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Rose Theater Jazz at Lincoln Center’s Frederick P. Rose Hall Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Wednesday–Thursday, November 1–2, 2017, at 7:30 pm Stabat mater (New York premiere) Jessica Lang Dance Jessica Lang, Director and Choreographer Orchestra of St. Luke’s Speranza Scappucci, Conductor Andriana Chuchman, Soprano Anthony Roth Costanzo, Countertenor Mark McCullough, Lighting Design Bradon McDonald, Costume Design Marjorie Bradley Kellogg, Set Design Kelley Rourke, Titles Design Dancers: Patrick Coker, John Harnage, Eve Jacobs, Kana Kimura, Claudia MacPherson, Milan Misko, Thomas Ragland, Rachel Secrest, Jammie Walker This production was developed at the Glimmerglass Festival, and premiered in Cooperstown, New York in 2013. WhiteLightFestival.org

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Page 1: Stabat mater - Lincoln Centerimages.lincolncenter.org/image/upload/v1508438810/...WhiteLightFestival.org Stabat mater Text from a 13th-century hymn 1. Stabat Mater dolorosa iuxta crucem

Rose TheaterJazz at Lincoln Center’s Frederick P. Rose Hall

Please make certain all your electronic devicesare switched off.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Wednesday–Thursday, November 1–2, 2017, at 7:30 pm

Stabat mater (New York premiere)

Jessica Lang DanceJessica Lang, Director and ChoreographerOrchestra of St. Luke’sSperanza Scappucci, ConductorAndriana Chuchman, SopranoAnthony Roth Costanzo, Countertenor

Mark McCullough, Lighting DesignBradon McDonald, Costume DesignMarjorie Bradley Kellogg, Set DesignKelley Rourke, Titles Design

Dancers: Patrick Coker, John Harnage, Eve Jacobs, Kana Kimura,Claudia MacPherson, Milan Misko, Thomas Ragland, Rachel Secrest, Jammie Walker

This production was developed at the Glimmerglass Festival, and premiered inCooperstown, New York in 2013.

WhiteLightFestival.org

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American Airlines is the Official Airline of LincolnCenter

Nespresso is the Official Coffee of Lincoln Center

NewYork-Presbyterian is the Official Hospital ofLincoln Center

Artist Catering provided by Zabar’s and Zabars.com

The Jessica Lang Dance premiere was madepossible by the generosity of Glimmerglass Operaincluding a technical residency.

Funding for Stabat Mater has been generouslyprovided by Strelizia Foundation.

This program is supported, in part, by public fundsfrom the New York City Department of CulturalAffairs in partnership with the City Council.

UPCOMING WHITE LIGHT FESTIVAL EVENTS:

November 1–11 The Psalms Experience (U.S. premiere)Choir of Trinity Wall StreetNetherlands Chamber ChoirTallis ScholarsNorwegian Soloists’ Choir150 psalms. 150 composers. 4 choirs. 12 concerts.Visit PsalmsExperience.org for full concert schedule.

Thursday, November 9 at 7:30 pm at Church of theAscensionDarkness and Light (U.S. premiere)Bernard Foccroulle, organLynette Wallworth, videoWorks by BACH, BUXTEHUDE, MESSIAEN,GRIGNY, ALAIN, TOSHIO HOSOKAWA, BERNARDFOCCROULLE, and SOFIA GUBAIDULINA

Sunday, November 12 at 3:00 pm in David Geffen HallBeethoven’s Missa solemnisSwedish Chamber OrchestraThomas Dausgaard, conductorSwedish Radio ChoirPeter Dijkstra, choral directorMalin Christensson, sopranoKristina Hammarström, mezzo-sopranoMichael Weinius, tenorJosef Wagner, bassBEETHOVEN Mass in D major (Missa solemnis)Pre-concert lecture by Andrew Shenton at 1:45 pmin the Stanley H. Kaplan Penthouse

For tickets, call (212) 721-6500 or visitWhiteLightFestival.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn about pro-gram cancellations or to request a White LightFestival brochure.

Visit WhiteLightFestival.org for full festival listings.

Join the conversation: #WhiteLightFestival

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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Stabat mater (New York premiere)

MOZART Divertimento in F major, K.138 (1772) Allegro Andante Presto

(Pause)

PERGOLESI Stabat mater (1736) 1. Stabat Mater dolorosa 2. Cuius animam gementem 3. O quam tristis et afflicta 4. Quae moerebat et dolebat 5. Quis est homo qui non fleret 6. Vidit suum dulcem natum 7. Eia Mater, fons amoris 8. Fac ut ardeat cor meum 9. Sancta Mater, istud agas 10. Fac ut portem Christi mortem 11. Inflammatus et accensus 12. Quando corpus morietur

This program is approximately 70 minutes long and will be performed withoutintermission.

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Artists’ Note

Pergolesi’s score is timeless and hauntingly beautiful. Although the medieval text is spe-cific in its reference to the holy figure, Mary, and the loss of her son, Jesus Christ, wecan remove the identities of these figures and what remains is a universal story of loveand loss. It is the iconic image of Woman, of any religion or race, who carries in her ownskin the pain of lost sons and daughters. The final prayer, “When my body is no more,let my soul know the glory of paradise,” holds us together in our undeniable commonexperience—we are born, we live, and we will die.

— Jessica Lang and Speranza Scappucci

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Notes on the MusicBy Kathryn L. Libin

Divertimento in F major, K.138 (1772)WOLFGANG AMADEUS MOZARTBorn January 27, 1756, in SalzburgDied December 5, 1791, in Vienna

Approximate length: 12 minutes

Italy and its music exerted a powerful influ-ence on Mozart’s development as a com-poser during the formative stages of hiscareer. His first voyage to Italy, undertaken inDecember 1769 when he was 13 years old,introduced him to a remarkable number ofnew places and acquaintances. Throughouthis travels, Mozart presented his music, offer-ing performances in Verona and Mantua, writ-ing symphonies and string quartets in Milanand Bologna, and being honored with admis-sion to Bologna’s Accademia Filarmonica.He also received the important commissionof an opera for Milan, which led to furthercommissions. In late 1772, his apprentice-ship complete, Mozart was ready to take hisplace—in Salzburg or elsewhere—as a pro-fessional composer and performer.

In the brief periods during his apprenticeshipwhen he was at home in Salzburg, Mozartwas not idle. While he worked on the newcommissions from Italy, he also contributedmusic for the court of the archbishop. In1772 he wrote three works for four-partstrings, titled “Divertimento” (though notin Mozart’s own hand) on the manuscripts.Whether these pieces were intended forstring quartet or for a small string orchestrais not specified, but they were likelyadapted for various purposes with whateverresources were available. The importantpoint is that all three of them are delightful,engaging, readily accessible to amateur aswell as professional players, and thus suit-able for entertainments of all kinds.

The third Divertimento in F major, K.138,opens with a classic balance: loud,

assertive statement followed by soft,equivocal response. The whole ensemblethen launches into a robust Allegro with asoaring melody and crackling rhythms overa pulsing accompaniment. The Andanteprovides the expected contrast, but withsome unexpected features. The sweettune given out by the first violin achieves acertain pathetic quality in the first phrasewith a strongly dissonant trill and appog-giatura; this intensifies when it joins theother violin in the following phrase in close,dissonant seconds. The final Presto is therowdy, exuberant movement that wasmeant to be the show-stopper. Though thisis an early opus with no pretensions tograndeur, it shows Mozart as an alreadyseasoned composer who brings subtletyand eloquence even to a smaller work.

Stabat mater (1736)GIOVANNI BATTISTA PERGOLESIBorn January 4, 1710, in Jesi, Marche Province, Italy

Died March 16, 1736, near Naples

Approximate length: 41 minutes

A sickly child in an obscure Italian town andgrandson of a humble shoemaker, GiovanniBattista Pergolesi began life with fewadvantages; surely no one would have pre-dicted that he would eventually rank amongthe most celebrated musicians of the 18thcentury. But Jesi, on the Adriatic coast, hada cathedral and music masters, with whomthe young Pergolesi began lessons at anearly age, and he was sent as an adoles-cent to Naples for conservatory training.Naples in the 1720s offered a rich milieu foraspiring musicians, with four conservato-ries, a royal chapel, numerous wealthychurches and confraternities, and both courttheater and public opera houses. Indeed, aburgeoning taste for comic opera spurredthe opening of several new public theatersat the very time of Pergolesi’s arrival inNaples. As a student, he sang in a choir,played violin in an orchestra, and was sooncomposing works for the conservatory. At

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age 22, he joined the musical establish-ment of Prince Ferdinando ColonnaStigliano as maestro di cappella, andlaunched a busy career, producing operaswhile also contributing important sacredworks for local churches.

The Stabat mater, a 13th-centuryFranciscan hymn, already had a venerabletradition before Pergolesi produced his set-ting. This poignant reflection on the suffer-ings of Christ’s mother as she standsbeside his cross was an accepted part ofthe liturgy in the early 1500s, when itinspired noble polyphonic settings byJosquin, Lassus, Palestrina, and manyother composers. Though barred from theliturgy later that century by the Council ofTrent, it was revived in 1727 by PopeBenedict XIII for particular use in theLenten and September feasts of SevenSorrows. It was the church of S Maria deiSette Dolori in Naples that commissioned aStabat mater from Pergolesi. Late in 1735,the composer was seriously ill, possiblywith tuberculosis, and early in the new yearhe moved into a Franciscan monasterywhere he could receive skilled care. Henonetheless continued to compose, andmanaged to complete his Stabat materbefore he died in March 1736. The commis-sioning church had been performing aStabat mater by Alessandro Scarlatti formany years, and clearly intended to replaceit with the new setting by Pergolesi.Perhaps with that in mind, Pergolesirequired the same instrumental and vocalforces—strings and choir with soprano andalto soloists—as the earlier work byScarlatti. Yet he brought to this familiar textstylistic innovations, including a modernemphasis on expressive melody, that drewsome criticism from church authorities butaroused great enthusiasm in audiences.The work circulated widely in manuscriptcopies even before its first pub li cation inLondon in 1749, underwent numerousarrangements and adaptations, andbecame one of the most published singleworks of the entire 18th century.

The Stabat mater contains 20 lines of Latinpoetry, opening with a description of theweeping Mary standing at the cross, thenengaging the sympathy and compassion ofthe onlookers, and finally addressing the“Sancta Mater” directly in a plea to shareher pain and the sufferings of her son.Pergolesi sets several of these lines individ-ually, while combining others to build dra-matic intensity, resulting in 12 contrastingmovements. Choruses frame the work andpresent the opening and closing lines oftext in the grave and painful key of F minor,which remains the primary tonality, withimportant excursions to the related keys ofC and G minor. The first four numbers alter-nate between chorus and soloists, eachpresenting a single line of the poem. The“stabat mater dolorosa” is depicted withintense dissonances and descending inter-vals that draw us into her sorrow, andPergolesi deftly highlights nuances of indi-vidual words, such as the quivering trills on“et tremebat” (No. 4). Approaching thecenter of the work, the soprano and altojoin in a duet (No. 5) as the text begins toarouse the empathy of its listeners: “Whathuman being would not weep? Who wouldnot feel compassion?” The chorus returns(No. 8) in a dynamic, G-minor fugal settingon the words “Fac ut ardeat cor meum”(”Make my heart blaze with love”).Pergolesi’s expressive duet addressing the“Sancta Mater” (No. 9) lends dramaticimpact to the text, which here combineslines 11 through 15 of the original poem.The painful acknowledgment of Christ’spassion and death are represented by thesolo alto (No. 10) in long, sinuous melodiclines marked by potent pauses. Pergolesiturns to the key of B-flat major and intro-duces a tone of strong resolution in a duet(No. 11) that prays for defense against thehorrors of Judgment Day. The final chorusoffers a vision of paradise in a hushed,sotto voce chorus that erupts into a vigor-ous “Amen.”

—Copyright © 2017 by Lincoln Center for thePerforming Arts, Inc.

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Stabat materText from a 13th-century hymn

1. Stabat Mater dolorosa iuxta crucem lacrimosa dum pendebat Filius

2. Cuius animam gementem contristatam et dolentem pertransivit gladius

3. O quam tristis et afflicta fuit illa benedicta Mater Unigeniti

4. Quae moerebat et dolebat et tremebat cum videbat nati poenas incliti

5. Quis est homo qui non fleret Matri Christi si videret in tanto supplicio?

Quis non posset contristari Matrem Christi contemplari dolentum cum filio?

Pro peccatis suae gentis vidit Iesum in tormentis et flagellis subditum.

6. Vidit suum dulcem natum moriendo desolatum dum emisit spiritum

7. Eia Mater, fons amoris, me sentire vim doloris fac ut tecum lugeam

8. Fac ut ardeat cor meum in amando Christum Deum ut sibi complaceam

The grieving Mother stood tearfully beside the cross where her Son was hanging

Her son, whose sighing soul, moaning, sad and saddening was pierced by the sword

O how mournful and suffering was that blessed Mother of the Only-begotten!

She was grieving and aching and trembling as She saw the torments of Her renowned Son.

What human being would not weep upon seeing the Mother of Christ in such torment?

Who would fail to be able to be saddenedwhen observing the faithful Mother sorrowing along with Her Son?

For the sins of his people she saw Jesus in torment and subjected to whips.

She saw her sweet Son dying in desolation while He gave up the ghost

O Mother, source of love, make me feel the force of the pain, so I may mourn with you

Make my heart blaze with love for Christ the Lord, that I may please Him

Texts and Translations

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9. Sancta Mater, istud agas, crucifixi fige plagas cordi meo valide

Tui nati vulnerati tam dignati pro me pati poenas mecum divide

Fac me vere tecum flere crucifixo condolere donec ego vixero

Iuxta crucem tecum stare te libenter sociare in planctu desidero

Virgo virginum praeclara mihi iam non sis amara fac me tecum plangere

10. Fac ut portem Christi mortem passionis eius sortem et plagas recolere

Fac me plagis vulnerari cruce hac inebriari ob amorem filii

11. Inflammatus et accensus, per te, Virgo, sim defensus in die iudicii

Fac me cruce custodiri morte Christi praemuniri confoveri gratia

12. Quando corpus morietur fac ut animae donetur paradisi gloria. Amen

Holy Mother, do this: with the wounds of the crucified One,strongly transfix my heart.

Of Your wounded Son, who has now deigned to suffer for me,Divide with me the torments.

Make me truly weep with You and suffer along with the crucified One as long as I live.

I desire to stand with you beside the Cross: to join with you willingly in weeping.

Virgin, famous among virgins, do not be bitter to me now, make me cry along with You.

Make me bear the death of Christ, Make me a sharer in His passion, meditating upon His wounds

Make me be afflicted with those wounds and intoxicated with this Cross for love of Your Son.

In my ardor and zeal let me be defended by You, Virgin, on Judgment Day.

Make me be guarded by the Cross, fortified by the death of Christ and fostered by Grace.

When my body dies, make my soul be given the glory of Paradise. Amen

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Meet the Artists

Jessica Lang (director, choreographer) is achoreographer and the artistic director ofJessica Lang Dance. A recipient of a pres-tigious 2014 Bessie Award and 2017Arison Award, Ms. Lang has created morethan 95 works for companies worldwidesince 1999, including American BalletTheatre, Pacific Northwest Ballet, Birm -ingham Royal Ballet (2013 ManchesterTheatre Award nominee), the NationalBallet of Japan, and Joffrey Ballet, amongmany others. Additional commissionsinclude new works for the Kennedy Centerwith the National Symphony Orchestra,the Harris Theater and the ChicagoArchitecture Biennial in collaboration witharchitect Steven Holl, the Dallas Museumof Art, and the Guggenheim Museum forits Works and Process series.

For opera, Ms. Lang made her directorialdebut creating Pergolesi’s Stabat Mater atthe 2013 Glimmerglass Festival. She chore-ographed a new co-production of Aida,directed by Francesca Zambello, which pre-miered at San Francisco Opera in 2016. Itwas recently performed at WashingtonNational Opera at the Kennedy Center, andwill be performed by Seattle Opera andMinnesota Opera in upcoming seasons.

Ms. Lang was a 2015 New York CityCenter Fellow, a 2016 NYU Center forBallet and the Arts Fellow, and is the 2017Emerging Movement Artist in Residencefor Dance Films Association. A graduate ofThe Juilliard School under the direction ofBenjamin Harkarvy, Ms. Lang is a formermember of Twyla Tharp’s company,THARP!

Italian conductor Speranza Scappucci (con-ductor) is a graduate of The Juilliard Schooland the Conservatorio di Musica SantaCecilia in Rome. She recently made herdebut at the Vienna State Opera and con-ducted the opening of Wiener Opernball2017. Upcoming engagements includeperformances in Zurich, Vienna, Barcelona,Liège, Rome, Turin, Toronto, Baden-Baden,Frankfurt, Bratislava, and Moscow, andwith the Orchestra of St. Luke’s, JuilliardOrchestra, and Detroit Symphony Or ches -tra, among others. In past seasons, Ms.Scappucci has conducted a wide-rangingrepertoire in Rome, Turin, Pesaro, LosAngeles, Washington D.C., Santa Fe,Helsinki, Lisbon, and at the MacerataOpera Festival. She has also conductedthe Orchestra Regionale della Toscana,Filarmonica Arturo Toscanini, and Or -chestra del Maggio Musicale Fiorentino.Her recordings include a CD of Mozartarias with soprano Marina Rebeka and theRoyal Liverpool Philharmonic Orchestra(Warner Classics, 2013) as well as analbum with tenor Saimir Pirgu and Or -chestra del Maggio Musicale Fiorentino(Opus Arte, 2016). This season, she servesas principal guest conductor at the OpéraRoyal de Wallonie in Liège.

Andriana Chuchman (soprano) returns thisseason to the Lyric Opera of Chicago asthe title role in a new production of Orphéeet Eurydice and to the Metropolitan Operaas Valencienne in The Merry Widow. In

SperanzaScappucci

Jessica Lang

AndrianaChuchman

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addition to her debut at Lincoln Center’sWhite Light Festival with Jessica Lang’sproduction of Stabat Mater, she makes herdebut this season at Atlanta Opera asMarie in La fille du régiment. A graduate ofthe Ryan Opera Center at the Lyric Operaof Chicago, Ms. Chuchman has alsoappeared at the Houston Grand Opera,Washington National Opera, San DiegoOpera, Chicago Opera Theater, CanadianOpera Company, Spoleto Festival USA,Glimmerglass Festival, Bard Music Festi -val, and Glyndebourne Festival Opera ontour. In concert, she has appeared with theDetroit Symphony Orchestra, Toronto andWinnipeg Symphony Orchestras, as wellas at the Ravinia Festival. Born in Winni -peg, Ms. Chuchman received her bache-lor’s degree in voice performance from theDesautels Faculty of Music at theUniversity of Manitoba. She is the recipientof the Opera Theatre of Saint Louis’s 2017Mabel Dorn Reeder Prize, was a prizewin-ner at the finals of the 2009 Neue Stimmeninternational singing competition in Ger -many, and received a Sullivan FoundationEncouragement Award in 2007.

Anthony Roth Costanzo (countertenor)began performing professionally at age 11and has since appeared in opera, concert,recital, film, and on Broadway. This season,he makes his company and role debut asthe title role in Giulio Cesare at theHouston Grand Opera, his debut at theFlorida Grand Opera as the title role inOrfeo ed Euridice, and returns to OperaPhiladelphia as the Boy in George Ben -jamin’s Written on Skin. Mr. Costanzo hasappeared with many of the world’s leadingopera houses, including the MetropolitanOpera, Lyric Opera of Chicago, San Fran -cisco Opera, Los Angeles Opera, Canadian

Opera Company, Glyndebourne FestivalOpera, English National Opera, and TeatroReal in Madrid. In concert, he has appearedat Carnegie Hall and the Kennedy Center, aswell as with the New York Philharmonic,San Francisco Sym phony, LondonSymphony Orchestra, and BerlinPhilharmonic. This summer Mr. Costanzobecame an exclusive recording artist forDecca Gold; his first album, a collection ofarias by Handel and Philip Glass with LesViolons du Roy, will be released in fall 2018.

Jessica Lang DanceFounded in 2011, Jessica Lang Dance (JLD)is a New York City–based dance companydedicated to creating and performing thework of Jessica Lang. JLD enriches andinspires global audiences by immersingthem in the beauty of movement and music.Since the company’s inception, marked byLang’s receipt of a Joyce Theater artist resi-dency supported by the Andrew W. MellonFoundation, JLD has made rapid successperforming at world-renowned venues andfestivals including Jacob’s Pillow DanceFestival, BAM’s Next Wave Festival, NewYork City Center’s Fall for Dance Festival,the Kennedy Center, Joyce Theater, HarrisTheater for Music and Dance, Los AngelesMusic Center, Northrop Auditorium(University of Minnesota), Winspear OperaHouse (Dallas), Tel Aviv Performing ArtsCenter, and Palacio de Bellas Artes (MexicoCity). The company’s performances havebeen named among the best dance eventsof the year by major publications in Dallas,Chicago, Kansas City, and Boston. JLD hasreceived numerous grants and funding fromorganizations, including the New YorkCommunity Trust, Howard Gilman Foun -dation, Rockefeller Brothers Fund, theNational Endowment for the Arts, New YorkState Council on the Arts with the support ofGovernor Andrew M. Cuomo and the NewYork State Legislature, The Shubert Foun -dation, Jerome Robbins Foundation, IrvingHarris Foundation, O’Donnell-Green Musicand Dance Foundation, the New York CityDepartment of Cultural Affairs, Virginia B.

Anthony RothCostanzo

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Toulmin Foundation, Harkness Foundationfor Dance, and the ArtsCONNECT programof Mid Atlantic Arts Foundation.

Orchestra of St. Luke’sNow in its 43rd year, Orchestra of St. Luke’sgrew out of a versatile chamber ensemblethat began performing concerts at NewYork’s Church of St. Luke in the Fields inGreenwich Village in 1974. Today, OSL per-forms approximately 80 concerts each year,including its Carnegie Hall Orchestra Series,performances with Paul Taylor AmericanModern Dance at Lincoln Center, summerconcerts at Caramoor Center for Music andthe Arts, and a chamber music series at theMorgan Library & Museum, the BrooklynMuseum, and Merkin Concert Hall atKaufman Music Center. A champion of newmusic, St. Luke’s has commissioned morethan 50 new works, and given more than175 world, U.S., and New York City pre-mieres in its 43-year history, including theNew York premiere of John Adams’s Nixonin China and the world premieres of AndrewLloyd Webber’s Requiem, Steve Reich’sDuet, and William Bolcom’s The HawthornTree. The orchestra has appeared on morethan 100 recordings, including four GrammyAward winners and seven releases on itsown label. This year OSL announced thatrenowned Baroque and Classical conductorBernard Labadie will join the orchestra asprincipal conductor in the 2018–19 season.Previous music directors and principal con-ductors are Roger Norrington, CharlesMackerras, and Donald Runnicles, andConductor Laureate Pablo Heras-Casado.

OSL owns and operates the DiMennaCenter for Classical Music, which providesrehearsal, recording, teaching, and perfor-mance space for more than 30,000 musi-cians annually, hosts free concerts andevents for more than 11,000 New York Citystudents and families, and provides after-school instrumental instruction for the125+ members of the Youth Orchestra ofSt. Luke’s.

Mark McCulloughMark McCullough (lighting design) designsfor opera and theater companies in the U.S.and abroad. He has lit productions for theVienna State Opera (Macbeth); BolshoiTheatre (La traviata); the MetropolitanOpera (Le nozze di Figaro); the NationalCentre for the Performing Arts in Beijing(The Tales of Hoffmann); La Scala (Cyranode Bergerac); Madrid’s Teatro Real (LuisaMiller); Strasbourg’s Opéra national du Rhin(The Beggar’s Opera); Royal Opera House,Covent Garden (The Queen of Spades);Opera North (Eugene Onegin); as well asnumerous productions for Boston LyricOpera, Lyric Opera of Chicago, Los AngelesOpera, Houston Grand Opera, WashingtonNational Opera, Dallas Opera, theGlimmerglass Festival, Canadian OperaCompany, New York City Opera, SeattleOpera, and San Francisco Opera, includingthe full Ring Cycle directed by FrancescaZambello. Among his successes in theaterhave been the Broadway productions ofOutside Mullingar; Jesus Christ Superstar(revival); After Miss Julie; and TheAmerican Plan. International theater creditsinclude Whistle Down the Wind (AldwychTheatre, London); Der Besuch der altenDame (Ronacher, Vienna); Artus-Excalibur(Theater St. Gallen, Switzerland), Rebecca(Theater St. Gallen and Palladium Theater,Stuttgart); and the U.K. tour of Jesus ChristSuperstar. Future engagements includeDer Freischütz at Vienna State Opera;Porgy and Bess and The Siege of Calais atthe Glimmerglass Festival; Candide at LosAngeles Opera; and West Side Story withHouston Grand Opera.

Bradon McDonaldBradon McDonald (costume design), adancer turned designer, has had a diversecareer in the performing and visual arts. Agraduate of The Juilliard School, he per-formed with the Mark Morris Dance Groupfor a decade, and has also performed withthe Limón Dance Company. Upon retiringfrom the stage, he returned to the Fashion

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Institute of Design & Merchandising in LosAngeles, where he earned two fashiondesign degrees. Since his success on sea-son 12 of the Emmy Award–winning showProject Runway, he has been creating cus-tom garments for private clients, designingstage costumes for dance and opera pro-ductions, including American BalletTheatre, Pacific Northwest Ballet, and LAOpera, and has his own dancewear collec-tion, Bradon X CAPEZIO.

Marjorie Bradley KelloggMarjorie Bradley Kellogg (set design) hasbeen designing for Off-Broadway andregional theater productions for 45 years,as well as designing for opera andBroadway. Ms. Kellogg’s opera designsinclude Passions (Glimmerglass Festival),the world premiere of Margaret Garner(Michigan Opera Theatre), and JessicaLang’s Stabat Mater (Glimmerglass Fes ti -val). Her Broadway designs include AnyGiven Day, On Borrowed Time, Lucifer’sChild, American Buffalo, Da, Requiem for aHeavyweight, A Day in the Death of JoeEgg, Solomon’s Child, Arsenic and OldLace, Steaming, and The Best LittleWhorehouse in Texas. Ms. Kellogg was theresident designer at the National ActorsTheatre from 1992 to 1993, and hasreceived many awards including the 2014Robert L. B. Tobin Award for LifetimeAchievement in Theatrical Design, the2006 USITT Distinguished AchievementAward, the 2002 Ruth Morley DesignAward, the 1995 Mary L. Murphy Award forExcellence in Design, the first MichaelMerritt Award for Excellence in Design andCollaboration (1994), and the BostonTheatre Critics Circle and Los AngelesDrama-Logue awards.

White Light Festival I could compare my music to white light,which contains all colors. Only a prism candivide the colors and make them appear;this prism could be the spirit of the lis-tener. —Arvo Pärt. Now in its eighth year,the White Light Festival is Lincoln Center’sannual exploration of music and art’spower to reveal the many dimensions ofour interior lives. International in scope, themultidisciplinary festival offers a broadspectrum of the world’s leading instrumen-talists, vocalists, ensembles, choreogra-phers, dance companies, and directors,complemented by conversations withartists and scholars and post-performanceWhite Light Lounges.

Lincoln Center for the PerformingArts, 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,Lincoln Center Out of Doors, MidsummerNight Swing, the Mostly Mozart Festival,and the White Light Festival, as well as theEmmy Award–winning Live From LincolnCenter, which airs nationally on PBS. Asmanager of the Lincoln Center campus,LCPA provides support and services forthe Lincoln Center complex and the 11 res-ident organizations. In addition, LCPA led a$1.2 billion campus renovation, completedin October 2012.

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WhiteLightFestival.org

Orchestra of St. Luke’s

ViolinNaoko Tanaka,Concertmaster

Mayuki FukuharaMitsuru TsubotaConrad HarrisKarl KawaharaAnca NicolauSusan ShumwayElizabeth Lim Dutton

ViolaLouise Schulman Ronald CarboneLiuh-Wen Ting

CelloMyron LutzkeJanet Prindle Seidler Chair

Maxine NeumanCharles and Carol Grossman Family Chair

Loretta O’Sullivan

BassJohn Feeney

KeyboardRobert Wolinsky

MA

TT

DIN

E

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Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingJill Sternheimer, Director, Public ProgrammingLisa Takemoto, Production ManagerCharles Cermele, Producer, Contemporary ProgrammingMauricio Lomelin, Producer, Contemporary ProgrammingAndrew C. Elsesser, Associate Director, ProgrammingLuna Shyr, Senior EditorRegina Grande Rivera, Associate ProducerDaniel Soto, Associate Producer, Public ProgrammingWalker Beard, Production CoordinatorNana Asase, Assistant to the Artistic DirectorOlivia Fortunato, Programming AssistantDorian Mueller, House Program CoordinatorJanet Rucker, Company Manager

For the White Light FestivalNeil Creedon, Production ManagerAndrew Hill, Production ElectricianSteven Jude Tietjen, SupertitlesAmy Page, Wardrobe

For Stabat materAbby Rodd, Production ManagerDaniel Diller, Assistant Production ManagerDathan Manning, Stage ManagerBrandon Stirling Baker, Lighting Assistant and SupervisorClaudia McPherson, Rehearsal DirectorNathan Troup, Rehearsal Assistant

Jessica Lang Dance StaffJessica Lang, Artistic Director and ChoreographerKanji Segawa, Artistic Associate and Education Program CoordinatorAndrea Lee Smith, Operations & Development ManagerCallen Gosselin, Company ManagerDaniel Diller, Production and Stage ManagerClaudia MacPherson, Rehearsal DirectorMadeleine Kim, Assistant to the Education Program CoordinatorJulie Fiorenza, Administrative AssistantMilan Misko, Video Content ManagerJohn Harnage, Social Media CoordinatorJim Lang, Graphic DesignerAllan Hatta, Website DeveloperMichelle Tabnick, Publicist

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This production was made possible by Glimmerglass Opera.

JLD thanks its Board of Trustees and generous donors who made tonight’s programpossible.

We are especially grateful to our JLD Sponsors’ Circle members for making our 2017–18 touring season and the new work we create and present possible:

Underwriting SponsorsSarah ArisonJay Franke and David HerroBrian J. HeidtkeAnn and Weston Hicks

Presenting SponsorsDeidra Wager and Rick Munsen

Dancewear and dance shoes courtesy of Gayle Miller & Capezio NYC.

WhiteLightFestival.org