learn more about Edouard Getaz


Production Manager

James Smith has worked on production produced by Giants Are Small and the New York Philharmonic since 2009, serving as assistant director on Ligeti’s Le Grand Macabre, Janáček’s The Cunning Little Vixen, and A Dancer’s Dream. He is currently working on several future projects with Giants Are Small including a special event with the Swiss Consulate General, Petrushka at the Barbican for the Philharmonic’s residency there in 2015, and Prokofiev’s Peter and the Wolf. In addition to his work in classical music production, he is an executive producer at Intercontinental Pictures, and has been working with Edouard Getaz to develop a new interactive documentary iPad app called Inside Risk. Mr. Smith holds music degrees from Wesleyan and Bucknell universities and has a diverse background in stage direction and artistic planning, having worked with such major U.S. performing arts institutions as The Metropolitan Opera and Santa Fe Opera.

Learn more about James Smith


Set Design

Kate Noll’s credits include set design for Dario Fo’s Accidental Death of an Anarchist, co-produced by Yale Repertory Theater and Berkeley Repertory Theater. She designed the sets for Caryl Churchill’s Cloud Nine and the costumes for the Carlotta Festival of New Plays at the Yale School of Drama. Ms. Noll was the resident designer for the 2013 Summer Cabaret, designing sets for Tartuffe, Miss Julie, The Shoemaker’s Prodigious Wife, and Caryl Churchill’s Heart’s Desire and Drunk Enough to Say I Love You, as well as costumes for Tennessee Williams’s Bar at a Tokyo Hotel. Her other Yale Cabaret credits include sets designed for The Maids, Funnyhouse of a Negro, Ray Planta, The Fatal Eggs, and Ermyntrude and Esmeralda, and costumes for Ain’t Gonna Make It and The Bird Bath. Before her time at Yale, she worked with Giants Are Small on Janáček’s The Cunning Little Vixen for the New York Philharmonic. Kate Noll has been a resident set designer at the Sundance Directors Lab where she work-shopped the films Little Birds, My Brother the Devil, and Beasts of a Southern Wild. She has worked as a stylist and a production designer for photography, television, and film in New York City. Before studying set design at the Yale School of Drama, where she recently received her M.F.A., she practiced as a studio artist in Amsterdam and Rome, after receiving her B.F.A. in painting from the Rhode Island School of Design.


Lighting Design

Jeanette Oi-Suk Yew is a New York City–based lighting designer. Her work has been seen in U.S. venues such as BAM Fisher, Rose Theater at Lincoln Center, HERE Arts Center, St. Ann’s Warehouse, La Mama, ArtsEmerson, Manhattan School of Music, Joyce SOHO, REDCAT, and Highways Performance Space, and internationally in Havana, Prague, Lima, and Edinburgh. Her recent new opera productions include Kamala Sankaram’s Thumbprint, premiered at Prototype 2014; Gotham Chamber Opera’s Orientale; Jonathan Dawe’s Cosi Faran Tutti; Sheila Silver’s The Wooden Sword; and Peter Winkler’s Fox Fables with Rhoda Levine. Upcoming projects include Brother Brother with Experiments in Opera and Scarlet Ibis premiering at Prototype 2015. Other operas on which she has worked include Mozart’s Don Giovanni, Francesco Cavalli’s Eliogabalo and La Calisto, Monteverdi’s L’incoronazione di Poppea, Handel’s Alcina, Gilbert & Sullivan’s Princess Ida, Johann Strauss II’s Die Fledermaus, Peter Brook’s La Tragedie de Carmen, and Purcell’s Dido and Aeneas

Learn more about Jeanette Oi-Suk Yew

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Special Thanks

This concert is made possible with generous support from an anonymous donor. Major support for the NY PHIL BIENNIAL is provided by The Francis Goelet Fund, The Andrew W. Mellon Foundation, The Susan and Elihu Rose Foundation, and The Fan Fox and Leslie R. Samuels Foundation.


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