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Alan Gilbert and the New York Philharmonic
2012–13 Season
Alan Gilbert has said that every concert
should be an event, a philosophy that
pervades the New York Philharmonic’s programs week after week. Twelve of these
concerts are captured live in Alan Gilbert
and the New York Philharmonic: 2012–13
Season, demonstrating the excitement surrounding the Orchestra as the Music Director has entered the fourth year of his tenure.
About his rapport with the Philharmonic
players, Alan Gilbert has said: “The chemistry between the Orchestra and me is
ever-evolving and deepening. It is a great
joy to make music with these incredible
musicians and to share what we have to
offer with the audience in a very palpable,
visceral, and potent way.”
These high-quality recordings of almost
30 works, available internationally, reflect
Alan Gilbert’s wide-ranging interests and
passions, from Bach’s B-minor Mass to
brand-new music by Christopher Rouse.
Bonus content includes audio recordings of the Music Director’s occasional
onstage commentaries, program notes
published in each concert’s Playbill, and
encores — all in the highest audio quality
available for download.
For more information about the series,
visit nyphil.org/recordings.
New York Philharmonic
Alan Gilbert, Conductor
Gerald Finley, Bass-Baritone
Patricia Racette, Soprano
Peter Hoare, Tenor
William Ferguson, Tenor
Sidney Outlaw, Baritone
The Collegiate Chorale
James Bagwell, Director
Recorded live June 6, 8 & 11, 2013
Avery Fisher Hall at Lincoln Center for the Performing Arts
DALLAPICCOLA (1904–75)
Il prigioniero (1944–48)
50:16
Prologue and 1st Choral Intermezzo
Scene One
Scene Two
Scene Three
Second Choral Intermezzo
Scene Four
8:40
6:36
15:15
11:20
1:56
6:29
Cast in Order of Appearance
The Mother
The Prisoner
The Jailer/Grand Inquisitor
First Priest
Second Priest
PATRICIA RACETTE
GERALD FINLEY
PETER HOARE
WILLIAM FERGUSON
SIDNEY OUTLAW
THE COLLEGIATE CHORALE
Dan Saunders, Music Preparation
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Alan Gilbert on This Program
In Il prigioniero Dallapiccola created exciting and compelling music to underscore a
story exploring an intense, heightened human situation that speaks to all of us. He
wrote the piece in a time of historic upheaval — World War II and its aftermath — but
he explores this story set during the Spanish Inquisition through the most intimate,
private tragedy. The music may be spiky, but it illuminates this personal dimension
in a truly organic way. I don’t think it is a coincidence that serialism emerged almost
simultaneously with the establishment of a psychoanalytic approach to understanding people and their behavior; Dallapiccola was not the only composer to use this
musical language to dramatize internal strife and passion.
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Notes on the Program
By James M. Keller, Program Annotator
The Leni and Peter May Chair
Il prigioniero
Luigi Dallapiccola
In Short
Born: February 3, 1904, in Pisino d’Istria (then part
of the Austrian Empire; now Pazin, Croatia)
Luigi Dallapiccola was born in 1904, the
same year Alban Berg and Anton Webern
signed up for lessons with the not-yet-famous Arnold Schoenberg and joined him as
he reconfigured the landscape of musical
harmony into the new terrain of atonality.
Nearly two decades later, in 1923, Schoenberg arrived at the organizing principle that
would lend cohesion to his new vision, an
approach later described as a “Method of
Composing with Twelve Tones Which are
Related Only with One Another.”
In that very year, 1923, Dallapiccola
entered the Florence Conservatory. Following his graduation he had a modest career
as a touring pianist; in 1934 he accepted a
faculty position at his alma mater as professor of pianoforte complementare — in other
words, piano for non-majors. He would
continue in this not very glorious post until
his retirement, in 1967.
He had first encountered the music of
Schoenberg in 1924 through a performance of the cycle Pierrot lunaire presented by a concert society overseen by
the composer Alfredo Casella, who became
a mentor for the young Dallapiccola. In the
early 1930s Dallapiccola seemed most
drawn to a neoclassicism derived from such
earlier Italian composers as Gesualdo and
Monteverdi, and after that it seemed that
the music of Stravinsky might become his
guiding light. That possibility is glimpsed in
his Canti di prigionia (Songs of Imprison-
Died: February 19, 1975, in Florence, Italy
Work composed: 1944–48, with a libretto by the
composer, after the stories “La Torture par l’espérance”
by Villiers de L’Isle-Adam and “La Légende d’Ulenspiegel et de Lamme Goedzak” by Charles De Coster
World premiere: December 1, 1949, in a broadcast
performance on RAI (Italian Radio) with Hermann
Scherchen conducting the Turin Orchestra and Chorus;
the first staged production opened May 20, 1950,
at the Teatro Communale in Florence, again with
Scherchen conducting
New York Philharmonic premiere: these
performances
ment, 1938–41), a work of political protest
that in some ways prefigures his 12-tone
operatic masterpiece Il prigioniero (The Prisoner). After meeting Berg in 1934, however,
Dallapiccola began to explore an increasingly
Schoenbergian mode of composition.
As the decade’s politics heated up, Dallapiccola faced personal and political turmoil;
at first he supported Mussolini, but once he
figured out where things were going he did
an about-face, and had to go into hiding for
a while during World War II. He was able to
continue his performing career, for the most
part, although during the war he chose to
give recitals only in countries that were not
officially occupied by the Nazis. In 1942,
while passing through Austria on his way to
a concert booking elsewhere, he managed to
meet Webern. This helped confirm the direction of Dallapiccola’s future as a composer.
In Paris in 1939, on the verge of World
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In the Composer’s Words
War II, Dallapiccola and his wife, Laura,
had happened upon the works of French
symbolist writer Villiers de L’Isle-Adam. They
were taken by his short story “La Torture
par l’espérance” (“Torture by Hope”), which
Dallapiccola used as the basis for the opera
libretto he crafted, interweaving further
strands from a tale by the Belgian author
Charles De Coster.
The topic is imprisonment, which to
some extent was Dallapiccola’s condition
when he began composing the music of Il
prigioniero in 1944: he and Laura, who was
part Jewish, were living in concealment in
and around Florence. The opera, however,
is cast as a symbolist historical tragedy, and
it is set against the background of political
oppression during the wars in Spain and
Flanders in the second half of the 16th
century, circumstances known to opera
lovers thanks to Verdi’s Don Carlo. But
where Verdi explores the conflicts on an
epic scale, Dallapiccola makes the action
practically microscopic, focusing on a single
prisoner, one who might just as easily be
incarcerated in any oppressive time or
place. Only a few other characters surround
him: his mother, a couple of priests, a jailor
who also turns out to be the despotic
Grand Inquisitor. The subject is not the
toppling of nations, but rather the personal
toll of imprisonment and, specifically, how
the punishment of confinement is made
still more cruel — masochistic, really — by
the false hope for release. It is a nightmare
opera, although we can easily imagine its
tragedy being played out in the real world.
Dallapiccola’s Il prigioniero provoked
strong reactions at its staged premiere in
1950 in Florence. Various parties objected to the possibility that they might be
viewed as the oppressors in this drama.
The Italian Communist Party insisted
that repression of this sort could not
have any resemblance to Stalinist work
camps, and the Catholic Church found it
objectionable that the Grand Inquisitor
should be portrayed unkindly, the more
so since the Pope had declared 1950 a
Holy Year. Dallapiccola spoke of the outcry in the article “What is the Answer to
The Prisoner?” that he wrote for the San
Francisco Chronicle in 1962:
This performance was followed by
heated polemics (in which, it goes
without saying, there were political
elements) and by endless philosophical discussions particularly of the
question which the principal character
of The Prisoner poses at the end:
“Freedom?” Some saw a complete
negation of life and its values in this
question. Their attitude was not astronomically distant from the question
of Pilate: “What is truth?” They had
forgotten that Busoni had ended his
masterpiece Doktor Faust (1924) on a
point of interrogation put by Mephistopheles, guardian of the night: “Shall
this man be damned?” This marked
the birth of a new dramatic form, the
open opera. I have always refused to
explain the question posed by The
Prisoner. I have always confined myself to saying that some day I should
give an answer.
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Notes on the Program
(continued)
From the Digital Archives:
Dallapiccola
Dallapiccola infuses his score with hovering
lyricism that effectively suggests a dream
state, his writing fusing the tradition of Italian vocal music with the expressive capacities of Schoenberg’s precepts.
The first work the New York Philharmonic
performed by Luigi Dallapiccola was Symphonic Fragments from the ballet Marsia in
March 1954. Olin Downes wrote in The New
York Times
Instrumentation: three flutes (one doubling piccolo), two oboes and English horn,
two clarinets plus E-flat clarinet and bass
clarinet, alto and tenor saxophones, two
bassoons and contrabassoon, four horns,
three trumpets, three trombones, tuba, timpani, suspended cymbal, cymbal attached
to bass drum, two crash cymbals, tamtams, small snare drum, field drum, bass
drum, vibraphone, xylophone, orchestra
bells, two harps, celesta, piano, and strings;
also an off-stage orchestra of organ, two
trumpets, trombone, and chimes. The cast
of singers comprises The Mother (soprano), The Prisoner (bass-baritone), The
Jailor and The Grand Inquisitor (to be sung
by the same tenor), and two Priests (tenor
and baritone); also a mixed chorus and a
20-voice chamber chorus.
Mr. Dallapiccola is commonly ranked
among the atonalists, but atonalism
as he employs it is not the dominant
characteristic. ... The counterpoint
sings in a melodic manner, and often
leads to harmonies and orchestral
colors that have identity in themselves.
The Philharmonic was led on that occasion by Guido Cantelli, who had championed Mr. Dallapiccola’s music. A protégé of
Toscanini, Cantelli was the rumored favorite
to follow Dimitri Mitropoulos as the Philharmonic’s Music Director, until his death,
at age 36, in a plane crash at Paris’s Orly
Airport in 1956. (This tragedy left only one
contender for the job — Leonard Bernstein,
who would become the Orchestra’s first
American-born and trained Music Director.)
A little known fact is that Dallapiccola
was among the composers invited by the
Philharmonic to write a new work for the
opening of Lincoln Center. The composer
graciously declined, saying that he had
to finish an opera he was working on that
was not a commission (meaning he wasn’t
being paid for it). The composers who
did deliver new works included Copland,
Schuman, Milhaud, Barber, Poulenc,
Hindemith, Henze, Ginastera, and Chavez.
To see the 1954 program and listen to an
excerpt of the radio broadcast of Dallapiccola’s Marsia, visit the New York Philharmonic Digital Archives, made possible by a
generous gift from the Leon Levy Foundation, at archives.nyphil.org.
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Scan here to visit the
Philharmonic Digital Archives
11
Text & Translations
Prologo
Prologue
Si alza subito la tela, dietro cui appare un velario nero.
Davanti al velario appare LA MADRE vestita di nero.
Soltanto il suo volto bianchissimo, illuminato
spietatamente, risulterà visibile allo spettatore.
The curtain rises immediately, disclosing a black curtain.
Before this curtain appears the Mother, dressed in black.
Only her very white face, pitilessly illuminated,
is visible to the audience.
LA MADRE:
Ti rivedrò, mio figlio! Ti rivedrò...
Ma una voce nel cuor mi sussurra:
«Questa è l'ultima volta! »
MOTHER
Once more, my son, I’ll see you! Once more my son ...
But a voice in my heart seems to whisper:
“It will be for the last time!”
Ti rivedrò, mio figlio!
Da più mesi mi struggon
e la brama di te,
e l'affanno per te,
e l'accorato amor di te, mio figlio,
mio solo bene!
Once more, my son, I’ll see you!
How my soul has been anguished
all these hours, all these months
with my longing for you,
with the great ache in my heart for you, oh my dearest,
my only treasure!
(dopo una pausa: smarrita)
Il mio sogno... il mio sogno...
Tutte le notti m'opprime... sempre uguale...
(bewildered)
There’s a vision ... there’s a vision ...
torturing nightly my slumber ... ever unchanging ...
(visionario)
A poco a poco s'aprono le nebbie
del sonno. Ecco: agli occhi m'appare
un antro quasi buio, interminabile.
Lontano, in fondo, una figura, un'ombra,
uno spettro...,— non so —, avanza su di me
lentissimo, pauroso.
Tento di volger gli occhi...
tento di non vedere...
Ma c'è qualcosa assai di me più forte
che tien le mie pupille aperte e fisse.
(as if seeing a vision)
By slow degrees the mists which fill my sleep are
dissolving. There now: they vanish, revealing
a deep and murky cavern, stretching unendingly.
And far in the distance there is a figure, a shadow,
or a spectre, which moves towards me through the gloom,
deliberately full of horror.
Vainly I try to turn away ...
try not to see it approaching ...
but there is something much stronger than my efforts,
which holds my feverish eyeballs transfixed and staring
[Ballata]
Vedo! lo riconosco!
(Porta un farsetto nero. Il toson d'oro al collo brilla sinistro)
Avanza.
It’s he! Ah, now I know him!
(Black is his silken doublet, and on his breast a medallion
glitters with evil.)
He advances.
Le sue labbra di ferro non san che sia il sorriso;
sembra un rintocco funebre il suo pesante passo.
Gli balena negli occhi il riflesso dei roghi
che a volte alimentò col proprio fiato. Tace.
Ah, those cold lips of iron have never known what a smile is,
and like a knell funereal resounds his heavy footstep.
In his eyes are reflected lurid fires of torture,
which now and then he fans with his own breathing. Silence.
Non su gli uomini impera,ma sopra un cimitero
il Re che turba il mondo col suo fantasticare.
È lui, Filippo, il Gufo,figlio dell'Avvoltoio,
poggia la fronte pallida, a una vetrata. Infine
solleva il braccio destro in alto, mormorando:
« Dio Signore è del cielo; Io son Re sulla terra ».
He does not rule the living, his Kingdom is a graveyard;
he keeps the world in a turmoil with his insane imaginings.
Yes he ’tis, King Philip, the Owl, offspring vile of the Vulture,
leaning his forehead, pale and cold, against a window. Then
slowly his own right arm he raises towards the sky and murmurs:
“God is the King of the heavens; I of earth am the ruler.”
Son risalite intanto
le nebbie del mio sonno.
A poco a poco il Gufo
muta i suoi lineamenti:
svaniti gli occhi, quasi per magìa,
son restate le occhiaie bianche e vuote...
Si scavano le guancie ed i capelli
cadono... Ad un tratto
non è più Re Filippo che mi fissa:
è la Morte!
And now the mists of sleep have
begun once more to vanish
and gradually the Owl is
changing his whole appearance:
his eyes have disappeared as if by magic,
leaving only their sockets dead, white and empty ...
His cheeks collapse to hollows and from his scalp the
hairs all fall ... Of a sudden,
no more is it King Philip who regards me:
but a Death’s Head!
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Sgomenta, caccio un grido:
« Mio figlio! Mio figlio! ».
In terror, I wake screaming:
“Son beloved! O my son!”
(Darkness. The Mother disappears.)
Primo Intermezzo Corale
First Choral Intermezzo
IL CORO INTERNO (troncando l'ultima parola della Madre):
Fiat misericordia tua, Domine, super nos.
Quemadmodum speravimus in Te.
Sacerdotes tui induantur justitiam.
Et sancti tui exuItent.
(Lentamente si apre il velario nero).
THE OFFSTAGE CHOIR
Fiat misericordia tua, Domine, super nos.
Quemadmodum speravimus in Te.
Sacerdotes tui induantur justitiam.
Et sancti tui exultent.
(The black curtain rises slowly).
Scena Prima
Un'orribile cella nei sotterranei dell'Official di Saragozza. Un
giaciglio di paglia, un cavalletto, un fornello, una brocca. In fondo,
una porta di ferro. È il crepuscolo: la cella è quasi buia. Sul
giaciglio sta IL PRIGIONIERO. Accanto a lui, LA MADRE.
Scene One
A horrible cell in the dungeon of the “Official” in Zaragoza. A
pallet of straw, an instrument of torture, a stove, a jug. At the
rear an iron door. It is twilight, the cell is nearly dark. On the
pallet sits the Prisoner. Beside him, the Mother.
IL PRIGIONIERO (come continuando una narrazione):
Ero solo. Tutto era buio.
Buio era in questa cella.
Buio era nel mio cuore.
No, non sapevo ancora
di poter soffrir tanto
e non morire...
THE PRISONER (as if continuing a narrative):
There was darkness. I was alone here.
In this cell there was darkness.
In my heart there was darkness.
No ... I could not imagine
that a man could thus suffer
and keep on living ...
LA MADRE (con angoscia repressa)
Figlio... figliolo...
THE MOTHER (with repressed anguish)
Son ... my son ...
IL PRIGIONIERO:
Temevo il sonno, quasi per timore
dovesse esser eterno;
temea la veglia, anch'essa piena d'ombre
e di visioni...
THE PRISONER
I feared my own slumber, dared not close my eyelids
for fear it might be the last time;
yet feared to waken, for there was never daylight,
but only shadows.
LA MADRE (come sopra):
Mio figlio…
THE MOTHER
Oh my dearest ...
IL PRIGIONIERO:
... quando il Carceriere
pronunciò finalmente una parola:
« Fratello ». Dolcissima parola
che mi diede ancor fede nella vita.
THE PRISONER
... then, one day the Jailer
broke his silence and spoke two words, as in friendship;
“My brother.” No words ever sounded sweeter,
they renewed in me desire to keep on living.
LA MADRE (fra sè; mormorando):
(... che ti diede ancor fede nella vita?)
THE MOTHER (to herself)
(... they gave you a new desire to keep on living?)
IL PRIGIONIERO:
Come dire
di dove venga la speranza? Come
s'insinui nel nostro cuore?
« Fratello ». Dolcissima parola
che mi ridiede il senso della luce.
THE PRISONER
Oh how strange ‘tis
that we so seldom know whence hope comes. How does
it enter into our bosoms?
“My brother.” No words ever sounded sweeter,
they reawakened my sense of what the light is!
LA MADRE (come sopra):
(... che ti ridiede il senso della luce?)
THE MOTHER
(...they reawakened your sense of what the light is?)
IL PRIGIONIERO:
Dopo torture che non so narrare,
dopo che corda e morsa e cavalletto
tutto il mio corpo avevano piagato...
THE PRISONER
After those tortures all beyond description,
after the whippings and burnings and lacerations
here on my body had left their cruel record ...
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Text & Translations
(continued)
LA MADRE (prorompendo):
Figlio, figliolo mio!...
THE MOTHER
Son, my dearest son!
IL PRIGIONIERO (continuando):
... udivo alfine una parola amica:
« Fratello ». Dolcissima parola…
Da quella sera ho ripreso a pregare...
THE PRISONER
... I heard at last those two little words of friendship:
“My brother.” No words ever sounded sweeter ...
and since that evening I’ve begun once more my praying ...
LA MADRE (fra sè; mormorando):
(… da quella sera hai ripreso a pregare?)
THE MOTHER
(... since that evening you’ve begun once more your
praying?)
IL PRIGIONIERO (continuando):
E prego sempre, quando cade il giorno:
Signore, aiutami a camminare,
così lunga è la via che mi pare
di non poterla finire.
Signore, aiutami a salire.
THE PRlSONER
And pray thus always, at the hour of nightfall:
“My Father, 0 guide my steps, keep them from error,
for the way seemeth so long and full of terror
that I cannot reach the ending. (For the way seems a long
one ...) My Father, please help and bless my ascending ... “
LA MADRE (fra sè):
Che mi ricordano queste parole?
Mi fan pensare ad un tempo lontano:
Così pregavi quand'eri bambino…
Triste è riandare al tempo tuo felice...
THE MOTHER (to herself)
Ah, how these words in my mind stir up memories ...
They make me think of a time long since vanished,
‘Twas thus you prayed in the days of your childhood ...
Sad ‘tis recalling times when you were happy ...
(disperatamente)
Figlio! Figliolo! che più ci è rimasto
di allora?
(Io abbraccia)
(si ode un rumore al di là della porta)
Son! beloved! is for us, then, nothing
remaining?
(embraces the Prisoner)
(There is a sound at the door, the Prisoner starts.)
IL PRIGIONIERO (senza muoversi):
È il Carceriere.
(si apre la porta nel fondo)
THE PRISONER (without stirring)
It is the Jailer.
(the door at the back opens)
LA MADRE:
È questo, dimmi, proprio
l'ultimo nostro addio?
(II Prigioniero resta muto. La Madre esce).
THE MOTHER (desperately)
Must this then, tell me, be the
last time my eyes shall behold you?
(The Prisoner remains silent and motionless. The Mother exits.)
Scena Seconda
Scene Two
IL CARCERIERE (è avanzato intanto di qualche passo; ma è
ancora lontano dal Prigioniero):
Spera, fratello, spera ardentemente;
devi sperare sino a spasimarne ;
devi sperare ad ogni ora del giorno;
vivere devi per poter sperare.
THE JAILER (The Jailer moves forward slowly, remaining
however at some distance from the Prisoner.)
Hope, o my brother, hope now with all that’s in you;
now you must hope till agony fills your bosom:
use every hour of the day for your hoping;
you must keep living that you may keep hoping.
(avanza ancora di qualche passo. È ormai vicino al Prigioniero)
Fratello...
(he moves forward a few steps and is now very near to the
Prisoner)
My brother ...
(all'orecchio del Prigioniero: quasi segretamente)
Nelle Fiandre
divampa la rivolta...
(he takes one more step; in the ear of the Prisoner)
Far in Flanders … (looks about him)
the people are revolting.
IL PRIGIONIERO (scuotendosi):
Ah!...
THE PRISONER (starting)
Ah!
IL CARCERIERE:
Nelle strade di Gand tumultua il popolo...
THE JAILER
In the city of Ghent the streets throng with the populace ...
IL PRIGIONIERO (animandosi):
Ah!...
THE PRISONER (animatedly)
Ah!
IL CARCERIERE:
Carlo strappò la lingua di sua madre
il di che tolse la fiera campana
a Gand, che forte parlava alle Fiandre,
Roelandt, l'orgoglio di tutta una terra.
THE JAILER
Charles cut away the tongue of his own mother
the day he cut from its home in the bell-tower
at Ghent, the great brazen bell sounding through Flanders,
Roelandt, the pride of the whole Flemish people.
IL PRIGIONIERO:
Roelandt, com'eri solenne nell'aria
mentre il tuo motto scandivi pacata:
Quando rintocco vuol dir che c'è incendio;
Quando rintocco il paese è in rivolta...
THE PRISONER
Roelandt, how solemn you rang over the city
the while your motto so calmly resounded:
“Strike me to warn of a fire in the city;
ring me to show that the nation’s revolting ... “
IL CARCERIERE:
Roelandt ancora risonare udrai!
Giorno di gioia aIfin per tanti cuori
oppressi... Fratello,
sappi a quei rintocchi
che il Santo Uffìzio e Filippo tramontano!
THE JAILER
Roelandt again you’ll hear peal forth his message!
Day of rejoicing at last for many hearts
that suffer ... My brother,
know you that at that moment
the Inquisition and King Philip are doomed to fail!
IL PRIGIONIERO:
Solo. Son solo un'altra volta.
Solo coi miei pensieri. O madre mia! ...
THE PRISONER (to himself)
No one. Alone am I as always.
Only my thoughts are with me. 0 dearest Mother!
IL PRIGIONIERO (sempre più esaltandosi)
Ridilla ancora la parola attesa!
THE PRISONER (wildly)
Repeat once more those words so long awaited!
IL CARCERIERE (appare improvvisamente nel vano della porta,
tenendo in mano una lampada accesa):
Fratello...
THE JAILER (The Jailer appears suddenly in the open door, a
lighted lamp in his hand.)
My brother ...
IL CARCERIERE (rapidamente):
Flessinga è conquistata dai Pezzenti;
sta per cadere Veere; a Gorcum si combatte...
THE JAILER
Camp Vere has now been taken by the Beggars;
they are at the gates of Vlissing; at Gorcum they are fighting ...
IL PRIGIONIERO (sempre immobile):
Questa voce..., quest'unica parola
nel silenzio e nel buio...
THE PRISONER (without stirring)
Now I hear it ... that voice, those words of friendship
in the silence and the darkness ...
IL PRIGIONIERO (con un grido):
Combattono i Pezzenti!
THE PRISONER
The Beggars now are fighting!
IL CARCERIERE (avanza di qualche passo):
(con infinita dolcezza)
Fratello... spera...
THE JAILER (advancing a few steps)
(with infinite sweetness)
My brother ... hope now ...
IL PRIGIONIERO (sempre immobile):
Udire infine una parola umana
là dove tutto tace...
THE PRISONER (without stirring)
At last I hear it, a human voice speaking kindness
here where all things are silent ...
[Aria in tre strofe]
IL CARCERIERE:
Sull'Oceano, sulla Schelda,
con il sole, con la pioggia,
con la grandine e la neve,
sui vascelli — lieti in volto —
i Pezzenti passano.
Con le vele aperte ai venti,
bianchi cigni che svolazzano,
cigni della libertà!
THE JAILER
On the sea and upon the river,
through the rain and through the sunshine,
through the pelting hail and the snow-storm,
in their vessels, full of courage,
go the Beggars sailing on.
With their sails open to the breezes,
like great snow-white swans they are flying by,
flying swans of liberty!
14
15
Text & Translations
(continued)
IL PRIGIONIERO:
Cigni della libertàl
THE PRISONER
Flying swans of liberty!
Fratello...
(il Prigioniero si scuote)
C'è chi veglia su te. La libertà
tanto agognata forse ti è vicina.
Abbi fede, fratello. Dormi... e spera!
(Raccatta la lampada e si appresta a uscire. Si sofferma lungamente presso la porta e volge uno sguardo al Prigioniero,
che nel frattempo si sarà steso sul giaciglio. Esce lentamente).
(Da uno spiraglio, fra la porta e il muro, filtra dall'esterno,
per un attimo, un raggio di luce: il riflesso della lampada del
Carceriere. Il Prigioniero si scuote: ma subito si ricompone).
My brother ...
(the Prisoner starts)
There is One who watches over you. And maybe now
nearing you is the liberty you have longed for.
Keep believing, my brother: sleep now, keep hoping!
(He picks up the lamp and prepares to depart. He pauses a long
time near the door and looks back at the Prisoner, who has
meanwhile stretched out on the pallet. He goes out slowly. From
a gap between the door and the wall a ray of light from the
outside filters for an instant the reflection of the Jailer’s lamp.
Another ray of light, this time weaker. The Prisoner starts.)
IL CARCERIERE:
Tre colori ha lo stendardo
che accompagna i prodi in mare:
bianco per la libertà,
è l'azzurro per la gloria,
arancione è per il Principe.
Con le vele aperte ai venti
i Pezzenti passano,
cigni della libertà.
THE JAILER
At their bows is flying a banner,
proudly displaying three shining colors:
white for liberty of men,
and the blue of heaven for glory,
and the hue of the house of Orange.
With their sails filled by the breezes,
see the Beggars sailing by,
great white swans of liberty! Ah!
IL PRIGIONIERO:
... della libertà!
THE PRISONER
... swans of liberty!
IL PRIGIONIERO:
No, no... vaneggio. Questa debolezza
estrema mi causo tant'altre volte
visioni allucinanti.
Quel riflesso...
mai prima d'ora lo avevo notato.
Quel riflesso... La lampada...
Ho udito i passi che s'allontanavano...
Mai prima d'ora li avevo notati.
THE PRISONER
No, no it’s madness. Once again this fearful
exhaustion fills my fevered brain with visions ...
they are all hallucinations .
That reflection ...
Never before have I seen the light enter.
That reflection ... The Jailer’s lamp ...
I clearly heard his footsteps as they died away ...
Never before have I heard them reecho ...
IL CARCERIERE:
Volano sul fiume rapidi,
sembran nubi al vento nordico;
con la prora fendon l'onde,
mentre in alto, dalle stelle,
ai Pezzenti Iddio sorride.
Dio dei liberi, ci aiuta!
Sono i cigni candidi,
cigni della libertà!
THE JAILER
Down the river scudding rapidly,
like great clouds which the wind drives from the north,
with their prows they cut the water.
Down from starry heaven above them,
on the Beggars the Lord is smiling.
Father of liberty! Come to aid us!
They are like swans of purest white,
flying on for liberty! Ah!
La lampada... Nel buio, all’improvviso,
piombava questa cella le altre sere.
M'ha detto: «Abbi fede, fratello. Dormi. Spera».
(Strisciando con estrema circospezione,
si è avvicinato alla porta).
M'ha detto: «C'è chi veglia su te ».
(Tocca la porta, che cede subito alla pressione)
Ma allora, questo... non è un sogno!
« Spera! » m’ha detto... « Spera! ».
The Jailer’s lamp ... Unusual, on other evenings,
this cell was plunged in darkness, total darkness.
He told me: “Keep believing my brother, sleep now, hoping.”
(Making a sudden decision, he creeps
cautiously towards the door.)
He told me: “There is One who watches over you.”
(He touches the door, which yields immediately to the pressure.)
Ah! It is open: this then is not a vision!
“Hope!” - he told me. “Hope!”
IL PRIGIONIERO:
... della lìberta!
THE PRISONER
. . . swans of liberty!
IL CARCERIERE:
Il grido di vendetta scoppia in Fiandra:
vibrano i cuori come corde tese...
THE JAILER
The air is filled with shouts of vengeance in Flanders:
every heart vibrates like a quivering harpstring ...
IL PRIGIONIERO (fra sè):
Filippo, sanguinario, dove sei?
D'Alba feroce, dove ti nascondi?
THE PRISONER (to himself)
King Philip, where, o murderer, can I find you?
Vile Duke of Alba, where will you take refuge?
(si precipita fuori della porta).
(He rushes out of the door.)
IL CARCERIERE:
Dopo la strage riprende la vita...
Non odi intorno voci di fanciulli?
(con accento infantile e popolaresco)
THE JAILER
After the carnage all life recommences ...
Oh! Listen to the voices of the children!
(with childish accent and a very light voice)
Scena Terza
Il sotterraneo dell'Official di Saragozza, illuminato appena qua e
la da lampade bluastre. (Scenario girevole). Il sotterraneo, lunghissimo e di cui non si vede Ia fine, dovrà far pensare a quello
che la Madre,nel Prologo. racconta di aver veduto in sogno.
Torna, sole,
sulle città liberate!
Campane, spandete nell'aria
il vostro rintocco di gioia...
(contemplativo)
Sorridono i volti ed i cuori…
“Sun of freedom,
shine on our land with your brightness!
And ring once again bells,
send forth over the city your joyous resoundings ...
(with his natural, not-childish voice)
All faces and hearts once more are smiling ...
Scene Three
The curtain rises, slowly disclosing a passage in the dungeon of
the “Official” of Zaragoza dimly lit by a few bluish lights. Revolving stage. The passage, so long that one cannot see the end,
must recall the one which the Mother, in the Prologue, tells of
having seen in a dream.
IL PRIGIONIERO
(tenta di riprendere la canzone del Carceriere; ma la voce gli si
spezza in un singhiozzo. La sua espressione, che
si era gradatamente rasserenata. ridiventa improvvisamente
feroce):
THE PRISONER
(The Prisoner has been listening more and more
avidly to the words of the Jailer, and his former fierce expression
has changed to one of serene joy. He tries to take up the song
of the Jailer, but his voice breaks into sobs.)
Fratello, grazie a te,
che m'hai fatto sperare!
(alza le braccia, giungendo le mani, e in tale atteggiamento
rimane immobile, come assorto in una vision).
Oh! My brother, thanks to you,
I now can hope for freedom!
(he raises his arms, holding his hands and remains motionless in
this position as if absorbed in a vision)
IL CARCERIERE (dopo una pausa molto lunga, avvicinandosi al
Prigioniero):
THE JAILER (silently approaching the Prisoner)
IL PRIGIONIERO (striscia lungo una parete del sotterraneo…
s'inginocchia):
Signore, aiutami a camminare.
Così lunga è la via che mi pare
di non poterla finire.
Signore, aiutami a salire.
(Strisciando lungo la parete.)
Buio. Silenzio. Come fra le tombe.
(quasi senza fiato)
Chi viene?
(si rannicchia in un angolo buio. Passa rapidamente un FRA
REDEMPTOR [frate torturatore] che tiene in mano uno strumento
di tortura. Svolta e scompare).
Che angoscia, Iddio! Sulle carni straziate
risento il morso di quelle tenaglie...
risento il ferro... il fuoco...
(si inginocchia)
Signore, aiutami a camminare...
(tenta di alzarsi).
Non reggo.
THE PRISONER (creeps along the wall of the passage ... then
kneels.)
“My Father, o guide my steps, keep them from error.
For the way seemeth so long and full of terror
that I cannot reach the ending.
My Father, please help me and bless my ascending.”
(He creeps along the wall.)
Darkness. And silence. As within a tomb.
(almost suffocated with terror)
Who’s coming?
(He shrinks into a dark corner. A Fra Redemptor - a torturer
- with an instrument of torture in his hand, passes rapidly and
silently, turns a corner and disappears.)
Oh, what terror! God save me! How my lacerated flesh
feels again the clawing of those fearful talons ...
again feels the iron ... the burning ...
(he kneels)
“My Father, Oh, guide my steps, keep them from error ...”
(he tries to rise)
I cannot.
16
SIPARIO RAPIDO
THE CURTAIN FALLS
17
Text & Translations
(continued)
Sorpreso qui, la notte,
evitar non potrei
nuovi, atroci supplizi. Che fare?
Ritornare
nella mia cella scura
ad aspettare ancora e sempre invano?
Vieni fuori! una voce disse a Lazaro
un giorno: e dalla fossa umida e buia
Lazaro apparve.
Odo una simile voce a me d'intorno:
dal buio mi chiama alla luce...
m'incanta, mi vuole a sè dall'ombra
con magica parola...
(Improvvisamente appaiono DUE SACERDOTI. Si rannicchia di
nuovo; ma non lontano dal riflesso di una lampada).
Ohimè!
Discovered here, at midnight,
I could never escape
from new, more horrible tortures. Go back now?
In my cell is
nothing but gloom and silence
and it would mean only vainly, hopelessly waiting.
“Come forth!” cried a voice one day to the body
of Lazarus; and forth it came, now living, from out
the sepulchre’s darkness.
I, too, can hear such a voice, deep within me,
from darkness it calls me to daylight ...
it charms me and draws me from the shadows
with words that sound like magic ...
(Two Priests suddenly appear. The Prisoner shrinks back again,
but not far from one of the lights.)
Oh God!
PRIMO SACERDOTE (come continuando una conversazione):
... La Comunione sub utraque specie...
THE FIRST PRIEST (as continuing a conversation):
... In the Communion “sub utraque specie ...”
SECONDO SACERDOTE:
Silenzio...
M'era sembrato di udire...
THE SECOND PRIEST
Be silent ...
What was the sound that I heard there ...?
PRIMO SACERDOTE (calmissimo):
Che cosa?
THE FIRST PRIEST (very calmly)
You heard something?
SECONDO SACERDOTE:
Come il sospiro di qualcun... che viva...
THE SECOND PRIEST
’Twas like the sigh of one who still is living ...
PRIMO SACERDOTE (sempre calmissimo):
E chi potrebbe vivere qui intorno?
I carcerati dormon nelle celle:
li aspetta all'alba assai più lungo sonno.
THE FIRST PRIEST (still very calmly)
And who could be alive down in this passage?
All of the prisoners in their cells are sleeping,
At dawn there awaits them a rather longer slumber.
SECONDO SACERDOTE (con fervore):
Voglia il Cielo toccare i loro cuori
in quest'ultima notte...
(il Primo Sacerdote fissa a lungo il punto in cui il Prigioniero
è rannicchiato).
Signore, aiutami a salire…
(accelera ancora il passo)
La porta! La porta! Sono al fine!!!
(Sopra la sua testa risuonano i pesanti rintocchi di una campana.
Si ferma di scatto).
(esaltatissimo)
La campana di Gand! (vacillando) la gran campana!
Roelandt. la fiera! Filippo! Filippo!
I giorni del tuo regno son contati!
“My Father, please help me and bless my ascending! ...”
(Again he increases his pace.)
The portal! The portal! Now I have reached it!!!
(He stops suddenly. Over his head sounds the heavy tolling of
a bell.)
(exaltedly)
It’s the great hell of Ghent! (wavering, terrified) They’re ringing
Roelandt! Roelandt is ringing! Oh Philip! Oh Philip!
The days of your dominion now are numbered!
CALA RAPIDAMENTE IL VELARIO NERO
THE BLACK CURTAIN FALLS RAPIDLY
Secondo Intermezzo Corale
Second Choral Intermezzo
IL CORO INTERNO:
Domine, labia mea aperies
Et os meum annuntiabit laudem tuam.
THE OFFSTAGE CHOIR
Domine, labia mea aperies
Et os meum annuntiabit laudem tuam.
Scena Quarta (Ultima)
Scene Four (last)
Appare un vasto giardino, sotto il cielo stellato. Un grande cedro
nel mezzo della scena. In distanza, nello sfondo, le montagne.
Aria di primavera.
The black curtain rises slowly, revealing a vast garden, beneath
a star-studded sky. A great cedar tree stands in the center of
the stage. In the distance mountains are visible. Atmosphere
of spring.
IL PRIGIONIERO (precipitandosi in scena):
Alleluja!
(si guarda intorno stupito)
Quest'aria... questa luce...
La libertà!
THE PRISONER (rushing onto the stage)
Alleluja! Alleluja!
(he looks around amazed)
Such freshness ... and such beauty ...
At last I’m free!
IL CORO INTERNO:
Domine... Domine...
THE OFFSTAGE CHOIR
Domine ... Domine ...
THE SECOND PRIEST
Would that Heaven might touch those hearts rebellious
in this ultimate hour ...
(The first priest lets his eye rest for a long time on the spot
where the Prisoner is crouching. Then they move towards the
exit, taking up the interrupted conversation.)
IL PRIGIONIERO (con devozione):
Non ho sperato invano.
non ho sperato invano...
THE PRISONER
My hope was not, then, a vain one,
my hope was not, then, a vain one ...
IL CORO INTERNO:
Domine, labia mea aperies...
THE OFFSTAGE CHOIR
Domine, labia mea aperies ...
PRIMO SACERDOTE (disponendosi a uscire):
La Comunione sub utraque specie…
THE FIRST PRIEST
... In the Communion “sub utraque specie ...”
SECONDO SACERDOTE:
Negano la reale Presenza...
(Escono).
THE SECOND PRIEST
They deny the Divinity’s Presence ...
(Exeunt)
IL PRIGIONIERO:
Le stelle! Il cielo! questa è la salvezza...
Fuggir per la campagna... Con le prime
luci dell'alba sarò sui monti...
Il profumo dei cedri... La libertà...
THE PRISONER
The starlight! The Heavens! This will be my salvation ...
I’ll flee across the meadows ... and shall be already
at sunrise high in the mountains ...
Ah, the fragrance of cedars ... at last I’m free ...
IL PRIGIONIERO (terrorizzato)
Quegli occhi mi guardavano!
Occhi tremendi... ancor vi vedo impressi
su quest'umido muro...
No... no... son le pupille che ritengono
ancora quello sguardo incancellabile.
M’hanno veduto quei terribili occhi?
(riprende stancamente a strisciare lungo il muro).
THE PRISONER (terrified)
Oh, how those eyes regarded me!
Eyes so enormous ... they seem to be imprinted
on this wall’s horrid dampness ...
No ... No ... it’s my own eyes which feel their burning stare ...
it seems as if I cannot ever blot it out.
They must have seen me, those two eyes so piercing.
(He creeps again wearily along the wall.)
IL CORO INTERNO:
Et os meum annuntiabit laudem tuam...
THE OFFSTAGE CHOIR
Et os meum annuntiabit laudem tuam ...
IL PRIGIONIERO (con immenso fervore):
Alleluja!
(Al colmo dell'estasi, si avvicina al grande cedro e allarga le
braccia in un impeto di amore per tutta l'umanità. Due braccia
enormi, quasi nascoste tra i rami più bassi, lentamente si
muovono e ricambiano la stretta. Il Prigioniero si trova fra
le braccia del GRANDE INQUISITORE).
THE PRISONER (with great fervor)
Alleluja! Ah! Alleluja!
(He approaches the cedar and in the height of ecstasy, spreads
out his arms in a gesture of love for all humanity. Two enormous
arms, half hidden by the lowest branches, slowly move out to
return the embrace. The Prisoner finds himself held fast by the
arms of the Grand Inquisitor.)
Così lunga è la via che mi pare... (si ferma)
Sulle mie mani passa un soffio d'aria...
una fredda carezza… donde viene?
la porta non dev'essere lontana...
(si alza e accelera il passo)
“For the way seemeth so long and full of terror ...” (he stops)
Across my fingers moves a breath of coolness ...
like a tender caressing ... where does it come from?
I must be nearing now the final portal ...
(He again creeps along the wall, then rises and begins walking faster.
He stops.)
IL GRANDE INQUISITORE (= Il Carceriere):
Fratello...
(Il Prigioniero, riconoscendo la voce del Carceriere, emette un
suono inarticolato e resta soffocato dallo spavento),
THE GRAND INQUISITOR (= The Jailer)
My brother ...
(The Prisoner, recognizing the voice of the Jailer, utters an
inarticulated sound, shocked with fear.)
18
19
Text & Translations
(continued)
IL GRANDE INQUISITORE (con l'accento della più sincera pietà
e tenendo sempre abbracciato il Prigioniero):
Alla vigilia della tua salvezza
perchè mai ci volevi abbandonare?
(apre le braccia)
THE GRAND INQUISITOR (with a tone of most sincere compassion, still holding the Prisoner fast)
Upon the threshold of your salvation
why should you be ungrateful, and want to leave us?
(He opens his arms. The Prisoner, after a long pause, moves
rapidly, as if struck by a sudden realization, towards the
proscenium.)
IL PRIGIONIERO (dopo una lunga pausa, come colpito da
improvvisa rivelazione, muove rapidamente verso il proscenio):
S'è fatta luce! Vedo! Vedo!
La speranza... l'ultima tortura...
Di quante mai sofferte, la più atroce...
(dal fondo della scena s'alza un bagliore: il Prigioniero si
volge inorridito)
Il rogo!
(ride come un pazzo)
THE PRISONER
Ah, how the light dawns! Now I see! Now I see!
It is hoping ... which is the final torture ...
of all that I have suffered, the most maddening ...
(A ruddy light begins to flicker from the rear of the scene; the
Prisoner turns horrified.)
The stake! Ah! Ah! Ah! Ah!
(He laughs insanely)
IL GRANDE INQUISITORE:
Coraggio...
THE GRAND INQUISITOR
Have courage ...
CORO DA CAMERA (dietro la scena; collocato dalla parte opposta a quella del grande Coro):
Languendo, gemendo et genuflectendo…
THE CHAMBER CHOIR
IL CORO INTERNO:
Domine, labia mea aperies...
THE OFFSTAGE CHOIR
Domine, labia mea aperies ...
IL GRANDE INQUISITORE:
Vieni...
(Con estrema dolcezza, prende per mano il Prigioniero e muove
con lui qualche passo).
THE GRAND INQUISITOR
Come now ...
(With great tenderness, he takes the Prisoner by the hand, and
moves with him a few steps. The Prisoner stops.)
IL PRIGIONIERO (quasi incosciente; sussurrato):
La libertà...
THE PRISONER (almost unconscious, whispering)
Liberty ...
CORO DA CAMERA:
O Domine Deus!
Languendo, gemendo et genuflectendo...
CHAMBER CHOIR
O Domine Deus!
Languendo, gemendo et genuflectendo ...
IL GRANDE INQUISITORE:
Fratello... andiamo...
(riprende per mano il Prigioniero e con lui si avvia verso il
fondo della scena).
THE GRAND INQUISITOR
My brother ... do come now ...
(He takes the Prisoner again by the hand and they move
towards the rear of the stage.)
IL CORO INTERNO:
Et os meum annuntiabit laudem tuam...
THE OFFSTAGE CHOIR
Et os meum annuntiabit laudem tuam ...
IL PRIGIONIERO (quasi incosciente: sussurrato. Ma questa volta
con tono nettamente interrogativo):
La libertà?
THE PRISONER (almost unconscious, whispering, but this time
with a tone of questioning)
Liberty?
CALA LA TELA
(the curtain falls)
Languendo, gemendo et genuflectendo ...
English Translation by Harold Heiberg
20
21
New York Philharmonic
ALAN GILBERT
Music Director
Case Scaglione
Joshua Weilerstein
Assistant Conductors
Leonard Bernstein
Laureate Conductor, 1943–1990
Kurt Masur
Music Director Emeritus
VIOLINS
Glenn Dicterow
Marilyn Dubow
Ru-Pei Yeh
CLARINETS
The Sue and Eugene Mercy, Jr. Chair
The Credit Suisse Chair
in honor of Paul Calello
Mark Nuccio
Wei Yu
Susannah Chapman++
Alberto Parrini++
Pascual Martínez Forteza*
George Curran++
Acting Associate Principal
The Honey M. Kurtz Family Chair
TUBA
Martin Eshelman
Judith Ginsberg
Hyunju Lee
Joo Young Oh
Daniel Reed
Mark Schmoockler
Na Sun
Vladimir Tsypin
VIOLAS
BASSES
AUDIO DIRECTOR
Lawrence Rock
Principal
The Redfield D. Beckwith Chair
E-FLAT CLARINET
TIMPANI
Satoshi Okamoto*
Pascual Martínez Forteza
Markus Rhoten
BASS CLARINET
Principal
The Carlos Moseley Chair
Amy Zoloto++
Kyle Zerna**
BASSOONS
PERCUSSION
Judith LeClair
Christopher S. Lamb
The New York Philharmonic uses the revolving seating method for section string players who are listed alphabetically in the roster.
Principal
The Constance R. Hoguet Friends of
the Philharmonic Chair
HONORARY MEMBERS
OF THE SOCIETY
Rebecca Young*
William Blossom
Michelle Kim
The Norma and Lloyd Chazen Chair
Assistant Concertmaster
The William Petschek Family Chair
Dorian Rence
Quan Ge
The Gary W. Parr Chair
Hae-Young Ham
The Mr. and Mrs. Timothy M. George
Chair
Lisa GiHae Kim
Kuan Cheng Lu
Newton Mansfield
The Edward and Priscilla Pilcher Chair
Kerry McDermott
Anna Rabinova
Charles Rex
The Shirley Bacot Shamel Chair
Fiona Simon
Sharon Yamada
Elizabeth Zeltser
The William and Elfriede Ulrich Chair
Yulia Ziskel
Marc Ginsberg
Principal
Lisa Kim*
In Memory of Laura Mitchell
Soohyun Kwon
The Joan and Joel I. Picket Chair
Duoming Ba
The Joan and Joel Smilow Chair
The Ludmila S. and Carl B. Hess Chair
Irene Breslaw**
Randall Butler
David J. Grossman*
Principal
The Pels Family Chair
Katherine Greene
Blake Hinson
Max Zeugner
Rex Surany++
Kim Laskowski*
Roger Nye
Arlen Fast
The Mr. and Mrs. William J. McDonough
Chair
FLUTES
Robert Langevin
CONTRABASSOON
Arlen Fast
Principal
The Lila Acheson Wallace Chair
HORNS
Dawn Hannay
Vivek Kamath
Peter Kenote
Kenneth Mirkin
Judith Nelson
Robert Rinehart
Sandra Church*
Yoobin Son
Mindy Kaufman
The Mr. and Mrs. G. Chris Andersen
Chair
CELLOS
PICCOLO
Mindy Kaufman
Maria Kitsopoulos
Sumire Kudo
Elizabeth Dyson
The Mr. and Mrs. James E. Buckman
Chair
Alexei Yupanqui Gonzales
Qiang Tu
22
HARP
Nancy Allen
Philip Myers
Principal
The Ruth F. and Alan J. Broder Chair
KEYBOARD
The Rosalind Miranda Chair
In Memory of Paul Jacobs
Principal
The Alice Tully Chair
TRUMPETS
Philip Smith
Eric Huebner
Sherry Sylar*
Robert Botti
Principal
The Paula Levin Chair
Liang Wang
The Shirley and Jon Brodsky
Foundation Chair
Kyle Zerna
HARPSICHORD
Principal
The Fan Fox and Leslie R. Samuels
Chair
Eric Bartlett
The Mr. and Mrs. Ronald J. Ulrich Chair
Howard Wall
Richard Deane++
Leelanee Sterrett++
OBOES
The Paul and Diane Guenther Chair
Daniel Druckman*
Principal
The Mr. and Mrs. William T. Knight III
Chair
R. Allen Spanjer
Carter Brey
Eileen Moon*
Joseph Faretta
Principal
Principal Associate
Concertmaster
The Elizabeth G. Beinecke Chair
Enrico Di Cecco
Carol Webb
Yoko Takebe
STAGE REPRESENTATIVE
Alan Baer
Orin O’Brien
Sheryl Staples
Carl R. Schiebler
Alucia Scalzo++
Amy Zoloto++
Principal
The Mr. and Mrs. Frederick P. Rose
Chair
Concertmaster
The Charles E. Culpeper Chair
The Daria L. and William C. Foster
Chair
ORCHESTRA PERSONNEL
MANAGER
Fora Baltacigil
Acting Associate Principal
The Herbert M. Citrin Chair
Cynthia Phelps
Acting Principal
The Edna and W. Van Alan Clark Chair
BASS TROMBONE
Keisuke Ikuma++
Matthew Muckey*
Ethan Bensdorf
Thomas V. Smith
ENGLISH HORN
TROMBONES
Keisuke Ikuma++
Joseph Alessi
The Lizabeth and Frank
Newman Chair
Principal
The Gurnee F. and Marjorie L. Hart
Chair
Paolo Bordignon
PIANO
ORGAN
Kent Tritle
LIBRARIANS
Lawrence Tarlow
Principal
Sandra Pearson**
Sara Griffin**
David Finlayson
The Donna and Benjamin M. Rosen
Chair
23
*Associate Principal
**Assistant Principal
+On Leave
++Replacement/Extra
Emanuel Ax
Pierre Boulez
Stanley Drucker
Lorin Maazel
Zubin Mehta
the late Carlos Moseley
The Music Director
New York Philharmonic Music Director
Alan Gilbert began his tenure in September 2009, launching what New York
magazine called “a fresh future for the
Philharmonic.” The first native New Yorker
to hold the post, he has sought to make
the Orchestra a point of civic pride for the
city and country.
Mr. Gilbert combines works in fresh
and innovative ways; has forged important artistic partnerships, introducing
the positions of The Marie-Josée Kravis
Composer-in-Residence and The Mary
and James G. Wallach Artist-in-Residence;
and introduced an annual multi-week festival and CONTACT!, the new-music series.
In the 2012–13 season he conducted
world premieres; presided over a cycle
of Brahms’s symphonies and concertos;
conducted Bach’s Mass in B minor and an
all-American program, including Ives’s Fourth
Symphony; led the Orchestra’s EUROPE
/ SPRING 2013 tour; and continued The
Nielsen Project, the multi-year initiative to
perform and record the Danish composer’s
symphonies and concertos, the first release
of which was named by The New York Times
as among the Best Classical Music Recordings of 2012. The season concluded with
Gilbert’s Playlist, four programs showcasing
the Music Director’s themes and ideas, culminating in a theatrical reimagining of Stravinsky ballets with director/designer Doug Fitch
and New York City Ballet principal dancer
Sara Mearns. The previous season’s highlights included performances of three Mahler
symphonies, including the Second, Resurrection, on A Concert for New York; tours to
Europe (including the Orchestra’s first International Associates residency at London’s
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Barbican Centre) and California; and Philharmonic 360, the Philharmonic and Park
Avenue Armory’s acclaimed spatial-music
program featuring Stockhausen’s Gruppen,
building previous seasons’ successful productions of Ligeti’s Le Grand Macabre and
Janáček’s The Cunning Little Vixen, each
acclaimed in 2010 and 2011, respectively,
as New York magazine’s number one classical music event of the year.
In September 2011 Alan Gilbert became Director of Conducting and Orchestral Studies at The Juilliard School, where
he is the first to hold the William Schuman
Chair in Musical Studies. Conductor Laureate of the Royal Stockholm Philharmonic
Orchestra and Principal Guest Conductor
of Hamburg’s NDR Symphony Orchestra,
he regularly conducts leading ensembles
such as the Boston Symphony Orchestra,
Amsterdam’s Royal Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra,
and Berlin Philharmonic.
Alan Gilbert’s acclaimed 2008 Metropolitan Opera debut, leading John
Adams’s Doctor Atomic, received a
2011 Grammy Award for Best Opera
Recording. Renée Fleming’s recent
Decca recording Poèmes, on which he
conducted, received a 2013 Grammy
Award. Mr. Gilbert studied at Harvard
University, The Curtis Institute of Music,
and Juilliard and was assistant conductor
of The Cleveland Orchestra (1995–97).
In May 2010 he received an Honorary
Doctor of Music degree from Curtis, and
in December 2011 he received Columbia
University’s Ditson Conductor’s Award for
his commitment to performing American
and contemporary music.
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The Artists
Warsaw with the Bavarian Radio Symphony
Orchestra; Handel’s Alexander’s Feast at
Vienna’s Musikverein; and Lutosławski’s
Les espaces du sommeil with the Los
Angeles Philharmonic.
Concert appearances included premieres of works by Mark-Anthony
Turnage, Peter Lieberson, and Einojuhani
Rautavaara. His extensive recordings with
pianist Julius Drake on Hyperion have
received numerous awards. Their latest
recording, an album of Schumann’s Liederkreis cycles, Opp. 24 and 39, was released
in 2012. In 2011 their recording of music
by Britten won a Gramophone Award.
Canadian baritone Gerald Finley (The
Prisoner) began singing in Ottawa before
completing his musical studies at the
Royal Conservatory of Music; King’s College, Cambridge; and the National Opera
Studio. He has created the lead role in
major premieres, including John Adams’s
Doctor Atomic, Mark-Anthony Turnage’s
The Silver Tassie, Tobias Picker’s Fantastic Mr. Fox, and Kaija Saariaho’s L’Amour
de loin. Recent highlights include his
debut as Hans Sachs in Wagner’s Die
Meistersinger von Nürnberg at the 2011
Glyndebourne Festival and Iago in Verdi’s
Otello with Sir Colin Davis and the London Symphony Orchestra.
Highlights of the 2012–13 season
included John Adams’s Nixon in China; the
BBC Proms; Brahms’s A German Requiem at the Concertgebouw, and with the
Toronto and London Symphony Orchestras; Mozart’s Le nozze di Figaro at The
Metropolitan Opera; Haydn’s Lord Nelson
Mass and Schoenberg’s A Survivor from
ama Butterfly and Tosca, and Verdi’s Luisa
Miller, as well as all three lead soprano
roles in Puccini’s Il trittico; as Madame
Lidoine in Poulenc’s Dialogues des Carmélites, Nedda in Leoncavallo’s I Pagliacci,
Leonora in Verdi’s Il trovatore, Marguerite
in Gounod’s Faust, and Ellen Orford in Britten’s Peter Grimes. Her performances in
Madama Butterfly and Peter Grimes at The
Met were seen in movie theaters around
the world as part of The Met: Live in HD
series. A supporter of new works, Ms.
Racette most recently created the role of
Leslie Crosbie in Paul Moravec’s The Letter
at Santa Fe Opera. Other world premieres
have included Roberta Alden in Tobias
Picker’s An American Tragedy at The Met,
the title role in Picker’s Emmeline at Santa
Fe Opera, and Love Simpson in Carlisle
Floyd’s Cold Sassy Tree at Houston Grand
Opera. Born and raised in New Hampshire,
Patricia Racette studied jazz and music
education at North Texas State University.
In 1998 she was the winner of the Richard
Tucker Award.
Peter Hoare was born in Bradford,
England, and studied percussion at the
Huddersfield School of Music. His opera
career began at Welsh National Opera
where his roles have included Bacchus in
Strauss’s Ariadne auf Naxos, the Captain in
Berg’s Wozzeck, the title role in Mozart’s La
clemenza di Tito, the Simpleton in Musorgsky’s Boris Godunov, Herod in Strauss’s
Salome, and Mal in the world premiere of
James MacMillan’s The Sacrifice.
International appearances include Bianchi’s Arbace with the Berlin Philharmonic
Orchestra, conducted by Sir Simon Rattle in
Berlin, Lucerne, and at the Salzburg Festival;
Zimmermann’s Die Soldaten for the Ruhr
Triennale, at the New National Theatre in
Tokyo, and at Lincoln Center Festival; and
Janáček’s From the House of the Dead at
the Wiener Festwochen, Holland Festival,
Aix-en-Provence Festival, Staatsoper Berlin,
and The Metropolitan Opera.
His 2012–13 season included engagements at the English National Opera,
Soprano Patricia Racette has appeared
in all the great opera houses of the world,
including The Metropolitan Opera, San
Francisco Opera, Lyric Opera of Chicago,
Royal Opera House, Teatro alla Scala, Paris Opéra, and the Bavarian Staatsoper. She
has appeared in the title roles of Janáček’s
Jenu°fa and Kát’a Kabanová, Puccini’s Mad-
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The Artists
Welsh National Opera, Milan’s Teatro alla
Scala, and Covent Garden. Other recent
roles include Faust in Terry Gilliam’s
production of Berlioz’s The Damnation of
Faust, Pedrillo in Mozart’s Die Entführung
aus dem Serail at Opéra de Nice, Bob
Boles in Britten’s Peter Grimes at La Scala,
and Larry King in Mark-Anthony Turnage’s
Anna Nicole at Covent Garden.
In concert he has performed with the
Royal Concertgebouw Orchestra, Royal
Liverpool Philharmonic Orchestra, Bournemouth Symphony Orchestra, Bochumer
Symphoniker, RTE National Symphony
Orchestra (Ireland), as well as the Hallé,
BBC Philharmonic.
His numerous recordings include
Delius’s Song of the High Hills, and the
roles of Master of Ceremonies in Britten’s Gloriana conducted by Sir Charles
Mackerras for Decca Records; Tichon in
Janáček’s Kat’a Kabanová with Carlo Rizzi;
and Bardolf in Verdi’s Falstaff with Sir Colin
Davis for Chandos.
A native of Richmond, Virginia, tenor
William Ferguson appeared with the
Santa Fe Opera as Caliban in the North
American premiere of Thomas Adès’s The
Tempest, and in 2005 sang Truffaldino in
a new production of Prokofiev’s The Love
for Three Oranges with Opera Australia
in Sydney. In New York Mr. Ferguson
has performed Beppe in Leoncavallo's I
Pagliacci at The Metropolitan Opera and
the title role in Bernstein'sCandide, NankiPoo in Gilbert & Sullivan’s The Mikado, the
Funeral Director in Bernstein’s A Quiet
Place, Hérisson de Porc-Épic in Chabrier’s
L’Étoile, and, most recently, The Electrician
in Adés’s Powder Her Face at New York
City Opera. Additional credits include Opera Theatre of Saint Louis, Opera Festival
of New Jersey, Opera Memphis, Opera
Omaha, Virginia Opera, Gotham Chamber
Opera, and Opera Company of Philadelphia. He holds bachelor and master of
music degrees from The Juilliard School.
Mr. Ferguson has appeared with The
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American Symphony Orchestra, BBC
Orchestra (London), Boston Symphony
Orchestra, City of Birmingham Symphony
Orchestra (England), Los Angeles Philharmonic, Mostly Mozart Festival Orchestra,
Musica Sacra, National Symphony Orchestra, New Jersey Symphony Orchestra,
Opera Orchestra of New York, Oratorio
Society of New York, Orchestra of St.
Luke’s, and Radio Filharmonisch Orkest
(Netherlands), as well as the symphony
orchestras of Houston, Bellingham, New
Haven, Omaha, Richmond, Santa Barbara,
Wheeling, and Winston-Salem. He has
performed at 92nd Street Y, Bard Music
Festival, Marlboro Music Festival, Young
Concert Artists, the Marilyn Horne Foundation, New York Festival of Song, and
Five Borough Music Festival; he appears
as Brian on the recording and DVD of Not
the Messiah, an oratorio based on Monty
Python’s Life of Brian, recorded live at the
Royal Albert Hall. In 2003 Mr. Ferguson
received the Alice Tully Vocal Arts Debut
Recital Award.
Baritone Sidney Outlaw was the grand
prize winner of the Concurso Internacional
de Canto Montserrat Caballé in 2010. He
recently graduated from San Francisco
Opera’s Merola Opera Program and is
a former member of the Gerdine Young
Artist Program at Opera Theatre of Saint
Louis. He recently made his first opera
recording, as Apollo in Milhaud’s Oresteia
of Aeschylus (Naxos). Mr. Outlaw was a
featured recitalist at Carnegie Hall in April
2013. Highlights of his 2012–13 season
include traveling to Guinea as a U.S.
State Department Arts Envoy to perform
American music in honor of Black History
Month, and singing the role of Schaunard in Puccini’s La bohème with the Ash
Lawn Opera Festival. In the next season
Mr. Outlaw makes his debuts with North
Carolina Opera as Guglielmo in Mozart’s
Così fan tutte, and Atlanta Opera, singing
Figaro in Rossini’s Il barbiere di Siviglia. In
the 2011–12 season Mr. Outlaw made his
English National Opera debut, as Rambo
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The Artists
Gunn, Thomas Hampson, Angela Meade,
Kelli O’Hara, Eric Owens, Rene Papé, Bryn
Terfel, and Deborah Voigt. Opera highlights include the New York premiere of
Ricky Ian Gordon and Michael Korie’s The
Grapes of Wrath (2010) with an all-star
cast including Jane Fonda, Nathan Gunn,
and Victoria Clark, and the American
premieres of Dvořák’s Dmitri (1984) and
Handel’s Jupiter in Argos (2008). Musical
theater works include Kurt Weill’s Knickerbocker Holiday (2011), conducted by
James Bagwell and featuring Kelli O’Hara
and Victor Garber (available on Sh-KBoom Records), and Weill and Ira Gershwin’s The Firebrand of Florence (2009).
in John Adams’s The Death of Klinghoffer,
and appeared as Prince Yamadori in Puccini’s Madama Butterfly at Opera on the
James. Other highlights include the title
role in Anthony Davis’s The Life and Times
of Malcolm X at New York City Opera,
Dandini in Rossini’s La cenerentola with
Florida Grand Opera, Ariodate in Handel’s
Xerxes, Demetrius in Britten’s A Midsummer Night’s Dream for the International Vocal Arts Institute, Papageno in The Magic
Flute, and Guglielmo in Così fan tutte.
Mr. Outlaw’s concert and recital appearances include Carnegie Hall, Avery
Fisher Hall, and the role of John Stevens
in the world premiere concert of H. Leslie
Adam’s opera Blake at the Schomburg
Center for Research in Black Culture in
New York City. A Brevard, North Carolina,
native, Sidney Outlaw holds a master’s
degree in vocal performance from The
Juilliard School and is a graduate of the
University of North Carolina at Greensboro.
The Collegiate Chorale has added to the
richness of New York City’s cultural fabric
for more than 70 years. Conducted by
James Bagwell, The Chorale has established a reputation for its interpretations
of the traditional choral repertoire, vocal
works by American composers, and rarely
heard operas-in-concert, as well as commissions and premieres of new works. The
many guest artists with whom The Chorale
has performed in recent years include
Stephanie Blythe, Victoria Clark, Nathan
has also prepared The Concert Chorale of
New York for performances with the ASO,
Los Angeles Philharmonic, and Mostly
Mozart Festival. This past summer marked
his sixth season as chorus master for The
Mostly Mozart Festival at Lincoln Center.
From 2005 to 2009 he was music director
of the Dessoff Choirs in New York. He has
trained choruses for a number of major
American and international orchestras and
has worked with noted conductors such as
Lorin Maazel, Esa-Pekka Salonen, Michael
Tilson Thomas, Louis Langrée, Leon
Botstein, Vladimir Ashkenazy, Raymond
Leppard, James Conlon, Jesús LópezCobos, Erich Kunzel, Leon Fleischer, and
Robert Shaw.
For 12 seasons James Bagwell has been
music director for the May Festival Youth
Choir in Cincinnati. He has conducted some
25 productions as music director of Light
Opera Oklahoma, including Bernstein’s
Candide, Sondheim’s Sweeney Todd, and
Lehár’s The Merry Widow and he appears
frequently as a guest conductor with orchestras around the country and abroad.
Mr. Bagwell holds degrees from
Birmingham-Southern College, Florida
State University, and Indiana University. He
has taught since 2000 at Bard College,
where he is the chair of the undergraduate
music department and co-director of the
graduate program in conducting.
James Bagwell was appointed as music
director of The Collegiate Chorale in 2009.
He was also recently named principal
guest conductor of the American Symphony Orchestra (ASO) and director of
the music program at Bard College. Since
2003 he has been director of choruses
for the annual Bard Music Festival. He
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The Artists
The Collegiate Chorale
James Bagwell, Director
SOPRANOS
Rosemarie Albanese
Wendy Baker+
Kit Smyth Basquin
Heidi Best
Hannah Chung
Susan Eddy
Alexandra Fees
Elise Goodman
Joan B. Harris
Melissa Kelley+
Laura Kroh
Carol-Marie
Labozzetta
Mariane Lemieux
Sandy MacDonald
Melanie Milton
Julie Morgan
Cynthia Ohanian
Judith Oringer
Stella Papatheodorou
Clelia Parisi
Bonnie Rosenberg
Susan Shine
Deborah Simunovich
Elisa Singer+
Shira Spiel
Glenda Strother
Susan Jeffer Stumer
Adèle K. Talty
Mayumi Tsuchino
ALTOS
Arlene H. Berrol
Erica S. Braude
Martha C. Buckwalter
Jennifer Collins
Lauren Tucker Cross
Suzanne Doob
Anne J. Doyle
Susan H. Dramm
Roberta Feldhusen
Sylvia Floyd
Nancy Good
Nancy Kingston
Deborah Litwak
Sarah Longstreth
Mary Marathe+
Katie McWhorter
Carol Morse
Kimberly Mossel
Haya Sofia Nasser
Janet B. Pascal
Lauren Porsch
Vivianne Potter
Christine Reimer
Emma S. Richter
Laurie P. Rios
Joanne Scheidt
Suzanne Schwing+
Barbara A. Simon
Betsey Steeger
Deborah F. Stiles
Anna Svahn
Sarah Theurkauf
Marguerite F. Ward
Franziske M. Wehke
Nancy Wertsch+*
Katherine Young
TENORS
Rima Ayas
Scott Clugstone
Bruce A. Cogan
Ethan Fran+
Cathy Friedman
Christian Mark Gibbs
Eric Gratton
Joseph Grillo
Alex Guerrero+
Robert Harley
Jack Harrell
Benjamin Herman
Gary Himes
Thomas S. Hom
Brandon Hornsby-Selvin
Olivier Janin
Bruce C. Johnson
Nicholas W. Lobenthal
James A. Louis
Zachary Malavolti
Don McComb
Douglas Purcell+
Kevin Rogers
Hassan Salazar
David Salyers
Georges Ugeux
Marian Young
BASSES
Lowell Accola
Mark Ahramjian
Alan Arak
Jay Benzon
Walter Costello
Al J. Daniel, Jr.
Matthew Diaz
Jonathan Dzik
Stephen Eisdorfer
Paul Epstein
William Fehringer
Roy N. Feldhusen
David Goldblatt
Daniel Hoy+
Kyu Taek Hwang
Lawrence Madison
Steven Moore+
James Neely
Bruce Patrick
Jared Poelman
Robert P. Rainier
Gerald W. Richman
Michael Riley+
Daniel Rios
Mark Rubin
Bruce Tuckman
Albert Watson
Perry Wolfman
+ Professional member
* Choral Contractor
(Current as of May 28, 2013)
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New York Philharmonic
Founded in 1842 by a group of local
musicians led by American-born Ureli
Corelli Hill, the New York Philharmonic
is by far the oldest symphony orchestra in
the United States, and one of the oldest
in the world. It currently plays some 180
concerts a year, and on May 5, 2010, gave
its 15,000th concert — a milestone unmatched by any other symphony orchestra.
Alan Gilbert began his tenure as
Music Director in September 2009, the
latest in a distinguished line of musical
giants that has included Lorin Maazel
(2002–09); Kurt Masur (Music Director
1991–2002; Music Director Emeritus
since 2002); Zubin Mehta (1978–91);
Pierre Boulez (1971–77); and Leonard
Bernstein (appointed Music Director in
1958; given the lifetime title of Laureate
Conductor in 1969).
Since its inception the Orchestra has
championed the new music of its time,
commissioning or premiering many
important works, such as Dvořák’s
Symphony No. 9, From the New World;
Rachmaninoff’s Piano Concerto No. 3;
Gershwin’s Concerto in F; and Copland’s
Connotations, in addition to the U.S.
premieres of works such as Beethoven’s
Symphonies Nos. 8 and 9 and Brahms’s
Symphony No. 4. This pioneering tradition
has continued to the present day, with
works of major contemporary composers
regularly scheduled each season, including
John Adams’s Pulitzer Prize– and Grammy
Award–winning On the Transmigration of
Souls; Melinda Wagner’s Trombone Concerto; Wynton Marsalis’s Swing Symphony
(Symphony No. 3); Christopher Rouse’s
Odna Zhizn; John Corigliano’s One Sweet
Morning, for mezzo-soprano and orchestra; Magnus Lindberg’s Piano Concerto
No. 2; and, as of the end of the 2011–12
season, 14 works in CONTACT!, the newmusic series.
The roster of composers and conductors
who have led the Philharmonic includes
such historic figures as Theodore Thomas,
Antonín Dvořák, Gustav Mahler (Music
Director, 1909–11), Otto Klemperer, Richard Strauss, Willem Mengelberg (Music
Director, 1922–30), Wilhelm Furtwängler,
Arturo Toscanini (Music Director, 1928–
36), Igor Stravinsky, Aaron Copland, Bruno
Walter (Music Advisor, 1947–49), Dimitri
Mitropoulos (Music Director, 1949–58),
Klaus Tennstedt, George Szell (Music
Advisor, 1969–70), and Erich Leinsdorf.
Long a leader in American musical life,
the Philharmonic has become renowned
around the globe, having appeared in 432
cities in 63 countries on five continents.
In October 2009 the Orchestra, led by
Music Director Alan Gilbert, made its
Vietnam debut at the Hanoi Opera House.
In February 2008 the musicians, led by
then-Music Director Lorin Maazel, gave a
historic performance in Pyongyang, DPRK,
earning the 2008 Common Ground Award
for Cultural Diplomacy. In 2012 the Orchestra became an International Associate
of London’s Barbican. Highlights of the
EUROPE / SPRING 2013 tour include a
performance of Magnus Lindberg’s Kraft
at Volkswagen’s Die Gläserne Manufaktur
(The Transparent Factory) in Dresden and
34
the Philharmonic’s first appearance in
Turkey in 18 years.
The New York Philharmonic, a longtime
media pioneer, began radio broadcasts
in 1922 and is currently represented by
The New York Philharmonic This Week —
syndicated nationally 52 weeks per year
and available at nyphil.org. Its television
presence has continued with annual appearances on Live From Lincoln Center on
PBS, and in 2003 it made history as the
first orchestra ever to perform live on the
Grammy Awards. Since 1917 the Philharmonic has made almost 2,000 recordings,
and in 2004 it became the first major
American orchestra to offer downloadable
concerts, recorded live. The Philharmonic’s
self-produced recordings continue with
Alan Gilbert and the New York Philharmonic:
2012–13 Season.
The Orchestra has built on its long-running Young People’s Concerts to develop a
wide range of education programs, including the School Partnership Program, which
enriches music education in New York
City, and Learning Overtures, which fosters
international exchange among educators
and has already reached as far as Japan,
South Korea, Venezuela, and Finland.
Credit Suisse is the Global Sponsor of
the New York Philharmonic.
35
Executive Producer: Vince Ford
Producers: Lawrence Rock and Mark Travis
Recording and Mastering Engineer: Lawrence Rock
Performance Photos: Chris Lee
Dallapiccola’s Il prigioniero by arrangement with Boosey & Hawkes, Inc., sole agent in the U.S.A. for
Sugarmusic Publishing S.p.A.– Edizioni Suvini Zerboni, publisher and copyright owner.
Major funding for this recording is provided to the New York Philharmonic by
Rita E. and Gustave M. Hauser.
Emanuel Ax is The Mary and James G. Wallach Artist-in-Residence.
Classical 105.9 FM WQXR is the Radio Station of the New York Philharmonic.
Instruments made possible, in part, by The Richard S. and Karen LeFrak Endowment Fund.
Steinway is the Official Piano of the New York Philharmonic and Avery Fisher Hall.
Programs are supported, in part, by public funds from the New York City Department of Cultural
Affairs, New York State Council on the Arts, and the National Endowment for the Arts.
Exclusive Timepiece of the New York Philharmonic
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Performed, produced, and distributed
by the New York Philharmonic
© 2013 New York Philharmonic
NYP 20130112
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