presents the music of karl jenkins 70th birthday celebration · the music of karl jenkins 70th...

Monday Evening, January 20, 2014, at 7:00Isaac Stern Auditorium / Ronald O. Perelman Stage / Carnegie Hall

Distinguished Concerts International New York (DCINY)Iris Derke, Co-Founder and General Director

Jonathan Griffith, Co-Founder and Artistic Director

presents

The Music of Karl Jenkins 70th Birthday Celebration

Distinguished Concerts OrchestraDistinguished Concerts Singers International

JONATHAN GRIFFITH, ConductorRHYS MEIRION, Tenor, King

DARIK KNUTSEN, Baritone, Minstrel and Bard 3SAMUEL SMITH, Bass-baritone, Bard 1

CHARLOTTE DAW PAULSEN, Mezzo-soprano, Bard 2KARL JENKINS, Composer-in-Residence

KARL JENKINS The Bards of Wales (United States Premiere)1. King Edward scales the hills of Wales2. He comes to high Montgomery3. An ancient bard to rise4. You are the guilty one!5. A breeze so soft6. King beware!7. His men went forth8. The King can’t fall asleep9. Those martyred bards of Wales

KARL JENKINS, Composer/Conductor

KARL JENKINS “Benedictus” from The Armed Man: A Mass for Peace

Intermission

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JONATHAN GRIFFITH, ConductorBELINDA SYKES, Ethnic Vocals and Mey

CHARLOTTE DAW PAULSEN, Mezzo-soprano

KARL JENKINS Stabat Mater1. Cantus lacrimosus2. Incantation (Arabic)3. Vidit Jesum in tormentis4. Lament (Carol Barratt)5. Sancta Mater6. Now my life is only weeping 7. And the Mother did weep 8. Virgo virginum9. Are you lost out in darkness? 10. Ave Verum11. Fac, ut portem Christi mortem12. Paradisi gloria

Please hold your applause until after the final movement.


Notes ON THE PROGRAM

The Bards of Wales cantata is an allegorictale which sheds light on the astonishingsimilarity between the history of 19th-century Hungary, and that of 13th-century Wales, the composer's homeland.In both cases a bitter struggle for inde-pendence was waged by peoples whoseunique cultures were threatened by hos-tile and powerful neighbors. In 1848 theHungarians tried to end long years of foreign rule by Austria by launching aWar of Independence against theHapsburg Empire. Although the strugglewas heroic, it was doomed to fail, espe-cially when the Austrians were aided bythe Russians. What followed was a darkand mournful era of torture and oppres-sion, with Hungary’s leaders executed,imprisoned or driven into exile.

On the occasion of Austrian EmperorFranz Joseph's first visit to Budapest,

just 8 years after the brutal defeat ofHungarian resistance, Hungarian poetJános Arany (1817–82) was urged towrite a welcoming poem in praise ofthe visiting oppressor. Instead, Aranywrote The Bards of Wales ballad, retelling an ancient Welsh legend thatdescribes how, during his conquest ofWales in 1277, Edward I of Englandexecuted 500 Welsh bards for failing topraise his deeds at a banquet inMontgomery Castle.

The message Arany bequeaths to all ofus is both timeless and universal: aslong as there is oppression of any kindin our world, we will always needsomeone brave enough to tell the truthon our behalf, at whatever sacrifice.

—Note by László Irinyi & John Asquith

KARL JENKINS The Bards of Wales (Hungarian: A walesibárdok, Welsh: Beirdd Cymru) (United States Premiere)Music Text: János Arany, English translation by Peter Zollman, Welsh translationby Twm Morys

Stabat Mater is a 13th-century RomanCatholic poem attributed to Jacopone daTodi. Its title is an abbreviation of thefirst line, Stabat Mater dolorosa (“thesorrowful mother was standing”). Thistext, one of the most powerful andimmediate of medieval poems, meditateson the suffering of Mary, Jesus Christ’smother, during his crucifixion.

It has been set to music by many com-posers, among them Haydn, Dvorák,Vivaldi, Rossini, Pergolesi, Gounod,Penderecki, Poulenc, Szymanowski,Alessandro Scarlatti, Domenico Scarlatti,and Verdi.

In addition, I have set six texts that lie out-side the original poem. These comprise achoral arrangement of the Ave Verum thatI originally composed for Bryn Terfel;And the Mother did weep, comprising asingle line of mine sung in English,Hebrew, Latin, Greek, and Aramaic (thecommon language of the period in theMiddle East); Lament by Carol Barratt,written especially for this work;Incantation, semi-improvised in natureand sung partly in early Arabic; then twosettings of ancient texts, revised into theoriginal Stabat Mater rhyming scheme bythe poet Grahame Davies, sung in bothEnglish and Aramaic.

KARL JENKINS Stabat Mater


TextsKing Edward scales the hills of WalesUpon his stallion.“Hear my decree! I want to see,My new dominion.

“Show me the yield of every field,The grain, the grass, the wood!Is all the land now moist and richWith red rebellious blood?

“And are the Welsh, the wretched Welsh,A peaceful, happy folk?I want them pleased, just like the beastThey harness in the yoke.”

“Sire, this jewel in your crown,Your Wales is fair and good:Rich is the yield of every fieldThe grassland and the wood.

“And Sire, the Welsh, God’s gift, the Welsh,So pleased they all behave!Dark every hut, fearfully shutAnd silent as the grave.”

King Edward scales the hills of WalesUpon his stallion.And where he rides dead silence hidesIn his dominion.

He comes to high MontgomeryTo banquet and to rest;It falls on Lord MontgomeryTo entertain the guest:

With fish and meat and fruit so sweet,To tease the tongue, the eyes,A splendid spread for a king to be fed,A lordly enterprise.

The Bards of WalesText by János Arany

Of the two ancient texts, Are you lostout in darkness? comes from the Epic ofGilgamesh, which is the world’s oldestwritten story, recorded on clay tablets inthe 7th century BCE, and based on mate-rial from the third millennium BCE. It isfrom the ancient Babylonian civilization,which means, of course, that it has comefrom what is now Iraq, so it has real res-onance for our current time. It tells thestory of the hero Gilgamesh and hisexploits. The central point is the cursingand subsequent death of Gilgamesh’sfriend and companion, Enkidu. Gilga-mesh laments him bitterly and, strickenwith the fear of death, goes in search ofimmortality, ultimately without success.The extract set is where Gilgameshlaments his friend.

Now my life is only weeping is by Jalalal-Din Rumi, the 13th-century Persianmystic poet, for whom grief was a cen-tral fact of his personal history. He hadan intense relationship with a spiritualmentor called Shams al-Din Tabriziwhose apparent murder turned Rumiinto a poet and mystic who sought con-solation in the Divine.

The scoring of Stabat Mater featuresancient instruments and modes fromthe Middle East/Holy Land: percussionsuch as the darabuca, def, doholla andriq; the double-reed woodwind instru-ment the mey; and, alongside westernharmony, scales or modes (maqams)such as Hijaz and Bayati.

—Note by Karl Jenkins


The servers file with the best this IsleCan grow in drink and food,And pour the fine Bordeaux and RhineIn gracious plentitude.

“Now drink my health, you gentle sirs,And you, my noble host.You sirs, Welsh sirs… you filthy curs,I want the loyal toast!

“The fish, the meat you served to eatWas fine and ably done.But deep inside it’s hate you hide:You loathe me, every one.

“Well then, you sirs, you filthy curs,Who will now toast the king?I want a bard to praise my deeds,A bard of Wales to sing!”

They look askance with a furtive glance,The noblemen of Wales;Their cheeks turn white in deadly fright,As crimson anger pales.

Deep silence falls upon the halls,And lo, before their eyesThey see an old man, white as snow,An ancient bard to rise.

“I shall recite your glorious deedsJust as you bid me, Sire;”And death rattles in grim battlesAs he touches the lyre.

“Grim death rattles, the brave battlesAnd blood bestains the sun,Your deeds reek high, up to the sky:You are the guilty one!

“Our dead are plenty as the cornWhen harvest is begun,And as we reap and glean, we weep:You did this, guilty one!”

“Off to the stake!” The king commands,“This was churlishly hard.Sing us, you there, a softer air,You, young and courtly bard!”

“A breeze, so soft, does sweetly waftWhere Milford Haven lies,With wailing woes of doomed widowsAnd mournful maidens’ cries.

“Maiden, don’t bear a slave! Mother,Your babe must not be nursed!...”A royal nod. He reached the stakeTogether with the first.

But boldly and without a callA third one takes the floor;Without salute he strikes the lute,His song begins to soar:

The brave were killed, just as you willed,Or languish in your gaols:To hail your name or sing your fameYou’ll find no bard in Wales.

“He may be gone, but his songs live on-The toast is: King beware!You bear the curse and even worseOf Welsh bards everywhere.”

“I’ll see to that!”—Thunders the king-“You spiteful Welsh peasants!The stake will toast you, every bardWho spurns my ordinance!”

His men went forth to search the North,The West, the South, the East,And so befell, the truth to tell,In Wales the famous feast.-

King Edward fled, headlong he spedHis chestnut stallion,And in his wake a blazing stake:The Welsh dominion.

Five hundred went singing to die,Five hundred in the blaze,But none would sing to cheer the king,The loyal toast to raise-

“My chamberlain, what is the dinIn London’s streets so late?The Lord Mayor will hang by the neckIf it does not abate!


“Benedictus” from The Armed Man: A Mass for Peace

Stabat Mater

Libretto

Gone is the din: without, withinThey all silently creep,Who breaks the spell, goes straight to hell!

The king can’t fall asleep.

“The drum, the fife shall come to lifeAnd let the trumpets roar,To rise above that fatal curseThat haunts me evermore…”

But over drums and piercing fifes,Beyond the soldiers’ hails,

They swell the song, five hundred strong,Those martyred bards of Wales.

Original Hungarian poem written byJános Arany (1817-1882)

English translation by Peter Zollman(1931-2013)

Copyright 2011 by CMI-ConcertMasters International, Budapest.Reproduced with permission of CMI.

Benedictus qui venit in nomine Domini.

Hosanna in excelsis.

Blessed is he that comes in the name of the Lord.Hosanna in the highest.

1. Cantus lacrimosus

Stabat Mater dolorosa Juxta crucem lacrymosa, Dum pendebat Filius.

Cujus animam gementem, Contristatam et dolentem, Pertransivit gladius.

O quam tristis et afflicta Fuit illa benedicta Mater unigeniti!

Quae maerebat et dolebat, Pia Mater, dum videbat Nati poenas incliti.

2. Incantation (Arabic)

Salli li ajlinaa, ya qaddisa Maryam, ya walidat Allah,al adharaal adhara salli li ajlinaa.

There stood the Mother grieving, Beside the cross weeping, While on it hung her Son.

Whose saddened soul, Sighing and suffering, A sword pierced through.

O how sad and how afflicted Was that blessed Mother Of the Only-Begotten!

Loving Mother, who was grieving And suffering, while she beheld The torments of her glorious Son.

Pray for us,O Holy Mary,O child of GodO virgin of virgins,Pray for us.


3. Vidit Jesum in tormentis

Quis est homo qui non fleret, Matrem Christi si videretIn tanto supplicio?

Quis non posset contristariChristi Matrem contemplariDolentem cum Filio?

Pro peccatis suae gentisVidit Iesum in tormentis,Et flagellis subditum.

Vidit suum dulcem natum Moriendo desolatum,Dum emisit spiritum.

Eja Mater, fons amoris, Me sentire vim doloris Fac, ut tecum lugeam.

Fac, ut ardeat cor meum In amando Christum Deum, Ut sibi complaceam.

4. Lament (Carol Barratt)

Feeling all the grief and sorrow We live life with shadows in our hearts

and minds, with tears that wait to fall when sorrow

in the world is more than we can truly bear.

We hear the cries of children, we see death cast shadows on their

hearts and minds, as mothers in their grief stand crying,weeping, weeping, crying, crying, weeping, weeping for this world.

5. Sancta Mater

Sancta Mater, istud agas Crucifixi fige plagas Cordi meo valide.

Tui nati vulnerati, Tam dignati pro me pati, Poenas mecum divide.

Who is the man who would not weep,If he should see the Mother of Christ In such great distress?

Who could not be saddened If he should behold the Mother of Christ Suffering with her only Son?

For the sins of his people, She saw Jesus in torments, And subjected to stripes.

She saw her own sweet Son, Whose dying caused his desolation,While he yielded up his Spirit.

Oh Mother, fount of love, Make me feel the force of your grief So that I may mourn with you,

Grant that my heart may burn In loving Christ my God, So that I may be pleasing to him.

Holy Mother, may you do this Fix the stripes of the Crucified Deeply into my heart.

Share with me the pains, Of your wounded Son, Who deigned to suffer so much for me.


Fac me tecum pie flere,Crucifixo condolere,Donec ego vixero.

Juxta Crucem tecum stare,Et me tibi sociareIn planctu desidero.

6. Now my life is only weeping (Rumi,sung in English & Aramaic)

Barchay balchoordd hasha haina, sharach barmooth shaooth shra, barmooth baroof rauvai kal.

7. And the Mother did weep (Karl Jenkins)

Vehaeym bachetah (Hebrew) Lacrimavit Mater (Latin) Warkath hahi imma (Aramaic) Kai eklausen he meter (Greek)

8. Virgo virginum

Virgo virginum praeclara,Mihi iam non sis amara,Fac me tecum plangere.

9. Are you lost out in darkness?(anon., sung in English & Aramaic)

Ahtu sheereek bercheshka? Damkuthak shetkaak dalalam? Meshar arlam mashma kaalee?

10. Ave Verum

Ave verum corpus Natum de Maria Virgine. Vere passum, immolatum In cruce pro homine.

Cujus latus perforatum Fluxit aqua et sanguine. Esto nobis praegustatum Mortis in examine.

Jesu dulcis! Jesu pie, Fili Mariae. Amen.

Make me lovingly weep with you, To suffer with the Crucified, So long as I shall live.

To stand with you beside the cross,And to join with you in deep lament This I long for and desire.

Now my life is only weeping, Like a candle melting, Like a flute my cries are song.

And the Mother did weep

O Virgin all virgins excelling, Be not inclement with me now, Cause me to mourn with you.

Are you lost out in darkness? Is your sleep, your silence, endless? Can you no more hear my voice?

Hail, true body,Born of the Virgin Mary,Truly suffered, sacrificedOn the cross for mankind.

Whose pierced sideFlowed with water and blood. Be for us a foretaste In the trial of death.

Sweet Jesus! Blessed Jesus, Son of Mary. Amen.


11. Fac, ut portem Christi mortem

Fac, ut portem Christi mortem,

Passionis fac me sortem,Et plagas recolere.

Fac me plagis vulnenari, Fac me cruce inebriari, Et cruore Filii.

12. Paradisi gloria

Flammis ne urar succensus,Per te, Virgo, sim defensusIn die iudicii.

Christe, cum sit hinc exire, Da per Matrem me venireAd palmam victoriae.

Quando corpus morietur, Fac, ut animae donetur Paradisi gloria. Amen. Alleluia.

Grant that I may bear the death of Christ, Make me a sharer in His Passion, And ever mindful of his wounds.

Let me be wounded by His wounds, Cause me to be inebriated by the Cross And the Blood of your Son.

Lest I burn in flames enkindled, May I, through thee, O Virgin, Be defended on Judgment Day.

O Christ, when from here I must depart, Grant that, through your Mother, I may obtain the palm of victory.

When my body perishes, Grant that my soul be given The glory of Paradise. Amen. Alleluia.

An acclaimed conductor, educator andlecturer, Jonathan Griffith has led per-formances across North America, SouthAmerica, Europe, and Asia. Griffith is Co-Founder and Artistic Director ofDistinguished Concerts InternationalNew York (DCINY), which has broughttogether, under Griffith’s artistic leader-ship, thousands of musicians and choralsingers in concert at prestigious venuesacross the United States, includingCarnegie Hall, Lincoln Center, andDisney Hall. The founder and musicdirector of the Distinguished ConcertsOrchestra, Griffith also oversees DCINY’smentoring program for conductors.

JONATHAN GRIFFITH, DCINY Artistic Director and Principal Conductor

THE Artists


Maestro Griffith made his Carnegie Hallconducting debut in 1989 and has sinceconducted more than 80 performancesat Carnegie Hall and Lincoln Centercombined. In addition to the majorworks of the classical repertoire, con-ducting highlights include the U.S. pre-mieres of Karl Jenkins’ Stabat Mater andTe Deum; Sergei Taneyev’s UponReading a Psalm; Miloš Bok’s MissaSolemnis; Luigi Boccherini’s Villancicos;and Goossens’ reorchestration ofHandel’s Messiah, along with world pre-mieres by Karl Jenkins, Eric Funk,Seymour Bernstein, and Robert Convery.

Maestro Griffith’s additional conductingcredits include the Mormon TabernacleChoir in Salt Lake City; ManhattanPhilharmonic, and New EnglandSymphonic Ensemble, both at CarnegieHall; The European SymphonyOrchestra in Spain; Bohuslav MartinPhilharmonia and Philharmonia Chorus,Virtuosi Pragensis Chamber Orchestra,Karlovy Vary Symphony Orchestra, andDvorák Chamber Orchestra, in theCzech Republic; and the Białystok StatePhilharmonic in Poland, as well as

numerous regional orchestras and cho-ruses across the United States.

The Jonathan Griffith Singers, an ensem-ble drawn from singers across NorthAmerica and founded in 1987, has madeits mark internationally. In recent years,Griffith has led the Singers on highlyacclaimed tours to Uruguay andArgentina; to the People’s Republic ofChina, premiering Karl Jenkins’ TheArmed Man: A Mass for Peace in Beijingand Shanghai; and to Pisa, Italy. Dr.Griffith and the Jonathan Griffith Singerstoured Turkey in June of 2013 perform-ing the acclaimed Turkish oratorio YunusEmre by A. Adnan Saygun in Istanbulwith the Cemal Resit Rey Orchestra andin Ankara and Eskisehir with thePresidential Orchestra at the invitation ofthe TURKSOY governmental agency.

Dr. Griffith received his DMA in conduct-ing from the Conservatory of Music/University of Missouri-Kansas City, amasters in music education from WichitaState University, and bachelor of musiceducation from the University of Kansas.

Karl Jenkins, educated at GowertonGrammar School, Cardiff University, and

the Royal Academy of Music, London, isone of the most prolific, popular, and per-formed composers in the world today.The Armed Man: A Mass for Peace isapproaching 2000 performances since itsMillennium premiere in 2000, while hisrecorded output has resulted in 17 goldand platinum disc awards.

Mr. Jenkins’ style and integrity havetranscended musical boundaries, encom-passing jazz-rock with Soft Machine, theglobal crossover phenomenon Adiemus,soundtracks for Levi’s and BritishAirways, the scoring of a KieferSutherland film, being castaway on BBC“Desert Island Discs,” appearing on the

KARL JENKINS, Composer-in-Residence


Welsh tenor Rhys Meirion has enjoyedinternational success in opera, record-ing and broadcasting.

He joined the English National OperaJerwood Young Singers Program and wassubsequently a Company Principal. Hisroles included Rodolfo in La Bohème,Pinkerton in Madam Butterfly, Alfredo inLa Traviata, Nemorino in L’Elisird’Amore, Nadir in The Pearl Fishers,Marcello in Leoncavallo’s La Bohème,Duke in Rigoletto, Tebaldo in I Capuleti eI Montecchi, Tamino in The Magic Flute,the title role in Ernani, Sailor in Tristanund Isolde, Rinuccio in Gianni Schicchi,Italian Singer in Der Rosenkavalier, Frohin Das Rheingold, and Zinovy in LadyMacbeth of Mtsensk.

Concert highlights have included a galaconcert at the Royal Albert Hall withBryn Terfel, his BBC Prom debut at theopening night of the BBC Proms (tele-vised on BBC 2), Desert Island DiscsAnniversary Concert at London’s Royal

Festival Hall, a live BBC recording ofBeethoven’s Symphony No. 9 conductedby Richard Hickox and Verdi’s Requiemat the Royal Albert Hall.

Rhys has an extensive catalogue ofrecording work, including a duetalbum with Bryn Terfel (Benedictus onthe SAIN label) which was nominatedfor a Classical Brit Award.

RHYS MEIRION, Tenor

ITV seminal South Bank Show withMelvyn Bragg receiving the Freedom ofthe City of London Award. Recent re-cordings include Requiem, Stabat Materand Quirk. He has composed music forHRH The Prince of Wales, Bryn Terfel,Dame Kiri Te Kanawa, Dame EvelynGlennie, and the London SymphonyOrchestra, among many others.

A doctor of music, Mr. Jenkins holds fellowships, honorary doctorates, andprofessorships at five universities andconservatoires, including the RoyalAcademy of Music, where a room has

been named in his honor. In recent yearshe has consistently been the highestplaced living composer in the UnitedKingdom’s Classic FM “Hall of Fame.”He holds the Classic FM “Red F” Awardfor “outstanding service to classicalmusic” and was awarded an Order of theBritish Empire (OBE), by Her MajestyThe Queen, in the 2005 New Year’sHonors List “for services to music.”

In 2013 the Hungarian Embassy inLondon honored Mr. Jenkins with theOrder of Merit given by the Presidentof Hungary.


Ever since her Carnegie Hall debut inMozart’s Requiem under the direction ofJohn Rutter, Charlotte Paulsen has beenrecognized as a stellar singer on both theopera and concert stage. The SarasotaHerald-Tribune calls her “riveting,”adding she “is gifted with a voice bothlarge and rich, which she uses withnotable musicianship.” And The NewYork Times agrees: “The real star,Charlotte Daw Paulsen, a mezzo-sopranowith real contralto gravity and power inher lower register, in the Agnus Dei, herperformance grew dramatic in the bestsense and utterly gripping.”

Upcoming and recent performancesinclude an Opera Gala with theJohnstown Symphony, Verdi’s Requiemand Mahler’s Symphony No. 8 with theCanterbury Choral Society, Beethoven’sSymphony No. 9 with the NashvilleSymphony, Dvorák’s Stabat Mater withthe Oratorio Society of New York and therole of Third Lady in Opera Delaware’sproduction of The Magic Flute.

During the 2010–11 season, Paulsen sangJudas Maccabaeus with the BerkshireChoral Festival, Handel’s Israel in Egyptwith Musica Sacra and Karl Jenkins’Stabat Mater and Gloria with Disting-uished Concerts International New York

at Carnegie Hall as well as the role ofAmneris in a concert version of Aidawiththe Greater Bridgeport Symphony.

In earlier seasons, she sang Messiah withthe Houston Symphony, Elijah with theMormon Tabernacle Choir, Verdi’sRequiem with the Virginia Symphonyand Eugene Symphony, Mozart’sRequiem with the National Philhar-monic (MD) and with the NationalChorale (NY), Messiah with PenielConcert Choir in Avery Fisher Hall andRossini’s Petite Messe solennelle in theChurch of St. Ignatius Loyola.Highlights of Paulsen’s 2007–08 seasonincluded concerts with the LouisianaPhilharmonic in Mahler’s Symphony No.2 and with the Huntsville Symphony inBeethoven’s Symphony No. 9, bothunder the baton of Carlos Miguel Prieto.

Previously, she celebrated the centennialof Shostakovich with his orchestratedversion of Mussorgsky’s Songs andDances of Death with the XalapaSymphony Orchestra, where she alsosang Mahler’s Das Lied von der Erde.On the occasion of Mozart’s 250th birthdate, she performed the Requiem withthe Lancaster Symphony. She concludedthe season with Beethoven’s MissaSolemniswith the Orquesta Sinfónica deMineria in Mexico.

Because of the unique character of hervoice, Paulsen is often called upon toperform contemporary works ofunusual depth: with I Cantori she per-formed the New York premiere of Et lavie l’emporte by Frank Martin; Womenof Valor based on Proverbs 31 byAndrea Clearfield with Lehigh ValleyChamber Orchestra; and at CarnegieHall The Armed Man: A Mass forPeace by Karl Jenkins with DCINY.She also sang the role of Der Trommlerin Der Kaiser von Atlantis, as part of

CHARLOTTE DAW PAULSEN, Mezzo-Soprano


the 50th year celebration for the vic-tims of World War II.

Charlotte Paulsen was born inPhiladelphia and holds degrees from ThePeabody Conservatory of Music andTemple University. Her further studies

brought her to the Salzburg Mozarteum,Zürich International Opera Studio,Tanglewood Festival, and Opera MusicTheater International, under the direc-tion of the late Jerome Hines. Currentlyshe studies with Benita Valente.

Darik Knutsen, baritone from McLean,VA, began singing as a boy soprano withthe National Cathedral Boys’ Choirwhen he was nine years old. This comingseason Mr. Knutsen greatly looks for-ward to making his Omaha Opera debutin Mozart’s The Magic Flute. He alsolooks forward to making his MiddleburyOpera debut singing the title role inTchaikovsky’s Eugene Onegin. RecentlyMr. Knutsen made his internationaldebut singing the role of Marcello in LaBohème under the baton of LorinMaazel in Muscat, Oman. Also, this pastsummer Mr. Knutsen was proud to be apart of the 2012 Castleton MusicFestival as a principal artist. There hesang Fredrik in Sondheim’s A LittleNight Music, and understudied the roleof Figaro in The Barber of Seville andsang Le Dancaïre in Carmen.

This past season Mr. Knutsen made hisMadison Opera debut in Phillip Glass’sGalileo Galilei, and he also participatedin recitals with the American OperaSociety of Chicago and with the LyricOpera of Chicago’s Wilmette Chapter.

The past two summers Mr. Knutsen wasan apprentice with the Santa Fe Operawhere he sang the role of Wagner inFaust (2011), Philosopher in The LastSavage (2011), Schlemil in The Tales ofHoffmann (2010), and Registrar inMadam Butterfly (2010).

Mr. Knutsen has also worked with theChicago Opera Theater for two seasons

where he sang the role of Arcas inCharpentier’s Médée (2011), and under-studied the role of Charlie in JakeHeggie’s Three Decembers (2010). Otheroperatic experience includes the title roleof Eugene Onegin at the ChautauquaInstitute of Music (2009), as well asGuglielmo in Cosi fan tutte and Peachumin The Threepenny Opera at North-western University.

Mr. Knutsen is the recipient of numerousawards including 2nd Place Winner in theCentral Region Finals of the MetropolitanCouncil Auditions (2010), Winner of theAmerican Opera Society Scholarship(2011), and 1st Place in the Bel CantoFoundation of Chicago (2011). He is a2011 graduate of Roosevelt University’sAD Program under David Holloway, andgraduate of Northwestern Universitywhere he studied under Sherrill Milnes.Mr. Knutsen is a current voice student ofMarlena Malas.

DARIK KNUTSEN, Baritone


Samuel is a captivating performer who isoften singled out for his rich voice andexcellent acting. He has received criticalacclaim for roles ranging from DonPasquale to Scarpia.

His recent credits include the Duke of Verona in Romeo et Juliette for Dayton Opera, Ramphis in Aida for Coro Lyico, the title role in Don Pasqualefor Anchorage Opera and Emile de

Becque in South Pacific for SacramentoMusic Circus. In addition, he sang the role of Don Basilio in The Barber ofSeville for both Lake George Opera andMetro Lyric Opera under the baton ofAnton Coppola.

Notable performances and debuts includebass soloist in Mozart’s Coronation Massat Carnegie Hall, the Jailer in Tosca atLyric Opera of Chicago, Blitch in Floyd’sSusannah with New York Opera Project,Scarpia in Tosca with Sorg Opera, theCommendatore in Don Giovanni withthe Wolf Trap Opera and the Pope inPhillip Glass’ London premiere of GalileoGalelei. Samuel was awarded his thirdappearance at Carnegie Hall as a winnerin the Center for Contemporary OperaInternational Vocal Competition in 2005.

He has performed numerous roles atPalm Beach Opera, including Angelottiin Tosca, Speaker in The Magic Flute, theKing and Ramfis in Aida, Gualtiero in IPuritani, and Colline in La Bohème.

SAMUEL SMITH, Bass-baritone

Belinda Sykes, raised on a pure diet ofEnglish folk song, is now an internationalconcert and recording soloist. She

studied voice and improvisation inMorocco, Bulgaria, Syria, Spain andIndia; oboe with Anthony Camden,recorder with Peter Holtslag and baroqueoboe with David Reichenberg at theGuildhall School of Music; she has anMMUS in Ethnomusicology/Arabicmusic from London University’s Schoolof Oriental and African Studies.

She has recorded/sung solo with RedByrd, New London Consort, Tragicome-dia, Harp Consort, Ensemble Unicornand Oni Wytars. She has also sung onnumerous film/TV soundtracks withartists as diverse as Ladysmith BlackMambazo, The Berlin PhilharmonicOrchestra (soloist on the BBC’s Planet

BELINDA SYKES, Ethnic Vocals and Mey


Founded by Iris Derke (GeneralDirector) and Jonathan Griffith (ArtisticDirector and Principal Conductor)Distinguished Concerts International isdriven by passion, innovative vision, atotal belief in its artists, and unwaveringcommitment to bringing forth unforget-table performer and audience experi-ences. DCINY is a creative producing

entity with unmatched integrity that is atalent incubator, a star-maker, and a pre-senter of broadly accessible, world-classmusical entertainment. For more infor-mation about Distinguished ConcertsInternational New York and upcomingDCINY musical events around theworld, please visit: www.DCINY.org.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK

Earth documentaries) and the MasterMusicians of Joujouka, and most recentlywas heard on television in The LastEnemy (Magnus Fiennes), The Passion(Debbie Wiseman), and Planet Earth(George Fenton). Belinda has been asoloist on film scores by Karl Jenkins,George Fenton, Trevor Jones, HowardShore, Richard Harvey, Harry Gregson-Williams, Christian Henson, JamesHorner, Adrian Johnston, Jocelyn Pook,Rob Lane, Graeme Revell, Gabriel Yared.

As a double-reed player she played forthe Gabrieli Consort, The EnglishConcert, The King’s Consort, The BBCSymphony Orchestra, The Orchestra ofThe Age of Enlightenment, and TheHanover Band, and won the 1990Reichenberg Award for Baroque Oboe.As an oboist, she worked closely withSir Harrison Birtwistle when she playedin his setting of Bacchai for oboe, clar-inet and percussion at the RoyalNational Theatre in 2002 (Sir PeterHall’s production). Belinda was com-poser and musical director for Richard

III and Antony & Cleopatra at Shake-speare’s Globe Theatre.

Belinda directs the multi-cultural medievalmusic ensemble Joglaresa with whom shehas released CDs of medieval songs forMary Magdalen—Magdalena (AvieAV0026), award-winning program ofHebrew/Arabic/Spanish music—Dreamsof Andalusia (forthcoming withMetronome Recordings), Medieval Songsfrom Italy—Stella Nuova (Joglaresa LiveJOG001), and Sephardic Songs with per-cussionist Paul Clarvis—Ballads of Loveand Betrayal (Village Life 01013VL).Belinda has toured throughout Europeand the Middle East and has broadcastnumerous concerts for BBC Radio 3 andmany other international radio stations.

Belinda is Professor of Medieval Musicat Trinity College of Music. She alsotaught at the Royal Academy of Music,Newcastle University, Exeter Universityand taught oboe and recorder for manyyears at the Guildhall School of Music’sJunior Department.


DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

Cantoris Choir (Wellington, New Zealand), Brian O’ Regan, Director; EnsembleJean-Philippe Rameau (Versonnex, France), Malgorzata Digaud-Balunszynska,Director; The Joyful Band of Singers (NC), Finley Woolston, Director; Ruth AsawaSan Francisco School of the Arts Concert Choir (CA), Todd Wedge, Director; UnitedChoir of Dunaújváros (Dunaújváros, Hungary), Péter Horváth, Director

Performing in Act I:

Cantoría Lugano (Buenos Aires, Argentina), Eduardo R. Vallejo, Director; CarpeDiem Vocal Ensemble (MN), Clark Howard Duhrkopf, Director; Choeur Sorel-Tracy (Québec, Canada), Josée Laforest, Director; Coro de Cámara Nagmén(Buenos Aires, Argentina), Pablo Christian Di Mario, Director; Swift CurrentOratorio Choir (Saskatchewan, Canada), Gregory & Marcia McLean, Directors;University of West Georgia Concert Choir & Collegium Vocale (GA), KevinHibbard, Director; The Voice Company (Lelystad, The Netherlands), RobertBakker, Director; and individuals from around the globe.

Performing in Act II:

DCINY would like to thank our Performing Arts Partners, who, with their financial support, have made this performance possible.

PERFORMING ARTS PARTNERS

Bálint ÁcsErika Ácsné TóthAndrée AdamJosé Agema-KootkerCesar AgostiniPaula Lage AguirreSadie AlanMark AndersonMarianne AndréGaëlle AndréPhilippe AndréConstanza AntunicaErika ArnoldJose AstinzaMichèle AussantClover Austin-MuehleckJoke BaardmanPetra BachScott BakerRobert BakkerMyrjam BakkerIsabelle BalleneggerIlona BalogMalgorzata BaluszynskaÁgnes Mária BankovicsEvelyn BarashLeticia BarrosDeb BattellFrançois-XavierBeaudouinDebra BeckaKrisztina Rita BedeMariëtte BekkersLouise BelleroseFrançois BenoitEndre Beregi

Zsolt BeregiSimone BergerLucette BergerFrancine BergeronMichel BernatchezLaura BertelloLivio BeschiGabe BibliowiczGuy BilloudAnita Bíróné KárolyClaudia BlockMarianne BlokkerChristine BlomLucila BonfiglioÉric BonnetJolanda BooneYolande BoriancicIldikó BorkaAnne-CécileAndrée BossoneyAnne BourassaCarol BourdagesRachel BowmanRichard BraaeLauren BradleyMary BranhamSheila BraunSue BrissPeter BrissMarianne Broer-StolkNicole BrouillardCorey BrownMadeline BrownMarie-Claude BrulhartAlan BuchalterElio Bucky

Felicity BunnyLane BurnettBob BurnettPablo AlejandroBustamanteBeth BuyertLeonel Eduardo CamejoMónica Liliana CantizanoMirtha Cardenas BritoAnnette CarliCoburn CarolineCiara CarvajalMary Helen CaseyLisa CaseyJonathan CayrusGinette ChalifourKatie ChalmersAmandine ChambordNicole ChampagneMychelle L ChampagneCatherine ChampignyJacques ChampignySylvia Gilliland ChandlerLeslie ChandlerMireille CharbonneauSophie CharpentierTara ChristiansenGabrielle ChunRenata CichockaJosie Clark-SteinmetzAlex ColterCaroline ComoyCatherine ConlandRosemary CoppellVivienne Coppell

Sybilla Cordelia FriesOlivia CosioMance CossetteLilianaHaydee Costa GodoyJosée CournoyerMichelle CournoyerIsabelle CournoyerClaude CournoyerJoshua CousinLiette CroteauEvelin CsányiMarcelo Javier Cuevas GómezDorian CunninghamSummer CuyjetJulian CuyjetAndré DaunaisJackie DayGiovanni De LeonMaria Cecilia De MarcosAnika DearmanAna DecandiaSandra DéglonLineke DekkersEuan DempseyVera DeutschPablo Di MarioMichael DiebertÉric DigaudAnn DillonAlbertine DonHenry DoughertyDide DoumaRyan DoyleDanielle Duchesneau


Hélène DuguayClaire DuhaimeClark DuhrkopfSuzanne DumontelGaston DvoskinHaley EbertGary ElmerHuguette Émond-RivestShirley EnsMathilde EstèvesAnnette EttesMargriet EttesMarga EversIbarra Matias ExequielJulia FarrowGábor FazekasArina FejesHarold FellmannMatías FernandezGilles FertWil Foree-ButtermanCharles ForrestDanielle FosterYmène FouliFranco FranciaElla FrancisDanielle FraserSarah FraserAnne CatherineFriedrichGrace FunkIsaac FunkFrançois GagnéGinette GagnonLászló GálRodrigo Martin GalarzaChristine Gander IngoldJackie GardnerYolande GariépyJohn GariesMartine GarnierAnn GarrouBeth GartmanNicole GauthierAlexandra GentonMarie GervaisImre GöbölösVirág GöbölösMaya GoellSean GoldringRomina Mariel Gómez MarecosMaria Cristina Gonzalez SosaMadeleine GowanElizabeth GrafElizabeth GrambschAndrea GrayFrançois GrillonMarja GroenMarie-Odette Grouès JollietJacques GuayAnne GuimondBerta Miriam GuindinRosa Alejandra GutierrezLívia GyulaiFerenc HalászFerencné Halász

Bernice HallVivienne HallGeoffrey HallLucienne Hamar de la Brethonière-Larasati WidaraJohn HanlinJessie HannaOlivia HarkinsSaskia HarlaarKlári Hartungné HajnalLinda HarveyCarole Hauser KämpfArlyss HaysFred HeeseMargaret HeeseZoltán HegyiGerda HeijneHenk HeijneJolanda HeinKristine HelmsMargo HemmelderAnisa HenryLeanne HerrmannHans HeusChantel HewittKevin HibbardAnya HirotaJason HoPéter András HorváthRoberto HoumardMyriam HoutartKatalin Hrozikné ÁrvaVicky HuangPat HueyLarry HughesGeneviève HugonnetWehrliMarina HulsmanMichel HuppéViv HurnenÁgnes Huszárné NagyMaximiliano Illanes CampetellaDaniel IlligErzsébet ImgrundMiklós ImreNicole IretonRichard JacksonDrew JacksonIsabelle Jaggi McCoyMichel JaquierAntonio Johnson-SmithCarl JohnstonEls JongsmaStéphane JordanSuzanne JoyalJaromir JuchelkaLaura Kalikian-WalkerChristian KämpfMichelle KaneIsidora KecmanGréta KelemenJoseph KellyJohnny KellyAva KennedyHahk KimBarbara KindessGréta Kiss-Ughy

Ilona Mária KlameruszMarie-Thérèse KluversDee KnightRebekah KnottDaan KnuttelNicole KohJames KohlerVéronique KolischerÁgnes KönyvesGabriella Kósa-SomogyiBence KovácsPál György KovácsViktória Kovácsné DanóHelma KrommenhoekSzilvia KuminkaIsabel LabbéChantal LabrècheJanine LacoutureJosée LaforestMonique LafrenièreLouise LambertLia LammersYvon LangerakMathias LarrivièreCéline LatourJulie LatraverseShayron LaurentJane LawrenceLucrèce Le PoasUrsula Leal CapriaMarthe LeclercTanya LeeBriea Lemay-EderDenis LépineGislaine LetendreVincent LeungNia LewisHoi Wah Bryan LiJohn LillySeara LimJulia LinAilsa LipscombeKevin LopezAnthea LoranLisa LowensteinRuth LuckettWilma Lugt de VriesLori MaishmanGuy MaishmanJessica MakhlinDanièle MalletteRens MandjesLoris MannDavid MannPablo Cesar ManzanelliMaria Elena MardirossianCarlos Alberto MardirossianShana MarshallAlejandra Cecilia MatarugaMárta MátéThérèse MattonDamien MaurelSue McConnellJill McCuaigMarji McCulloughKelly McGlynn

Deborah McGowanMark McKenzieGreg McLeanMarcia McLeanTaylor McLeanRyan MedforthPaul MénardCarole MenoudNikolett MezeiJean-Pierre MignotMarinette Mignot-PayotIsabelle Milani BensalemSylvie MiletteDavid MillerSusan MillerKyle MillerBalázs MolnárDalia MontaldoSimone MooreDominique MoquinHoracio MullallyLucy MurphyMadeleine MuzioJoëlle NarrMadeline NarrPierre-André NarrDenise NassensteinFernando Andres Navarro HuenchuHajnalka NéderMárta NéderBette NelsonHope NelsonCora NelsonPál NémethMackenzie NemoffSamson NguyenVasziliszné NikuForrest NolanPierre NormandinDale NostbakkenMerle NostbakkenArianne NovaZsolt NyulasiLesley OakmanSavannah OcchiogrossoMay Lee OenShirleen OhIsolde O’LearyJoyce OlesenPaul OliverWayne OlsonElayne OlsonMeche Oppelt-PerezAndré OuelletÉtienne OuelletPetra OvereemRebeka PaálBalázs PaálJackson PaddockNoémi PallaiChristelle PatriarcaWendell PatzerYves PaulHilda PayneNidia Karen PazWendell PeckManuela PedrazziniOdette Pelletier


Yves PéloquinJimena PeñaVeronique PerrotÁlmos PéterKata PéterEnik Péterné HollaiMargaret PhillipsonHugh PhillipsonNicole PilonClaudia Noemi PinskerRoland PittetIsabelle PlanteCharles PlattPierrette PoirierDiane PoissantMarieClaire PorretSusanne PorretTana PorterBea PosthumusNatalie ProulxErika RáczNolan RamirezJuan Fernando ReichelCarla ReijnenIneke RekveldtSandra RempelJuan Sebastián ReyAnne-Marie ReymondMonique ReymondMónica PatriciaPalavecino RicardoneMarga RietveldSylvianne RobertPierre-Alain RobertSimon RobertsFrancine RobichaudDiane RobillardMarie-Andrée RobillardMolly RobinsDominique Rochat BulaValeria Soledad RodriguezAlex RodriguezMackenzie RohanIrene Liliana RomotowskiPaul RoodenburgDavid RossCécile Rossier

Françoise RouleauLise RouxMaya RoweMarlyse RoyClaude RoyRaymond SabatelliBrianna SabellaJulieta SainzLaetitia SalmsonAna Elizabeth SampedroPui Nor Margaret SangMaría Rosa SantosIan ScheimanTrista SchlickKen SchoephoersterKenneth SchragChristina SchuijffIrene SchultzMara SchumannHannah Schunk-HockingsVivien SchwartzTara ScownSylvie Sellier Della CorteSarah ShannonAllison ShapiroRuth SharmanLionel SharmanBrian ShygeraJennifer ShygeraCarol SiebertDan SiebertSam SiegelSeth SiegelGyörgyné SiklósiCarlos Daniel SilvaKathlynn SimotasSkyler Sims-DicksonCarol SingletaryOlga SlettenhaarSusan SmallCora SmitMini SmitLarry SmithVictoria SmithAlan SmitheePatricia SolomonTheresa Soper

Ursula SpitzerBen StacyRosalind StaibErica StamLouanne StarrEdit StaudingerFileke StavastHeather SteinhoffLucette St-GermainShawn StoutScott StrandDebra StuevenMarika StuurmanTamás SubeczLumi Sugazawa-O’NielGabriella SuhayOrsolya SupliczVivien Süt�Gerg SzárszóMariann SzeidlÁkos SzeitlCsaba SzlobodnyikKatalin SztankóMax TarlovJoy TaylorAndrás TerecskeiDanny ThomasCarolyn ThomasAnn ThompsonHanny TimmerNicole TityunnikMária Törökné AntalVilmos Tóth KardosSuzanne TremblayPauline Tuymelaar-KoldenhofArlene UnvoasCécilia UrferDaniel Esteban VallejoEry van BergenAnneke van de Zwan-BierreNell van der BergMariëtte van der GraaffLeo van der GraaffKarin van der MaasKees van der MaatAnnette van der Wiel

Tilly van DijkAngèle van DonselaarEllen van PanhuisKatrien Van RielLeny van WieringenNel van ZandbergenÁron VáraiEszter VárnaiGyöngyvér VassVirág VassAlejandro VazquezSharon VeerPetra Veres-KovácsTerry VernerClaire VerretCorrie Versteeg-MoorlagMarina VilaZsuzsanna Vinklárné PalócziTrudy Vink-WillebordAna María VolpatoLloyd WalworthErica WanGeorge WanstallCaroline WanstallDenise WardlowLydia WaterreusKae WatersKaye WattsTodd WedgePaul WehrliCindy WeinbaumSarah WeyersJon WeyersKenya WhiteRichard WhiteSara WiensJanet WilkinsonJerry WillerLászló WojakiewiczEvan WongFinley WoolstonAnja WoudstraMomo YamamotoMarcela YapuraSheena YetterPeter YueJamie Zimmer

The Performing Arts Partners list includes names supplied by choral directors as of December 17, 2013. Any questions regarding missing or misspelled names

should be addressed to the individual directors.


Iris Derke, Co-Founder and General DirectorJonathan Griffith, Co-Founder, Artistic Director and Principal ConductorDanuta Gross, Director of Finance and AdministrationJeffery R. Thyer, Director of Program DevelopmentKevin Taylor, Program DevelopmentJason Mlynek, Program DevelopmentMatt Oltman, Program DevelopmentAndrea Macy, Marketing and PromotionsEdmundo Montoya, Production ManagerLaura Toppi, Concert OperationsKaren Cohn, Website and GraphicsEmily Nelson, Program Development AssistantJoshua Grace, Program Development Assistant

For press inquiries please contact Ms. Shira Gilbert at [email protected] or 212.707.8566 extension 316.

DCINY thanks its kind sponsors and partners in education: Artist Travel Consultants, VH1 Save the Music, Education Through Music, and High 5

For information about performing on DCINY’s series or about purchasing tickets, [email protected], call 212–707–8566, or visit www.DCINY.org.

DCINY ADMINISTRATIVE STAFF

This evening’s performance of The Bards of Wales is performed with the additional support provided by and the dedicated enthusiasm and passion exhibited by Mr. László Irinyi, ManagingDirector of CMI-Concert Masters International & President of The Bards of Wales Project,Budapest, Hungary. Additional support and thanks goes to Ms. Catrin Brace, Head of Marketingand Public Relations for USA Welsh Government British Consulate-General, New York and Ms.Ágnes Fülemile, Director for Balassi Institute-Hungarian Cultural Center, New York.

The Bards of Wales Project additionally acknowledges:

Patrons: His Royal Highness The Prince of WalesProf. József Pálinkás, President of the Hungarian Academy of SciencesJim Parc Nest, The Archdruid of Wales

Sponsors and Supporters: FBZ Hungária Ltd., Kecskemét, HungaryCMI-Concert Masters International Ltd., Budapest, HungaryNational Cultural Fund of Hungary, BudapestWales Arts International, Cardiff, WalesThe Irinyi Foundation, Esztár, Hungary Takler Winery, Szekszárd, HungaryAlapfy Design Studio, Budapest, HungaryGyörgy Lendvai, Director of MÁV Symphony Orchestra, Budapest, HungaryHefin Owen, Producer of Rondo Media, Cardiff, WalesJohn Asquith, Ferndale, WalesLászló Baradács and Márta Golub, Budapest, Hungary

Karl Jenkins’ The Bards of Wales cantata was commissioned by CMI-Concert MastersInternational, Budapest, and was premiered at the Béla Bartók National Concert Hall of Hungaryon June 21, 2011. A Hungarian language version of the work performed by Hungary's leadingsoloists, orchestral and choral musicians is available on CD released by CMI Records.


2014 DCINY Concert and Artist SeriesPlease join us for one of our upcoming events:

Sunday, February 2, at 7:30 PMWeill Recital Hall / Carnegie HallNORDIC VOICES

Monday, February 17, at 7:00 PMStern Auditorium / Perelman Stage, Carnegie HallCELEBRATING THE 75th ANNIVERSARY OF SHAWNEE PRESSGreg Gilpin, Mark Hayes, Joseph Martin, and Tim Seelig, ConductorsFeaturing Distinguished Concerts Orchestra and Singers International

Monday, March 10, at 7:00 PMAvery Fisher Hall, Lincoln CenterLUST & LA FEMME MYSTIQUE: CARMINA BURANA AND MUSIC IN

CELEBRATION OF INTERNATIONAL WOMEN’S DAYVance George, Conductor Laureate Carl Orff: Carmina Burana Hilary Apfelstadt, Conductor Laureate Music for Women’s Voices Featuring Distinguished Concerts Orchestra and Singers International

Friday, March 21, at 8:00 PMWeill Recital Hall, Carnegie Halla cappella NEXTAd Astra Singers, John Paul Johnson, DirectorNOTUS: IU Contemporary Vocal Ensemble, Dominick DiOrio, DirectorUC Berkeley Chamber Chorus, Marika Kuzma, Director

Sunday, March 30, at 2:00 PMAvery Fisher Hall, Lincoln CenterDEFYING GRAVITY: THE MUSIC OF STEPHEN SCHWARTZ AND

ERIC WHITACRE Eric Whitacre, Composer/ConductorStephen Schwartz, Special Guest Artist, Composer of Wicked, Godspell and many other Broadway legends Tali Tadmor, PianistFeaturing Distinguished Concerts Singers International

Saturday, April 12, at 7:00 PMAlice Tully Hall, Lincoln CenterVOCAL COLORSTimothy Powell, DirectorTimothy Powell: St. George and the Dragon (World Premiere)Libretto by poet Charles Anthony SilvestriScott Buchanan, Director Indiana State University and Indiana Festival ChorusHorace Carney, DirectorAlabama A&M University Concert Choir


Sunday, April 13, at 8:30 PMStern Auditorium / Perelman Stage, Carnegie HallTHE DROP OF DAWNJonathan Griffith, DCINY Artistic Director and Principal ConductorChristopher Tin: Calling All Dawns (Carnegie Hall Premiere)Christopher Tin: The Drop that Contained the Sea (World Premiere) Featuring Distinguished Concerts Orchestra and Singers International

Dates, repertoire, and artists subject to change.For a full season listing, visit www.DCINY.org.

DISTINGUISHED CONCERTS INTERNATIONAL NEW YORK250 W. 57TH STREET, SUITE 1610

NEW YORK, NY 10107212-707-8566


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