Announcing Lincoln Center's White Light Festival 2017

  • The Psalms Experience: Unprecedented Choral Event Featuring All 150 Psalms Set to Music by 150 Composers Spanning 1,000 Years, Performed Across 12 Thematic Concerts
  • Monteverdi and the Birth of Opera: Celebrating the 450th Anniversary of the Composer’s Birth with Three Semi-Staged Concerts Led by John Eliot Gardiner
  • New York Premiere of Mark Morris Dance Group’s Layla and Majnun; Meredith Monk’s
    Dancing Voices with the Young People’s Chorus of New York City; and Pergolesi’s Stabat Mater Choreographed and Directed by Jessica Lang
  • Jordi Savall’s Routes of Slavery with Guest Vocalists and Instrumentalists from Three Continents
  • The Beckett Trilogy Performed by Conor Lovett of Gare St. Lazare Ireland
  • Beethoven’s Missa Solemnis by the Swedish Radio Choir and Swedish Chamber Orchestra; Performances by the Emerson String Quartet, Steven Osborne, and more

NEW YORK, NY (June 20, 2017)—Ehrenkranz Artistic Director Jane Moss today announced Lincoln Center’s 2017 White Light Festival, which runs from October 18 through November 15. With more than 35 events presented in 13 venues throughout the city, including U.S. and New York premieres and nine commissions, the eighth annual international festival will explore transcendence, interior illumination, and faith in the human spirit, as exhibited through artistic expression across continents and centuries. The multidisciplinary festival takes its name from a quotation by Estonian composer Arvo Pärt: “Icouldcomparemymusic to white light, which contains all colors. Only a prism can divide the colors and make them appear; this prism could be the spirit of the listener.
The White Light Festival continues to highlight the transformative power of art to illuminate our individual and communal lives. Said Moss, “In these challenging and fractious times, the White Light Festival's focus on the self-illumination, nourishment, and expansion offered by art seems especially timely and necessary. The festival invites audiences to experience timeless works from across a multitude of cultures and disciplines in this year’s thought-provoking performances.”
The 2017 White Light Festival opens on Wednesday, October 18, by celebrating the birth of a legend and the genesis of opera. To mark Claudio Monteverdi’s 450th birthday, John Eliot Gardiner brings his Monteverdi Choir and English Baroque Soloists to perform three semi-staged performances of the composer’s three surviving operas: L’Orfeo, followed by Il ritorno d’Ulisse in patria andL’incoronazione di Poppea.
Grappling with the mysteries of faith, a centerpiece of this season’s festival is The Psalms Experience, an unprecedented 12-concert event that brings together four internationally renowned choirs performing musical settings of the complete psalms, exploring their contemporary relevance in a secular world. Through ageless poetry and inspired composition covering 1,000 years of music, The Psalms Experience presents all 150 psalms set by 150 different composers, from Bach and Handel to Nielsen and Arvo Pärt to new commissions by eight composers from around the world, including Michel van der Aa, David Lang, Nico Muhly, Evelin Seppar, and Isidora Žebeljan. Choral works expressing gratitude, abandonment, solace, and redemption will be sung across four New York City venues by the Choir of Trinity Wall Street, Netherlands Chamber Choir, Tallis Scholars, and Norwegian Soloists’ Choir.
Grounded in the present and looking to the future, pioneering vocalist and composer Meredith Monkpresents a melding of music and movement in Dancing Voices, in partnership with the Young People’s Chorus of New York City, incorporating a U.S. premiere in a retrospective of Monk’s work refashioned for a new generation.
In a Lincoln Center co-commission, the Mark Morris Dance Group returns to the festival with the New York premiere of Layla and Majnun, a Middle Eastern opera of forbidden love reinterpreted by choreographer Mark Morris, featuring the Silk Road Ensemble and two iconic Azerbaijani vocalists, Alim Qasimov and Fargana Qasimova, as the star-crossed lovers from Persian folklore. In another exquisite offering, Jessica Lang choreographs and directs Pergolesi’s ravishing Stabat Mater with countertenor Anthony Roth Costanzo and soprano Andriana Chuchman alongside the arresting movement of Jessica Lang Dance.
Following its acclaimed performances at the 2015 White Light Festival, Gare St. Lazare Ireland returns for another Beckett presentation, The Beckett Trilogy. This theatrical event considers the human condition through excerpts of Beckett’s novels Molloy, Malone Dies, and The Unnamable in a solo performance by actor Conor Lovett, a preeminent Beckett interpreter.
Combining powerful sound and image, Australian video artist Lynette Wallworth collaborates with French organist Bernard Foccroulle in the U.S. premiere of Darkness and Light, a selection of Baroque and 20th-century music accompanying projections of the natural world and industrial development in a nuanced exploration of duality and paradox.
Other highlights range from the Emerson String Quartet pairing late Shostakovich and Beethoven to pianists Steven Osborne channeling a mystical Messiaen and Jenny Lin honoring the visionary Valentin Silvestrov. The Swedish Chamber Orchestra presents Beethoven’s towering Missa solemnis, and Swedish Radio Choir offers a luminous a cappella concert in the intimate Church of St. Mary the Virgin.
The festival culminates in The Routes of Slavery from beloved early music interpreter Jordi Savall, who gathers artists from Africa, Europe, and the Americas to explore the incredible musical legacy from over four centuries of music across three continents. Through tracing journeys of unspeakable cruelty, Savall and his collaborators honor the endurance and vibrant sense of community forged from the extraordinary resilience of the human spirit.
In addition to the performances, the 2017 White Light Festival will offer pre- and post-performance artist talks, White Light Lounges, a film screening, and special panel discussions. White Light Lounges follow many performances. These receptions are exclusive to White Light Festival ticketholders and provide opportunities to mingle with artists and fellow concertgoers while enjoying a complimentary glass of wine or sparkling water.
Tickets for the 2017 White Light Festival are available online at, by calling CenterCharge at 212.721.6500, or at the David Geffen or Alice Tully Hall Box Office (Broadway and 65th Street). Single tickets will be available to purchase on June 26, 2017.

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White Light Festival 2017
Artists and Programs Listed in Chronological Order


Wednesday, October 18 – Saturday, October 21
The year 2017 marks the 450th anniversary of Monteverdi’s birth. To illuminate the origins of an art form, the peerless John Eliot Gardiner brings his Monteverdi Choir and English Baroque Soloists to Alice Tully Hall for semi-staged concerts of the composer’s three surviving operas—L’OrfeoIl ritorno d’Ulisse in patria, and L’incoronazione di Poppea.
Wednesday, October 18 at 7:00 pm         
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner, conductor
Krystian Adam, Orfeo
Hana Blažíková, Euridice
John Eliot Gardiner and Elsa Rooke, stage direction
Alice Tully Hall
A White Light Lounge follows the performance


Composed in 1607, Monteverdi’s L’Orfeo is considered the first great opera. It offers a probing investigation of human nature, character, and desire through the myth of Orpheus and Eurydice, brought to life by the Monteverdi Choir and English Baroque Soloists in this stirring period performance.
Pre-concert lecture: Ellen Rosand, author of Monteverdi’s Last Operas: A Venetian Trilogy, speaks at
5:45 pm in the Stanley H. Kaplan Penthouse.
Thursday, October 19 at 7:00 pm
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner, conductor
Furio Zanasi, Ulisse
Marianna Pizzolato, Penelope
Krystian Adam, Telemaco
Hana Blažíková, Minerva
John Eliot Gardiner and Elsa Rooke, stage direction
Alice Tully Hall
A White Light Lounge follows the performance

MONTEVERDI: Il ritorno d’Ulisse in patria, SV 325

Based on the second half of Homer’s OdysseyIl ritorno d’Ulisse in patria is a tale of treachery and deception that ultimately resolves into the triumph of enduring love. John Eliot Gardiner, the Monteverdi Choir, and English Baroque Soloists recreate the passionate sound world of this 1640 opera.
Pre-concert lecture: Ellen Rosand, author of Monteverdi’s Last Operas: A Venetian Trilogy, speaks at
5:45 pm in the Stanley H. Kaplan Penthouse.
Saturday, October 21 at 7:00 pm
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner, conductor
Hana Blažíková, Poppea
Kangmin Justin Kim, Nerone
Marianna Pizzolato, Ottavia
Carlo Vistoli, Ottone
John Eliot Gardiner and Elsa Rooke, stage direction
Alice Tully Hall
A White Light Lounge follows the performance

MONTEVERDI: L’incoronazione di Poppea, SV 308

Monteverdi’s final opera, L’incoronazione di Poppea, first performed in the 1642–43 carnival season in Venice, was unusual in its time for abandoning mythology in favor of a retelling of historical events. The composer’s operatic swan song contains the earliest version of a great diva scena by the self-proclaimed “despised queen,” Ottavia. John Eliot Gardiner and the Monteverdi Choir cast an irresistible spell in this musical retelling of Poppea’s evolution from Roman Emperor Nero’s bewitching mistress to his queen.
Pre-concert lecture: Ellen Rosand, author of Monteverdi’s Last Operas: A Venetian Trilogy, speaks at 5:45 pm in the Stanley H. Kaplan Penthouse.
All performances sung in Italian with English supertitles.
These performances are also part of Lincoln Center’s Great Performers.
Made possible in part by The Gladys Krieble Delmas Foundation.
Friday, October 20 at 7:30 pm     
Saturday, October 21 at 3:00 pm and 7:30 pm
Meredith Monk, voice, composer, and director
Young People’s Chorus of New York City
Francisco J. Núñez, artistic director
Katie Geissinger, voice
Allison Sniffin, voice and piano
American Contemporary Music Ensemble
Gerald W. Lynch Theater at John Jay College
A White Light Lounge follows the October 20 performance
Vocalist, composer, and director Meredith Monk and members of her acclaimed Vocal Ensemble join forces with the Young People’s Chorus of New York City to offer an intergenerational experience of music and movement where “the body sings and the voice dances.” The program encompasses Monk’s choral, duet, and solo works, including the U.S. premiere of Dancing Voices, a new choral arrangement of “Three Heavens and Hells,” “Ascent” from Songs of Ascension, and selections from ATLAS: an opera in three parts and Book of Days. Monk and her Vocal Ensemble presented the opening performance of the inaugural White Light Festival, The Soul’s Messenger, in the David Rubenstein Atrium in 2010.
Tuesday, October 24 at 7:30 pm
Alice Tully Hall
A White Light Lounge follows the performance.

BEETHOVEN: String Quartet in E-flat major, Op. 127
SHOSTAKOVICH: String Quartet No. 15 in E-flat minor, Op. 144

In its first White Light Festival appearance, the exemplary Emerson String Quartet explores the introspective genius of Shostakovich and Beethoven through the prism of two works written toward the end of each composer’s life: Beethoven’s otherworldly Op. 127 quartet and Shostakovich’s intensely personal Quartet No. 15. The Emerson, which has an extensive Lincoln Center performance history, won Grammy Awards for its complete Beethoven string quartets released in 1997 and for its recording of the complete Shostakovich quartets in 2000.
This performance is also part of Lincoln Center’s Great Performers.
Thursday, October 26 – Saturday, October 28 at 7:30 pm  
Sunday, October 29 at 3:00 pm
Mark Morris Dance Group
Silk Road Ensemble
Mark Morris, choreographer and director
Alim Qasimov, Majnun
Fargana Qasimova, Layla
Howard Hodgkin, scenic and costume design
James F. Ingalls, lighting design
Rose Theater, Jazz at Lincoln Center’s Frederick P. Rose Hall
White Light Lounges follow the October 26, 27, and 28 performances
Sung in Azerbaijani with English supertitles
This timeless story of impossible love predating Romeo and Juliet emerges from the cultural intersections along the Silk Road. Star-crossed lovers Layla and Majnun are central characters in Persian and Arabian folklore and the subject of the first Muslim opera written more than a century ago. In this inspired adaptation by choreographer Mark Morris, celebrated Azerbaijani mugham singers Alim Qasimov and Fargana Qasimova perform with the Silk Road Ensemble on stage with the Mark Morris Dance Group, featuring bold costumes and set design by the late abstractionist Howard Hodgkin.
Pre-performance talk: Mark Morris and Ara Guzelimian discuss choreographing a Middle Eastern opera on Friday, October 27 at 6:15 pm.
Post-performance talk: Alim Qasimov and Fargana Qasimova discuss Azerbaijani music and opera following the Saturday, October 28 performance.
Layla and Majnun is a Mark Morris Dance Group/Cal Performances, UC Berkeley, California production in association with Lincoln Center for the Performing Arts, New York, New York; Harris Theater for Music and Dance, Chicago, Illinois; Hopkins Center for the Arts, Dartmouth College, Hanover, New Hampshire; The John F. Kennedy Center for the Performing Arts, Washington, D.C.; Krannert Center for the Performing Arts, College of Fine + Applied Arts, University of Illinois at Urbana-Champaign; Meany Center for the Performing Arts, Seattle, Washington; Melbourne Festival, Victoria, Australia; Sadler’s Wells, London, England; and University Musical Society of the University of Michigan, Ann Arbor.
Saturday, October 28, 3:00 - 4:30 pm
Stanley H. Kaplan Penthouse
In times of turmoil, when contention and strife hold sway in all corners of the public square, what can we hold onto when the ground beneath us shifts? WNYC’s John Schaefer moderates a free discussion, in which leading thinkers and theorists ponder the question of faith from diverse perspectives, examining its myriad meanings for secular seekers and religious adherents alike. Panelists include singer-songwriter John Darnielle.

Tuesday, October 31 at 7:30 pm
Stanley H. Kaplan Penthouse
A White Light Lounge follows the performance
            MESSIAEN: Vingt regards sur l’Enfant-Jésus
British pianist Steven Osborne presents Olivier Messiaen’s complete Vingt regards sur l'enfant-Jésus (“Twenty contemplations of the infant Jesus”), a 20-part work of herculean proportions lasting more than two hours without intermission. Messiaen, a devout Catholic, infused the 1944 keyboard piece with joie de vivre despite composing it during France’s German occupation. Osborne was invited to study the work by the composer’s widow, Yvonne Loriod, for whom the piece was written. Osborne’s 2002 recording of Vingt regards sur l'enfant-Jésus on Hyperion received a Gramophone Award nomination and was selected as Critics’ Choice and Editor’s Choice by Gramophone as well as Best CD of 2002 by BBC Music Magazine.
Pre-concert talk: Steven Osborne will discuss Messiaen’s work at 6:15 pm in the Stanley H. Kaplan Penthouse.
Wednesday, November 1 and Thursday, November 2 at 7:30 pm
Jessica Lang Dance
Jessica Lang, director and choreographer
Orchestra of St. Luke’s
Speranza Scappucci, conductor
Andriana Chuchman, soprano
Anthony Roth Costanzo, countertenor
Rose Theater, Jazz at Lincoln Center’s Frederick P. Rose Hall
White Light Lounges follow each performance
With English supertitles

MOZART: Divertimento in F major, K.138
PERGOLESI: Stabat mater

Giovanni Pergolesi’s ravishingly spare Stabat mater, depicting Mary’s suffering at the scene of the Crucifixion, was composed weeks before his untimely death at age 26. New York–based choreographer Jessica Lang adds “gracious flow and arresting gesture” (New York Times) to this union of sacred music and dance, featuring dancers on stage with countertenor Anthony Roth Costanzo and soprano Andriana Chuchman. Developed at the Glimmerglass Festival, Lang’s Stabat Mater premiered in Cooperstown, New York, in 2013.

Wednesday, November 1 – Saturday, November 11
150 Psalms, 150 Composers, 12 Concerts
For nearly 3,000 years, humans have reached out to the divine through the Psalms, the Hebrew Bible’s book of hymns revealing the gratitude, fear, and longing of the human heart. In this unprecedented choral project, four world-renowned choirs traverse 1,000 years of music over the course of 12 thematic concerts in four illuminated New York City venues. In settings from Latin, French, and Spanish to Swedish and Armenian, The Psalms Experience features all 150 psalms by 150 different composers from Bach and Handel to today’s leading artists, including new commissions by Nico Muhly and David Lang. All concerts are approximately one hour long and will be preceded by a brief introduction.
Wednesday, November 1 at 6:00 pm
John Schaefer, moderator
David Rubenstein Atrium
Join WNYC’s John Schaefer and special guests for a free panel discussion that explores the history of the Psalms, their many musical traditions, the challenges of translation, and their contemporary relevance in a more secular world.
At St. Paul’s Chapel:
(209 Broadway between Fulton and Vesey Streets)
Thursday, November 2 at 7:30 pm
Choir of Trinity Wall Street
Julian Wachner, conductor

JOSEF RHEINBERGER: Warum toben die Heiden, Motets Op. 40, No. 2 (Psalm 2)

            FRANCISCO VALLS: Dilexisti justitiam (1742) (Psalm 45)
            WILLIAM KNIGHT: New work (commission, world premiere) (Psalm 21)
            ROBERT WHITE: Exaudiat te Dominus (Psalm 20)
            GIACHES DE WERT: Reges tharsis (Psalm 72)
            FELIX DRAESEKE: Der Herr ist König, Op. 56 (Psalm 93)
            DANIEL PINKHAM: O Lord God, to Whom Vengeance Belongeth (Psalm 94)
            MICHAEL PRAETORIUS: Venite exultimus Domino (Psalm 95)
            JAMES MacMILLAN: A New Song (Psalm 96)
            JOHANN HEINRICH ROLLE: Der Herr ist König (Psalm 97)
            HUGO DISTLER: Singet dem Herrn ein neues Lied (Psalm 98)
            WILLIAM BOYCE: The Lord is King, be the people never so impatient (Psalm 99)
The opening concert of The Psalms Experience examines the delicate interplay of love and fear that has long defined our leaders—both mortal and divine.
Saturday, November 4 at 5:00 pm
Choir of Trinity Wall Street
Julian Wachner, conductor

GEORG PHILIP TELEMANN: Ein feste Burg ist uns’re Gott (Psalm 46)
EDWARD ELGAR: Great is the Lord (Psalm 48)
NICOLA LeFANU: The Little valleys (Psalm 65)
GIOVANNI GABRIELLI: Plaudite, psalite, jubilate, omnes terra (Psalm 66)
ALLESANDRO GRANDI: Deus Misereatur (Psalm 67)
OLD ROMAN CHANT: Terra tremuit, et quievit (Psalm 76)
GASTORIUS/WIREN: En vänlig grønskas rika dräckt (Psalm 8)
LUDWIG VAN BEETHOVEN: Die Himmel rühmen (Psalm 19)
JEWISH PRAYER: Mizmor L’David havu L’Adonai (Psalm 29)

            GEORG TOTARI: Kärleken till livet (Psalm 29)
            SERGEI RACHMANINOFF: Blagoslovi duche Moye ,Op. 37, No. 2 (Psalm 104)
            BERNARDINO NANINO: Laudate nomen Domini (Psalm 113)
            MARC-ANTONIE CHARPENTIER: Confitebur Domine (Psalm 111)
            JOHANN PACHELBEL: Jauchzet (Psalm 100)
Explore the mysteries of faith through this collection of psalms set to music by Beethoven, Rachmaninoff, Charpentier, and others.
Saturday, November 4 at 7:30 pm
Choir of Trinity Wall Street
Julian Wachner, conductor

WILLIAM BILLINGS: The Bird: Since I have placed my trust in God (Psalm 11)

            MIKOLAJ GOMOLKA: Zochawaj mię, o sprawco niebieskiego domu (Psalm 12)
            ANTON BRUCKNER: Os justi meditabitur (Psalm 37)
            PASCAL de l’ESTOCART: Peuple oyez et l’aureilles pretez (Psalm 49)
            THOMAS CREQUILLON: Quid gloriaris in militia (Psalm 52)
            GOTTFRIED AUGUST HOMILIUS: Dennoch bleib ich stets an dir (Psalm 73)
            NICOLAS GOMBERT: Confitebimur tibi, Deus (Psalm 75)
            HILDEGARD VON BINGEN: (Beatus vir) Qui timet Dominum – Laudate pueri (Psalm 112)
            NED ROREM: Mercy and Truth (Psalm 85)
            DAVID LANG (USA): New work (commission, U.S. premiere) (Psalm 101)
            MICHEL RICHARD de LALANDE: Benedictus Dominus Deus meus (Psalm 144)
The Psalms, which give voice to an ancient quest for justice, have inspired composers from the 12th century to 21st. Here, the Choir of Trinity Wall Street performs settings by composers from Hildegard von Bingen to Bruckner to a premiere by Pulitzer Prize winner David Lang.
Sunday, November 5 at 5:00 pm
Choir of Trinity Wall Street
Julian Wachner, conductor

JOHANNES OCKEGHEM: Sicut vervus, from Missa pro defunctis: Tractus (Psalm 42)

            JOHN EVERETT (ed. East): I’ll trust God’s word (Psalm 56)
            ROBERT PARSONS: Deliver me from mine enemies (Psalm 59)
            CHARLES IVES: Save me O God (Psalm 54)
            François Regnard: Domine exaudi orationem meam, cum depreco (Psalm 64)

JEAN PHILIPPE RAMEAU: Laboravi clamans (Psalm 69)
BENJAMIN BRITTEN: Deus in adjutorium meum (Psalm 70)
SIGISMONDO d’INDIA: Timor et tremor (Psalm 55)
CHRISTOPH BUEL: Domine Deus, salutis meae (Psalm 88)
ORLANDE DE LASSUS: Custodi me, Domine (Psalm 140)
SVEN-DAVID SANDTRÖM: Hear my prayer, O Lord (Psalm 102)

            JOSQUIN DES PREZ: Domine, ne in furore (Psalm 38)
            WILLIAM KNYVETT: O God, my heart is fixed (Psalm 108)
Humanity has long wrestled with our seeming powerlessness, especially when it comes to changing the past. From this arises a common desire for redemption. Explore these themes through works by composers from Josquin des Prez and Rameau to Britten and Ives.
At New York Society for Ethical Culture:
(2 West 64th Street, at Central Park West)
Thursday, November 9 at 6:30 pm
Netherlands Chamber Choir
Peter Dijkstra, conductor

J.S. BACH: Lobet den Herren alle Heiden (Psalm 117)

            HANS LEO HASSLER: Beatus vir qui non abiit, Cantiones sacrae 1591 (Psalm 1)
            THOMAS ALLIS: Dominus quis habatabit (Psalm 15)

HEINRICH SCHÜTZ: Wohl dene die ohne Wandel leben (Psalm 119)
LUDOVICO DA VIADANA: Exsultate justo (Psalm 33)
RALPH VAUGHAN WILLIAMS: O praise the Lord (Psalm 148)
ALEXANDER GRECHANINOV: Praise the name of the Lord, Op. 34 (Psalm 135)
HENRY PURCELL: O give thanks unto the Lord, Z 33 (Psalm 106)
SAMUEL WESLEY: In exitu Israel (Psalm 114)
MICHEL VAN DER AA (The Netherlands): New work (commission, U.S. premiere) (Psalm 5)
MOHAMMED FAIROUZ (USA / UAE): New work (commission, U.S. premiere) (Psalm 14)
BO HANSSON: Du har varit vår tillflykt från släkte till släkte (Psalm 90)
CLAUDIO MONTEVERDI: Lauda Jerusalem (Psalm 147)

Throughout the history of Western music, sublime artists have used the Psalms as a starting point for pondering our place in the universe. In this concert, composers including Tallis, Bach, Purcell, Monteverdi, and Michel van der Aa sound out the Psalms’ existential yearnings.
Thursday, November 9 at 8:30 pm
Tallis Scholars
Peter Phillips, conductor

JOSEPH HAYDN: Maker of all! Be thou my guard (Psalm 41)
WILLIAM BYRD: Circumdederunt me (Psalm 18)
TOMAS DE VICTORIA: Credidi propter quod (Psalm 116)
ORLANDO GIBBONS: Sing unto the Lord (Psalm 30)

            PHILIPPE DE MONTE: Donnez au Seigneur gloire (Psalm 107)

MOGENS PEDERSON: Min Siel nu loffue herren (Psalm 103)
SAMUEL SEBASTIAN WESLEY: Blest is the man (Psalm 32)
JEAN MOUTON: Benedicam Dominum (Psalm 34)
FRANCISCO GUERRERO: (In conspectus Angelorum (Psalm 138)
SALAMONE ROSSI: Odesha ki anitani (Psalm 118)
FRANZ SCHUBERT: Tov lehodos, D. 953 (Psalm 92)
NICO MUHLY (USA): New work (commission, U.S. Premiere) (Psalm 63)
PIERRE DE LA RUE: Lauda anima mea (Psalm 146)

The many expressions of psalmic gratitude are highlighted in this praiseworthy concert, including works by Byrd, Haydn, Schubert, and a premiere by Nico Muhly.
Friday, November 10 at 6:30 pm
Norwegian Soloists’ Choir (New York debut)
Grete Pedersen, conductor


            ZAD MOULTAKA (Lebanon): New work (commission, U.S. premiere) (Psalm 60)
            JOHN BLOW: O God, wherefore art thou absent (Psalm 74)
            JACHET DE MANTUA: In die tribulationes (Psalm 77)
            TRADITIONAL GAELIC: Gaelic Psalm from Hebrides of Scotland (Psalm 79)
            DMITRI BORTNIANSKY: Radujtesja bogu (Psalm 80)
            TRADITONAL ARMENIAN: (Psalm 83) (Psalm 82 in the Vulgata)
            OLIVER BROWNSON (arr. PEDERSEN): My never-ceasing songs shall show (Psalm 89)
            PER NØRGÅRD: Ad te Domine Clamabo, from Four Latin Motets, No. 3 (Psalm 28)
            LUCA MARENZIO: Super flumina Babylonis (Psalm 137)
            JOHANN SCHEIN: Der Herr denket an uns (Psalm 115)

Across continents and millennia, humans have cried out in despair, feeling abandoned by their creator. Psalms from proverbial wilderness are heard here in Armenian, Russian, Latin, and German translation, as well as a new commission in Aramaic by Lebanese composer Zad Moultaka.
Friday, November 10 at 8:30 pm
Netherlands Chamber Choir
Peter Dijkstra, conductor

FELIX MENDELSSOHN: Mein Gott, warum hast Du mich verlassen, Op. 79, No. 3 (Psalm 22)

            PHLIBERT JAMBE DE FER: A toi, mon dieu, mon Coeur monte (Psalm 25)
            ADRIAEN WILLAERT: Domine quid multiplicati sunt (Psalm 3)
            JEAN BERGER: The eyes of all wait upon thee (Psalm 145)
            ISAAC ALBENIZ: Domine in furore tuo (Psalm 6)
            OTTO NICOLAI: Herr auf Dich traue ich (Psalm 31)
            CIPRIANO DE RORE: Usquequo, Domnie (Psalm 13)
            CLAUDIN DE SERMISY: Dont vient cela Seigneur (Psalm 10)
            CONSTANTIJN HUYGENS: Dilataverunt super me (Psalm 35)
            COSTANZO PORTA: Voce mea ad Dominum clamavi (Psalm 142)
            ALBERT BECKER: Die Toren sprechen in ihrem Herzen, Op. 83, No. 4 (Psalm 53)
            HUBERT PARRY: Lord, let me know mine end, from Songs of Farewell, No. 6 (Psalm 39)
Psalms of mourning need no translation, whether composed during the Dutch Renaissance, Mendelssohn’s Germany, or 20th century America. The Netherlands Chamber Choir gives voice to human suffering through multilingual expressions of lamentation and the balm of miraculous music.
At James Memorial Chapel, Union Theological Seminary:
(3041 Broadway at 121st Street)
Saturday, November 11 at 1:00 pm                                  
Tallis Scholars
Peter Phillips, conductor

THOMAS RAVENSCROFT: O God, that art my righteousness (Psalm 4)
TIBURTIO MASSAINO: Conserva me, domine (Psalm 16)
FERDINAND DI LASSO: Sperate in Domino (Psalm 62)
MELCHIOR FRANCK: Quantas ostendisti (Psalm 71)
HERBERT HOWELLS: One thing I have desired (Psalm 27)
MARCIN LEOPOLITA: Mihi autem (Psalm 139)
GIOVANNI CROCE: Miserere mei (Psalm 51)
PAUL SCHOENFELD: Incline your ear, Oh Lord (Psalm 86)
GESUALDO DA VENOSA: Exaudi, Deus, deprecationem meam (Psalm 61)
ALEXANDER HOROLOGIUS: Miserere mei (Psalm 57)
CASPAR OTHMAYR: Wer in dem Schutz des Höchsten ist (Psalm 91)
CARL NIELSEN: Dominus regit me, from Three Motets, Op. 55, No. 2 (Psalm 23)

Perhaps there is no more recognizable psalm text than “The Lord is my shepherd.” Danish composer Carl Nielsen gives this psalm new life, and a collection of early music explores trust in that which is greater than the self.
Saturday, November 11 at 3:00 pm
Norwegian Soloists’ Choir
Grete Pedersen, conductor

OTTO OLSSON: Ad Dominumcum tribularer clamavi (Psalm 120)

            FARTEIN VALEN: Ice hebe meine Augen (Psalm 121)

ARVO PÄRT: Peace upon you, Jerusalem (Psalm 122)

            GIOVANNI PIERLUIGI DA PALESTRINA: Ad te levavi (Psalm 123)
            SCOTTISH TUNE (arr. PETER MAXWELL DAVIES): (Psalm 124)

HEINRICH ISAAC: Qui confidunt in Domino (Psalm 125)

JOHANNES BRAHMS: Selig sind die da Leid tragen, from Ein deutsches Requiem (Psalm 126)
HEINRICH IGNAZ VON BIBER: Nisi dominus (Psalm 127)
CRISTOBAL DE MORALES: Beati omnes (Psalm 128)
EVELIN SEPPAR (Estonia): New work (commission, U.S. premiere) (Psalm 129)
INGVAR LIDHOLM: De profundis, from A Dreamplay (Psalm 130)
WILLIAM MUNDY: Domine, non est exaltatum (Psalm 131)
GUILLAUME BOUZIGNAC: In pace, in pdipsum. Si dedero somnum (Psalm 132)
THOMAS WEELKES: O Lord, arise (Psalm 132)
JEAN RICHAFORT: Ecce quam bonum (Psalm 133)
HEINRICH HARTMANN: Siehe, lobet den Herren, alle Knechte (Psalm 134)

Embark on a sojourn through the generations from the Spanish Renaissance to today, featuring works by Palestrina, Brahms, Arvo Pärt, and a premiere by Estonian composer Evelin Seppar.


Saturday, November 11 at 5:00 pm
Netherlands Chamber Choir
Peter Dijkstra, conductor



ANDREAS HAMMERSCHMIDT: Machet die Tore weit (Psalm 24)
VAGN HOLMBOE: Hvor er din bolig, Op. 163 (Psalm 84)
CHIARA COZZOLANI: Dixit dominus (Psalm 110)
VIRGIL THOMSON: O, give Thanks to the Lord, from Three Antiphonal Psalms, No. 3 (Psalm 136)
ADRIANO BANCHIERI: Omnes gentes plaudit (Psalm 47)
TIMOTHY SWAN: He call’d for darkness (Psalm 105)
ZOLTÁN KODÁLY: A erös Isten, Genevan Psalter (Psalm 50)
JAKOB HANDL (JACOBUS GALLUS): Laudate Dominum (Psalm 150)
RUGGIERO GIOVANNELLI: Cantate Domino (Psalm 149)

JAN TOLLIUS: Sicut fluit cera (Psalm 68)
ISIDORA ŽEBELJAN (Serbia): New work (commission, U.S. Premiere) (Psalm 78)
VIC NEES: Fundamenta ejus (Psalm 87)
FRANCIS POULENC: Exultate Deo (Psalm 81)

Even in times of trial, the Psalms provide joyful poems of celebration, such as these euphoric settings by Poulenc and Virgil Thomson, among others.
At Alice Tully Hall:
Saturday, November 11 at 8:30 pm
Tallis Scholars
Peter Phillips, conductor
with Choir of Trinity Wall Street, Netherlands Chamber Choir, and Norwegian Soloists’ Choir

PLAINCHANT: Psalm 58, according to the Church of Rome (Psalm 58)

SIGMUND HEMMEL: Gott steht in seiner gmeinden recht (Psalm 82)

            HANDEL: In the Lord I put my trust (Psalm 9)

ANDREA GABRIELI: Domine Deus meus, in te speravi (Psalm 9)

            LORENZO PEROSI: Exaude, Domine (Psalm 17)

SCOTTISH METRICAL PSALTER: O Lord give ear to my just cause (Psalm 17)

            GUGLIELMO ARNONI: Judica me Domine (Psalm 26)
            ORAZIO VECCHI: Velociter exaudi me (Psalm 143)
            GAVIN BRYARS: Lord, I cry upon three (Psalm 141)
            SAMUEL SCHEIDT: Richte mich Gott (Psalm 43)

JAN PIETERSZOON SWEELINCK: Du malin le meschant voulouir (Psalm 36)
JAN VAN DIJK: Dieu de ma louange, ne te tais point (Psalm 109)
CLAUDE LeJEUNE: Après avoir constamment attendu (Psalm 40)

            TALLIS: Spem in Alium
Woven throughout the Psalms are pleas to shift the earthly balance between those in power and the powerless. In this concluding concert, the Tallis Scholars explore settings by Handel, Gabrieli, and others. All the themes of The Psalms Experience then culminate in the Renaissance splendor of Thomas Tallis’s Spem in alium, in which all four choirs join forces to offer up an ecstatic expression of praise.

Friday, November 3 and Saturday, November 4 at 7:00 pm
Sunday, November 5 at 3:00 pm
Gare St. Lazare Ireland
Conor Lovett, actor
Judy Hegarty Lovett, director
Simon Bennison, lighting design
The Duke on 42nd Street, a New 42nd Street® project
A White Light Lounge follows the November 3 performance

Excerpts from Samuel Beckett’s Molloy, Malone Dies, and The Unnamable

For this singular theatrical engagement, Gare St. Lazare Ireland presents excerpts from Samuel Beckett’s novels MolloyMalone Dies, and The Unnamable in an exceptional solo performance by actor Conor Lovett, described as “the greatest Beckett interpreter alive today” by Australian Arts Hub. While exploring the absurdities of the human condition, Lovett portrays a philosophical vagrant, an elderly man lost to memory and fantasy, and a paralyzed protagonist in turn. Molloy premiered at Battersea Arts Centre in March 1996; Malone Dies and The Unnamable premiered at Kilkenny Arts Festival in 2000 and 2001 respectively. Gare St. Lazare Ireland presented acclaimed performances of Beckett’s The End and Here All Night at the White Light Festival in 2015.
Tuesday, November 7 at 7:00pm
Directed by Thomas Lennon
Walter Reade Theater
Shot by leading independent filmmakers in over 25 countries, this impressionistic documentary explores faith as a primary human experience. Global in reach, yet intensely intimate, Sacred observes how people across the world turn to ritual and prayer to navigate life’s milestones and crises, transcending cultural and religious differences to offer a universal celebration of our shared humanity.  
Presented in association with Film Society of Lincoln Center
Thursday, November 9 at 7:30 pm           
Bernard Foccroulle, organ
Lynette Wallworth, video
Church of the Ascension
(Fifth Avenue at Tenth Street)

GRIGNY: Récit de tierce en taille
ALAIN: Fantaisie No.1
ALAIN: Litanies
BUXTEHUDE: Durch Adams Fall ist ganz verderbt
BUXTEHUDE: In dulci jubilo
MESSIAEN: Two pieces from Messe de la Pentecôte
BACH: Erbarm dich mein, o Herre Gott, BWV 721
BUXTEHUDE: Passacaglia in D minor

For this U.S. premiere, world-renowned organist Bernard Foccroulle and Australian video artist Lynette Wallworth collaborate on a multisensory experience confronting the role of light and darkness in music and in nature. The project takes its name from Light and Darkness (Hell und Dunkel), a composition by the Russian mystical composer Sofia Gubaidulina. The program comprises a mixture of Baroque and 20th-century music, drawing the audience into a dualistic allegory for day and night, life and destruction, or joy and terror. Wallworth’s contemporary video imagery unites these aspects through natural and industrial scenes. Darkness and Light premiered in March 2014 at the Klarafestival in Brussels and has since received critical acclaim in London, Aix-en-Provence, Luxembourg, Sydney, Hamburg, and Japan. Wallworth’s installation Duality of Light was featured at the White Light Festival in 2012.

Sunday, November 12 at 11:00 am          
Walter Reade Theater

MOMPOU: Angelico, from Música callada
SILVESTROV: Der Bote (“The Messenger”)
MOZART: Allegro, from Piano Sonata No. 16 in C major, K.545
SILVESTROV: Wedding Waltz
SCHUBERT: Impromptu No. 3 in G-flat major, D.899
SILVESTROV: Chopin Moments
CHOPIN: Nocturne in C minor, Op. 48, No. 1
DEBUSSY: Reflets dans l’eau, from Images, Book I
SILVESTROV: Postludium
WAGNER (TRANS. LISZT): Isoldes Liebestod, from Tristan und Isolde

Visionary Ukrainian composer Valentin Silvestrov describes his work as “metamusic,” in which he creates spare, universally affecting compositions infused with melodic tension. For this intimate morning recital, pianist Jenny Lin honors Silvestrov’s 80th birthday by pairing his lyrical meditations on Mozart, Schubert, Chopin, and others alongside the masterworks that inspired him.
This performance is also part of Lincoln Center’s Great Performers Sunday Morning Coffee Concerts series.
Sunday, November 12 at 3:00 pm
Swedish Chamber Orchestra
Swedish Radio Choir
Thomas Dausgaard, conductor
Peter Dijkstra, choral director
Malin Christensson, soprano
Kristina Hammarström, mezzo-soprano
Michael Weinius, tenor
Josef Wagner, bass
David Geffen Hall

BEETHOVEN: Mass in D major, Op. 123 (“Missa solemnis”)

Sung in Latin with English supertitles
Historically deemed too big for the church, Beethoven’s Missa solemnis evokes the immensity, power, and pathos of humanity’s search for redemption. The Swedish Chamber Orchestra, under renowned Danish conductor Thomas Dausgaard, accompanies a cast of primarily Scandinavian vocalists along with the impeccable Swedish Radio Choir in Beethoven’s sublime setting of the Catholic mass.
Pre-concert lecture: Andrew Shenton will speak at 1:45 pm in the Stanley H. Kaplan Penthouse.
This performance is also part of Lincoln Center’s Great Performers Symphonic Masters series.
Tuesday, November 14 at 7:30 pm          
Peter Dijkstra, choral director
Church of St. Mary the Virgin (145 West 46th Street, between Sixth and Seventh Avenues)
A White Light Lounge follows the performance

SVEN-DAVID SANDSTRÖM: En ny himmel och en ny jord
SCHNITTKE: Concerto for Choir

In an illuminating a cappella concert at the Church of St. Mary the Virgin, the Swedish Radio Choir, named one of the world’s leading choirs by Gramophone, spotlights ethereal works by living composers. The program culminates in Alfred Schnittke’s Concerto for Choir, a moving 20th-century choral masterpiece based on The Book of Lamentations by Armenian monk Grigor Narekatsi.
Wednesday, November 15 at 7:30 pm
Jordi Savall, director
Hespèrion XXI
La Capella Reial de Catalunya
The Fairfield Four
Kassé Mady Diabaté, Voice (Mali)
Ballaké Sissoko, Kora (Mali)
Mamani Keita, Nana Kouyaté, Tanti Kouyaté, Vocals (Mali)
Rajery, Valiha (Madagascar)
Driss el Maloumi, Oud (Morocco)
Maria Juliana Linhares, Soprano (Brazil)
Zé Luis Nascimento, Percussion (Brazil)
Adriana Fernández, Soprano (Argentina)
Iván García, Bass (Venezuela)
Ada Coronel, Vihuela, Wasá, Dance & Voice (Mexico)
Enrique Barona, Vihuela, Leona, Jarana, Quijada de caballo, Dance & Voice (Mexico)
Ulises Martínez, Violin, Vihuela, Leona & Voice (Mexico)
Leopoldo Novoa, Marimbol, Marimba de chonta & Tiple colombiano (Colombia)
Rose Theater, Jazz at Lincoln Center’s Frederick P. Rose Hall
Esteemed early music interpreter Jordi Savall explores the history of human exploitation in The Routes of Slavery (1444–1888), which traces over four centuries of music from three continents involved in the transatlantic slave trade. Joined by guest artists from Africa, Europe, and the Americas, Savall and his collaborators incorporate musical and oral traditions from Africa to the New World in a multicultural program illuminating both the cruelest depths and extraordinary resilience of the human spirit. Savall released the three-disc (audio and video) recording The Routes of Slavery (1444–1888) on Alia Vox in February 2017. Savall presented The Cycles of Life: A Musical Exploration of the Balkans at the 2013 White Light Festival to great acclaim. 
Pre-concert talk: Jordi Savall speaks with Ara Guzelimian at 6:15 pm in the
Agnes Varis and Karl Leichtman Studio.
Programs, artists, repertoire, and ticket prices are subject to change.




Sir John Eliot Gardiner is founder and artistic director of the Monteverdi Choir, the English Baroque Soloists, and the Orchestre Révolutionnaire et Romantique. He appears regularly with leading symphony orchestras such as the London Symphony Orchestra, Leipzig Gewandhaus Orchestra, Royal Concertgebouw Orchestra, and Bavarian Radio Symphony Orchestra, and at the Royal Opera House, Covent Garden. The extent of Gardiner’s repertoire is illustrated by over 250 recordings for major record companies and by numerous international awards including the Gramophone’s Special Achievement Award for live recordings of the complete church cantatas of J.S. Bach by Soli Deo Gloria. In 2014 Gardiner became the first-ever president of the Bach Archive in Leipzig.
Founded by Sir John Eliot Gardiner as part of the breakaway period instrument movement of the 1960s, the Monteverdi Choir has been consistently acclaimed as one of the best choirs in the world over the past 50 years. The Monteverdi Choir has over 150 recordings to its name and has won numerous prizes, setting it apart from other ensembles. The Choir regularly performs works across a wide-ranging repertoire, and is noted for its ability to switch composer and idiom with complete stylistic conviction. Most recently the Choir took part in a variety of projects—from Bach’s Mass in B minor tour and recording with the English Baroque Soloists, to a tour of the United States with Monteverdi’s Vespers and L’Orfeo.
Founded in 1978 by Sir John Eliot Gardiner, the English Baroque Soloists has long been established as one of the world’s leading period instrument orchestras. The ensemble has performed at many of the world’s most prestigious venues including La Scala in Milan, the Concertgebouw in Amsterdam, and the Sydney Opera House. Besides their independent existence as a period chamber orchestra the English Baroque Soloists also participate regularly in joint projects with the Monteverdi Choir, with whom they famously took part in the Bach Cantata Pilgrimage in 2000, performing all of Bach’s sacred cantatas throughout Europe.
Born and bred in Paris, stage director and drama teacher Elsa Rooke completed a PhD in literature and music on 20th-century opera at the Sorbonne. Trained by drama coach Alain Garichot (École de l’Opéra de Paris), she has worked as stage manager, assistant director, dramaturge, and director throughout Europe, taught acting to young singers, and was appointed director of one of France’s major national drama schools (Saint-Étienne). A long-term collaborator with Adrian Noble, she has revived many opera productions for him over the past 15 years from New York to Moscow.


Meredith Monk is a composer, singer, director, choreographer, filmmaker, and creator of new opera, music-theater works, films, and installations. Considered one of the most unique and influential artists of our time, she is a pioneer of what is now called “extended vocal technique” and “interdisciplinary performance.” In September 2015, she received the National Medal of Arts from President Obama. Celebrated internationally, her work has been presented at major venues throughout the world.
The Young People’s Chorus of New York City (YPC) is a multicultural youth chorus internationally renowned not only for its superb virtuosity and brilliant showmanship, but as a model for an inclusive society that is being replicated globally. In 2011 YPC was recognized with America’s highest honor for youth programs, a National Medal of Arts and Humanities Youth Program Award.
Francisco J. Núñez is a conductor, composer, leading figure in music education, and the founder of the National Arts and Humanities Youth Program Award–winning Young People’s Chorus of New York City (YPC), renowned worldwide for its diversity and artistic excellence. Since he founded YPC almost 30 years ago, Núñez, a MacArthur Fellow, has established the youth chorus as a significant and often untapped instrument for making music. Núñez also leads the University Glee Club of New York City.
The American Contemporary Music Ensemble (ACME) is dedicated to the outstanding performance of masterworks from the 20th and 21st centuries, primarily the work of American composers. The ensemble presents fresh work by living composers alongside contemporary classics. ACME’s dedication to new music extends across genres and has earned it a reputation among both classical and rock crowds.


The Emerson String Quartet—with violinists Eugene Drucker and Philip Setzer, violist Lawrence Dutton, and cellist Paul Watkins—has amassed an unparalleled list of achievements over three decades: more than 30 acclaimed recordings, nine Grammy Awards (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, recognition as Musical America’s Ensemble of the Year, and collaborations with many of the greatest artists of our time. Formed in 1976 and based in New York City, the Emerson is quartet-in-residence at Stony Brook University.


Founded in New York City in 1980 by artistic director and choreographer Mark Morris, the Mark Morris Dance Group (MMDG) has been called “the preeminent modern dance organization of our time” (Yo-Yo Ma). Live music and community engagement are vital components of the Dance Group. Through Access/MMDG programming, the Dance Group provides educational opportunities in dance and music to people of all ages and abilities while on tour internationally and at home at the Mark Morris Dance Center in Brooklyn, New York.
Representing a global array of cultures, Silk Road Ensemble musicians co-create art, performance, and ideas. Made up of performers and composers from more than 20 countries, the Silk Road Ensemble was formed by Yo-Yo Ma in 2000. Since then, audiences and critics in over 30 countries throughout Asia, Europe, and North America have embraced these artists who have demonstrated passion for cross-cultural understanding and innovation. The Grammy-winning group has recorded six albums, most recently Sing Me Home in 2016.
Mark Morris formed the Mark Morris Dance Group in 1980 and has since created close to 150 works for the company. Over the years he has had several productions presented at the White Light and Mostly Mozart Festivals, starting with L’Allegro, Il Penseroso ed il Moderato in 2002, and most recently he curated the Sounds of India mini-festival for White Light in 2016. From 1988 to 1991, he was director of dance at the Théâtre Royal de la Monnaie in Brussels. In 1990, he founded the White Oak Dance Project with Mikhail Baryshnikov. Morris is also an acclaimed ballet choreographer and works extensively in opera, directing and choreographing productions for the Metropolitan Opera, New York City Opera, English National Opera, and The Royal Opera, Covent Garden, among others.
Alim Qasimov is a prominent mugham singer who studied under well-known mugham singer Aghakhan Abdullayev. Qasimov perceives and presents mugham not only as an ancient art and a part of Azerbaijan’s musical and cultural heritage but also as a constantly developing tradition. His performance style combines deep knowledge of centuries-old rules of mugham with innovations from jazz and contemporary composition. Qasimov was awarded the International IMC-UNESCO Music Prize in 1999 in recognition of his musical contributions to world peace. Qasimov’s numerous honors also include the title of the People’s Artist of Azerbaijan, the highest artistic rank in the country. The president of Azerbaijan awarded Qasimov the Medal of Glory on his 50th birthday in 2007.

Fargana Qasimova, Alim Qasimov’s daughter and protégée, is an accomplished mugham singer. Qasimova first joined her father on tour at the age of 16. She studied mugham at the Azerbaijan National Conservatory and performs frequently with Qasimov both in Azerbaijan and internationally. In 2002 Qasimova made her first appearance as a soloist at the Women’s Voices Festival in Belgium. She has performed with the Silk Road Ensemble and has been featured in the documentary Meditation Day, produced in Belgium in 2006.



Scottish pianist Steven Osborne is one of Britain’s most notable musicians. His numerous awards include the Royal Philharmonic Society Instrumentalist of the Year (2013) and two Gramophone Awards for recordings of Britten’s works for piano and orchestra and of solo works by Prokofiev and Mussorgsky. For the 2016/17 season he served as artist-in-residence with the City of Birmingham Symphony Orchestra. He regularly works with the London Philharmonic, BBC Symphony, BBC Philharmonic, and BBC Scottish Symphony Orchestra, and he has made recent visits to festivals such as the Aspen Music Festival and Lincoln Center’s Mostly Mozart.


Founded in 2011, Jessica Lang Dance (JLD) is a Long Island City-based dance company dedicated to creating and performing the work of Jessica Lang. Since the company's inception, JLD has made rapid success performing at world-renowned venues and festivals including Jacob's Pillow Dance Festival, Brooklyn Academy of Music's Next Wave Festival, New York City Center's Fall for Dance Festival, the John F. Kennedy Center for the Performing Arts,  and the Joyce Theater, among others. The company's performances have been named among the best dance events of the year by major publications in Dallas, Chicago, Kansas City, and Boston.
Jessica Lang is a choreographer and the artistic director of Jessica Lang Dance. Lang, a recipient of a prestigious 2014 Bessie Award and 2017 Arison Award, has created more than 95 works for companies worldwide including American Ballet Theatre, Pacific Northwest Ballet, Birmingham Royal Ballet, the National Ballet of Japan, and Joffrey Ballet. Additional commissions include new works for the Kennedy Center with the National Symphony Orchestra, the Dallas Museum of Art, and the Guggenheim Museum. For opera, Lang made her directorial debut creating Pergolesi’s Stabat Mater at the 2013 Glimmerglass Opera Festival.
Italian-born conductor Speranza Scappucci, a graduate of the Julliard School and the Conservatorio di Musica Santa Cecilia in Rome, recently made a successful Vienna debut with La Traviata and La Cenerentola at the Vienna State Opera. She also conducted the opening of the Wiener Opernball 2017 with the Vienna State Opera Orchestra. In November 2013 her first CD was released on Warner Classics, and in 2016 she conducted the Albanian tenor Saimir Pirgu for Opus Arte with the Orchestra del Maggio Musicale Fiorentino.
Soprano Andriana Chuchman recently made her house and role debuts as Pat Nixon in Nixon in China at the Houston Grand Opera and as Micaëla in La tragédie de Carmen at the San Diego Opera. She also returned to the Washington National Opera as Marie in Fille du Regiment, Opera Omaha as Tina in Flight, and she appeared in concert with the Rhode Island Philharmonic, Edmonton Symphony Orchestra, McGill Chamber Orchestra, and the Manitoba Chamber Orchestra. Born in Winnipeg, Chuchman received her bachelor’s degree in voice performance from the School of Music at the University of Manitoba.
Countertenor Anthony Roth Costanzo began performing professionally at the age of 11 and has since appeared in opera, concert, recital, film, and on Broadway. Most recently he made his debuts at the Los Angeles Opera as the title role in Philip Glass’s Ahknaten, the Finnish National Opera in Kaija Saariaho’s Only the Sound Remains, the San Francisco Symphony Orchestra in performances of Messiah, and with both the London Symphony Orchestra and the Berlin Philharmonic as Prince Go-Go in performances of Le Grand Macabre , conducted by Simon Rattle and directed by Peter Sellars. Costanzo graduated magna cum laude from Princeton University and received his master’s of music degree at Manhattan School of Music.
Or­chestra of St. Luke’s (OSL) is one of America’s most versatile and distinguished orchestras, collaborating with the world’s greatest artists and performing approximately 80 concerts each year—including its Carnegie Hall Orchestra Series, Chamber Music Series at the Morgan Library & Museum and Brooklyn Museum , and summer residency at Caramoor Music Festival. In its 43-year history, OSL has commissioned more than 50 new works, has given more than 175 world, U.S., and New York City premieres, and has appeared on more than 100 recordings, including four Grammy Award winners and seven releases on its own label, St. Luke’s Collection.


The Grammy-nominated Choir of Trinity Wall Street, under the direction of Julian Wachner, can be heard both in New York City and around the world. The Choir leads the liturgical music on Sundays at Trinity Church and St. Paul’s Chapel in New York City, while performing at many other concerts and festivals throughout the year. Critically acclaimed annual performances of Handel’s Messiah are part of its long and storied tradition. The Choir has toured extensively throughout the United States, and recent seasons have seen performances at Paris’s Théâtre des Champs-Élysées and London’s Barbican Theatre.
Music director Julian Wachner continues to enjoy an international profile as conductor, composer and keyboard artist. As director of music and the arts at New York’s historic Trinity Wall Street, Wachner oversees an annual season of hundreds of events, with duties including conducting Trinity’s flagship weekly series, Bach at One, canvassing the entire choral-orchestral output of J.S. Bach, and leading Compline by Candlelight, Trinity’s innovative variation on an ancient monastic ritual. Also at Trinity Wall Street, Wachner serves as the principal conductor of NOVUS NY (Trinity’s resident contemporary music orchestra), the Trinity Baroque Orchestra, and the Choir of Trinity Wall Street. 
The Netherlands Chamber Choir has been a world-class choir for more than 80 years. Since the very beginning the Choir has been known for being adventurous and innovative, presenting commissions by both well-known composers and young talent, and it maintains a continuous search for new formats and exciting collaborations. The Choir has been praised by critics within and outside the Netherlands. Since September 2015 Peter Dijkstra has been chief conductor of the Netherlands Chamber Choir; he was preceded by Uwe Gronostay, Tõnu Kaljuste, Stephen Layton, Risto Joost, and founder Felix de Nobel.
Peter Dijkstra is one of today’s most sought-after choral conductors. Born in 1978, he studied choral conducting, orchestral conducting, and voice at the conservatories of The Hague, Köln, and Stockholm. From 2005 to 2016 Dijkstra was artistic director of the Bavarian Radio Choir in Munich. In 2007 he was appointed music director of the Swedish Radio Choir, a position he still holds. Since September 2015, Dijkstra has also been chief conductor of the Netherlands Chamber Choir, after serving as first guest conductor for several years. In the Netherlands, Dijkstra is artistic leader of vocal ensemble MUSA and first guest conductor of vocal ensemble The Gents.
Over four decades of performance and a catalog of award-winning recordings, Peter Phillips and the Tallis Scholars have done more than any other group to establish sacred vocal music of the Renaissance as one of the great repertoires of Western classical music. They have sought to bring Renaissance works to a wider audience in churches, cathedrals, and venues on every inhabited continent, including the Royal Albert Hall, the Sistine Chapel, Lincoln Center, Carnegie Hall, the Philharmonic Hall Berlin, Saint Mark’s in Venice, Seoul Arts Centre Korea, Concertgebouw Amsterdam, Wigmore Hall, Beijing Concert Hall, and the Sydney Opera House. The Tallis Scholars continue to develop their exclusive sound and to bring fresh interpretations to music by contemporary composers such as Pärt, Tavener, Whitacre, Muhly, and Jackson.
Peter Phillips has made an impressive if unusual reputation for himself in dedicating his life’s work to the research and performance of Renaissance polyphony. He founded the Tallis Scholars in 1973, with whom he has now appeared in almost 2,000 concerts and made over 60 discs, encouraging interest in polyphony all over the world. Apart from the Tallis Scholars, Phillips continues to work with other specialist ensembles. He has appeared with the BBC Singers, Collegium Vocale Ghent, and the Netherlands Chamber Choir, and is currently working with the Choeur de Chambre de Namur, Intrada of Moscow, Musica Reservata of Barcelona, and El Leon de Oro of Orviedo. He gives numerous masterclasses and choral workshops every year around the world.
The Norwegian Soloists’ Choir occupies a unique position in the musical life of Norway. The choir has given over 200 premiere performances, of which over 70 have been of works by Norwegian composers. The choir was established in 1950 by the Norwegian Soloists’ Society with the aim of becoming an elite ensemble for performing choral music to the highest possible standard. The choir’s first conductor was Knut Nystedt, who led the ensemble for 40 years. Since 1990 the choir has sung under the leadership of Grete Pedersen, internationally acclaimed for her stylistically assured and musically convincing performances.
Since 1990 the Norwegian Soloists’ Choir has sung under the leadership of Grete Pedersen, internationally acclaimed for her stylistically assured and musically convincing performances. Through a great number of concerts in Norway and abroad, recordings for radio and television, and CD recordings, she has become one of the most noted and sought-after conductors in the Nordic countries. In 1984 Pedersen founded the Oslo Chamber Choir, of which she remained the conductor until 2004. More recently she has worked with the Rundfunkchor BerlinSWR Vokalensemble Stuttgart, and the Bavarian Radio Choir.



Gare St. Lazare Ireland is an Irish theater company with a repertory of 17 Beckett titles, as well as a solo adaptation of Moby Dick and new plays by Michael Harding and Will Eno. In 2015 the company performed Title and Deed and Molloy in London, The Beckett Trilogy in Dublin, andThe End and Here All Night at Lincoln Center’s White Light Festival in New York. Gare St. Lazare Ireland are currently artists in residence at Everyman Theatre Cork with support by the Arts Council of Ireland and Cork City Council Arts Office.


Conor Lovett and Judy Hegarty Lovett founded Gare St. Lazare Ireland in 1996 with their production of Beckett’s Molloy. Their subsequent Beckett work has cemented a reputation that places them among the foremost Beckett interpreters. With Gare St. Lazare, Lovett has performed 15 Beckett roles. In 2014 he was awarded the Stage Award for Acting Excellence in the Fringe for his performance in Title and Deed by
Will Eno directed by Judy Hegarty Lovett.


Since 2000 Judy Hegarty Lovett has directed over 20 shows for Gare St. Lazare Ireland. Among them are Beckett's MolloyMalone Dies, The Unnamable, Lessness, Enough, Texts for Nothing, First Love, The End and The Calmative, as well as Behold Me Large by Der Lovett, Swallow by Michael Harding, The Good Thief by Conor McPherson, and Title and Deed by Will Eno. Her work has been seen in the national theaters of Great Britain, Bulgaria, Israel, and Romania among over 150 venues worldwide. 




Bernard Foccroulle began his international career as an organist in the mid-1970s, playing a wide range of repertoire from Renaissance to contemporary music. He has performed several dozen world premieres and is considered a specialist of the Northern German School. His discography as a soloist includes more than 40 CDs. As a composer, Foccroulle has written works for organ and chamber ensembles. While continuing his career as an organist, he became director of the Brussels opera La Monnaie in 1992, holding this position until 2007. Foccroulle has been artistic director of the Festival Aix-en-Provence since 2007.


Lynette Wallworth is an acclaimed Australian artist and director whose immersive installations and films reflect connections between people and the natural world, as well as explore fragile human states of grace. Wallworth’s work has shown at the World Economic Forum, Davos, Lincoln Center for the Performing Arts, the American Museum of Natural History, Australian Centre for Contemporary Art, the Smithsonian, Royal Observatory Greenwich for the London 2012 Cultural Olympiad, and the Vienna Festival, as well as at various film festivals.




Born in Taiwan and raised in Austria, pianist Jenny Lin has performed recitals at Avery Fisher Hall (now David Geffen Hall), Carnegie Hall, the Kennedy Center, Miller Theatre, MoMA, Whitney Museum, San Francisco Performances, Freer Gallery of Art, Morgan Library, (Le) Poisson Rouge, the National Gallery of Art, and throughout Europe and Asia. She has appeared at festivals worldwide including Mostly Mozart, BAM’s Next Wave, and Spoleto in the U.S., the Chopin Festival in Austria, Shanghai New Music Festival in China, Schleswig-Holstein in Germany, and others. Since 2000, Lin’s discography includes more than 30 recordings.




The Swedish Chamber Orchestra (SCO) is the resident chamber orchestra for the Örebro municipality in Sweden. For the past 14 years, music director Thomas Dausgaard and the ensemble have worked closely together to create their own distinctive and dynamic sound. A tightly knit ensemble of 38 regular members, the SCO made both their United Kingdom and United States debuts with Dausgaard in 2004 performing at the BBC Proms and Lincoln Center’s Mostly Mozart Festival, respectively. The longstanding collaboration with Dausgaard has resulted in an increasingly broad repertoire with recordings of works by Schumann, Schubert, Brahms, Bruckner, Tchaikovsky, Dvořák, and Wagner. Collaborations with composers such as HK Gruber and Brett Dean have made the orchestra one of the most ambitious contemporary ensembles in Europe.


Thomas Dausgaard is chief conductor of the BBC Scottish Symphony Orchestra, chief conductor of the Swedish Chamber Orchestra, principal guest conductor of the Seattle Symphony, honorary conductor of the Orchestra della Toscana, and honorary conductor of the Danish National Symphony Orchestra, having previously served as its principal conductor. He regularly appears with many of the world’s leading orchestras, including the Munich Philharmonic, Leipzig Gewandhaus Orchestra, Staatskapelle Dresden, Bavarian Radio Symphony, Berlin Konzerthaus Orchestra, Vienna Symphony, BBC Symphony, and the Orchestre Philharmonique de Radio France. In North America he has appeared with the Cleveland Orchestra, Boston Symphony, and the Los Angeles Philharmonic, among others.
The Swedish Radio Choir is considered one of the world’s finest a cappella ensembles. It is unique in its mastery of the entire choral repertoire, from Bach and Palestrina through the Romantics, including Schumann and Brahms to Strauss, Ligeti, and other contemporary composers, including Pärt, Honegger, Penderecki, and Schnittke. Today the Choir is led by music director Peter Dijks

Trevor Chauvin