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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.
Location: Avery Fisher Hall  (Directions)
Price Range: $38.00 - $135.00
Thu, Jun, 27, 2013
7:30 PM
Fri, Jun, 28, 2013
8:00 PM
Sat, Jun, 29, 2013
8:00 PM
A Dancer's Dream


  (Click the red play button to listen)
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 (1911, original 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. “He is building a legacy that matters and is helping to change the template for what an American orchestra can be,” The New York Times praised.

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 2013–14 season by Christopher Rouse and pianist Yefim Bronfman, respectively; an annual festival, which this season is The Beethoven Piano Concertos; CONTACT!, the new-music series, extending its reach this season with more concerts in new venues across the city; and, beginning in the spring of 2014, the NY PHIL BIENNIAL, an exploration of today’s music by a wide range of contemporary and modern composers.

In the 2013–14 season Alan Gilbert conducts Mozart’s three final symphonies; the score from 2001: A Space Odyssey as the film is screened, as part of THE ART OF THE SCORE: Film Week at the Philharmonic; 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; and a staged production of Stephen Sondheim’s Sweeney Todd starring Bryn Terfel and Emma Thompson. He also continues 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 will preside over the ASIA / WINTER 2014 tour, with stops including Tokyo and Seoul, featuring Artist-in-Residence Yefim Bronfman performing Magnus Lindberg’s Piano Concerto No. 2, Composer-in-Residence Christopher Rouse’s Rapture, and Alan Gilbert narrating Britten’s The Young Person’s Guide to the Orchestra in Japanese at a Young People’s Concert in Tokyo.

Last season’s highlights included Bach’s B-minor Mass and Ives’s Fourth Symphony, and, during the EUROPE / SPRING 2013 tour, participating in the Vienna Konzerthaus’s centennial and performing Lindberg’s Kraft and Rouse’s Prospero’s Rooms at the Volkswagen Transparent Factory. The season concluded with A Dancer’s Dream, a multidisciplinary reimagining of Stravinsky’s The Fairy’s Kiss and Petrushka, created by Giants Are Small and starring New York City Ballet principal dancer Sara Mearns.

High points of Mr. Gilbert’s first three Philharmonic seasons included the critically celebrated productions of Ligeti’s Le Grand Macabre (2010) and Janácek’s Cunning Little Vixen (2011) — both cited as the top cultural events of their respective years — and Philharmonic 360 (2012), the acclaimed spatial music program featuring Stockhausen’s Gruppen.  Other highlights include 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; five tours to Europe; and the Asia Horizons tour.

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. 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, and the Berlin Philharmonic. His 2013–14 season engagements include appearances with the Berlin Philharmonic, Juilliard Orchestra at Carnegie Hall, Munich Philharmonic, NDR Symphony Orchestra, Royal Stockholm Philharmonic, and Orchestre National de Lyon.

Alan Gilbert 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.”

Visit Alan Gilbert's Official Website

Designer, Director
Doug Fitch

Visual artist, designer, and director Doug Fitch designed and directed the 2010 Giants Are Small production of Ligeti’s Le Grand Macabre for the New York Philharmonic, conducted by Alan Gilbert, which was cited as the top opera of 2010 by The New York Times, New York Magazine, and Time Out New York.  Mr. Fitch and Giants Are Small collaborated with Alan Gilbert and the Philharmonic again on the 2011 production of Janáček’s The Cunning Little Vixen, which was called “Best Classical Event of the Year” by New York Magazine. His first project for the Orchestra was Stravinsky’s L’Histoire du soldat in 2005.

Doug Fitch has also created productions for the Los Angeles Opera (Humperdinck’s Hansel and Gretel), Los Angeles Philharmonic (Prokofiev’s Peter and the Wolf), and the Santa Fe Opera (Puccini’s Turandot). He has also directed projects for other major institutions across North America and Europe, including The National Arts Center in Canada and the Royal Stockholm Philharmonic Orchestra. For more than 15 years, he has collaborated with artist Mimi Oka to create a series of multi-sensory experiences known as Orphic Feasts. Beginning in the 1980s he emerged as an architectural designer. He designed several homes and pieces of furniture, which were regularly published.

The creative life of Doug Fitch began as part of his family’s touring puppet theater. Later, while studying visual arts at Harvard University, he collaborated with director Peter Sellars, including on a production of Wagner’s Der Ring des Nibelungen. Mr. Fitch also worked on Robert Wilson’s Civil Wars at the American Repertory Theatre and, in England, with the late Jim Henson of The Muppets.

Doug Fitch was born in 1959 in Philadelphia. He graduated magna cum laude with a degree in visual studies from Harvard University, and also studied cooking at La Varenne in Paris and design at Institut d’Architecture et d’Etudes Urbaines in Strasbourg, France.

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.

Producer, director, and filmmaker Edouard Getaz has consistently been at the forefront of new trends in live entertainment. He has developed and produced a wide variety of events, ranging from major fashion shows to music festivals, large historical celebrations, and concerts. His first production under the banner of Giants Are Small was Stravinsky’s L’Histoire du soldat, directed by Doug Fitch, for the New York Philharmonic in 2005; he has since produced all Giants Are Small productions, including two groundbreaking operas at the New York Philharmonic: Ligeti’s Le Grand Macabre in 2010 — which was cited as the top opera of 2010 by The New York Times, New York Magazine, and Time Out New York  and Janáček’s The Cunning Little Vixen in 2011, which was called “Best Classical Event of the Year” by New York Magazine.

Mr. Getaz also produced the Giants Are Small adaptation of Prokofiev’s Peter and the Wolf with the Los Angeles Philharmonic at Walt Disney Concert Hall in 2008 and is currently developing a new multimedia adaptation of the Prokofiev classic with Mr. Fitch and Giants Are Small’s co-founder Frederic Gumy: titled Peter + Wolf in Hollywood, an immersive event incorporating theater, music, on-stage filmmaking, and puppetry.

For the Montreux Jazz Festival, in the mid-1990s, Mr. Getaz produced one of the first multi-location music events to be streamed live on the Internet. In 1998 he co-founded Creatives, an events and communications agency that quickly became, and remains, one of the most successful companies of its kind in Switzerland. He has directed two films, Virgin Red (2005) and Freud’s Magic Powder (2009), both of which were premiered at the Locarno Film Festival and selected to appear at major festivals.

Edouard Getaz holds a master’s in law degree from the Fribourg University, Switzerland, and studied film, directing, and production at New York University. 

Since its founding in 2007 by American director and visual artist Doug Fitch, Swiss filmmaker and producer Edouard Getaz, and multimedia entrepreneur Frederic Gumy, Giants Are Small has risen to become one of the most out-of-the-box and celebrated production companies in New York. Collaborating with top orchestras and exceptional contemporary talents, Giants Are Small is known for its extraordinary range of genre-bending productions, which capitalize on its signature fusion of theater, live filmmaking, music, and visual art.

The 2010 Giants Are Small production of Ligeti’s Le Grand Macabre for the New York Philharmonic, conducted by Alan Gilbert, was cited as the top opera of 2010 by The New York Times, New York Magazine, and Time Out New York. Giants Are Small collaborated with the Philharmonic again on the 2011 production of Janáček’s The Cunning Little Vixen, which was called “Best Classical Event of the Year” by New York Magazine. Both received superlative reviews and are consistently cited as benchmarks of contemporary opera production in New York. A Dancer’s Dream: Two Works by Stravinsky, based on two works by Stravinsky, The Fairy’s Kiss and Petrushka, marks the third installment in a trilogy collaboration with Alan Gibert and the Orchestra. The Giants Are Small production of Petrushka was originally developed with the University of Maryland in 2008. The creative partnership of Doug Fitch and Edouard Getaz began with Stravinsky’s L’Histoire du soldat, with the New York Philharmonic, in 2005, and was the first production in which their idea of “live filmmaking” was brought to a wide audience.

Giants Are Small is currently developing Peter + Wolf in Hollywood — an immersive event incorporating theater, music, on-stage filmmaking, and puppetry — based on the great Prokofiev classic. Additional projects in development include theatrical amalgams of media, technology, music, and visual art.

Lighting designer Clifton Taylor’s previous projects for the New York Philharmonic include Janáček’s The Cunning Little Vixen (in 2011) and Ligeti’s Le Grand Macabre (2010). His Broadway credits include Jay Johnson: The Two and Only (for which he won an Ovation Award), Frozen, and Hot Feet. Off-Broadway, he has worked on several shows for City Center Encores! and many plays and musical events for Gotham Chamber Opera, Irish Repertory Theatre, and MCC Theater. Mr. Taylor’s lighting designs for dance have been commissioned for the repertories of Alvin Ailey American Dance Theater, American Ballet Theater, San Francisco Ballet, Les Grands Ballets Canadiens, Ballet Jazz de Montreal, Maggio Danza (Florence, Italy), and Ballet Company of Rio de Janeiro. He is the resident lighting designer for Armitage Gone! Dance Company, Philadanco, and Elisa Monte Dance, and has designed for Lar Lubovitch, Ron K. Brown, and Larry Keigwin. Other recent collaborators include Benoit-Swan Pouffer for Cedar Lake Contemporary Ballet and Septime Webre for Washington Ballet. In addition, Clifton Taylor is a theater consultant to venues in several countries, most recently advising on the construction of Teatro del Lago in Chile, the southern-most opera house in the world.

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.  

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.

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

Acclaimed for his commanding stage presence and inventive artistry, bass-baritone Eric Owens has carved a place on the opera stage as both a champion of new music and an impressive interpreter of classic works. He is equally at home in concert, recital, and opera performances, bringing his poise, expansive voice, and instinctive acting to stages around the globe.

Mr. Owens's career-making role was the title character in the world premiere of Elliot Goldenthal's Grendel with the Los Angeles Opera and Lincoln Center Festival, in a production directed and designed by Julie Taymor. Last season his portrayal of Alberich in Wagner's Das Rheingold at The Metropolitan Opera garnered universal praise. Mr. Owens created the roles of General Leslie Groves in Doctor Atomic and The Storyteller in A Flowering Tree, both by John Adams. He made his Boston Symphony Orchestra debut under the baton of David Robertson in Adams's El Niño.

Operatic highlights include debuts with the San Francisco Opera in Verdi's Otello; Royal Opera, Covent Garden, in Bellini's Norma, and Verdi's Rigoletto and Il Trovatore; Puccini's La Bohème at Los Angeles Opera; Mozart's The Magic Flute at Paris Opèra; Handel's Ariodante and L'incoronazione di Poppea at English National Opera; and the role of Aristotle Onassis in the world premiere of Michael Daugherty's Jackie O at Houston Grand Opera (recording available on the Argo label). He is featured on Atlanta Symphony Orchestra's recordings of Mozart's Requiem and scenes from Richard Strauss's Elektra and Die Frau ohne Schatten (Telarc).

This season Mr. Owens appears in recital with conductor Robert Spano at Carnegie Hall's Zankel Hall, and with The Cleveland Orchestra in a concert version of Salome, Boston Symphony Orchestra in Beethoven's Missa solemnis, National Arts Centre Orchestra in Verdi's Requiem, and in A Flowering Tree with the Atlanta Symphony Orchestra. This summer Mr. Owens will serve as artist-in-residence at the Glimmerglass Festival.

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.

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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