CARNEGIE HALL PRESENTS

Performance Wednesday, October 23, 2013 | 8 PM

Orchestra of St. Luke's

Stern Auditorium / Perelman Stage
Known "to play virtually any score as if the musicians had all grown up with it under their pillows" (New York magazine), the Orchestra of St. Luke’s returns to Carnegie Hall for its second season with conductor Pablo Heras-Casado, performing a program that includes Mendelssohn’s gossamer-light overture to a Shakespearean comedy, Shostakovich’s most irreverent post-war symphony, and Britten’s ingenious song cycle with brilliant tenor Ian Bostridge.

Performers

  • Orchestra of St. Luke's
    Pablo Heras-Casado, Principal Conductor
  • Ian Bostridge, Tenor
  • Stewart Rose, French Horn

Program

  • MENDELSSOHN Overture to A Midsummer Night's Dream
  • BRITTEN Serenade for Tenor, Horn, and Strings
  • SHOSTAKOVICH Symphony No. 9

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

Bios

  • Orchestra of St. Luke's


    Orchestra of St. Luke's (OSL) is one of America's foremost and most versatile orchestras, regularly collaborating with the world's greatest artists and performing approximately 70 concerts each year-including its orchestra series at Carnegie Hall, its chamber music series at The Morgan Library & Museum and the Brooklyn Museum, and its summer residency at the Caramoor Music Festival. OSL has commissioned more than 50 new works; given more than 150 world, US, and New York premieres; and appears on more than 90 recordings, including four Grammy Award-winning albums and seven releases on its own label, St. Luke's Collection. Pablo Heras-Casado is OSL's principal conductor.

    OSL grew out of a chamber ensemble that gathered in the Church of St. Luke in the Fields in Greenwich Village in 1974. Today, St. Luke's Chamber Ensemble consists of 21 virtuoso artists who make up OSL's artistic core and are dedicated to a diverse repertoire that spans the Baroque to contemporary works.

    OSL owns and operates The DiMenna Center for Classical Music in midtown Manhattan, where it shares a building with the Baryshnikov Arts Center. The DiMenna Center is one of New York City's premier venues for rehearsal, recording, and learning, having quickly gained a reputation for its superb acoustics, state-of-the-art facilities, and affordability. Since opening in 2011, The DiMenna Center has welcomed more than 50,000 visitors, including more than 300 ensembles and artists such as Renée Fleming, Susan Graham, Emanuel Ax, Joshua Bell, Valery Gergiev, and James Levine. OSL also hosts hundreds of neighbors, families, and schoolchildren at its home each year for free community events.

    OSL's Community & Education programs have introduced audiences across New York City to live classical music. OSL brings free chamber concerts to the five boroughs; offers free interactive music programs at its home, The DiMenna Center for Classical Music; provides chamber music coaching for adult amateurs; and reaches 10,000 public school students each year through free school concerts and in-school instruction. In July 2013, OSL and the Police Athletic League (PAL) launched Youth Orchestra of St. Luke's (YOSL), an after-school orchestra and instrumental coaching program that emphasizes musical excellence and social development. Visit OSLmusic.org for more information.


    Pablo Heras-Casado


    Pablo Heras-Casado enjoys an unusually varied conducting career that encompasses the great symphonic and operatic repertoire, historically informed performances, and cutting-edge contemporary scores. He was appointed principal conductor of Orchestra of St. Luke's in December 2011.

    In the 2013-2014 season, Mr. Heras-Casado makes his debut with the New York Philharmonic, The Philadelphia Orchestra, London Symphony Orchestra, Philharmonia Orchestra, and Leipzig Gewandhaus Orchestra, as well as at the Metropolitan Opera, where he conducts Verdi's Rigoletto. He returns to Carnegie Hall and the Caramoor Music Festival with Orchestra of St. Luke's, and conducts Beethoven's Symphony No. 9 at the New Year's concerts of the Staatskapelle Berlin. Other highlights include performances with the San Francisco Symphony, Munich Philharmonic Orchestra, Royal Concertgebouw Orchestra, Rotterdam Philharmonic Orchestra, and Ensemble intercontemporain. He also tours with the Freiburger Barockorchester, and guest conducts a series of concert and opera performances at the Mariinsky Theatre.

    Highlights of recent seasons include appearances with such orchestras as the Berliner Philharmoniker, Bavarian Radio Symphony Orchestra, Los Angeles Philharmonic, the Boston and Chicago symphony orchestras, and The Cleveland Orchestra, as well as return engagements with the Mahler Chamber Orchestra, Tonhalle-Orchester Zurich, Orchestra dell'Accademia Nazionale di Santa Cecilia, Spanish National Orchestra, and Teatro Real in Madrid. In 2012-2013, Mr. Heras-Casado appeared for the first time at Deutsche Oper Berlin and Oper Frankfurt, and made his debut at the Salzburg Festival in 2012.

    In September 2013, Harmonia Mundi released Mr. Heras-Casado's recording of Schubert's symphonies nos. 3 and 4 with the Freiburger Barockorchester. A second album, featuring the Bavarian Radio Symphony Orchestra in Mendelssohn's Symphony No. 2, "Lobgesang," follows in March 2014. Meanwhile, Deutsche Grammophon's Archiv Produktion-which recently welcomed Mr. Heras-Casado as an Archiv Ambassador-has announced an album celebrating legendary castrato singer Farinelli. A disc on Sony featuring Plácido Domingo in baritone arias by Verdi with Mr. Heras-Casado conducting the Orquestra de la Comunitat Valenciana was released in fall 2013.

    Recognized also for his work with contemporary music, Mr. Heras-Casado is a laureate of the 2007 Lucerne Festival conductors' forum. In summer 2013, he returned for the third time to co-direct the festival's Academy at the personal invitation of Pierre Boulez.

    Mr. Heras-Casado is the holder of the Medalla de Honor of the Rodriguez Acosta Foundation, and in February 2012, he was awarded the Golden Medal of Merit by the Council of Granada, his hometown, of which he is also an Honorary Ambassador. His 2011 DVD recording of Kurt Weill's Rise and Fall of the City of Mahagonny from Teatro Real received the Diapason d'Or.

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  • Ian Bostridge


    Ian Bostridge's international career has included performances at all the world's major concert halls and the Edinburgh, Munich, Vienna, Aldeburgh, Salzburg, and Schubertiade festivals, as well as artistic residencies at the Vienna Konzerthaus, Amsterdam's Concertgebouw, Philharmonie Luxembourg, the Barbican, Wigmore Hall, and Hamburg's Laeiszhalle.

    In opera, he has performed the roles of Tamino (Die Zauberflöte), Jupiter (Semele), and Aschenbach (Death in Venice) at English National Opera; Quint (The Turn of the Screw), Don Ottavio (Don Giovanni), and Caliban (The Tempest) for the Royal Opera, Covent Garden; Don Ottavio in Vienna; and Nerone (L'incoronazione di Poppea), Tom Rakewell (The Rake's Progress), and Male Chorus (The Rape of Lucretia) in Munich. He has also sung Aschenbach in Brussels, Amsterdam, and Luxembourg.

    Mr. Bostridge's award-winning recordings include works by Schubert with Graham Johnson (Gramophone Award, 1996), The Rake's Progress with Sir John Eliot Gardiner (Grammy Award, 1999), works by Schumann with Julius Drake (Gramophone Award, 1998), The Turn of the Screw (Gramophone Award, 2003) and Billy Budd (Grammy Award, 2010) with Daniel Harding, and Thomas Adès's The Tempest (Gramophone Award, 2010). He has also recorded recital programs of Schubert, Wolf, and Britten with Antonio Pappano.

    For the 2013 Benjamin Britten centenary celebrations, Mr. Bostridge has a major presence worldwide, with appearances at the Aix-en-Provence, Brighton, Aldeburgh, and Salzburg festivals; residencies at Hamburg's Laeiszhalle, Philharmonie Cologne, London's Barbican, Birmingham's Symphony Hall, and the Moscow Conservatory (including the Moscow premiere of Death in Venice under Gennady Rozhdestvensky). He performs in the Berliner Philharmonie on Britten's birth date, and has appearances with the Warsaw Philharmonic and Roberto Abbado, the Orchestra dell'Accademia Nazionale di Santa Cecilia and Antonio Pappano, the London Philharmonic Orchestra and Vladimir Jurowski (in London and at Vienna's Musikverein), and the Royal Concertgebouw Orchestra and Andris Nelsons.

    In 2001, Mr. Bostridge was elected an honorary fellow of Corpus Christi College, and in 2003, he received an honorary doctorate from the University of St. Andrews. He was made a Commander in the Order of the British Empire in 2004.

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  • Stewart Rose


    Stewart Rose is one of the preeminent French horn players of his generation. A native New Yorker, he has been a member of Orchestra of St. Luke's and St. Luke's Chamber Ensemble for 30 years. He has recorded extensively with both groups and has been a soloist on numerous occasions. Mr. Rose is also principal horn with the Orpheus Chamber Orchestra, and was principal horn of the New York City Opera Orchestra for 24 years. In recent seasons, he has been guest principal with the New York Philharmonic, Metropolitan Opera Orchestra, The Saint Paul Chamber Orchestra, and Saito Kinen Orchestra, and is a regular guest with the Chamber Music Society of Lincoln Center. He has performed at many of the world's most prestigious music festivals, including the Marlboro, Tanglewood, Mostly Mozart, Spoleto, Edinburgh, and Eastern Shore music festivals. Mr. Rose's first solo CD, From the Forest-featuring early classical works for horn and orchestra by Haydn, Telemann, Leopold Mozart, and Christoph Förster with the St. Luke's Chamber Ensemble-was released on Arabesque to critical acclaim.

    Mr. Rose has performed on numerous recordings in a variety of musical genres. Recent releases include his appearance as first horn on New York Philharmonic recordings including Berlioz's Harold in Italy with Lorin Maazel, Sebastian Currier's Time Machine with Anne-Sophie Mutter and Alan Gilbert, Concerto: OneNight in Central Park with Andrea Bocelli; Bel Canto with Renée Fleming and Orchestra of St. Luke's; and Mozart piano concertos with Jonathan Biss and the Orpheus Chamber Orchestra. He is also heard on Paul Simon's recent releases You're the One and Songs from The Capeman; Lenny Kravitz's Love Revolution; the soundtracks for Beauty and the Beast, Cape Fear, and The Untouchables; and as solo horn on Pat Metheny's soundtrack for A Map of the World. Mr. Rose has appeared on numerous Live From Lincoln Center broadcasts with Orchestra of St. Luke's, the New York City Opera, and the New York Philharmonic, and is a frequent guest with the CBS Late Show Orchestra.

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Audio

Mendelssohn's Overture to A Midsummer Night's Dream
Orchestra of the Age of Enlightenment | Sir Charles Mackerras, Conductor
Virgin Classics

At a Glance

FELIX MENDELSSOHN  Overture to A Midsummer Night's Dream, Op. 21

Teenage composers of considerable talent are not unknown to music history (Mozart, Schubert, Bizet, and Shostakovich come to mind), but none produced such brilliant works at such an early age as Mendelssohn did with his extraordinary string octet (composed when he was just 16) and the Overture to A Midsummer Night's Dream (written a year later). First conceived for two pianos, Mendelssohn orchestrated the overture soon after and, nearly 20 years later, mined its themes to produce the rest of the incidental music to Shakespeare's comedy.


BENJAMIN BRITTEN  Serenade for Tenor, Horn, and Strings, Op. 31

From the late 1930s, Britten had shown his sensitivity to poetry and to the musical setting of words. With his 1943 Serenade, he created one of the great song cycles of the 20th century, with the unusual colors of string orchestra and solo horn to accompany the settings of six first-rate poems that touch on the theme of night and dreams in a remarkable range of moods.


DMITRI SHOSTAKOVICH  Symphony No. 9 in E-flat Major, Op. 70

Art was politics in the Soviet Union, as Shostakovich had learned to his cost in the arguments over his opera Lady Macbeth of the Mtsensk District in the mid-1930s. After that, he became increasingly careful about writing large, dramatic symphonies, fearing that some unmusical party apparatchik would find a political significance to criticize. When World War II ended, he was widely expected to write a grand symphony glorifying the Soviet victory and Joseph Stalin. He instead wrote a quirky symphony with hints of slapstick comedy—one that avoided any risk of being hailed as the "Great Soviet Symphony," while at the same time suggesting critical views Shostakovich could present in musical notes, but not in words.

Program Notes

Watch


Tenor Ian Bostridge on Benjamin Britten



Maestro Heras-Casado discusses his approach to rehearsals.

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