the bard college conservatory of music

graduate vocal arts program

An Opera Double BillNélée et Myrthis by Jean-Philippe Rameau

Four Sisters by Elena Langer

March 9 and 11, 2012

We are delighted to present the world premiere of Four Sisters, an opera by the London-based composer Elena Langer and librettist John Lloyd Davies. Elena Langer came to ourattention by way of the Young Composer/Singer Professional Training Workshop, whichBard has undertaken with the Weill Music Institute at Carnegie Hall. Collaborating withcomposers has been a vital and enriching part of my musical life, and it’s a joy I wish topass on to the students in the Graduate Vocal Arts Program. We’re thrilled that Elena andJohn agreed to be part of our opera project, and we’ve enjoyed working with them,James Bagwell, and Marc Verzatt on this new piece. Together with Rameau’s beautifulNélée et Myrthis and the shorter gems by Monteverdi and Montéclair, this is a rich andvaried musical and theatrical offering and is a key part of the Graduate Vocal ArtsProgram experience for our young artists.

—Dawn Upshaw, Artistic Director, Graduate Vocal Arts Program

The Bard College Conservatory of MusicGraduate Vocal Arts Program

Dawn Upshaw, Artistic DirectorKayo Iwama, Head of Program

presents

An Opera Double BillClaudio Monteverdi (1567–1643)Dialogo di ninfa e pastoreLibretto by Ottavio Rinuccini

Michel Pignolet de Montéclair (1667–1737) La mort de Didon

Jean-Philippe Rameau (1683–1764) Nélée et Myrthis

Intermission

Elena Langer (b. 1974) Four Sisters (world premiere)Libretto by John Lloyd Davies

Friday, March 9 at 8 pm and Sunday, March 11 at 3 pmBenefit for the Scholarship Fund of the Graduate Vocal Arts Program

Sosnoff TheaterRichard B. Fisher Center for the Performing Arts at Bard College

Special thanks to Marica and Jan Vilcek for their generous support of the 2012 opera productions, and to Mimi Levitt for establishing a vocal arts scholarship.

Singers of the Graduate Vocal Arts ProgramBard College Conservatory Orchestra James Bagwell, Conductor

Marc Verzatt, DirectorVin Roca, Scenic Designer

Projection Designer Laura J. EckelmanCostume Designer Michelle TarantinaLighting Designer Vin RocaChoreographer Marjorie FolkmanCo-Producers Frank Corliss, Vin RocaStage Manager Matthew WaldronSound and Video Engineer Paul LaBarberaTechnical Director Steve DeanOrchestra Manager Fu-chen ChanOrchestra Coaches Stephen Hammer, Erica Kiesewetter, Julie LevenAssistant Conductors Benjamin Bath, Zachary Malavolti, Heidi Schnarr, Daniel WhitenerVocal Coaches Frank Corliss, Kayo Iwama, Matthew Odell, Dawn UpshawRehearsal Pianists Erika Allen, Zsolt Balogh, Milena Gligic, Christina Giuca, Chorong ParkAssistant Costume Designer Alise MarieProduction Assistant Ilana Zarankin VAP ’11

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Dialogo di ninfa e pastore

Music by Claudio MonteverdiLibretto by Ottavio Rinuccini

Ninfa Heejung LeePastore Vanessa Langer

Cello Stanley MooreHarpsichord Zsolt Balogh

On Dialogo di ninfa e pastore

This charming duet is written in the form of a canzonetta, which, in its earliest form, wasclosely related to a popular Neapolitan form, the villanella—literally, a “small town song.”The songs were always secular, and generally involved pastoral, irreverent, or erotic sub-jects. The rhyme and stanza schemes of the poems varied but always included a finalrefrain, in this case, “Come che? Come te, pastorella tutta bella” (“But how much? I love youas you are, beautiful shepherdess”). The canzonetta was fun to sing by the untrained singerand hugely popular; it quickly caught on throughout Italy, as did the madrigal, a musicalform with which it later began to interact stylistically. By the 1580s some of the major com-posers of secular music in Italy were writing canzonettas, including Claudio Monteverdi,who published his first set in 1584. Monteverdi was to return to the form with his ninth andfinal book of madrigals, which was published posthumously in 1651.

The Dramatic Scene

In the art of courtship throughout history, it is always the woman who has the upper hand.As women have always been victims of a male-dominated society, the only power they weregranted was in love. Metaphorically, a woman’s eyes could send to the man either beams ofradiant joy, or could wound a man’s heart as if pierced by a dart. In this scene, the “ninfa,” ametaphor for a young, unmarried girl, demands to be told how much her shepherd loves her,but nothing he says seems adequate to satisfy her. He complains that his eyes cannot take inher beauty, as it breaks his heart; that her eyes cause him to lose hope, and finally, that hehates himself, which seems do the trick for the lady, at least for now. Men have never beenvery good at figuring out what women want, but are foolish enough to keep trying.

—Marc Verzatt

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La mort de Didon

Music by Michel Pignolet de MontéclairAuthor of the libretto unknown

Didon Hannah Goldshlack

Violin Sabrina TabbyFlute Adrienn KántorCello Stanley MooreHarpsichord Zsolt Balogh

On La mort de Didon

Before the advent of the cantata, dramatic music in France had found its outlet only inopera, or tragédie-lyrique as it was called. Unlike Italian opera, French opera (created byLully) made much of dancing and chorus. French cantatas of the 18th century, though dra-matic, were composed not for the stage, but rather for the musical salon. There were nodancers or choruses and they generally called for one voice only, accompanied by a smallensemble. This meant that in order to attract enthusiasm for the new, smaller form, com-posers had to be very imaginative, for they could not rely on gesture, scenery, dancing, orchorus to help convey the mini-drama contained in each cantata. This was now up to thetext, the music, and the dramatic skill of singers and players alone.

Michel Pignolet de Montéclair studied and composed in Italy before returning at the turnof the 18th century to Paris, where he was appointed to the Paris Opéra as a double bassplayer. He was a very fine composer and his 20 French cantatas (he also wrote cantatasin Italian) are among the most remarkable in the repertoire in their range of expressionand explicit instructions for performance. Except for the beguiling air at the end, the can-tata La mort de Didon is intense and dramatic throughout. Only once does Dido’s ragegive way to a melancholic reproach to Venus, mother of faithless Aeneas. In this, the sec-ond air of the cantata, voice and flute entwine in an exquisite duet, the lines delicatelyembellished with ornaments notated by the composer himself, instead of leaving it tothe performers to improvise.

The Dramatic Scene

Dido, Queen of Carthage, gives way to grief and rage when she discovers that Aeneas hasabandoned her. After calling upon the gods to avenge her and drown Aeneas as he fleesacross the ocean, she plunges a knife into her heart. The moral is very simple: it is danger-ous to pledge one’s heart to a fickle lover.

—Marc Verzatt

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Nélée et Myrthis

Music by Jean-Philippe RameauAuthor of the libretto unknown

Nélée Matthew MorrisMyrthis Marie MarquisCorinne Lucy DhegraeDeux Argiennes Vanessa Langer

Heejung LeeChorus Faylotte Crayton, Hannah Goldshlack, Kameryn Lueng,

Jacquelyn Stucker, sopranoAbigail Levis, mezzo-sopranoHyunhak Kim, Zachary Malavolti, Barrett Radziun, tenorBenjamin Bath, Logan Walsh, Daniel Whitener, baritone

Orchestra

Violin Sabrina Tabby (concertmaster), Yuan Xu (principal second), Caitlin Majewski, Veronika Mojzesova, Reina Murooka, Jiayu Sun, Yue Sun, Fang Xi Liu, Tian Xu

Viola Lin Wang (principal), Wenlong HuangCello Rachel Becker (principal), Stanley Moore, Emma SchmiedeckeBass Bingwen YangFlute Eleni Tsachtani, Adrienn KántorOboe Carl Alex Meyer, Xuanbo Dong Bassoon Joshua Hodge, David NagyTrumpet Christopher Carroll, Balazs VargaTimpani Zihan YiHarpsichord Milena Gligic

On Nélée et Myrthis

Rameau was one of the most important French composers and music theorists of theBaroque era. He was considered, alongside François Couperin, one of the leading Frenchcomposers of his time for the harpsichord.

Little is known about Rameau’s early years, and it was not until the 1720s that he wonfame as a major theorist of music with his Treatise on Harmony (1722). He was almost 50

years old before he embarked on the operatic career on which his reputation chiefly rests.

Nélée et Myrthis is an opera in the form of an acte de ballet. Nothing is known about thedate of its composition, any performances during Rameau’s lifetime, or the name of itslibrettist. It may have been intended to form part of a larger opéra-ballet to be called Lesbeaux jours de l’amour.

The Dramatic Scene

Nélée is the winner of an Olympic sport, and will be crowned victor by Myrthis, who is incharge of the awards ceremony. Nélée is entitled by law, and encouraged by the people, tochoose a bride at this event. He makes his intention clear enough that Myrthis is his choice,but she rebuffs him with jokes about freedom and fickleness. He stuns her when he decidesto choose another girl, Corinne, instead. Corinne doesn’t know of this, and encouragesMyrthis to lead the victory celebration she has arranged. Myrthis resolves that if Néléechooses Corinne, her pride will keep her from revealing her love. At the ceremony, she publiclyprays that the gods will grant exactly what Nélée most wishes for, without a reversal of for-tune through deceit or betrayal. Her sincerity wins Nélée over, and he declares his love for her.

—Marc Verzatt

Four Sisters

Music by Elena LangerLibretto by John Lloyd Davies

Olga, 28, the eldest sister Abigail LevisMasha, 25, the middle sister Faylotte CraytonIrina, 21, the youngest sister Jacquelyn StuckerKrumpelblatt, 56, the family lawyer Logan WalshMatt, 24, a personal trainer and poet, Irina's boyfriend Hyunhak KimGloss, 22, a masseur and composer, Masha's boyfriend Barrett RadziunMaid, 18, housekeeper Kameryn Lueng

Orchestra

Violin Reina Murooka (concertmaster), Yang Li (principal second), Qun Dai,Tyme Khleifi, Zhi Ma, Caitlin Majewski, Veronika Mojzesova,Dongfang Ouyang, Leonardo Pineda, Jiayu Sun, Gergo Toth, Jiazhi Wang, Fang Xi Liu, Yuan Xu

Viola Wei Peng (principal), Wenlong Huang, David Toth, Xinyi Xu, Jiawei Yan, Zi Ye

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Cello Daniel Zlatkin (principal), Jeannette Brent, Yi Cheng, Rylan Gajek-Leonard, Rasistlav Huba, Orsolya Kadar, Xi Yang

Bass Zhenyuan Yao (principal), Bingwen Yang, Xinyue Zhang, Yingqin ZhangFlute Adrienn Kantor, Eleni TsachtaniOboe Rafael Monge-Zuniga, Carl Alex MeyerBassoon Lucas Henry, Anna OpatkaHorns Ferenc Farkas, James Haber, Andras Ferencz, Cameron West,

Szilard MolnarTrumpet Tamas Palfalvi, Balazs VargaTrombones Hsiao-Fang Lin, Vaclav Kalivoda, Tamas MarkovicsTuba Peter BlagaPercussion Petra Elek, Amy GarapicPiano/Celeste Christina Giuca, Chorong ParkHarp Anna Bikales

On Four Sisters

When Dawn Upshaw asked me to write an opera for her students at Bard, I thought itwould be nice to have an original contemporary libretto specifically written for this occasion—perhaps with a few frivolous young girls at the center of the piece. Soon after,I happened to have a chat with the director John Lloyd Davies, and shared these thoughts.John at that time was designing Chekhov’s Three Sisters in Vienna. A few days later Ireceived a short scenario for Four Sisters: The three daughters of a fabulously wealthy andrecently deceased industrialist wait in his New York apartment for the family lawyer toread his will. They dream of the lives and loves which his money will now make possible.

Writing this piece was a new challenge for me; I have never done anything light or comi-cal before. Despite liking humor in both art and real life, most of my works never cameout like that. My previous opera, The Lion’s Face, was about an old man suffering fromAlzheimer’s, and one of my most-performed chamber works, Ariadne, is about a broken-hearted girl, deceived and abandoned by her lover on a desert island.

Luckily, no one is ill or broken-hearted in this piece. The sisters—Olga, Masha, and Irina—believe that inheriting a lot of money will help their dreams come true. They sing abouttheir dreams in their arias, which are distinctly different—Masha’s is written in a kind ofCaribbean style, Olga’s song has a bit of klezmer influence, and so on. (Each sister’s ring-tone musically represents her dreams, too.) The music in Four Sisters is intentionally eclectic—its overall mine-ness and Russian-ness is mixed with calypso moments, waltzmoments, even some 12-tone moments, and I have tried to create contrasts in tempi,moods, and situations.

—Elena Langer

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Artists

James Bagwell Conductor James Bagwell maintains an active schedule throughout the United States as a conduc-tor of choral, operatic, and orchestral music. In 2009 he was appointed music director ofThe Collegiate Chorale and led the ensemble in concerts at Carnegie Hall and Alice TullyHall during the 2009–10 season. He is the principal guest conductor of the AmericanSymphony Orchestra in New York, and since 2003 has been director of choruses for theBard Music Festival, conducting and preparing choral works during the summer festivalat Bard College. He has also prepared The Concert Chorale of New York for performanceswith the American Symphony Orchestra, Los Angeles Philharmonic, and the MostlyMozart Festival (broadcast nationally in 2006 on Live from Lincoln Center), all in AveryFisher Hall at Lincoln Center. Bagwell has trained choruses for a number of majorAmerican and international orchestras, including the San Francisco Symphony, LosAngeles Philharmonic, NHK Symphony (Japan), St. Petersburg Symphony, BudapestFestival Orchestra, and Indianapolis Symphony Orchestra, among others, and has workedwith noted conductors such as Lorin Maazel, Esa-Pekka Salonen, Michael Tilson Thomas,Leon Botstein, Vladimir Ashkenazy, and Robert Shaw. He holds degrees fromBirmingham-Southern College, Florida State University, and Indiana University. He hastaught since 2000 at Bard College, where he is the chair of the undergraduate MusicProgram and codirector of the Graduate Program in Conducting.

John Lloyd Davies LibrettistJohn Lloyd Davies has directed, designed, and lit more than 100 operas and plays inEurope, including Don Giovanni, Die Zauberflöte, and Rigoletto (Vienna Kammeroper);Madama Butterfly (Royal Danish Opera); Un ballo in maschera (Klagenfurt); Danton’sDeath and The Enchantress (Brighton); Albert Herring and The Turn of the Screw(Aldeburgh); Cabaret (Graz); and Tosca (Malmö). In Vienna, he has worked as a specialist inmodern opera, including the Viennese premiere of Britten’s Death in Venice and theAustrian premieres of Aribert Reimann’s Das Schloss, Philip Glass’s The House of Usher, andThomas Adès’s Powder Her Face. He designed and lit the world premiere of John Casken’sGod’s Liar (Almeida and La Monnaie, Brussels). For the Royal Opera House London he hasdirected and designed The Rape of Lucretia, Il re pastore, and the docu-opera Yes. Recentawards include the Josef Kainz Medal, one of Austria’s major theater prizes. He is currentlyhead of opera development at the Royal Opera House, Covent Garden.

Laura J. Eckelman Projections Designer Laura J. Eckelman is a New York City–based lighting and projection designer. Selecteddesign credits include Animals Out of Paper (Perseverance Theatre); Kiss Me Kate (NewJersey Youth Theatre); Bossa Nova [world premiere] and Romeo and Juliet (Yale RepertoryTheatre); Orlando, Phèdre, and Hamlet (Yale School of Drama); Fly-By-Night, The Mystery

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of Irma Vep, and Late: A Cowboy Song (Yale Summer Cabaret); Crave, Somewhere in thePacific, and Scenes from an Execution (Potomac Theater Project); and Ghosts and Bus Stop(Columbia University). She is a proud alumna of Middlebury College and Yale School ofDrama, and is a 2012 recipient of the S&R Washington Award.

Marjorie Folkman ChoreographerMarjorie Folkman is visiting assistant professor of dance in First-Year Seminar and theLanguage and Thinking Program at Bard College. She was a principal performer withMark Morris Dance Group (1996–2007), Martha Clarke, and Sara Rudner, among others,and a member of Merce Cunningham’s Repertory Group under Chris Komar. Recentchoreographic projects include Boston Baroque’s Pygmalion and Les Indes galantes; Faustfor L’Opéra Français de New York; collaborations with the new music ensembleContemporaneous; and Bard SummerScape’s Der Ferne Klang.

Elena Langer ComposerElena Langer was born in Moscow and is now based in London. After graduating from theGnessin Music College, where she majored in musicology and piano, she entered theMoscow Tchaikovsky Conservatory to study composition with professor Yuri Vorontsov. In1999 she moved to London to complete her degrees at the Royal College of Music (M.M.)and the Royal Academy of Music (Ph.D.). She has studied with Julian Anderson, SimonBainbridge, and Gerard McBurney, and taken lessons with Sofia Gubaidulina (CentreAcanthes, France), Dmitri Smirnov (U.K.), Jo Kondo (Dartington International SummerSchool, U.K.), and Jonathan Harvey (Centre Acanthes/IRCAM, France). In 2002 and 2003

she was a composer-in-residence with Almeida Theatre, London. Langer has written com-positions in diverse genres, including opera and multimedia, orchestral, and chamberand choral works, and has received commissions and performances from internationalensembles, festivals, and organizations such as The Royal Opera House’s ROH2, ZurichOpera (Switzerland), Almeida Opera Festival, Carnegie Hall, Gaudeamus New MusicWeek (Netherlands), and Homecoming Chamber Music Festival (Russia), among manyothers. Some of her works have been commercially recorded on the Black Box, QuartzMusic, and Usk (all U.K.) labels, and some broadcast on BBC Radio, BBC World Service,Radio Echo of Moscow, and Dutch Radio.

Vin Roca Scenic and Lighting Designer Vin Roca graduated from Western Connecticut State University with a B.A. in communi-cations. After receiving his M.F.A. in scenic design from SUNY Purchase, he moved to theWest Coast to pursue both acting and design work. While in Los Angeles, he was the production director for Long Beach Playhouse, a completely self-sustained, nonprofit theater. He also worked as the assistant technical director and lighting director for theJames Armstrong Theatre in Torrance, California. Outside of theater, he was an associateart director for Ina Mayhew and worked on many national commercials, including spots

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for Subway, Burger King, and John Deere. He also worked on the BET Awards and theQueue Line Video for the Men in Black ride at Universal Studios, Orlando, Florida. Hemoved back to the East Coast with his wife and two children in 2006, landing at BardCollege’s SummerScape Festival as a stage carpenter. He has had the privilege of lightingPresident Bill Clinton, President George W. Bush, Vice President Al Gore, Dr. Jane Goodall,and Israeli Prime Minister Benjamin Netanyahu, to name a few. He is currently the tech-nical director for The Richard B Fisher Center of Performing Arts at Bard College.

Michelle Tarantina Costume DesignerMichelle Tarantina received a B.A. in theater design and production from FordhamUniversity. Her recent design credits include Little Town Blues (Less than Rent); Sarita andand Crave (Fordham Theatre Company); and A Doll’s House (Hip Obscurity). Since gradu-ation, she has worked with Barrington Stage Co. and The Civilians, and has assisted in theWilliamstown Theatre Festival. View her work at www.michelletarantina.squarespace.com.

Marc Verzatt DirectorMarc Verzatt directs opera, operetta, and musical theater throughout the United States,South America, and Europe. He began his theatrical career as a dancer with theMetropolitan Opera after studying drama at Rutgers University and ballet with NewJersey’s Garden State Ballet. After several seasons as a soloist with the MET Ballet, he leftto continue his education in production as a stage manager with the Cincinnati Operaand Pittsburgh Opera companies. He made his professional directing debut with a pro-duction of Offenbach’s Tales of Hoffmann with Opera Columbus. He has since directedproductions with the Teatro Colón, Buenos Aires; Chicago Lyric Opera; Houston GrandOpera; Florida Grand Opera; and the opera companies of Fort Worth, Lake George,Madison, Arizona, Toledo, Atlanta, Kansas City, Baltimore, Idaho, and Mississippi. InAustin, he directed both Puccini’s La bohème and Shakespeare’s Much Ado AboutNothing. Verzatt has taught and directed at Philadelphia’s Academy of Vocal Arts andNotre Dame University. As lecturer in opera at Yale University’s School of Music, he hasdirected Britten’s A Midsummer Night’s Dream, Purcell/Britten’s Fairy Queen, Puccini’s Iltrittico, Poulenc’s Les mamelles de Tirésias, and Debussy’s L’enfant prodigue, all of whichwere subsequently produced for Orchestra Sinfonico di Giuseppe Verdi in Milan. For theBoston Youth Symphony, he has staged Mozart’s Don Giovanni and Verdi’s Macbeth. In2005 he was engaged by the Metropolitan Opera for an acting role in Strauss’s Ariadneauf Naxos. In 2006 he was named Outstanding Stage Director of the Year by ClassicalSinger magazine. He has been a guest lecturer and coach for Bard’s Graduate Vocal ArtsProgram since its inception, and was appointed to its faculty in fall 2010.

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Singers

Faylotte Crayton, soprano (Masha, Rameau chorus) Faylotte Crayton was born in San Diego, California. The granddaughter of an award-win-ning Arkansan yodeler, she began performing musical theater at age 5, as the MunchkinMayor in The Wiz, and later played the title role in Kiss Me Kate. At 16 she was awarded aRotary Youth Exchange Scholarship to Geneva, Switzerland, where, with the false notionthat opera was Europe’s musical theater, she attended her first opera. Upon recommen-dation by a schoolteacher, the Geneva Rotary Club funded her lessons in classical voiceand Swiss yodeling. The culture of Geneva inspired Crayton to volunteer for theInternational Red Cross and several other international organizations based in that city.She returned from Switzerland with a strong interest in European languages, history, clas-sical and folk music, and humanitarianism. At the University of California, Santa Barbara,she dedicated herself to studying classical singing and found it to be compatible with fur-thering her humanitarian interests. She then transferred to The Juilliard School, where shemet her current teacher, Edith Bers, and subsequently received her B.M. At Juilliard,Crayton performed the roles of Tytania in Britten’s A Midsummer Night’s Dream and LuciaII in Hindemith’s A Long Christmas Dinner. She also studied international song literatureunder the guidance of such coaches as Margo Garrett and Thomas Grubb.

Lucy Dhegrae, soprano (Corinne) Lyric soprano Lucy Dhegrae is a lover of new music, performing new works withContemporaneous, Da Capo Chamber Players, Detroit Symphony Orchestra PercussionEnsemble, Bard College Conservatory student ensembles, and the University ofMichigan’s Contemporary Directions Ensemble. Most recently she performed part ofMario Davidovsky’s Romancero at Bard’s Olin Hall, Luciano Berio’s Folk Songs at the FisherCenter, and her husband Shawn Jaeger’s Letters Made with Gold at Galapagos Art Spacein Brooklyn. This past year in New York City she performed songs of Mahler at theAustrian Cultural Forum and songs of Wilhelm Stenhammar at Scandinavia House, aspart of the Bard Music Festival. She is featured on a Cantaloupe Records CD singing JohnHalle’s Apology to Younger Americans. Dhegrae received her B.M. in voice from theUniversity of Michigan and studied in England, Italy, and Austria before coming to theBard College Conservatory’s Graduate Vocal Arts Program, where she works with EdithBers, Kayo Iwama, and Dawn Upshaw. She maintains a private voice studio for youngsingers in Red Hook, New York.  

Hannah Goldshlack, soprano (Didon, Rameau chorus) Hannah Goldshlack holds a bachelor’s degree in vocal performance from The Juilliard Schoolin New York City, and is currently obtaining her master’s degree in the Graduate Vocal ArtsProgram at Bard College. A lover of both operatic and song repertoire, she has recently beenseen in the roles of Helena in Britten’s A Midsummer Night’s Dream, Miss Pinkerton in

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Menotti’s The Old Maid and the Thief, and Nella in Puccini’s Gianni Schicchi. Additionally, shehas attended several summer music festivals, including SongFest in Malibu and Opera onthe Avalon in St. John’s, Newfoundland, in the recitalist program. She recently had the honorof performing the Mahler Rückert Lieder with the American Symphony Orchestra at theRichard B. Fisher Center for the Performing Arts. She has had the privilege of working withDawn Upshaw, Kayo Iwama, Cynthia Hoffmann, Benjamin Butterfield, Sherrill Milnes, NicoCastel, and Thomas Grubb, and is currently a student of Edith Bers.

Hyunhak Kim, tenor (Matt, Rameau chorus) Korean tenor Hyunhak Kim is a first-year student in the Bard College ConservatoryGraduate Vocal Arts Program, where he currently studies voice with Patricia Misslin. Hepreviously studied at Cheong-ju University in South Korea, with Heungwoo Park, and alsostudied in Austria. He attended a world choir festival in Germany and performed withthe festival choir at Carnegie Hall.

Vanessa Langer, soprano (Pastore, Deux Argiennes) Vanessa Langer is in her second year in the Graduate Vocal Arts Program. Highlights thispast year include the premieres of The Scarlett Ibis by Stefan Weisman and Since 1500 byMatt Schickele at the Pierpoint Morgan Library, New York City; she also performedTherese’s aria from Poulenc’s Les mamelles des Tiresias at the Concerts du Cloître, as partof the Academie International d’Ete en Nice’s master classes, under the direction ofDalton Baldwin and Lorraine Nubar. Langer has twice been in residence at Banff Centerof the Arts and performed works by Poulenc, Schoenberg, and Zemlinsky. As a graduatestudent of Susanne Mentzer at DePaul University, she was awarded a New HorizonFellowship at Aspen Music Festival’s Opera Center; as an undergraduate at the Universityof California at Berkeley, she joined the Collegium Musicum in a production of MatthewLocke’s Tempest for the Berkeley Early Music Festival and Exhibition. She also createdroles in the workshop productions of John Thow’s opera Serpentina and Yuval Sharon’sInfinity Breathes, based on the life of composer Aleksandr Skryabin. Upon graduation shewas awarded the Eisner Prize for Creative Achievement of the Highest Order in Musicand the James King Scholarship.

Heejung Lee, soprano (Ninfa, Deux Argiennes) Heejung Lee was born in Seoul, South Korea. She began studying piano at 5, and has beenstudying voice since the age of 17. She earned a bachelor’s degree with high honors invoice at Seoul National University, and is now pursuing a master of music degree in vocalarts at The Bard College Conservatory of Music, where she studies with Lorraine Nubarand works regularly with renowned soprano Dawn Upshaw. Her career highlights includethe role of the Queen of the Night in the Seoul Festival’s Magic Flute and numerousawards in Korea, including First Place in the Overseas Dispatch Competition, Gold Medalin the Sungjung Music Competition, and First Place in the Music Journal Competition.

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Abigail Levis, mezzo-soprano (Olga, Rameau chorus) Abigail Levis received her undergraduate degree in vocal performance from the EastmanSchool of Music, where she studied with Karen Holvik and Katherine Ciesinski. She com-pleted a master’s degree at the University of Houston under the tutelage of CynthiaClayton. She is currently pursuing a second master’s degree at The Bard CollegeConservatory of Music, where she studies with Edith Bers. Levis was a winner of theUniversity of Houston Concerto Competition, National Orpheus Vocal Competition, LoisAlba Aria Competition, Five Towns Music Competition in Long Island, and Young TexasArtist Competition, and a finalist in the Jesse Kneisel Lieder Competition. She is the recip-ient of the 2010 Cynthia Woods Mitchell Pavilion scholarship, and has performed as aYoung Artist with Crested Butte Music Festival, Opera New Jersey, Austrian AmericanMozart Academy, Songfest Stern’s Fellows Institute, and Scuola Italia. Last spring sheappeared with Boston’s Handel and Haydn Society in Handel’s Israel in Egypt, Mozart’sRequiem, and Handel’s Dixit Dominus. This spring she will sing the role of Dorabella inMozart’s Cosi fan tutte with New York Opera Exchange.

Kameryn Lueng, soprano (Maid, Rameau chorus)Kameryn Lueng is a first-year student in the Bard College Conservatory Graduate VocalArts Program. She graduated from Louisiana College, where she studied with Loryn E.Frey and Samantha Miller. She has performed several lead roles, including Lucy in TheTelephone, Madame Herz in The Impresario, Leticia in The Old Maid and the Thief, andGertrude McFuzz in Seussical. She has also performed the role of Frasquita in Carmenwith the Rapides Symphony Orchestra. Lueng currently studies with Lorraine Nubar.

Marie Marquis, soprano (Myrthis) Marie Marquis, a Mississippi native and recent graduate of the Peabody Institute inBaltimore, enjoys singing a diverse selection of repertoire. She has been featured on WYPRwith the Peabody Renaissance Ensemble, and performed as a soloist with the group inseveral concerts. Recently she has appeared on stage as Norina from Don Pasquale at theFairbanks Summer Arts Festival, as Judy in Lee Hoiby’s This Is the Rill Speaking inBaltimore’s Theater Project, and as a soldier in the premier of Libby Larsen’s Stone Soup atSongfest in Malibu. Last year, she won both the state and regional NATS student auditionsin the Mid-Atlantic Region and was the recipient of the Charles M. Eaton Voice Award andthe Azalia H. Thomas Prize from the Peabody Institute. Marquis holds a B.M. degree fromPeabody as well as a B.A. in French language and literature from Johns Hopkins University,and is currently a first-year student in Bard’s Graduate Vocal Arts Program.

Matthew Morris, baritone (Nélée) Since graduating from The Juilliard School, Matthew Morris has followed his love of performing into an international career that spans a variety of genres at the highestlevel. He has appeared as King Charles in Candide with the London Symphony Orchestra,

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performed with cabaret star Meow Meow in Carnegie Hall’s Berlin Festival of Lights, andstarred as Papageno in legendary director Peter Brook’s Molière Award–winning UneFlûte Enchantée. Favorite premieres include singing and rapping as Nico in Mason Bates’sopera California Fictions (part of the New York City Opera’s VOX showcase); premieringthe role of Jonathan on the PBS Broadcast of Mark Zuckerman’s opera The Outlaw andthe King; singing the role of George in the western U.S. premiere of Our Town by NedRorem at the Aspen Opera Theater Center; and creating the role of John in Back in theDay, a new musical by Lance Horne. In 2011, Morris was a vocal fellow at the TanglewoodMusic Center, where he sang the roles of Dionysos in Milhaud’s L’abandon d’Ariane andThéramène in Milhaud’s La déliverance de Thésée, under the direction of Mark Morris. Hehas also been a member of the Santa Fe Opera Apprentice program, where he sang therole of Apollo in Gluck’s Alceste. Morris is currently a second-year student in Bard’sGraduate Vocal Arts Program and a recipient of the Mimi Levitt Scholarship.

Barrett Radziun, tenor (Gloss, Rameau chorus) Barrett Radziun, a 2010 graduate of Northwestern College in St. Paul, Minnesota, is afirst-year student in Bard’s Graduate Vocal Arts Program. He has appeared on opera, ora-torio, and recital stages throughout the United States. Described by Cleveland Classicalas “brilliant in his solo performances,” his recent engagements include tenor soloist inMonteverdi’s Vespro della beata Vergine, Dubois’s The Seven Last Words of Christ, and J. S.Bach’s Cantata No. 80. Radziun was the first-place winner of Thursday Musical’s 2011

Young Artist Competition, and was selected as a finalist in the 2011 Schubert ClubScholarship Competition. He is an alumnus of SongFest, Hawaii Performing Arts Festival,Oberlin’s Baroque Performance Institute, Tallis Scholars Summer School, and Seattle’sAccademia d’Amore Baroque Opera Workshop. His teachers include Lorraine Nubar, CarolEikum, and Elizabeth Grefsheim.

Jacquelyn Stucker, soprano (Irina, Rameau chorus) Jacquelyn Stucker is a first-year student in Bard’s Graduate Vocal Arts Program. She grad-uated with honors from Furman University, where she studied with William Thomas Jr.,and has participated in master classes with Gisela Pohl, Richard Cowan, Sergei Leiferkus,and Elizabeth Bishop. She performs frequently as a concert soloist—most recently withthe Bard College Conservatory Orchestra—and had her international operatic debut in2008 as Kate Pinkerton in Madama Butterfly at Lyrique-en-Mer/Festival de Belle Île. Shecurrently studies with Lorraine Nubar.

Logan Walsh, baritone (Krumpelblatt, Rameau chorus)Logan Walsh recently received his B.M. in voice performance from the University of NorthTexas, where he studied with Lynn Eustis. While at UNT, he performed the title role in Lenozze di Figaro, Albert in Werther, and Oscar in Regina. He was the recipient of the DeanJames Scott Scholarship, Cecelia Cunningham Box Voice Scholarship, and MargotWinspear Opera Scholarship, and was a finalist in the 2010 Winspear Opera Competition.

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In 2011, Walsh collaborated with Jake Heggie on a recital that included works from TheEnd of the Affair, Three Decembers, and Moby-Dick. He has performed at the CrestedButte Music Festival and with the Metroplex Opera Company, Crittenden Opera Studio,OperaWorks, and Ohio Light Opera Company, where has been a member for three sea-sons and has been seen in more than 150 performances. He can be heard in the role ofCount Berezowski in Ohio Light Opera’s upcoming recording of Victor Herbert’s TheFortune Teller for Albany Records. In concert, he has performed as the bass soloist inMozart’s Requiem with the Denton Bach Society; as Caiaphas in Schutz’s St. MatthewPassion with the Dallas Bach Society; and Sir Lancelot in Camelot and Thénardiers in LesMiserables with the University of North Texas Symphony. He enrolled in Bard’s GraduateVocal Arts Program in the fall of 2011.

The Bard College Conservatory of MusicRobert Martin, DirectorMelvin Chen, Associate Director

Graduate Vocal Arts ProgramDawn Upshaw, Artist DirectorKayo Iwama, Head of Program

Building on its distinguished history in the arts and education, Bard College launchedThe Bard College Conservatory of Music, which welcomed its first class in August 2005.This innovative five-year program of study is guided by the principle that musiciansshould be broadly educated in the liberal arts and sciences to achieve their greatestpotential. All students complete two degrees, a bachelor of music and a bachelor of artsin a field other than music. The Conservatory also includes the Preparatory Division foryoung people up to the age of 18.

In 2006 artistic director Dawn Upshaw and head of program Kayo Iwama inaugurated theGraduate Vocal Arts Program, a two-year master of music degree within the Conservatory.Course work extends from standard repertory to new music, alongside training in actingand core seminars that provide historical and cultural perspectives, analytical tools, andvital skills for vocal and operatic performance at the highest levels. The students—onlyeight are admitted each year—have performed at Weill Recital Hall, Zankel Hall, andBard’s Fisher Center in recitals and as soloists with the American Symphony Orchestra.Since the inception of the Graduate Vocal Arts Program, the students have given world-premiere opera performances of David Bruce’s A Bird in Your Ear, Missy Mazzoli’s Songfrom the Uproar, and David T. Little’s Vinkensport, and have participated in three seasonsof Carnegie Hall’s Weill Music Institute’s Young Composer/Singer Professional TrainingWorkshop. Alumni/ae have distinguished themselves in the Metropolitan Opera NationalCouncil Auditions Finals Concert, Los Angeles Opera Young Artists Program, and asprizewinners at a host of other national and international vocal competitions.

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Dr. and Mrs. Morton AltermanBanco Santander S.A.Bettina Baruch FoundationMarshall S. BerlandAlison R. BernsteinBeverwyck, Inc.Dr. László Z. Bitó ’60 and

Olivia Carino Foundation, Inc.Blue Ridge CapitalStuart Breslow and Anne MillerCraig and Camille BroderickTheodora BudnikAlfred M. Buff and Lenore

NemethFrederick J. C. and

Marie Claude ButlerLisa CarnoyFu-chen ChanDavid CohenLyell DampeerMr. and Mrs.* Arnold J. Davis ’44

Georgia and Michael deHavenon

Mr. and Mrs. Gonzalo de LasHeras

David de WeeseBarbara DeeganBruce B. Doris

Ivan Dremov and Normandy Vincent

Cornelia Z. and Timothy ElandMarjorie and Walter B. FarrellAndrew H. FeinmanThe Ford FoundationMr. D. B. ForerFriends of Beattie-Powers PlaceGE FoundationThe Ann & Gordon Getty

FoundationKatherine Gould-Martin and

Robert MartinProf. Marka GustavssonProf. John HalleSheila G. HaysDonald B. Hilliker Jr.Dr. and Mrs. Bertrand R. JacobsJoe Lewis Jefferson Foundation

Inc.John Cage TrustJohn E. JohnsonJames E. JordanDemetrios A. KaridesBelinda and Stephen KayeNick KennerDavid and Janet E. KettlerJane Korn

Kvistad FoundationAlison L. and John C. LankenauNancy Kay LaTorreThe Leonard & Evelyn Lauder

Fund of the LauderFoundation

Mr. Lawrence Kramer and Dr. Nancy S. Leonard

Mrs. Mortimer LevittThe Mortimer Levitt

Foundation Inc.Harold J. and Shari B. LevyLou LewisThe Lewis FoundationRichard C. Lewit ’84 and

Alison J. GussVivian Liu and Alan HillikerPhilip LoebHarvey MarekMartin and Toni Sosnoff

FoundationElisabeth and Robert McKeonNatalie MerchantHelen K. MottMartin L. and Lucy Miller MurrayNancy and Paul Ross

Foundation Inc.National Endowment for the

Arts (NEA)

The Conservatory gratefully acknowledges the generous support of these recent donors:

SUPPORT THE BARD COLLEGE CONSERVATORY OF MUSIC

Please join the Conservatory donors listed below by making a gift to support the following programs:

Challenge Grant from the Andrew W. Mellon Foundation This $2.5 million challengegrant for the Conservatory’s unique dual-degree program must be matched with newendowment gifts that total $7.5 million by September 2012. To date, matching fundshave passed the $1.8 million mark.

Scholarships A contribution of any amount will help us build the scholarship fund. Witha tax-deductible gift of $10,000, a named scholarship can be designated for one year.Establish a permanently endowed scholarship with a gift of $200,000, which can bepledged over a five-year period.

The Cremona Society Join the Conservatory’s Cremona Society by loaning or donating afine instrument for Conservatory students to use. Loaned instruments are insured byBard and cared for by expert technicians.

Master Classes Noted artists offer master classes and workshops for students that arealso open to the public. A gift of $5,000 underwrites a master-class series.

For more information, please contact Ann Gabler, development manager, 845-758-7866

or gabler@bard.edu.

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The Bard CollegeConservatory of MusicRobert Martin, DirectorMelvin Chen, Associate Director

Undergraduate Program FacultyViolinEugene DruckerYi-Wen JiangAni Kavafian (master classes)Ida KavafianSoovin KimWeigang LiDaniel PhillipsLaurie SmuklerArnold SteinhardtViola Steven TenenbomMichael TreeIra Weller Cello Sophie ShaoPeter Wiley

Double BassMarji DanilowLeigh Mesh

HarpSara CutlerBridget Kibbey

PianoMelvin ChenJeremy DenkRichard Goode (master classes)Peter Serkin

FluteNadine Asin (master classes)Tara Helen O’Connor

OboeLaura AhlbeckRichard DallesioElaine Douvas

ClarinetLaura FlaxDavid KrakauerAnthony McGill

BassoonMarc GoldbergPatricia Rogers

HornJulie LandsmanJeffrey LangJulia Pilant

TrumpetCarl Albach

TromboneDemian AustinJohn Rojak

TubaAlan Baer

PercussionSo Percussion members:Eric BeachJosh QuillenAdam SliwinskiJason TreutingAdvisers:Daniel DruckmanJonathan HaasGreg ZuberTzong-Ching JuGarry KvistadJan Williams

CompositionJoan TowerGeorge TsontakisDa Capo Chamber Players

(in residence)

Orchestral StudiesLeon BotsteinErica KiesewetterLuis Garcia-Renart

Performance Practice AdvisersRaymond EricksonStephen Hammer

Music Theory and HistoryLeon BotsteinChristopher H. GibbsJohn HallePeter Laki

Graduate ProgramsVocal Arts (M.M. Degree)Dawn Upshaw, Artistic DirectorKayo Iwama, Head of Program

VoiceEdith BersPatricia MisslinLorraine Nubar

Acting and MovementWorkshopMarc Verzatt

Repertoire SeminarsRuth GoldenKayo IwamaDawn Upshaw

Career WorkshopCarol Yaple

Vocal CoachingKayo IwamaJennifer RingoDawn Upshaw

DictionMatthew Odell

Movement and AlexanderTechniqueGwen EllisonAlexander Farkas

Orchestral and ChoralConducting (M.M. Degree)James Bagwell, CodirectorLeon Botstein, CodirectorHarold Farberman, Codirector

Orchestral ConductingLeon BotsteinHarold Farberman

Choral ConductingJames Bagwell

CompositionLarry Wallach

Music History and TheoryJames BagwellKyle GannChristopher H. GibbsPeter Laki

David NobleSakiko OhashiMargaret OsiusMarilyn and Peter OswaldPepsico FoundationMark PrezorskiAndrea L. ReynoldsBarbara J. RitchieDavid K. RossFelice RossStuart Ross

Saugerties Pro Musica, Inc.Pam B. SchaflerDagni and Martin SenzelLizbeth and Stephen ShaferTara Shafer and Gavin CurranRichard T. SharpClaude ShawLauren and Marc SlaytonDenele and Eric SmallThe Fred Stein Family

Foundation

Felicitas S. ThorneStephane and Isabel TruongIlliana van MeeterenDr. Jan and Marica VilcekMarla and Brian WalkerDavid WetherillSturgis P. WoodberryDavid Yum

* deceasedList current as of February 14, 2012

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Languages Bard College Faculty

Secondary Instrument Bard College Faculty

Piano FellowsFrank Corliss, Director

The Conductors InstituteHarold Farberman,

Artistic Director

Preparatory DivisionSakiko Ohashi, Director

VoiceMalena Dayen

ViolinHye-Jin KimSharon Roffman (on leave)

CelloKaren Ouzounian

Double BassRyan Kamm

PianoIeva Jokubaviciute (on leave)Renana GuttmanHiroko SasakiSusanne Son

FluteFu-chen Chan

Music and MovementShelly Ley

Participating Bard Music Program FacultyJames Bagwell, Program Director

Jazz StudiesThurman BarkerJohn EspositoErica Lindsay

Theory and CompositionKyle Gann

Chamber MusicLuis Garcia-RenartMarka GustavssonBlair McMillen

MusicologyChristopher H. GibbsFrederick HammondPeter Laki

VoiceRufus Müller

CompositionJoan TowerRichard Teitelbaum

StudentsCompositionSun Bin (Kevin) Kim, New Jersey

(Physics)Tamzin Elliott, California *Andrés Martinez de Velasco,

Mexico *Dylan Mattingly, California *Luká Olejník, Czech Republic

(Psychology)Adam Zuckerman, California *

PianoXiao Chen, China (French Studies)Hye Joong Jeong, South Korea *Maryna Kysla, Ukraine *Frances Lee, Singapore

(German Studies)Stephen and Belinda KayeScholarship

Mayumi Tsuchida, California(Biology)

Chi-Hui Yen, Taiwan (Economics)

ViolinQun Dai, China *Alex Fager, California *Fangyue He, China (Italian

Studies)Herman Family Scholarship

Tyme Khleifi, Palestine (German Studies)

Yang Li, China (French Studies)Fang Xi Liu, China *Zhi Ma, China *Caitlin Majewski, New Jersey

(Psychology)Bettina Baruch FoundationScholarship

Veronika Mojzesova, Czech Republic *

Scot Moore, Illinois (Middle Eastern Studies)G. de Las Heras Scholarship

Dongfang Ouyang, China *Leonardo Pineda, Venezuela *Jiayu Sun, China *Yue Sun, China (Psychology)

Liberace ScholarSabrina Tabby, Pennsylvania

(French Studies)Gergo Toth, Hungary *Jiazhi Wang, China (Asian Studies)Tian Xu, China (Asian Studies/

Art History)Luis Garcia-Renart Scholarship

Yuan Xu, China (Economics)

ViolaWenlong Huang, China *Wei Peng, China *David Toth, Hungary ^Lin Wang, China (Asian Studies)Xinyi Xu, China (German Studies)Jiawei Yan, China *Zi Ye, China *

CelloRachel Becker, Massachusetts

(Physics)Mischa Schneider Scholarship

Jeannette Brent, New York *The Leonard & Evelyn LauderFoundation Scholarship

Yi Cheng, China *Rylan Gajek-Leonard, Canada *Rastislav Huba, Slovakia *Orsolya Kadar, Hungary ^Stanley Moore, Illinois *Emma Schmiedecke, New Jersey

(Art History)George Martin-Hans ThatcherClarke Scholarship

Xi Yang, China *Daniel Zlatkin, Connecticut *

BassBingwen Yang, China *Zhenyuan Yao, China *Xinyue Zhang, China

(Asian Studies)Yingqin Zhang, China *

HarpAnna Bikales, Tennessee *

FluteEszter Ficsor, Hungary

(German Studies)Bitó Scholarship

Adrienn Kántor, Hungary (German Studies)Bitó Scholarship

Eleni Tsachtani, Greece (Dance)Fanya Wyrick-Flax, New York

(Mathematics)

OboeXuanbo Dong, China

(Political Studies)Carl Meyer, Michigan *Rafael Monge-Zuniga,

Costa Rica **

ClarinetBalasz Erdelyi, Hungary **Renata Raková, Czech Republic

(German Studies)Jim and Mary OttawayScholarship

Noemi Sallai, Hungary *Amalie Wyrick-Flax, New York *

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BassoonLucas Henry, Texas (Biology)Joshua Hodge, Arizona *David Adam Nagy, Hungary

(Asian Studies/Japanese)Bitó Scholarship

Anna Opatka, Massachusetts *

HornFerenc Farkas, Hungary **Andras Ferencz, Hungary * James Haber, Connecticut *Szilard Molnar, Hungary (Spanish)

Bitó ScholarshipCameron West, California *

TrumpetCsaba Banfi, Hungary *Christopher Carroll, New

Hampshire (Political Studies)Tamás Pálfalvi, Hungary *Balazs Varga, Hungary

(Economics)Bitó Scholarship

TromboneVáclav Kalivoda, Czech Republic *Hsiao-Fang Lin, Taiwawn

(Computer Science)Tamás Markovics, Hungary

(Economics)János Sutyák, Hungary

(German Studies)Bitó Scholarship

TubaPeter Blaga, Hungary *Yi-Ching Chen, Taiwan (History)

PercussionPetra Elek, Hungary *Amy Garapic, Ohio ^^Zihan Yi, China *

John Cage Trust Scholarship

Students in the GraduateVocal Arts ProgramFaylotte Crayton, CaliforniaLucy Dhegrae, Michigan Hannah Goldshlack, MichiganHyunhak Kim, South KoreaVanessa Langer, CaliforniaHeejung Lee, South KoreaKameryn Leung, LouisianaAbigail Levis, MaineMarie Marquis, MississippiMatthew Morris, Maryland

Mimi Levitt ScholarshipBarrett Radziun, MinnesotaJacquelyn Stucker, South CarolinaLogan Walsh, Texas

Collaborative PianoFellowsErika Allen, MaineZsolt Balogh, Hungary ^Christina Giuca, WisconsinMilena Gligic, SerbiaChorong Park, South Korea

Students in the GraduateConducting ProgramAlan Anibal, BrazilAlexandra Arrieche, BrazilBenjamin Bath, MassachusettsJoseph Brunjes, North CarolinaWon K. Chae, South KoreaMercedes Diaz, SpainDavid Gargaro, ScotlandZachary Malavolti, OklahomaHeidi Schnarr, MassachusettsDaniel Whitener, Washington, D.C.

* Second major not yet declared** Graduate certificate student ^ Hungarian Fellow^^ Percussion Fellow

Bard College ConservatoryAdvisory BoardGonzalo de Las Heras, chairAlan D. HillikerSusan B. HirschhornBelinda and Stephen KayeGabriella SperryEric Wong

Board and AdministrationBard CollegeBoard of TrusteesDavid E. Schwab II ’52,

Chair EmeritusCharles P. Stevenson Jr., ChairEmily H. Fisher, Vice ChairElizabeth Ely ’65, SecretaryStanley A. Reichel ’65, TreasurerFiona AngeliniRoland J. AugustineLeon Botstein + ,

President of the CollegeDavid C. ClappMarcelle Clements * ’69

Asher B. Edelman ’61

Robert S. Epstein ’63

Barbara S. Grossman* ’73

Sally HambrechtGeorge F. Hamel Jr.Ernest F. Henderson III, Life TrusteeMarieluise HesselCharles S. Johnson III ’70

Mark N. KaplanGeorge A. KellnerCynthia Hirsch Levy ’65

Murray LiebowitzMarc S. LipschultzPeter H. Maguire ’88

James H. Ottaway Jr., Life TrusteeMartin PeretzStewart ResnickRoger N. Scotland * ’93

The Rt. Rev. Mark S. Sisk, Honorary Trustee

Martin T. Sosnoff Susan WeberPatricia Ross Weis

Senior AdministrationLeon Botstein, PresidentDimitri B. Papadimitriou,

Executive Vice PresidentMichèle D. Dominy, Vice President

and Dean of the CollegeMary Backlund, Vice President for

Student Affairs and Director ofAdmission

Norton Batkin, Vice President andDean of Graduate Studies

Jonathan Becker, Vice Presidentand Dean for InternationalAffairs and Civic Engagement

James Brudvig, Vice President forAdministration

John Franzino, Vice President forFinance

Susan H. Gillespie, Vice Presidentfor Special Global Initiatives

Max Kenner ’01, Vice President forInstitutional Initiatives

Robert Martin, Vice President forAcademic Affairs and Directorof The Bard CollegeConservatory of Music

Debra Pemstein, Vice President forDevelopment and Alumni/aeAffairs

+ ex officio * alumni/ae trustee

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About Bard College

Founded in 1860, Bard is an independent, nonsectarian, residential, coeducational collegeoffering a four-year B.A. program in the liberal arts and sciences and a five-year B.S./B.A.degree in economics and finance. The Bard College Conservatory of Music offers a five-yearprogram in which students pursue a dual degree—a B.Music and a B.A. in a field other thanmusic—and offers an M.Music in vocal arts and in conducting. Bard and its affiliated insti-tutions also grant the following degrees: A.A. at Bard High School Early College, a publicschool with campuses in New York City (Manhattan and Queens) and Newark, New Jersey;A.A. and B.A. at Bard College at Simon’s Rock: The Early College, in Great Barrington,Massachusetts, and through the Bard Prison Initiative at five penal institutions in New YorkState; M.A. in curatorial studies, and M.S. in environmental policy and in climate science andpolicy at the Annandale campus; M.F.A. and M.A.T. at multiple campuses; M.B.A. in sustain-ability in New York City; and M.A., M.Phil., and Ph.D. in the decorative arts, design history, andmaterial culture at the Bard Graduate Center in Manhattan. Internationally, Bard confersdual B.A. degrees at the Faculty of Liberal Arts and Sciences, St. Petersburg State University,Russia (Smolny College), and American University of Central Asia in Kyrgyzstan; and dual B.A.and M.A.T. degrees at Al-Quds University in East Jerusalem.

Bard offers nearly 50 academic programs in four divisions. Total enrollment for Bard Collegeand its affiliates is approximately 3,900 students. The undergraduate college has an enroll-ment of more than 1,900 and a student-to-faculty ratio of 10:1. For more information aboutBard College, visit www.bard.edu.

©2012 Bard College. All rights reserved.Cover The Swing, Jean-Honoré Fragonard, 1767. Reproduced by kind permission of the Trustees of the Wallace Collection, London.Inside back cover ©Peter Aaron ’68/Esto

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BECOME A FRIEND OF THE FISHER CENTER TODAY!

Since opening in 2003, The Richard B.Fisher Center for the Performing Arts

at Bard College has transformed cultural life in the Hudson Valley with

world-class programming. Our continued success relies heavily on individuals such as you. Become aFriend of the Fisher Center today.

Friends of the Fisher Center membership is designed to give

individual donors the opportunity to support their favorite programs

through the Fisher Center Council or Bard Music Festival Council. As aFriend of the Fisher Center, you will

enjoy a behind-the-scenes look atFisher Center presentations and

receive invitations to special eventsand services throughout the year.

Friend ($100–349)• Advance notice of programming• Free tour of the Fisher Center• Listing in the program

($5 of donation is not tax deductible)

Supporter ($350–749) All of the above, plus:• Invitation for you and a guest to a season preview event• Invitations to opening night receptions with the artists• Invitation for you and a guest to a select dress rehearsal

($5 of donation is not tax deductible)

Sponsor ($750–1,499) All of the above, plus:• Copy of the Bard Music Festival book• Invitation for you and a guest to a backstage technical

demonstration ($40 of donation is not tax deductible)

Patron ($1,500–4,999) All of the above, plus:• Opportunity to buy tickets before sales open to

the general public• Exclusive telephone line for Patron Priority handling

of ticket orders• Invitation for you and a guest to a pre-performance

dinner at a Hudson River Valley home($150 of donation is not tax deductible)

Producer/Benefactor ($5,000+) All of the above, plus:• Seat naming opportunity• Invitations to special events scheduled throughout the year• Opportunity to underwrite events

($230 of donation is not tax deductible)

Please return your donation to:

Richard B. Fisher Centerfor the Performing Arts

Bard CollegePO Box 5000

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BARD COLLEGE CONSERVATORY OF MUSICMARCH 21 SOSNOFF THEATER 8 PM

Percussion Ensemble ConcertThe Conservatory Percussion Ensemble in concert

MARCH 23 OLIN HALL 8 PM

Faculty RecitalLaurie Smukler, violin, with guest artist Jane Coop, piano.

MARCH 25 SOSNOFF THEATER 3 PM

Conservatory Sundays–Music Alive!20th- and 21st-century music, performed by students of the Conservatory and Music Program

MAY 6 SOSNOFF THEATER 3 PM

Conservatory Sundays–Conservatory OrchestraWith music director Leon Botstein and Conservatory faculty soloist Weigang Li, violin.

AMERICAN SYMPHONY ORCHESTRAConducted by Leon Botstein, music director

APRIL 27 AND 28 SOSNOFF THEATER 8 PM

Works by Lutosławski, Brubeck, Shore, and Bartók

BARDSUMMERSCAPE 2012

DANCE JULY 6–8

Compagnie fêtes galantesTaking Baroque dance into the 21st century

THEATER JULY 13–22

Molière’s

The Imaginary InvalidThe last play by a comic master

OPERA JULY 27 – AUGUST 5

Emmanuel Chabrier’s

The King in Spite of HimselfA classic comic opera with a brilliant score

FILM FESTIVAL JULY 12 – AUGUST 12

France and the Colonial ImaginationThe legacy of French rule in Africa and Southeast Asia

SPIEGELTENT JULY 6 – AUGUST 19

Cabaret, music, fine dining, and moreand

THE 23RD ANNUAL BARD MUSIC FESTIVALSaint-Saëns and His WorldAUGUST 10–12 and 17–19

The 2012 SummerScape season is made possible in part through the generous support of the Board of The Richard B. Fisher Center for the Performing Arts at Bard College, the Board of the Bard Music Festival, andthe Friends of the Fisher Center, as well as grants from the National Endowment for the Arts, the New York State Council on the Arts, and the Mid Atlantic Arts Foundation.