Acis and Galatea (New York premiere) - Lincoln...

Thursday–Saturday Evenings, August 7–9, 2014, at 7:30

Pre-performance discussion with Mark Morris and Jane Moss on August 8 at 6:15 in the David Rubenstein Atrium

Acis and Galatea (New York premiere)

Music by George Frideric Handel, arr. by Wolfgang Amadeus MozartLibretto by John Gay, with Alexander Pope and John Hughes

Mark Morris Dance Group

This performance is approximately two hours long, including intermission.

David H. Koch Theater Please make certain your cellular phone,pager, or watch alarm is switched off.

Sponsored by Movado

Endowment support for the Mostly Mozart Festival presentation of Mark Morris Dance Group isprovided by Blavatnik Family Foundation Fund for Dance.

These performances are made possible in part by the Josie Robertson Fund for Lincoln Center.

July 25–August 23, 2014

Sponsored by Bloomberg

(Program continued)

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Mostly Mozart Festival

The Mostly Mozart Festival is sponsored by Bloomberg.

The Mostly Mozart Festival is made possible byRita E. and Gustave M. Hauser, The Fan Fox andLeslie R. Samuels Foundation, Inc., Ann andGordon Getty Foundation, Charles E. CulpeperFoundation, S.H. and Helen R. Scheuer FamilyFoundation, and Friends of Mostly Mozart.

Public support is provided by the New York StateCouncil on the Arts.

Artist Catering is provided by Zabar’s and Zabars.com.

MetLife is the National Sponsor of Lincoln Center.

Bloomberg is the Official Sponsor of Lincoln CenterSummer Programs.

Movado is an Official Sponsor of Lincoln Center.

United Airlines is the Official Airline of Lincoln Center.

WABC-TV is the Official Broadcast Partner ofLincoln Center.

William Hill Estate Winery is the Official Wine ofLincoln Center.

“Summer at Lincoln Center” is sponsored by DietPepsi.

Time Out New York is Media Partner of Summer atLincoln Center.

Acis and Galatea is made possible with supportfrom American Express, Ellsworth KellyFoundation, National Endowment for the Arts, andthe PARC Foundation.

Major support for the Mark Morris Dance Group isprovided by The Booth Ferris Foundation, Judith R.and Alan H. Fishman, Shelby and Frederick GansFund, The Andrew W. Mellon Foundation, MeyerSound/Helen and John Meyer, Poss FamilyFoundation, The Billy Rose Foundation, Inc., TheFan Fox and Leslie R. Samuels Foundation, TheSHS Foundation, The Shubert Foundation, JaneStine and R.L. Stine, Robert F. Wallace, The WhiteCedar Fund, and Friends of MMDG.

The Mark Morris Dance Group is supported in part bypublic funds from the New York City Department ofCultural Affairs in partnership with the City Council,New York State Council on the Arts.

Upcoming Mostly Mozart Festival Events:

Friday and Saturday Evenings, August 8–9,at 8:00 in Avery Fisher Hall

Mostly Mozart Festival OrchestraOsmo Vänskä, ConductorYuja Wang, Piano M|MPhilip Cobb, Trumpet M|MPROKOFIEV: Symphony No. 1 (“Classical”)SHOSTAKOVICH: Concerto No. 1 for piano, trumpet, and strings

BEETHOVEN: Symphony No. 8Pre-concert recitals at 7:00 by Philip Cobb, trumpet,and Joseph Turrin, piano

Sunday Afternoon, August 10, at 1:00in the Walter Reade Theater

Handel on FilmShort documentary and Messiah, Parts I and II

Thursday Night, August 14, at 10:00in the Stanley H. Kaplan Penthouse

A Little Night MusicXavier de Maistre, Harp (New York debut)MOZART: Keyboard Sonata in C majorLISZT: Le rossignolFAURÉ: ImpromptuAnd works by CAPLET, PESCETTI,SMETANA, and TÁRREGA

M|M Mostly Mozart debut

For tickets, call (212) 721-6500 or visitMostlyMozart.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozartbrochure.

Visit MostlyMozart.org for full festival listings.

Join the conversation: #LCMozart

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

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Acis and GalateaMark Morris Dance GroupMark Morris, Director and ChoreographerPhilharmonia Baroque Orchestra and Chorale Nicholas McGegan, ConductorYulia Van Doren, GalateaThomas Cooley, Acis M|M

Isaiah Bell, Damon M|M

Douglas Williams, Polyphemus M|M

Adrianne Lobel, Scenic DesignIsaac Mizrahi, Costume DesignMichael Chybowski, Lighting Design

DancersChelsea Lynn Acree, Sam Black, Rita Donahue, Domingo Estrada Jr., Benjamin Freedman, Lesley Garrison, Lauren Grant, Brian Lawson, Aaron Loux, Laurel Lynch, Stacy Martorana, Dallas McMurray, Maile Okamura,Brandon Randolph, Billy Smith, Noah Vinson, Jenn Weddel, Michelle Yard

HANDEL (arr. Mozart) Acis and Galatea, K.566 (1718/1788)

Acis and Galatea is a Mark Morris Dance Group/Cal Performances, Berkeley/Celebrity Series of Bostonproduction, in association with Lincoln Center for the Performing Arts; Harriman-Jewell Series,Kansas City; and Krannert Center for the Performing Arts, University of Illinois at Urbana-Champaign.

M|M Mostly Mozart debut

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SynopsisAcis is in love with Galatea.

The monster, Polyphemus, also loves her.

In a jealous rage, and spurned by Galatea,

Polyphemus hurls a boulder at Acis and mortally wounds him.

Galatea uses her magic powers to change her dead lover

into a stream that will flow eternally.

—Mark Morris

For the Acis and Galatea libretto, visit MostlyMozart.org/events/mark-morris-dance-group.

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Note on the Musicby Ellen T. Harris

Acis and Galatea, K.566 (1718/1788)GEORGE FRIDERIC HANDELBorn February 23, 1685, in Halle, GermanyDied April 14, 1759, in London

WOLFGANG AMADEUS MOZARTBorn January 27, 1756, in SalzburgDied December 5, 1791, in Vienna

Handel’s Acis and Galatea delighted audi-ences from the very beginning. One mightthink that having been written for privateperformance at the country estate of theDuke of Chandos (called Cannons), it wouldhave been cut off from public view, but theresult was just the opposite. Under normalcircumstances, Handel kept tight controlover his music, maintaining a proprietaryright of performance, but the creation ofAcis and Galatea under private patronagemeant that “ownership” of the work wasnot limited to Handel alone. Manuscriptcopies were made of the work within a fewyears of the first performance in 1718, andthe three that survive provide the bestsources for Handel’s original version.

In 1722 some of the songs were publishedwithout attribution to Handel in what musthave been a pirated edition. Excerpts fromAcis and Galatea were then performed inBristol, England, in 1727, and in 1731 a per-formance, apparently of the complete orig-inal version, was mounted in London as abenefit for the tenor Philip Rochetti, wholater sang with Handel’s company. Thecomposer may have given this benefit per-formance his blessing, but the same wascertainly not the case with a full-scale professional performance mounted inLondon in 1732 by the English composerThomas Arne. Handel never took kindly to

others taking his own works without per-mission for their own professional benefit.

Arne divided the work into three acts, hadthe five-voiced ensembles sung by full cho-rus, and conflated the roles of Damon andCorydon into one character named Damon.Handel’s response was to combine Acis withan earlier Italian setting he had made of thesame story—but not the same text, with anumber of additional pieces thrown intothe mix—into a huge, bilingual work inthree acts that overwhelmed Arne’s pro-duction by sheer weight. This versionproved successful, and Handel continuedto produce it with some regularity over thenext seven years. Then in 1739 Handelreverted to an all-English version basedlargely, but not completely, on the original:he divided the work into two acts andclosed the first with a newly written chorusbased on the duet “Happy We.”

In 1743 Handel oversaw a new publicationof Acis and Galatea (it was the fifth editionof the work in its various incarnations) thatincluded the entire work as we know it—withoverture, recitatives, arias, and choruses(including “Happy We”). The advertisementsfor this print describe it correctly as “theonly Dramatic Work of Mr Handel whichhas yet been publish’d entire.” With thiscomplete publication, Handel ceded thework to the general public, never mountinganother revival after his last performance inDublin in 1742, during the same visit inwhich Messiah was heard for the first time.Most likely Mozart became acquaintedwith the score of Handel’s Acis and Galateathrough this publication of 1743.

In 1768, when Mozart’s family moved toVienna, the 11-year-old composer was firstintroduced to Baron Gottfried van Swieten,who in addition to being a diplomat andgovernment official was a talented amateur

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musician and enthusiastic collector of “oldmusic.” Some years later both the com-poser and diplomat were again living inVienna, and, by 1782, Mozart could writeto his father: “I go every Sunday at 12o’clock to Baron van Swieten, where noth-ing is played but Handel and Bach.” Thecomposer Joseph Weigl later described thesinging of Handel oratorios around the pianoat van Swieten’s house: Mozart not onlyplayed from the full score, but also took oneof the vocal parts and corrected the otherparticipants when they made mistakes! In1786 van Swieten helped to establish theGesellschaft der Associierten Cavaliere(Society of Associated Cavaliers) for thepurpose of producing large-scale publicperformances of Handel’s oratorios. Mozartre-orchestrated four of Handel’s works forthe Society, including his well-knownorchestration for Messiah (1789). Acis andGalatea (1788) was his first foray into thisarena. It had its premiere in November orDecember in Jahn’s Concert Hall underMozart’s direction and for Mozart’s benefit.

Handel’s original orchestration for the firstperformance of Acis and Galatea in 1718 atCannons was minimal and geared to thelimitations of the Cannons Concert, thegroup of musicians in Chandos’s employ.The score calls for seven players: fourstrings (two violins and two cellos), twohigh wind players (who doubled on oboe orrecorder as required), and keyboard con-tinuo. When Handel expanded this workand moved it into the opera house, headded flutes, trumpets, and horns, andundoubtedly reinforced the string sectionwith additional players. Although Mozart’sadditions are similar (he added flutes andhorns and increased the number of strings),there are also significant differences that

speak to the 70 years between Handel’soriginal and Mozart’s score.

Handel had structured his orchestrationaround the wind sound of the oboe, whileMozart (although he also included oboe)largely substituted the clarinet, an instru-ment with which he had a growing fasci-nation. His Symphony No. 39—written thesame year as the re-orchestration of Acisin 1788—includes clarinets but not oboes,and it was followed by the Clarinet Quintetin 1789, the Clarinet Concerto in 1791, andthe wonderful basset clarinet solos in Laclemenza di Tito (1791). The difference insound is already evident in the AcisOverture, where paired clarinets mainlyreplace Handel’s paired oboes. Mozart alsoadded bassoon, an instrument Handelloved but omitted in Acis, probably for lackof players. Sometimes the bassoons sim-ply add a rich wind sound to the bass, butoccasionally Mozart singles them out.Listen, for example, in “Shepherd, whatart thou pursuing” for the beautiful newcounterpoint Mozart writes for the bassoons.

Mozart replaces Handel’s recorders withflutes. He is able, of course, to createbeautiful effects, as in Acis’s aria “Lovein her eyes sits playing,” where a soloflute substitutes for Handel’s solo oboe.But the displacement of the recorders isalso a loss. The sopranino recorder of“Hush, ye pretty warbling quire” gives anaural impression of bird song that theflute cannot. And the raw humor of hav-ing the giant Polyphemus, who has justspoken of his “capacious mouth,” singhis very awkward love song, “O ruddierthan the cherry,” to the accompanimentof the tiny sopranino recorder is mutedwith the flute.

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Finally, Mozart adds viola and horns to fill inthe inner parts of the harmony that, atCannons, would have been supplied by theharpsichord. Although he also calls for akeyboard instrument, its function hasclearly been reduced. Moreover, the inclu-sion of the horns in the opening chorus ofAct II, “Wretched lovers,” adds a rich,somber quality in the first section and abellicose addition to the introduction ofPolyphemus in the second. The horns alsoprovide greater militaristic flavor to Acis’s“Love sounds the alarm.”

In general, Mozart’s orchestration of Acisand Galatea is very respectful of Handel’s

original, transforming what was originally achamber piece to an orchestra-accompaniedopera with full chorus. Comparing it toHandel’s own greatly enlarged, operaticversion of 1732, one would have to sayMozart did the better job.

Ellen T. Harris is professor emeritus in musicand theater arts at MIT and president-electof the American Musicological Society. Hermost recent book, George Frideric Handel:A Life with Friends, is due out from W. W.Norton in September.

—Copyright © 2014 by Lincoln Center for thePerforming Arts, Inc.

h

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I have a problem with my marriage, which is that I simply do notlike George Frideric Handel as much as my husband does. It is areal barrier between us. I am envious of one couple we know, forexample, who both love Handel so much that they will sometimesfly all the way to Texas just to hear a particular tenor sing a part inone of his operas. By now, they have also converted anotherfriend of ours into a lover of Handel. I am surprised, because thelast time she and I talked about music, what she loved was HankWilliams. All three of them went by train to Washington, D.C., thisyear to hear Giulio Cesare in Egitto. I prefer the composers of thenineteenth century and particularly Dvorák. But I’m pretty open toall sorts of music, and usually if I’m exposed to something longenough, I come to like it. But even though my husband puts onsome sort of Handel vocal music almost every night if I don’t sayanything to stop him, I have not come to love Handel. Fortunately,I have just found out that there is a therapist not too far from here,in Lenox, Massachusetts, who specialized in Handel-therapy, andI’m going to give her a try. (My husband does not believe in therapyand I know he would not go to a Dvorák-therapist with me even ifthere was one.)

Words and Music

Handelby Lydia Davis

—“Handel” from Can’t and Won’t: Stories by Lydia Davis. Copyright © 2014 byLydia Davis. Reprinted by permission of Farrar, Straus and Giroux, LLC.

For poetry comments and suggestions, please write to [email protected].

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Mark Morris (director and choreographer)was born on August 29, 1956, in Seattle,Washington, where he studied with VerlaFlowers and Perry Brunson. In the earlyyears of his career he performed with thecompanies of Lar Lubovitch, Hannah Kahn,Laura Dean, and Eliot Feld. He formed theMark Morris Dance Group in 1980 and hassince created close to 150 works for thecompany. From 1988–91 he was director ofdance at the Théâtre Royal de la Monnaiein Brussels, the national opera house ofBelgium. In 1990 he founded the WhiteOak Dance Project with Mikhail Baryshnikov.

Much in demand as a ballet choreographer,Mr. Morris has created 18 ballets since 1986,and his work has been performed by com-panies worldwide, including San Fran ciscoBallet, American Ballet Theatre, Ballet duGrand Théâtre de Genève, and the Royal NewZealand Ballet. He also works in opera, direct-ing and choreographing productions for theMetropolitan Opera, New York City Opera,English National Opera, and the Royal OperaHouse–Covent Garden, among others.

In 1991 Mr. Morris was named a fellow ofthe MacArthur Foundation, and he hasreceived 11 honorary doctorates to date.He is a member of the American Academyof Arts and Sciences and the AmericanPhilosophical Society. He received theSamuel H. Scripps/American Dance FestivalAward for Lifetime Achievement in 2007,the Leonard Bernstein Lifetime AchievementAward for the Elevation of Music in Societyin 2010, the Benjamin Franklin Laureate

Prize for Creativity in 2012, and the CalPerformances Award of Distinction in thePerforming Arts in 2013.

Mr. Morris opened the Mark Morris DanceCenter in Brooklyn in 2001 to provide a homefor his company, rehearsal space for thedance community, outreach programs for chil-dren and seniors, and a school offering danceclasses to students of all ages and abilities.

Mark Morris Dance GroupThe Mark Morris Dance Group (MMDG)was formed in 1980 and gave its first per-formance that year in New York City. Thecompany’s touring schedule steadilyexpanded to include cities in the UnitedStates and around the world, and in 1986 itmade its first national television programfor the PBS series Dance in America. In1988, MMDG was invited to become thenational dance company of Belgium andspent three years in residence at theThéâtre Royal de la Monnaie in Brussels.The Dance Group returned to the UnitedStates in 1991 as one of the world’s lead-ing dance companies. Based in Brooklyn,the company maintains strong ties to pre-senters in several cities around the world,most notably to its West Coast home, CalPerformances in Berkeley, California, andits Midwest home, the Krannert Center forthe Performing Arts at the University ofIllinois in Urbana-Champaign. MMDG alsoappears regularly in New York, Boston,Seattle, and Fairfax.

MMDG made its debut at the MostlyMozart Festival in 2002 and at theTanglewood Music Festival in 2003, andhas since been invited to both festivalsannually. From the company’s many Londonseasons, it has garnered two LaurenceOlivier Awards and a Critics’ Circle DanceAward for Best Foreign Dance Company.The company has featured live musiciansin every performance since the formation

Mark Morris

Meet the Artists

AMBER STAR M

ERKENS

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of the MMDG Music Ensemble in 1996.MMDG regularly collaborates with leadingorchestras, opera companies, and musicians,including cellist Yo-Yo Ma, pianist EmanuelAx, the Metropolitan Opera, the EnglishNational Opera, and the London SymphonyOrchestra, among others. MMDG’s film andtelevision projects include Dido and Aeneas,The Hard Nut, Falling Down Stairs, twodocumentaries for the United Kingdom’sSouth Bank Show, and PBS’s Live FromLincoln Center.

Highlights of MMDG’s 2014–15 seasoninclude the premiere of Mr. Morris’s 20thopera production, Handel’s Acis and Galatea,arranged by Mozart; a week-long mini-festivalat Jacob’s Pillow; and Excursions 2014, amulti-continent tour that will split thedance group in two from October throughNovember. This multifaceted tour will fea-ture Words, a new work by Mark Morris,and extensive cross-cultural communityand educational programming throughAccess/MMDG and the U.S. State Depart -ment’s DanceMotion USA program.

Philharmonia Baroque Orchestraand ChoraleEntering its 34th season, PhilharmoniaBaroque Orchestra has been dedicated toauthentic performances of Baroque, Classi -cal, and early Romantic music on originalinstruments since its inception in 1981.Under the leadership of Nicholas McGegan,the orchestra performs an annual subscrip-tion season in the San Francisco Bay Areaand is regularly heard on tour around theworld. The orchestra has its own profes-sional chorus, the Philharmonia Chorale,under the leadership of Bruce Lamott. Itwelcomes eminent guest artists who haveincluded mezzo-soprano Susan Graham,countertenor David Daniels, fortepianistEmanuel Ax, violinist Rachel Podger, andguest conductors such as Jordi Savall,Masaaki Suzuki, and Trevor Pinnock.

Philharmonia’s recent U.S. tour appearancesinclude Lincoln Center’s Great Performersseries, the Ravinia Festival in Chicago, theInternational Chamber Orchestra Festival inMinnesota, Carnegie Hall, and Walt DisneyConcert Hall in Los Angeles. In 2006, tomark its 25th season and the 20th anniver-sary of Mr. McGegan’s tenure as musicdirector, Philharmonia premiered its firstcommissioned work, a one-act opera byJake Heggie with a libretto by GeneScheer entitled To Hell and Back.

In collaboration with the Mark Morris DanceGroup, Philharmonia gave the U.S. premieresof Morris’s highly acclaimed productions ofHenry Purcell’s King Arthur and Jean-PhilippeRameau’s ballet-opera Platée. Philharmoniahas also collaborated with many Bay Areaperforming arts groups. Its recording ofHaydn Symphonies No. 104 (“London”),No. 88, and No. 101 (”The Clock”) wasnominated for a Grammy for Best OrchestralPerformance. The group has also releasedVivaldi’s The Four Seasons and other violinconcertos featuring Elizabeth Blumenstockas soloist; an acclaimed recording ofHandel’s Atalanta; Brahms’s Serenades;Beethoven Symphonies Nos. 4 and 7; andHandel’s Teseo (Highlights). The orchestrawas founded by harpsichordist and early-music pioneer Laurette Goldberg.

Nicholas McGegan (conductor), one of hisgeneration’s finest Baroque conductors,has been increasingly recognized for hisprobing and revelatory explorations ofmusic from all periods. He has been musicdirector of Philharmonia Baroque Orchestra

NicholasMcGeganS

TEVE SHERMAN

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for 28 years and was artistic director of theGöttingen International Handel Festival for20 years. Beginning in the 2013–14 sea-son, Mr. McGegan became principal guestconductor of the Pasadena Symphony, andin 2014 he was appointed artist in associa-tion with the Adelaide Symphony Orchestra.The coming months will feature an appear-ance at the Caramoor International MusicFestival and collaborations with the NewZealand, Tasmania, and National symphonyorchestras, Orchestra of Padova Veneto,Swedish Chamber Orchestra, BournemouthSinfonietta, and the Orchestra of St. Luke’s.

Mr. McGegan’s intelligent and joyful approachto period style has led to appearances withmajor orchestras, including the New York, LosAngeles, and Hong Kong philharmonics; theChicago, Milwaukee, St. Louis, Toronto, andSydney symphony orchestras; the Clevelandand Philadelphia Orchestras; and the RoyalNorthern Sinfonia and Scottish ChamberOrchestra, where his programs often mingleBaroque with later works. He is also at homein opera houses, having conducted compa-nies including London’s Royal Opera, SanFrancisco Opera, Santa Fe Opera, andWashington National Opera.

Mr. McGegan was made an Officer of theMost Excellent Order of the British Empire(OBE) for services to music overseas. Otherawards include the Halle Handel Prize, theOrder of Merit of the State of Lower Saxony(Germany), the Medal of Honour of theCity of Göttingen, and a declaration ofNicholas McGegan Day by the mayor ofSan Francisco. His extensive discographyincludes five recent releases on PhilharmoniaBaroque’s label, Philharmonia BaroqueProductions (PBP), including Brahms’sSerenades; Berlioz’s Les nuits d’été andHandel arias with Lorraine Hunt Lieberson;Haydn’s Symphonies Nos. 88, 101, and

104 (nominated for a Grammy Award);Vivaldi’s Four Seasons and concertos; andHandel’s Atalanta.

Yulia Van Doren (soprano, Galatea) maintainsan extensive international performance sche -dule. Recent and upcoming highlightsinclude appearances with the PhiladelphiaOrchestra; Los Angeles Philharmonic;Netherlands Radio Philharmonic Orchestra;Hungarian Radio Symphony Orchestra;L’Opéra Royal de Versailles; Opera de Nice;Macau and Cartagena International MusicFestivals; the Mostly Mozart, Ravinia, Tangle -wood, Ojai, and Oregon Bach festivals; andthe symphonies of San Francisco, Toronto,Cincinnati, Houston, Milwaukee, Nashville,Columbus, Colorado, and Phoenix. Ms. VanDoren has the distinction of being the onlysinger awarded a top prize in all four U.S.Bach vocal competitions, and she was rec-ognized by Opera Magazine as a “star-to-be”following her Lincoln Center debut. As a fre-quent collaborator with choreographer MarkMorris, she has toured internationally asBelinda in Dido and Aeneas and as St. Teresain Four Saints in Three Acts. Born in Moscow,Ms. Van Doren and her seven younger sib-lings were raised in the United States bytheir Russian mezzo-soprano mother andAmerican jazz-pianist father. Before turningher full attention to singing, Ms. Van Dorenwas an accomplished classical pianist andamateur flutist and violist. She has been hon-ored as an Astral Artist and a Paul and DaisySoros Fellow, and she is the recipient of aBeebe Grant for Advanced European Study.

Yulia Van DorenANDREW SCHAFF

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Thomas Cooley’s (tenor, Acis) repertoireran ges across more than four centuries,encompassing the early masters such asMonteverdi, Purcell, Handel, Bach, Mozart,and Haydn, as well as Romantic, 20th-century, and contemporary works. With alyric voice of great flexibility, dynamic range,warmth, and precision, Mr. Cooley hasappeared with such conductors as ManfredHoneck, Nicholas McGegan, Eji Oue,Krzystof Penderecki, Helmuth Rilling,Donald Runnicles, Michael Schønwandt,Gil Shohat, Robert Spano, Michael TilsonThomas, Osmo Vänskä, and Franz Welser-Möst. Mr. Cooley’s repertoire on the con-cert stage includes Beethoven’s Missasolemnis with the Atlanta Symphony,Berlioz’s Les nuits d’été and L’enfance duChrist, as well as Haydn’s Seasons withthe St. Paul Chamber Orchestra, Berlioz’sRequiem and Bach’s St. Matthew Passionin Carnegie Hall with the Orchestra of St.Luke’s, Stravinsky’s Les noces for the St.Louis Symphony, Handel’s Messiah withHouston Symphony, and Mozart’s Requiemin Amsterdam’s Concertgebouw.

Isaiah Bell (tenor, Damon), acclaimed in thepress for his elegant tenor, has appearedas the Madwoman in Britten’s CurlewRiver, in Bach’s St. Matthew Passion withYannick Nézét-Séguin and l’Orchestre

Métropolitain, a recital of German and Englishsong broadcast on CBC Radio’s In Concert, asFerrando in Così fan tutte with JeunessesMusicales, a staged Messiah with Againstthe Grain Theatre, and Walton’s Façadewith the Montreal Symphony Orchestra.Highlights of Mr. Bell’s upcoming seasoninclude the role of Lechmere in Britten’sOwen Wingrave under Mark Wigglesworthat the Edinburgh Festival, George Benjamin’sWritten on Skin with the Toronto SymphonyOrchestra and conducted by the composer,Mozart’s Requiem with the Colorado Sym -phony under Pinchas Zukerman, and Berlioz’sRoméo et Juliette and the Honegger/Ibertopera L’Aiglon, both with Kent Nagano andthe Montreal Symphony Orchestra. He willalso sing with the New Jersey and VancouverSymphony Orchestras and San Francisco’sOpera Parallèle, among others.

Douglas Williams (baritone, Polyphemus)has collaborated with leading conductorsincluding Helmuth Rilling, Neville Marriner,John Nelson, and Christophe Rousset invenues such as Lincoln Center, the KennedyCenter, Stuttgart’s Mozart-Saal, and Frank -furt’s Alte Oper. Last season he made hisEuropean stage debut at Nice Operasinging the role of Orcone in Scarlatti’sTigrane, reprised in New York a role he pre-miered as a Tanglewood Fellow in It HappensLike This by Charles Wuorinen, sangCompère in Virgil Thomson’s Four Saints inThree Acts with MMDG at BrooklynAcademy of Music, and performed as Apolloin Handel’s Apollo e Dafne for Pocket Opera.Highlights include Handel’s Messiah with theDetroit Symphony Orchestra, Beethoven’s

Isaiah BellBRENT CALIS

Douglas WilliamsKEVIN M

CDERMOTT

Thomas Cooley

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Missa solemnis with the Cathedral ChoralSociety, Bach’s St. Matthew Passion forthe Chicago Bach Project, and Bach’s St.John Passion with Les Talens Lyriques.

Adrianne LobelAdrianne Lobel (scenic design) began workingwith Mark Morris in 1986 on Nixon in China.Since then she has designed his L’Allegro, ilPenseroso ed il Moderato, The Hard Nut, Lenozze di Figaro, Orfeo ed Euridice, Platée, andKing Arthur. As a stage designer she hasworked in opera, dance, Broadway, Off-Broadway, and regional theater in Americaand in Europe for more than 30 years. Somehighlights (other than working with Morris)include An American Tragedy at theMetropolitan Opera, Die Zauberflöte atGlyndebourne, Passion and A Year with Frogand Toad on Broadway, and Così fan tutte andLe nozze di Figaro, directed by Peter Sellars,at Pepsico Summerfare. She has beennominated for many awards and has wonObie, Lucille Lortel, and Jefferson awards,as well as Long Wharf’s prestigiousMurphy Award. For the last ten years shehas been segueing into life as a painter.She would like to dedicate her work on thisproduction to the late Martin Pakledinaz.

Isaac MizrahiIsaac Mizrahi (costume design) has been aleader in the fashion industry for almost 30years. He is the recipient of many acco-lades, including four Council of FashionDesigners of America awards. In additionto designing for the luxury and mass mar-kets, Mr. Mizrahi has designed costumesfor the Mark Morris Dance Group, theMetropolitan Opera, American Ballet Theatre,San Francisco Ballet, and the Opera Theaterof St. Louis. He has collaborated with MarkMorris in 15 productions since 1992, includingPlatée, Falling Down Stairs, Orfeo ed Euridice,and Beaux for San Francisco Ballet; Gongfor American Ballet Theatre; and A ChoralFantasy. He was the subject and co-creator

of Unzipped, a documentary following themaking of his fall 1994 ready-to-wear collec-tion. Mr. Mizrahi is currently the head judgeon the television series Project Runway AllStars. His Isaac Mizrahi New York collectionwas launched in September 2012.

Michael ChybowskiMichael Chybowski’s (lighting design) workhas ranged from commercial theater—forthe Pulitzer Prize–winning production ofWit—to opera productions such as theSeattle Opera’s Parsifal and a ten-year col-laboration with performance artist LaurieAnderson. His designs include The Lieutenantof Inishmore by Martin McDonagh, MobyDick and Other Stories with Laurie Anderson,Andre Belgrader’s production of Endgame(BAM Harvey Theater), Cymbeline, Hair,Hamlet (New York Shakespeare Festival),The Heart Is a Lonely Hunter, and IsaacMizrahi’s directorial debut of A Little NightMusic at Opera Theatre of St. Louis. Mr.Chybowski has designed more than 40pieces for the Mark Morris Dance Group,including Four Saints in Three Acts forEnglish National Opera and the films Didoand Aeneas and Falling Down Stairs.Recent works for Mark Morris include AWooden Tree, Crosswalk, and Jenn andSpencer, all of which premiered in the2012–13 season. He has also designed forseveral of Morris’s works set on other com-panies, including Beaux for San FranciscoBallet and Kammermusik No. 3 for PacificNorthwest Ballet. Mr. Chybowski receivedan American Theatre Wing design awardfor his lighting of Cymbeline and Wit, aLucille Lortel Award for The Grey Zone byTim Blake Nelson, and a 1999 Obie Awardfor Sustained Excellence.

Matthew RoseMatthew Rose (rehearsal director) beganhis dance training in Midland, Michigan,with Linda Z. Smith at the age of 17. Afterreceiving his bachelor of fine arts degree in

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dance from the University of Michigan in1992, he moved to New York City. He wasa soloist with the Martha Graham DanceCompany from 1993–96, and in 1997began working with the Mark MorrisDance Group. After several years of per-forming full time with the group, he beganassisting Morris with the creation of newworks. He has been the company’srehearsal director since 2006.

Chelsea Lynn AcreeChelsea Lynn Acree (dancer) grew up inBaltimore, Maryland, where she began herdance training with Sharon Lerner, thencontinued at Carver Center for the Arts andTechnology. Since receiving her bachelorof fine arts degree in dance from PurchaseCollege–SUNY in 2005, she has had theopportunity to work with a variety of artists,including SYREN Modern Dance, LauraPeterson, Hilary Easton + Company, andMichael and the Go-Getters. Ms. Acree ison the faculty at The School at the MarkMorris Dance Center, where she teacheskids and adults how to move through space.She began working with MMDG in 2007and joined the company in 2011.

Sam BlackSam Black (dancer) is from Berkeley,California, where he began studying tap atthe age of nine with Katie Maltsberger. Hereceived his bachelor of fine arts degree indance from Purchase College–SUNY and alsostudied at the Rotterdamse Dansacademie inthe Netherlands. He has performed withDavid Parker, Takehiro Ueyama, and Nellyvan Bommel, and currently teaches MMDGmaster classes and Dance for PD (Parkin -son’s Disease). He first appeared withMMDG in 2005 and became a companymember in 2007.

Rita DonahueRita Donahue (dancer) was born and raisedin Fairfax, Virginia, and attended George

Mason University. She graduated magnacum laude in 2002, receiving a bachelor ofarts degree in English and a bachelor offine arts degree in dance. Ms. Donahuedanced with bopi’s black sheep/dances bykraig patterson and joined MMDG in 2003.

Domingo Estrada Jr.Domingo Estrada Jr. (dancer), a native ofVictoria, Texas, studied martial arts andearned his black belt in 1994. He dancedballet folklórico through his church for 11years. Mr. Estrada earned his bachelor offine arts degree in ballet and moderndance from Texas Christian University andhad the honor of working with the lateFernando Bujones. During his undergradu-ate studies he attended the American DanceFestival, where he performed Skylight, aclassic work by choreographer Laura Dean.He debuted with MMDG in 2007 andbecame a company member in 2009.

Benjamin FreedmanBenjamin Freedman (dancer), from Tampa,Florida, began his dance training at Inter -lochen Arts Academy and North CarolinaSchool of the Arts, where he performed inworks by Martha Graham, Jerome Robbins,and Jirí Kylián. At the University of SouthFlorida he participated in the reconstructionof Bill T. Jones’s Serenade/The Proposition.Mr. Freedman went on to study at NewYork University’s Tisch School of the Arts,where he graduated with a bachelor of finearts degree in dance and an intensiveminor in psychology. At Tisch, he per-formed in Mark Morris’s Pacific and alsochoreographed multiple works for the stu-dent company. He has worked with KorhanBasaran, Chihiro Shimizu, and DANAKADance. He joined MMDG as an apprenticein 2013.

Lesley GarrisonLesley Garrison (dancer) grew up in Swan -sea, Illinois, and received her early dance

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training at the Center of Creative Arts in St.Louis, Missouri, and at Interlochen ArtsAcademy in Interlochen, Michigan. She stud-ied at the Rotterdamse Dansacademie in theNetherlands and holds a bachelor of finearts degree from Purchase College–SUNY,where she received the Modern DanceFaculty Award. She has performed withErica Essner, Dance Heginbotham, theKevin Wynn Collection, Neel Verdoorn,Nelly van Bommel’s NØA Dance, RochaDance Theater, and Sidra Bell Dance NewYork. She first performed with MMDG in2007 and became a company member in2011. Ms. Garrison teaches at The Schoolat the Mark Morris Dance Center and forthe Dance for PD program.

Lauren GrantLauren Grant (dancer) has danced withMMDG since 1996. Performing leadingroles in The Hard Nut and Mozart Dances,Ms. Grant has appeared in more than 40 ofMark Morris’s works. She is on the facultyat The School at the Mark Morris DanceCenter and frequently leads classes for thecompany. She also teaches technique andrepertory at schools and universitiesacross the United States and abroad. Ms.Grant has been featured in Time Out NewYork, Dance Magazine, and the book Meetthe Dancers, and she appeared in theUnited Kingdom’s South Bank Show,which followed the company in the makingand premiere of Four Saints in Three Acts.Before joining MMDG, Ms. Grant movedto New York City from her hometown ofHighland Park, Illinois, and earned a bache-lor of fine arts degree from NYU’s TischSchool of the Arts.

Brian LawsonBrian Lawson (dancer) began his dancetraining in Toronto at Canadian Children’sDance Theatre. There he worked withchoreographers such as David Earle, CarolAnderson, and Michael Trent. Mr. Lawson

spent a year studying at the RotterdamseDansacademie in the Netherlands andgraduated summa cum laude in 2010 fromPurchase College–SUNY, where he wasalso granted the President’s Award for hiscontributions to the dance program. Mr.Lawson has performed with Pam TanowitzDance, Dance Heginbotham, and Nellyvan Bommel’s NØA Dance, among others.He joined MMDG as an apprentice in 2011and became a company member in 2013.

Aaron LouxAaron Loux (dancer) grew up in Seattle andbegan dancing at the Creative DanceCenter as a member of Kaleidoscope, amodern dance company for youth. He beganhis classical training at the Cornish CollegePreparatory Dance Program and receivedhis bachelor of fine arts degree from TheJuilliard School in 2009. He danced at theMetropolitan Opera and with ARC DanceCompany before joining MMDG in 2010.

Laurel LynchLaurel Lynch (dancer) began her dancetraining at Petaluma School of Ballet inCalifornia. She moved to New York toattend The Juilliard School, where she per-formed works by Robert Battle, Margie Gillis,José Limón, and Ohad Naharin. After gradu-ation Ms. Lynch danced for Dušan TýnekDance Theatre, Sue Bernhard Danceworks,and Pat Catterson. Ms. Lynch joined MMDGas an apprentice in 2006 and became acompany member in 2007.

Stacy MartoranaStacy Martorana (dancer) began her dancetraining in Baltimore at the Peabody Conser -vatory. In 2006 she graduated from theUniversity of North Carolina School of theArts with a bachelor of fine arts degree incontemporary dance. She has danced withthe Amy Marshall Dance Company, NetaDance Company, Helen Simoneau Danse,Kazuko Hirabayashi Dance Theater, Daniel

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Gwirtzman Dance Company, and RashaunMitchell. From 2009–11 she was a mem-ber of the Repertory Understudy Group forthe Merce Cunningham Dance Company.Ms. Martorana joined MMDG in 2012.

Dallas McMurrayDallas McMurray (dancer), from El Cerrito,California, began dancing at age four,studying jazz, tap, and acrobatics withKatie Maltsberger and ballet with YukikoSakakura. He received a bachelor of finearts degree in dance from the CaliforniaInstitute of the Arts. Mr. McMurray hasperformed with the Limón Dance Companyin addition to works by Jirí Kylián, AlonzoKing, Robert Moses, and Colin Connor. Mr.McMurray began performing with MMDGas an apprentice in 2006 and became acompany member in 2007.

Maile OkamuraMaile Okamura (dancer) studied primarilywith Lynda Yourth at the American BalletSchool in San Diego, California. She was amember of Boston Ballet II and BalletArizona before moving to New York tostudy modern dance. Ms. Okamura hasbeen dancing with MMDG since 1998. Shehas also worked with choreographers NetaPulvermacher, Zvi Gotheiner, Gerald Casel,and John Heginbotham, with whom shefrequently collaborates as dancer and cos-tume designer.

Brandon RandolphBrandon Randolph (dancer) began his train-ing at the School of Carolina Ballet Theatrein Greenville, South Carolina, under thedirection of Hernan Justo. At age 14 hewas accepted into the South CarolinaGovernor’s School for the Arts and Humani -ties, where he studied with Stanislav Issaevand Robert Barnett. Mr. Randolph receivedhis bachelor of fine arts degree in dancefrom Purchase College–SUNY in May2012. There, he performed with Dance

Heginbotham, as well as repertory byStephen Petronio, Lar Lubovitch, Paul Taylor,and George Balanchine. Mr. Randolph beganhis apprenticeship with MMDG in 2013.

Billy Smith Billy Smith (dancer) grew up in Fred -ericksburg, Virginia, and attended GeorgeMason University under a full academicand dance talent scholarship. He graduatedmagna cum laude in 2007 and receivedachievement awards in performance, chore-ography, and academic endeavors. While atGeorge Mason he performed the works ofMark Morris, Paul Taylor, Lar Lubovitch,Doug Varone, Daniel Ezralow, Larry Keigwin,Susan Marshall, and Susan Shields. Mr.Smith’s own piece, 3-Way Stop, wasselected to open the 2006 AmericanCollege Dance Festival Gala at Ohio StateUniversity, and his original choreography fora production of Bye Bye Birdie garneredmuch critical praise. An actor as well, Mr.Smith’s regional theater credits includeTulsa in Gypsy, Mr. Mistoffelees in CATS,and Dream Curly in Oklahoma! Mr. Smithdanced with Parsons Dance from 2007–10.He became an MMDG company memberin 2010.

Noah VinsonNoah Vinson (dancer) received his bachelorof arts degree in dance from ColumbiaCollege Chicago, where he worked withShirley Mordine, Jan Erkert, and BrianJefferey. In New York he has danced withTeri and Oliver Steele and the Kevin WynnCollection. Mr. Vinson began working withMMDG in 2002 and became a companymember in 2004.

Jenn WeddelJenn Weddel (dancer) received her earlytraining from Boulder Ballet Company nearwhere she grew up in Longmont, Colorado.She holds a bachelor of fine arts degreefrom Southern Methodist University and

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also studied at Boston Conservatory, Colo -rado University, and the Laban Centre inLondon. Since moving to New York in 2001,Ms. Weddel has created and performedwith RedWall Dance Theater, Sue BernhardDanceworks, Vencl Dance Trio, RochaDance Theater, TEA Dance Company, andwith various choreographers, includingAlan Danielson and Ella Ben-Aharon. Ms.Weddel performed with MMDG as anapprentice in 2006 and became a companymember in 2007.

Michelle YardMichelle Yard (dancer) was born in Brooklyn.She began her professional dance trainingat the New York City High School of thePerforming Arts and continued her studiesas a scholarship student at Alvin AileyAmerican Dance Theater. She graduatedwith a bachelor of fine arts degree fromNYU’s Tisch School of the Arts. Ms. Yardteaches Pilates as well as master classesfor Access/MMDG programs. She joinedMMDG in 1997.

Mostly Mozart FestivalLincoln Center’s Mostly Mozart Festival—America’s first indoor summer music festival—was launched as an experimentin 1966. Called Midsummer Serenades: AMozart Festival, its first two seasons weredevoted exclusively to the music of Mozart.Now a New York institution, Mostly Mozartcontinues to broaden its focus to includeworks by Mozart’s predecessors, contem-poraries, and related successors. In addi-tion to concerts by the Mostly MozartFestival Orchestra, Mostly Mozart nowincludes concerts by the world’s outstand-ing period-instrument ensembles, chamberorchestras and ensembles, and acclaimed

soloists, as well as opera productions,dance, film, late-night performances, andvisual art installations. Contemporary musichas become an essential part of the festi-val, embodied in annual artists-in-residenceincluding Osvaldo Golijov, John Adams,Kaija Saariaho, Pierre-Laurent Aimard, andthe International Contemporary Ensemble.Among the many artists and ensembleswho have had long associations with thefestival are Joshua Bell, Christian Tetzlaff,Itzhak Perlman, Emanuel Ax, GarrickOhlsson, Stephen Hough, Osmo Vänskä,the Emerson String Quartet, FreiburgBaroque Orchestra, Orchestra of the Ageof Enlightenment, and the Mark MorrisDance Group.

Lincoln Center for the Performing Arts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and fes-tivals, including American Songbook, GreatPerformers, Lincoln Center Festival, LincolnCenter Out of Doors, Midsummer NightSwing, the Mostly Mozart Festival, and theWhite Light Festival, as well as the EmmyAward–winning Live From Lincoln Center,which airs nationally on PBS. As managerof the Lincoln Center campus, LCPA pro-vides support and services for the LincolnCenter complex and the 11 resident orga-nizations. In addition, LCPA led a $1.2 bil-lion campus renovation, completed inOctober 2012.

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Chelsea LynnAcree

Sam Black Rita Donahue DomingoEstrada Jr.

BenjaminFreedman

Lesley Garrison Lauren Grant Brian Lawson

Aaron Loux Laurel Lynch StacyMartorana

DallasMcMurray

Mark Morris Dance Group

MaileOkamura

BrandonRandolph

Billy Smith Noah Vinson

Jenn Weddel Michelle Yard

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The Players and Their Instruments

Philharmonia Baroque’s musicians perform on historically accurate instruments. Below eachplayer’s name is information about his or her instrument’s maker and origin.

Philharmonia Baroque OrchestraNicolas McGegan, Music Director

ViolinKatherine Kyme, ConcertmasterJohann Gottlob Pfretzschner, Mittenwald,Germany, 1791

Elizabeth BlumenstockAndrea Guarneri, Cremona, 1660; on loan fromPhilharmonia Baroque Orchestra PeriodInstrument Trust

Maria Ionia CaswellAntoni Rief, Vils, Tyrol, Italy, 1725

Jolianne von EinemRowland Ross, Guildford, England, 1979; afterAntonio Stradivari, Cremona

Lisa GrodinLaurentius Storioni, Cremona, Italy, 1796

Tyler LewisTimothy Johnson, Hewitt, Texas, 2009; after A. Stradivari

Carla Moore †Johann Georg Thir, Vienna, Austria, 1754

Maxine NemerovskiTimothy Johnson, Bloomington, Indiana, 1999;after A. Stradivari

Laurie Young StevensRowland Ross, London, 1995; after A. Amati

Noah StrickCelia Bridges, Cologne, Germany, 1988

Lisa WeissAnonymous, London; after Testore

ViolaAnthony Martin*Aegidius Kloz, Mittenwald, Germany, 1790

David Daniel BowesRichard Duke, London, c. 1780

Ellie NishiAegidius Klotz, Mittenwald, Germany, 1790

CelloWilliam Skeen*Anonymous, Northern Italy, ca. 1680

Phoebe CarraiJoseph Panormo, London, England, 1811

Paul HaleJoseph Grubaugh & Sigrun Seifert, Petaluma,1988; after A. Stradivari

BassKristin Zoernig*Joseph Wrent, Rotterdam, Holland, 1648

Timothy SpearsAnonymous, Germany, date unknown

FluteStephen Schultz*Martin Wenner, Singen, Germany 2011; after A. Grenser, c. 1790

Mindy RosenfeldRoderick Cameron, Mendocino, California,1997; after J. H. Grenser, Dresden, Germany, c. 1790

OboeMarc Schachman*Sand Dalton, Lopez Island, Washington, 1993;after Floth, c. 1800

Gonzalo RuizH. A. Vas Dias, Decatur, Georgia, 1988; after C. A. Grenser, Dresden, Germany, c. 1780

ClarinetEric Hoeprich*Grenser, Dresden, c. 1785

Diane HeffnerDaniel Bangham, Cambridge, England, 1993;after H. Grenser, Dresden, Germany, c. 1810

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BassoonDanny Bond*Peter de Koningh, Hall, Holland, 1985; afterGrenser, Dresden, Germany, c. 1800

Andrew SchwartzGuntram Wolf, Kronach, Germany, 2008

HornR.J. Kelley*M. A. Raoux, Paris, 1850

Paul AvrilRichard Seraphinoff, Bloomington, Indiana,1998; after A. Halari, Paris, 1825

FortepianoHanneke van Proosdij*Philip Belt, New Haven, Connecticut, 1981

* Principal† Principal Second Violin

SopranoAngela ArnoldJennifer AshworthTonia d’AmelioAngelique Zuluaga

AltoElliot FranksKatherine McKeeHeidi WatermanJacque Wilson

TenorMatthew CurtisKevin GibbsJimmy KansauDavid KurtenbachJonathan SmuckerEric Tuan

BassJohn BischoffJeffrey FieldsJames MoniosChad Runyon

Philharmonia ChoraleBruce Lamott, Director

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingLisa Takemoto, Production ManagerBill Bragin, Director, Public ProgrammingCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingJill Sternheimer, Producer, Public ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingJulia Lin, Associate ProducerNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorLuna Shyr, Interim Programming Publications EditorMariel O’Connell, House Seat CoordinatorHonor Bailey, House Program Intern; Brenton O’Hara, Theatrical Productions Intern; Jacob Richman, Production Intern

For the Mostly Mozart Festival Andrew Hill, Production ElectricianCeleste Montemarano, Supertitles

Acis and Galatea Production CreditsColin Fowler, Assistant ConductorAnne Dechene, Stage ManagerDavid Burke, Assistant to Mr. Mizrahi

Philharmonia Touring StaffMichael Costa, Executive DirectorCourtney Beck, Associate Executive DirectorJeff Phillips, Artistic AdministratorAlexander Kort, Stage Manager

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Mark Morris Dance GroupMark Morris, Artistic DirectorNancy Umanoff, Executive Director

ProductionJohan Henckens, Technical DirectorMatthew Rose, Rehearsal DirectorColin Fowler, Music DirectorNick Kolin, Lighting SupervisorKen Hypes, Sound SupervisorStephanie Sleeper, Costume CoordinatorJennifer Perry, Wardrobe Supervisor

AdministrationElizabeth Fox, Chief Financial OfficerRebecca Hunt, Finance ManagerJamie Posnak, Finance AssociateHuong Hoang, General ManagerSarah Horne, Company ManagerJenna Nugent, Executive AssistantAndrea Chim, Paige Khoury, Administration Interns

DevelopmentMichelle Amador, Director of DevelopmentSara Sessions, Development AssociateNolan Peltier, Intern

Marketing Karyn LeSuer, Director of MarketingFrançois Leloup-Collet, Marketing AssociateMyriam Varjacques, Marketing AssistantImanol Botxo, Kristen Rizzuto, Interns

EducationSarah Marcus, Director of EducationSydnie Liggett, School DirectorColleen Pictor, School AdministratorEva Nichols, Outreach DirectorDavid Leventhal, Dance for PD Program DirectorMaria Portman Kelly, Dance for PD Program Coordinator

Dance Center OperationsPeter Gorneault, Facility and Production ManagerKaryn Treadwell, Senior Operations ManagerElise Gaugert, Operations ManagerSam Owens, Operations AssistantJillian Greenberg, Front Desk AssistantAixa Loor, Operations InternJose Fuentes, Vincent Guerrero, Orlando Rivera, and Diana Velazquez, Maintenance

Michael Mushalla (Double M Arts & Events), Booking RepresentationWilliam Murray (Better Attitude, Inc.), Media and General Consultation ServicesMark Selinger (McDermott, Will & Emery), Legal CounselO’Connor Davies Munns & Dobbins, LLP, AccountantDavid S. Weiss, M.D. (NYU Langone Medical Center), OrthopaedistMarshall Hagins, PT, PhD, Physical TherapistJeffrey Cohen, Hilot Therapist

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Thanks to Maxine Morris.

Sincerest thanks to all the dancers for their dedication, commitment, and incalculable contributionto the work.

Additional funding has been received from The Amphion Foundation, Inc.; Beyer Blinder Belle Architects& Planners LLP; Lily Auchincloss Foundation, Inc.; Florence V. Burden Foundation; Capezio BalletMakers Dance Foundation; Joseph and Joan Cullman Foundation for the Arts, Inc.; The Gladys KriebleDelmas Foundation; The Harkness Foundation for Dance; Kinder Morgan Foundation; Materials forthe Arts; McDermott, Will & Emery; Mid Atlantic Arts Foundation; Resnicow Schroeder andAssociates; Jerome Robbins Foundation; and SingerXenos Wealth Management.

The Mark Morris Dance Group is a member of Dance/USA and the Downtown Brooklyn Arts Alliance.

The edition of Acis and Galatea used in these performances is published by Edwin F. Kalmus, LC,and edited by Berthold Tours.

Backdrops built and painted by Scenic Arts Studios.Many thanks to Joe Forbes.

Additional soft goods and dance floor made by Gerriets International.

Costumes built by John Kristiansen, New York Inc.Costume fabrics digitally printed by Gene Mignola, Inc.

Acis and Galatea © 2014 Discalced, Inc.

David H. Koch Theater at Lincoln Centeroperated byCity Center of Music and Drama, Inc.

Board of GovernorsAlair Townsend, ChairmanGillian Attfield, Secretary-TreasurerRandall BourscheidtRandal R. Craft Jr.Marlene HessRobert I. LippIra Millstein

Ex-Officio Hon. Bill de Blasio, Mayor of the City of New YorkHon. Gale A. Brewer, Manhattan Borough PresidentHon. Melissa Mark-Viverito, Speaker of the New York City CouncilHon. Tom Finkelpearl, Commissioner of the Department of Cultural Affairs

FoundersFiorello H. LaGuardiaNewbold MorrisMorton Baum

Founding DirectorsMrs. Lytle Hull (1893–1976)Mrs. Arthur M. Reis (1889–1978)

Governors EmeritiMartin E. Segal (1916–2012)Martin J. OppenheimerNancy Lassalle

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StaffMark Heiser, Managing Director

Theater ManagementJoseph Padua, Director of OperationsMeghan VonVett, Technical DirectorMari Eckroate, House ManagerLauren Rosen, Performance ManagerEdward J. Gebel, Chief EngineerTodd Tango, TreasurerWilliam Holze, Assistant TreasurerFrank Lavaia, Master CarpenterThomas Maher, Master ElectricianLeonard Simoncek, Master of PropertiesRafael Diaz, Maintenance SupervisorDarwin Gonzalez, Performance PorterClement Mitcham, Security SupervisorAracely Diaz, Mail Room Supervisor

Information TechnologyStephan Czarnomski, DirectorYolanda Colon, Assistant ManagerJohn Abramowsky, Sr., ProgrammerEric Farrar, Support SpecialistAnthony Vignola, Network Engineer

Telephone Sales & Customer ServiceNadia Stone, DirectorRosemary Sciarrone, Assistant ManagerKeyvan Pourazar, Assistant ManagerShirley Koehler, Assistant to the Director

The David H. Koch Theater is owned by the City of New York, which has given funds for its refurbishmentand which provides an operating subsidy through the Department of Cultural Affairs.

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Saturday Afternoon, July 26, at 4:00Discussion of Sila: The Breath of theWorld with John Luther Adams andJohn Schaefer

Bruno Walter Auditorium

Friday and Saturday Evenings, August 1–2, at 7:00

Members of the Mostly Mozart FestivalOrchestra

Mozart: Serenade for Winds in E-flatmajor, K.375

Avery Fisher Hall

Monday Evening, August 4, at 6:30Emerson String QuartetHaydn: String Quartet in G majorAlice Tully Hall

Tuesday and Wednesday Evenings,August 5–6, at 7:00

Christian Tetzlaff, violin, and Caroline Goulding, violin

Works by Leclair and BartókAvery Fisher Hall

Friday Evening, August 8, at 6:15Pre-performance discussion of Acis andGalatea with Mark Morris and Jane Moss

David Rubenstein Atrium

Friday and Saturday Evenings, August 8–9, at 7:00

Philip Cobb, trumpet, and Joseph Turrin, pianoWorks by Purcell, Bellstedt, and Joseph Turrin

Avery Fisher Hall

Tuesday and Wednesday Evenings,August 12–13, at 7:00

Amphion String QuartetBarber: String QuartetAvery Fisher Hall

Friday Evening, August 15, at 6:45Lecture on Berlioz’s Symphonie fantastique by Peter Bloom

Stanley H. Kaplan Penthouse

Saturday Afternoon, August 16, at 4:00Panel Discussion: Mozart and the

Promise of OperaBruce Alan Brown, moderatorPresented in association with the MozartSociety of America

Stanley H. Kaplan Penthouse

Saturday Evening, August 16, at 7:00Magali Mosnier, flute, and

Xavier de Maistre, harpWorks by Gluck, Smetana, and FauréAvery Fisher Hall

Sunday Afternoon, August 17, at 1:45Lecture on Handel’s Teseo by Ellen RosandStanley H. Kaplan Penthouse

Tuesday Evening, August 19, at 7:00 Igor Kamenz, pianoBeethoven: Sonata No. 7 in D majorAvery Fisher Hall

Wednesday Evening, August 20, at 7:00 Igor Kamenz, pianoLiszt: Dante SonataWagner (trans. Liszt): Isoldes LiebestodAvery Fisher Hall

Friday Evening, August 22, at 6:45Lecture on Mozart, Bach, and Martin by

Andrew ShentonStanley H. Kaplan Penthouse

Lectures, Discussions, and Pre-concert Recitals All events are FREE to ticketholders of the accompanying performance.

ALICE TULLY HALL, AVERY FISHER HALLBroadway at 65th Street

BRUNO WALTER AUDITORIUMDorothy and Lewis B. Cullman CenterNew York Public Library for the Performing Arts111 Amsterdam Ave., between 64th and 65thStreets

DAVID RUBENSTEIN ATRIUM Broadway between 62nd and 63rd Streets

STANLEY H. KAPLAN PENTHOUSE165 West 65th Street, 10th Floor

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