Performance Thursday, March 31, 2011 | 7:30 PM

Ensemble ACJW

Featuring musicians of The Academy—a program of Carnegie Hall, The Juilliard School, and The Weill Music Institute in partnership with the New York City Department of Education

Zankel Hall
David Robertson and Ensemble ACJW—together with a fine group of young singers—team up for Mozart’s unfinished opera Zaide (the immediate precursor to the better known Idomeneo), interspersing the two acts with Berio’s imaginative musical commentary.


  • Alex Mansoori, Tenor (Slave)
  • Ben Rubin, Projection Designer
  • David Robertson, Conductor
  • Deanna Breiwick, Soprano (Zaide)
  • Duncan Edwards, Sound Designer
  • Ensemble ACJW
  • Jeffrey Hill, Tenor (Sultan Soliman)
  • Joel Sherry, Set Designer
  • Kelly Markgraf, Baritone (Allazim)
  • Paul Appleby, Tenor (Gomatz)
  • Shenyang, Bass-Baritone (Osmin)
  • Travis McHale, Lighting Designer


  • MOZART Zaide (Das Serail), K. 344
  • BERIO Vor, während, nach Zaide (NY Premiere)


  • David Robertson

    A consummate musician, masterful programmer, and dynamic presence, David Robertson has established himself as one of today's most sought-after American conductors. A passionate and compelling communicator with an extensive knowledge of orchestral and operatic repertoire, he has forged close relationships with major orchestras around the world through his exhilarating music making and stimulating ideas. In the fall of 2010, Mr. Robertson began his sixth season as Music Director of the 131-year-old St. Louis Symphony, while continuing as Principal Guest Conductor of the BBC Symphony Orchestra, a post he has held since 2005.

    Highlights of Mr. Robertson's 2010-2011 season with the St. Louis Symphony include a gala concert with soprano Renée Fleming and the upcoming world premiere of Christopher Rouse's Symphony No. 3. Guest engagements in the US include performances with the Boston, New World, and San Diego symphony orchestras; the San Francisco Symphony; and the New York Philharmonic. Internationally, guest engagements include the Royal Concertgebouw Orchestra, where Mr. Robertson appears regularly, the Deutsches Symphonie-Orchester Berlin as part of Musikfest Berlin, and several concerts with the BBC Symphony. In addition to his fresh interpretations of traditional repertoire, Mr. Robertson conducts world premieres this season of works by Stephen McNeff, Avner Dorman, and Joey Roukens.

    Born in Santa Monica, California, Mr. Robertson was educated at London's Royal Academy of Music, where he studied French horn and composition before turning to orchestral conducting. He received Columbia University's 2006 Ditson Conductor's Award, and he and the St. Louis Symphony are recipients of three major awards from ASCAP and the League of American Orchestras, including the 2008-2009 and 2009-2010 awards for Programming of Contemporary Music, and the 2005-2006 Morton Gould Award for Innovative Programming. Musical America named him Conductor of the Year in 2000. In 2010, he was elected a Fellow of the American Academy of Arts and Sciences.
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  • Deanna Breiwick

    American soprano Deanna Breiwick was recently featured as Thérèse in the Juilliard Opera production of Les mamelles de Tirésias and as the title role in Handel's Clori, Tirsi e Fileno with Juilliard415 led by Nicholas McGegan. Last season, Ms. Breiwick made her Alice Tully Hall debut with conductor William Christie in a performance of Handel's Saeviat tellus inter rigores, and performed the role of Naiade (Ariadne auf Naxos) at the Tanglewood Music Center. Additional roles with the Juilliard Opera include Beth Moss in The Tender Land and Sister Constance in Dialogues des Carmélites. With Mannes College The New School for Music, Ms. Breiwick performed the role of Sister Constance and portions of Tytania (A Midsummer Night's Dream), Sophie (Werther), and Norina (Don Pasquale). Her many awards include first place in the Metropolitan Opera National Council Auditions, Eastern Region; third place in the Gerda Lissner International Vocal Competition; and grants from the Giulio Gari Foundation, The Licia Albanese-Puccini Foundation, and a Richard F. Gold Career Grant.

    This summer, Ms. Breiwick performs the role of Nannetta (Falstaff) with the Aspen Opera Theater Center. A native of Seattle, Ms. Breiwick is currently pursuing a master's degree at The Juilliard School, where she is a student of Edith Bers. She received her bachelor's degree in vocal performance from Mannes College The New School for Music.
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  • Ensemble ACJW

    Ensemble ACJW is an inspirational collective of outstanding young professional musicians from The Academy that has earned accolades from critics and audiences alike for the quality of its performances, as well as its fresh and open-minded approach to performance and programming. In a variety of venues, they have played a wide range of music-from works written centuries ago to those completed days before-with verve and total commitment to their art.

    The group performs its own series at Carnegie Hall and regularly appears at Paul Hall at The Juilliard School. As part of a partnership with Skidmore College that began in 2007, Ensemble ACJW gives master classes to university students and performs for the Saratoga Springs community both in concert halls and in informal settings around town.

    All Ensemble ACJW members are alumni or current fellows of The Academy, a two-year fellowship program created in 2007 by Carnegie Hall's Executive and Artistic Director Clive Gillinson and The Juilliard School's President Joseph W. Polisi to support young professional musicians develop their careers as top-quality performers, innovative programmers, and dedicated teachers who are fully engaged with the communities in which they live and work.

    Fellows of the two-year Academy program-chosen for their musicianship, but also for their leadership qualities and commitment to music education-come from some of the best music schools in the country, including the Curtis Institute of Music, Eastman School of Music, The Juilliard School, Mannes College The New School for Music, New England Conservatory, and Yale School of Music.

    In addition to performance opportunities at the highest level, a robust program of professional development is an essential part of The Academy. Fellows partner with New York City public schools to share their artistry with-and become central resources for-music classrooms in the five boroughs. In their second year, the fellows also develop innovative, community-based group projects. Among those produced in recent years were a collaboration with residents of a Bronx family apartment complex, a pen-pal program that paired young students with professional musicians, and a performance of George Crumb's Voice of the Whale in the American Museum of Natural History's Millstein Hall of Ocean Life.

    Exemplary performers, dedicated teachers, and advocates for music throughout the community, the fellows of The Academy that make up Ensemble ACJW are redefining what it means to be a musician in the 21st century. Visit to learn more.
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  • Jeffrey Hill

    Jeffrey Hill graduated from the Oberlin College Conservatory of Music with a bachelor's degree in vocal performance and a master's degree in opera theater. Outside of Oberlin, he won the Franco-American Vocal Academy's second annual Grand Concours de Chant, which led to his European recital debut. Shortly before graduating, Mr. Hill won first place at the Opera Guild of Dayton Tri-State Opera Scholarship Competition. In 2009, the Metropolitan Opera National Council Auditions recognized him with an Encouragement Award.

    During the summers of 2009 and 2010, Mr. Hill was a Gerdine Young Artist at Opera Theatre of Saint Louis, and a fellow at the Music Academy of the West. He was named winner of the Marilyn Horne Foundation Competition in 2009 and made his New York recital debut in the spring of 2010. In January, Mr. Hill was featured in a duo recital for Marilyn Horne's The Song Continues ... festival at Carnegie Hall. In April, he premieres new works at Carnegie Hall's Professional Training Workshop with Dawn Upshaw and Donnacha Dennehy. Mr. Hill is currently in the Graduate Vocal Arts Program at the Bard College Conservatory and studies privately with Edith Bers.
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  • Kelly Markgraf

    American baritone Kelly Markgraf is rapidly distinguishing himself on the opera and concert stages. Last season, Mr. Markgraf made his New York City Opera debut in the role of Masetto in Christopher Alden's new production of Don Giovanni. He recently completed his tenure at the Juilliard Opera Center, where his work included the roles of Mamoud in a staged concert of John Adams's The Death of Klinghoffer conducted by the composer, and Ford in Verdi's Falstaff in a production directed by Stephen Wadsworth and conducted by Keri-Lynn Wilson. In the spring of 2009, he was part of Ken Noda's Winterreise project at The Juilliard School. In 2008, he performed in the all-Bernstein program conducted by Michael Tilson Thomas that opened Carnegie Hall's season and was nationally televised. He also debuted with Pittsburgh Opera as Ragged Man in Ricky Ian Gordon's The Grapes of Wrath, a role he created at Minnesota Opera.

    Mr. Markgraf's current season includes the role of Escamillo (Carmen) opposite mezzo-soprano Sasha Cooke with the Brazos Valley Symphony Orchestra, the title role in Don Giovanni with Opera Omaha, Zebul in Handel's Jephtha with Kent Tritle for the Sacred Music in a Sacred Space concert series, and concerts at Caramoor Center and Music@Menlo. Mr. Markgraf's honors include the grand prize in the Opera Index Competition, awards from the Giulio Gari Foundation and The Licia Albanese Puccini Foundation, and a Richard F. Gold Career Grant.
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  • Paul Appleby

    Paul Appleby is in his second year of the Metropolitan Opera's Lindemann Young Artist Development Program. Having earned an artist diploma from The Juilliard School, he recently performed the roles of the Chevalier de la Force in Dialogues des Carmélites under the baton of Anne Manson, and Martin in Copland's The Tender Land conducted by David Effron. Upcoming engagements include a Metropolitan Opera debut as Brighella in Ariadne auf Naxos under the baton of Fabio Luisi, and a program of Schubert and Haydn with The Saint Paul Chamber Orchestra conducted by Thomas Zehetmair.

    As a recitalist, Mr. Appleby performs extensively with pianist Steven Blier and the New York Festival of Song, and recently presented the world premiere of Beautiful Ohio, a song cycle written for him by Pulitzer Prize nominee Harold Meltzer. He has performed recitals for the Marilyn Horne and Joy in Singing foundations. Mr. Appleby makes his Alice Tully Hall recital debut this season in a performance of Schubert's Die schöne Müllerin accompanied by Brian Zeger. Mr. Appleby is a National Winner of the 2009 Metropolitan Opera National Council Auditions.
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  • Shenyang

    Bass-baritone Shenyang was the winner of the 2007 BBC Cardiff Singer of the World competition and a 2008 winner of the Borletti-Buitoni Trust Award. Born in Tianjin, China, Shenyang studied with Ping Gu at the Shanghai Conservatory of Music. He is an alumnus of the Metropolitan Opera Lindemann Young Artist Development Program and of The Juilliard School Opera Center.

    This season, Shenyang tours internationally with the Hong Kong Philharmonic Orchestra led by Edo de Waart, performing Beethoven's Ninth Symphony and excerpts from Mahler's Des Knaben Wunderhorn. He also performs Handel's Messiah with the Dallas Symphony Orchestra conducted by Helmuth Rilling. Shenyang joins the San Francisco Symphony with Ragnar Bohlin for Bach's Mass in B Minor, the Cincinnati Symphony with James Conlon for Mendelssohn's Elijah, and The Philadelphia Orchestra for his debut performance of Stravinsky's Pulcinella. He also presents solo recitals in Shanghai and Tianjin, and returns to the Metropolitan Opera to reprise his portrayal of Colline in Puccini's La bohème.
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Major funding for The Academy–a program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education–has been provided by Mercedes and Sid Bass, The Diller-von Furstenberg Family Foundation, the Maxwell H. Gluck Foundation, The Irving Harris Foundation, The Kovner Foundation, Martha and Bob Lipp, Mr. and Mrs. Lester S. Morse Jr., Judith and Burton Resnick, Susan and Elihu Rose Foundation, and The Peter Jay Sharp Foundation, with additional support from The Arnow Family Fund, Mr. and Mrs. Nicola Bulgari, the Ella Fitzgerald Charitable Foundation, Susan and Ed Forst, Mrs. Nancy A. Marks, the Edward John Noble Foundation, The Joe Plumeri Foundation, and Suki Sandler.

The Academy School Partnerships benefitting NYC public school students are made possible, in part, by Bank of America.

The Academy is made possible, in part, by public funds from the New York City Department of Education, the National Endowment for the Arts, the US Department of State, and the New York State Council on the Arts.


Mozart Zaide, Act I. No. 3 (“Ruhe sanft, mein holdes Leben”)
Soloists with The Academy of Ancient Music / Paul Goodwin, Conductor
Harmonia Mundi

In the Artist's Own Words

The idea of an “open work” was very important to Berio his whole life—whether in terms of a work that could have multiple manifestations or when he considered works that the world at large felt were left somehow unfinished.

Zaide came at a period in Mozart’s life when he was already asserting the amazing individuality we would see fully formed in Idomeneo. It’s fascinating to wonder where he might have gone with Zaide had he brought it to completion. In his use of melodrama, he is clearly trying to push musical recitative to the limits of expression. What has become the final quartet shows an interest in four parallel yet opposed emotional states that he would later develop with such success in the Da Ponte operas.

Berio frames Mozart’s notes before, during, and after with a contemplation of what might have been. In doing so, Berio gives us a portrait of the composer and his imagination, creating music out of thin air, helping us, in Berio’s words, to remember the future.


Program Notes
This performance is part of Signatures.