CARLO VISTOLI & GIULIO ZAPPA
Recital Series September 10 & September 12, 2026
WELCOME Park Avenue Armory’s Recital Series strives to engage audiences with world-class artists in the most personal of settings, and has become a “locus for important chamber music concerts” (The New Yorker). Set in the intimate and lush surroundings of our historic period rooms, the Armory provides “a space for chamber music, which marries excellent acoustics and an austerely elegant Gilded Age interiors” (The New York Times). This year’s lineup offers up-close experiences of thoughtfully curated programs of lieder, art song, and contemporary works by some of today’s most exciting musical interpreters, and thrilling performances that explore signal works and take the art form in bold new directions. We are proud to host the highly anticipated recital debuts of three exciting new voices in the Board of Officers Room: leading soprano leggero Liv Redpath in her New York solo recital debut; Italian countertenor Carlo Vistoli in his North American recital debut; and Omani-born mezzo soprano Deepa Johnny in her North American recital debut. Returning following their work on Monochromatic Light (Afterlife) at the Armory in 2023, celebrated percussionist Steven Schick and composer Tyshawn Sorey team up in the Veterans Room for the world premiere of a new evening-length percussion piece commissioned by the Armory that explores legacy through cross-generational collaboration as a mirror of the past and an illuminated path to the future. We also welcome Turkish pianist and composer Fazıl Say to the Board of Officers Room for a program blending Western and folk music influences, including J.S. Bach’s Goldberg Variations alongside several of Say’s own innovative compositions. And finally, master Mozartean tenor Ben Bliss gives an intimate evening of arias and art song with pianist Christopher Allen. Since the start of the Recital Series at the Armory, we are proud to have held more than 150 intimate performances by 250 internationally renowned musicians, including 18 important North American, US, and New York debuts of dynamic artists including tenors Allan Clayton and Pene Pati, soprano Barbara Hannigan, and pianist Igor Levit. We have also been proud to serve as the locale for 20 premieres by contemporary composers, including works by Michael Hersch, Anna Thorvaldsdóttir, John Zorn, Dai Fujikura, Michael Gordon, Jake Heggie, Chris Cerrone, Viet Cuong, Jasmine Barnes, David Lang, and others. This year’s lineup offers audiences even more chances to enjoy the intimacy of a beautiful range of chamber music experiences performed by artists with a highly distinctive international profile, in “an invaluable place to hear unconventional singers and programs” (The Wall Street Journal)—the Armory’s historic period rooms. We hope you join in our excitement for witnessing these magical moments in music. Rebecca Robertson Adam R. Flatto Founding President and Executive Producer Deborah Warner Anita K. Hersch Artistic Director
This concert is being recorded by WQXR for future broadcast on 105.9 FM and streaming on wqxr.org.
SEASON SPONSOR
PUBLIC SUPPORT
The Recital Series is supported, in part, by the Howard & Sarah D. Solomon Foundation. Bloomberg Philanthropies is Park Avenue Armory’s 2026 Season Sponsor. Leadership support for the Armory’s artistic programming has been generously provided by the Anita K. Hersh Philanthropic Fund, Charina Endowment Fund, Donald A. Pels Charitable Trust, Pinkerton Foundation, the Starr Foundation, the Thompson Family Foundation, and Dance Reflections by Van Cleef & Arpels. Major support was also provided by the the Arthur F. and Alice E. Adams Charitable Foundation, the Gladys Krieble Delmas Foundation, the Fan Fox and Leslie R. Samuels Foundation, the Horace W. Goldsmith Foundation, the Howard Gilman Foundation, the Marc Haas Foundation, the Emily Davie and Joseph S. Kornfeld Foundation, The Rockefeller Brothers Fund, The Shubert Foundation, the SHS Foundation, The Harold and Mimi Steinberg Charitable Trust, and Wescustogo Foundation. Additional support has been provided by the Armory’s Artistic Council. Public support is provided by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature as well as the New York City Department of Cultural Affairs in partnership with the City Council under the leadership of Speaker Julie Menin.
PROGRAM Carlo Vistoli, countertenor Giulio Zappa, piano
thursday, september 10, 2026 at 7:30pm saturday, september 12, 2026 at 8:00pm board of officers room
Henry Purcell, arr. Benjamin Britten
“Music for a while” from Oedipus Z 583 “Sweeter than roses” from Pausanias Z 585
Georg Friedrich Händel
“Care selve, ombre beate” from Atalanta HWV 35 “Where’er you walk” from Semele HWV 58
Gioachino Rossini
“Une caresse à ma femme” from Péchés de vieillesse Volume VI
Wolfgang Amadeus Mozart
“Dans un bois solitaire et sombre” K 308 “Ridente la calma” K 152
Ludwig van Beethoven
“In questa tomba oscura” WoO 133
Franz Schubert
“Der Tod und das Mädchen” D 531 “Ständchen” from Der Schwanengesang D 957
Intermission Vincenzo Bellini
“Vaga luna che inargenti”
Gioachino Rossini
“La legende de Marguerite”
Gaetano Donizetti
“Me voglio fa’ ‘na casa”
Ottorino Respighi
“Valse caressante” from Sei Pezzi per pianoforte
Reynaldo Hahn
From Venezia: “La Barcheta” “La biondina in gondoleta” “Che pecà!”
Stephen Foster
“Jeanie with the light brown hair”
Leonard Bernstein
“Somewhere” from West Side Story
This program runs approximate 90 minutes, including a 15-minute intermission.
ABOUT THE PROGRAM Tonight’s recital offers a panorama of vocal music spanning two and a half centuries, in English, French, and German, not to mention three different versions of Italian (the standard literary language, plus Neapolitan and Venetian dialects). The Baroque period is represented by two arias of Henry Purcell and two by George Frederic Handel–two Englishmen, one nativeborn, the other an immigrant. In the present selections, both show their gentle, lyrical sides. Purcell’s “Music for a While,” from the play Oedipus by John Dryden and Nathaniel Lee (1692), extols music’s magic powers, while “Sweeter than roses,” from the semi-opera Pausanias (1695), celebrates the magic powers of love, with lyrics by Richard Norton. Handel, half a century later, gave us, in his opera-oratorio Semele (1743), a Jupiter head over heels in love with a mortal woman, literally worshipping the ground she walks on, in his aria “Where’er you walk.” In pastoral opera Atalanta (1736, librettist unknown), a king disguised as a shepherd sings his aria, “Care selve, ombre beate,” about finding solace in nature. During the last decade of his life, Gioachino Rossini wrote some 150 short vocal, chamber and piano pieces collectively known as Péchés de vieillesse (“Sins of Old Age,” 1857-68). The pieces were eventually published in 14 volumes; “Une caresse à ma femme” (“A Caress to my Wife”), for piano solo, is found in Volume 6. It is a tender miniature, although it does include some more passionate moments. Wolfgang Amadeus Mozart wrote only two songs in French, both from 1777 to 1778. One of these, using a poem by Antoine Houdar de La Motte, is a dramatic mini-scene in which a sleeping Cupid awakens and pours salt on the narrator’s amorous wounds. Dans un bois will be followed by Mozart’s arrangement of an Italian aria written by his contemporary and one-time friend Josef Mysliveček; the arrangement probably dates from around 1785. Some musical features of the piece, as well as the lyrics, actually came from yet another opera composer, Francesco Bianchi. The author of the words has only recently been identified as Cesare Oliveri. The topic—peace and reconciliation—contrasts strongly with the image of the suffering lover in the previous song.
The second half begins with one song by each of the three great masters of Italian bel canto, but each song is in a markedly different style. Vincenzo Bellini’s “Vaga luna” (undated, poet unknown) is a classic canzonetta. Rossini’s “La légende de Marguerite” is none other than Cinderella’s little song “Una volta c’era un re” (“Once there was a king”) from the opera La Cenerentola (1817)–adapted to a French text by unknown hands in 1868, the year of Rossini’s death. The lyrics have been credited to a certain “N. Cimbal” about nothing further is known. As for Gaetano Donizetti’s “Me voglio fa ‘na casa” (1837, poet unknown), it is an authentic Neapolitan song, written in the local dialect. The second piano solo this evening, like the first, is a musical “caress:” the delicate “Valse caressante” from Ottorino Respighi’s Six Piano Pieces (1904-05). It is worth mentioning that Respighi also published an alternative version of these pieces for violin and piano. After several pieces with French titles or French texts by composers (Rossini, Mozart) who were not French, we will hear some songs in Italian (Venetian dialect, to be exact) by a Frenchman, Venezuelan-born songwriter extraordinaire Reynaldo Hahn. Hahn, a quintessential Parisian if ever there was one, published a set of six songs under the title Venezia in 1901. The three songs on tonight’s program, with words by Pietro Buratti, Antonio Lamberti, and Francesco Dall’Ongaro, respectively, take us to the Grand Canal and the many narrow streets in the city of lagoons, where the city of many people’s dreams becomes a backdrop for some very real amorous adventures. The recital ends with a return to the English language with which it began, with two immortal American classics. If Stephen Foster’s parlour song “Jeanie with the Light Brown Hair” (1854) grieves about a lost love, “Somewhere,” from Leonard Bernstein’s West Side Story (1957, with lyrics by Stephen Sondheim), will send us home with a message of hope. — Peter Laki
Ludwig van Beethoven’s In questa tomba oscura (1807), a somber message from the beyond, uses an Italian text by Giuseppe Carpani, a writer living in Vienna who penned one of the first biographies of Joseph Haydn. The death motif continues in Franz Schubert’s stunning Der Tod und das Mädchen (1817), on a poem by Matthias Claudius, in which the singer has to impersonate both the Grim Reaper and his panic-stricken victim. Yet the first half of the concert will end on a soothing note, with Schubert’s beloved “Ständchen” (words by Ludwig Rellstab, 1828).
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ABOUT THE ARTISTS CARLO VISTOLI Countertenor Carlo Vistoli began his vocal training in 2007 with William Matteuzzi and Sonia Prina and made his stage debut with Dido & Aeneas in 2012. After earning the Farinelli Prize at the 2012 Città di Bologna Singing Competition and First Prize at San Marino’s 2013 Renata Tebaldi (Baroque Section) Competition, Vistoli was chosen for the 2015 edition of “Le Jardin de Voix” led by William Christie, with whom he continues to collaborate. Career highlights include: Handel’s Giulio Cesare in Egitto in Shanghai; Caldara’s Dafne in Venice; Handel’s Agrippina in Brisbane (Helpmann Award); Cavalli’s Erismena in Aix-en-Provence with Leonardo García Alarcón; and the international tour of John Eliot Gardiner’s 2017 project Monteverdi450. Other recent credits include Vivaldi’s Orlando furioso at La Fenice in Venice; Monteverdi’s L’incoronazione di Poppea at the Salzburg Festival; Artaserse by Hasse in Sydney; La Finta pazza by Sacrati in Dijon with Alarcón; Orfeo ed Euridice by Gluck at Rome Opera with Robert Carsen’s staging; and Semele by Handel with Gardiner in Paris, London, and Milan (Teatro alla Scala). Highlights of Vistoli’s 2026–2027 season include a return to the Salzburg Festival in concert; Carmina Burana at the Arena di Verona under the baton of James Conlon; Rossini’s Petite Messe Solennelle with the Orchestra and Chorus of the Teatro dell’Opera di Roma, conducted by Michele Mariotti; the title role in Rinaldo at the Théâtre des Champs-Élysées in Paris and at the Theater an der Wien; and Dido & Aeneas (as the Sorceress) at Teatro alla Scala in Milan. Vistoli also embarks on a European tour of Handel’s Messiah with Le Concert d’Astrée under the conduction of Emmanuelle Haïm. His latest album, Handel’s Italians, also recorded with Haïm and focused on the English oratorios Handel composed for the great Italian castrati of the 18th century, has been releasef by harmonia mundi in September 2026. For Vistoli, this is the second solo album for the label, following Sacro Furore (2024), devoted to Vivaldi’s sacred music. Earlier in 2026, Vistoli made his first appearance at the Opernhaus Zürich in Handel’s Giulio Cesare in Egitto; debuted the title role of Rossini’s Tancredi in a new production at the Opera di Roma conducted by Michele Mariotti and directed by Emma Dante as well as at the Rai Auditorium in Turin with the Rai National Symphony Orchestra; returned to the Théâtre des Champs-Élysées to debut the title role in Vivaldi’s Tamerlano in concert form with Noally and Les Accents; and opened the new season at the Teatro Regio di Parma, starring in a new production of Gluck’s Orfeo ed Euridice directed by Shirin Neshat and conducted by Fabio Biondi.
Other credits include: Rinaldo by Handel in Losanna, his title role debut in Giulio Cesare in Egitto in Basel and Madrid with Andrea Marcon, Cavalieri’s La Rappresentatione di Anima et di Corpo at Theater an der Wien with Antonini and Carsen, Pergolesi’s Stabat Mater on tour with Cecilia Bartoli and Gianluca Capuano, Bolshoi Theatre debut in David Alden’s production of Handel’s Ariodante (2021); new Damiano Michieletto productions of Orfeo ed Euridice at Komische Oper Berlin and Giulio Cesare in Egitto at Thêatre des Champs-Elysées in Paris, Xerse by Cavalli at Festival della Valle d’Itria in Martina Franca, Ruggiero in Alcina by Handel alongside Cecilia Bartoli in Florence (with Capuano and Michieletto), and a debut as Nerone in L’incoronazione di Poppea at Staatsoper Berlin conducted by Jean-Christophe Spinosi (2022); the title role of Vivaldi’s Orlando furioso in concert at Théâtre des ChampsElysées, Handel’s Trionfo del Tempo e del Disinganno at Festspielhaus Baden-Baden with the Berliner Philharmoniker and Emmanuelle Haïm, L’incoronazione di Poppea with Opéra du Rhin, and Semele at Komische Oper Berlin (2023); and Farnace in Mozart’s Mitridate at Staatsoper Berlin, Orfeo in Carsen’s production in Valencia, the two title roles of Rinaldo and Giulio Cesare on European tour and at Théâtre des Champs-Elysées, and four important house debuts—at San Francisco Opera, Wiener Staatsoper, Teatro alla Scala, and the Verdi Festival in Parma (2024). In 2025, Vistoli appeared in a new production of Handel’s Alcina at Rome Opera directed by the late Pierre Audi and conducted by Rinaldo Alessandrini. 2025 also included Francesco Filidei’s new opera Il nome della rosa at Teatro alla Scala, conducted by Ingo Metzmacher under the direction of Michieletto; his London Royal Ballet & Opera debut as Athamas in Handel’s Semele, European tours with Ensemble Artaserse and Le Concert d’Astrée; and performances at the Innsbrucker Festwochen der Alten Musik and Bayreuth Baroque Opera Festival. Carlo Vistoli was awarded the Premio “Franco Abbiati” from the Italian music critics (43rd edition) as best singer of 2023. He also won the 2024 “Jan Shrem and Maria Manetti Shrem Emerging Stars Competition” of the San Francisco Opera. He has recorded for Alpha, Brilliant, Erato, harmonia mundi, Ricercar, and Soli Deo Gloria, among other labels. Vistoli’s his three first solo recitals have been published by Arcana.
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GIULIO ZAPPA Giulio Zappa was born in Monza, Italy. He studied under the guide of Oleg Marshev, finishing his piano degree with honours at the Conservatory of Novara. At the same time he graduated with honours in Foreign languages and literatures at the Statale University of Milan, with a dissertation upon Russian opera. He started his activity as piano accompanist for opera repertoire in the class of Bianca Maria Casoni in Milan. He eventually continued his studies with Aldo Ciccolini and Irwin Gage, with this latter for the vocal chamber music repertoire. Since 1996 he has had an intense concert career all over the world, and he has been often invited both as opera vocal coach and as recital accompanist in many theaters and Festivals in all Europe and Asia, such as Opera National Bordeaux, Opera de Lorraine, Seoul Art Center, Teatro Real Madrid, Teatro de la Maestranza Seville, Festival Mozart La Coruna, Rossini Opera Festival Pesaro, Glyndebourne Festival, Wexford Festival, Welsh National Opera, Tenerife Opera Festival, Festival de la Opera de Las Palmas, Wigmore Hall, John Smith’s Square, Rudolfinum Prague, Verdi Conservatory Hall Milano, Teatro alla Scala, Wiener Staatsoper, Bayerisches Staatsoper, Biwako Hall, Bolshoy Theatre, Mikhailovsky Theatre, Saint Petersburg Philarmonie, etc. Mainly specialized in Belcanto repertoire, he has been main coach and pianist at the Rossini Opera Festival Pesaro since 2003. He has had the chance to collaborate with artists of different generations of the Italian and the international opera system, such as Giulietta Simionato, Luis Alva, Luciano Pavarotti, Katia Ricciarelli, Lella Cuberli, Piero Cappuccilli, Enzo Dara, Leo Nucci, Michele Pertusi, Gregory Kunde, Daniela Barcellona, Juan Diego
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Florez, Dmitry Korchak, Larry Brownlee, Mariella Devia, Erwin Schrott, Luca Pisaroni, Olga Peretyatko, Maxim Mironov, Marina Rebeka, and many other younger artists of the last generation. He has worked with famous stage directors and conductor such as Alberto Zedda, Gustav Kuhn, Michele Mariotti, Carlo Rizzi, Giacomo Sagripanti, Enrique Mazzola, Jader Bignamini, Ricardo Frizza, Mario Martone, Dario Fo, Giorgio Strehler, Luca Ronconi, Michael Hampe, Pier Luigi Pizzi, Jean-Louis Martinoty, and Graham Vick, among others. As a teacher both for singers and accompanists, he is frequently invited to teach by different schools and theaters such as Scuola dell’Opera of Bologna, Accademia del Maggio Fiorentino, Accademia Verdiana Parma, Accademia Teatro Carlo Felice Genova, Accademia del Belcanto di Martinafranca, Teatro Real of Madrid, Escuela Superior de Canto de Madrid, University of Jaen, Centre de Perfeccionament Valencia,m Opera Studio of Tel Aviv, Factory Wexford Opera Festival, Glyndebourne Festival, Instituto Superior de Arte Teatro Colón Buenos Aires, Young Artist Program of Bol’shoj Theatre Moscow, and Khio Academy Oslo. Recent and future engagements include recitals in Liceu de Barcellona, Peralada, Zürich, Tokyo, Sofia Bulgaria Hall, Staatsoper Wien, London Cadogan Hall and Pesaro, among others. He has been Artistic Director of the Young Artist Programme (Opera Estudio) at the Tenerife Opera (Spain) from 2013 to 2021, Senior Vocal Coach at the Rossini Opera Festival since 2002, and Responsible of the Young Artist Project Bottega Donizetti in the Donizetti Opera Festival in Bergamo, Italy.
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
TEXTS AND TRANSLATIONS HENRY PURCELL (1659–1695), ARR. BENJAMIN BRITTEN (1913–1976) “Music for a while” from Oedipus Z 583 (1692, arr. 1947) Text by John Dryden (1631–1700)
“Sweeter than roses” from Pausinias Z. 585 no. 1 (1695, arr. 1948) Text by Richard Norton (1666–1732)
Music for a while Shall all your cares beguile. Wond’ring how your pains were eas’d And disdaining to be pleas’d Till Alecto free the dead From their eternal bands, Till the snakes drop from her head, And the whip from out her hands.
Sweeter than roses, or cool evening breeze On a warm flowery shore, was the dear kiss, First trembling made me freeze, Then shot like fire all o’er. What magic has victorious love! For all I touch or see since that dear kiss, I hourly prove, all is love to me.
GEORGE FRIEDRICH HÄNDEL (1685–1759) “Care selve, ombre beate” from Atalanta HWV 35 (1736) Text by Belisario Valeriani
Beloved forests English translation by Emily Ezust
Care selve, ombre beate, vengo in traccia del mio cor!
Beloved forests, joyous shadows: I come in search of my heart.
“Where’er you walk” from Semele HWV 58, no. 45 (1743) Text by William Congreve (1670–1729) Where’er you walk Cool gales shall fan the glade Trees where you sit shall crowd into a shade Trees where you sit shall crowd into a shade Where’er you tread the blushing flowers shall rise and all things flourish and all things flourish Where’er you turn your eyes Where’er you walk Cool gales shall fan the glade Trees where you sit shall crowd into a shade Trees where you sit shall crowd into a shade.
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WOLFGANG AMADEUS MOZART (1756–1791) “Dans un bois solitaire et sombre” K 308 (1778) Text by Antoine Houdar de La Motte (1672–1731)
In a forest English translation by Emily Ezust
Dans un bois solitaire et sombre Je me promenais l’autr’ jour, Un enfant y dormait à l’ombre, C’était le redoutable Amour.
In a lonely and sombre forest I walked the other day; A child slept in the shade, It was a veritable Cupid.
J’approche, sa beauté me flatte, Mais je devais m’en défier ; Il avait les traits d’une ingrate, Que j’avais juré d’oublier.
I approach; his beauty fascinates me. But I must be careful: He has the traits of the faithless maiden Whom I had sworn to forget.
Il avait la bouche vermeille, Le teint aussi frais que le sien, Un soupir m’échappe, il s’éveille ; L’Amour se réveille de rien.
He had lips of ruby, His complexion was also fresh like hers. A sigh escapes me and he awakes; Cupid wakes at nothing.
Aussitôt déployant ses aîles Et saisissant son arc vengeur, L’une de ses flêches, cruelles En partant, il me blesse au cœur.
Immediately opening his wings and seizing His vengeful bow And one of his cruel arrows as he parts, He wounds me to the heart.
Va ! va, dit-il, aux pieds de Sylvie, De nouveau languir et brûler ! Tu l’aimeras toute la vie, Pour avoir osé m’éveiller.
“Go!” he says, “Go! At Sylvie’s feet Will you languish anew! You shall love her all your life, For having dared awaken me.”
“Ridente la calma” K 152 (1775) Anonymous text
May a happy calm arise English translation by Mario Giuseppe Genesi
Ridente la calma nell’alma si desti; Né resti più segno di sdegno e timor.
May a happy calm arise in my soul and may neither a bit of anger nor fear survive in it.
Tu vieni, frattanto, a stringer mio bene, Le dolce catene sí grate al mio cor.
In the meantime you are coming, my beloved, to grasp those sweet chains that make my heart so grateful.
Ridente la calma nell’alma si desti; Né resti un segno di sdegno e timor.
May a happy calm arise in my soul and may neither anger nor fear survive in it.
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LUDWIG VAN BEETHOVEN (1770–1827) “In questa tomba oscura” WoO 133 (1807) Text by Giuseppe Carpani (1752–1825)
In this dark tomb English translation by Carlo Vistoli
In questa tomba oscura Lasciami riposar; Quando vivevo, ingrata, Dovevi a me pensar.
In this dark tomb Let me rest; While I still lived, ungrateful woman, You should have thought of me.
Lascia che l’ombre ignude Godansi pace almen E non, e non bagnar mie ceneri D’inutile velen.
Allow, at least, the naked spirits To enjoy their peace And do not bathe my ashes In useless venom.
FRANZ SCHUBERT (1797–1828) “Der Tod und das Mädchen” D 531 (1817) Text by Matthias Claudius (1740–1815)
Death and the Maiden English translation by Richard Wigmore
DAS MÄDCHEN Vorüber, ach, vorüber! Geh, wilder Knochenmann! Ich bin noch jung, geh, Lieber! Und rühre mich nicht an.
THE MAIDEN Pass by, ah, pass by! Away, cruel Death! I am still young; leave me, dear one and do not touch me.
DER TOD Gib deine Hand, du schön und zart Gebilde! Bin Freund und komme nicht zu strafen. Sei gutes Muts! Ich bin nicht wild, Sollst sanft in meinen Armen schlafen!
DEATH Give me your hand, you lovely, tender creature. I am your friend, and come not to chastise. Be of good courage. I am not cruel; you shall sleep softly in my arms.
“Ständchen” from Der Schwanengesang D 957 (1828) Text by Ludwig Rellstab (1799–1860)
Serenade English translation by Richard Wigmore
Leise flehen meine Lieder Durch die Nacht zu Dir; In den stillen Hain hernieder, Liebchen, komm’ zu mir!
Softly my songs plead through the night to you; down into the silent grove, beloved, come to me!
Flüsternd schlanke Wipfel rauschen In des Mondes Licht; Des Verräters feindlich Lauschen Fürchte, Holde, nicht.
Slender treetops whisper and rustle in the moonlight; my darling, do not fear that the hostile betrayer will overhear us.
Hörst die Nachtigallen schlagen? Ach! sie flehen Dich, Mit der Töne süssen Klagen Flehen sie für mich.
Do you not hear the nightingales call? Ah, they are imploring you; with their sweet, plaintive songs they are imploring for me.
Sie verstehn des Busens Sehnen, Kennen Liebesschmerz, Rühren mit den Silbertönen Jedes weiche Herz.
They understand the heart’s yearning, they know the pain of love; with their silvery notes they touch every tender heart.
Lass auch Dir die Brust bewegen, Liebchen, höre mich! Bebend harr’ ich Dir entgegen! Komm’, beglücke mich!
Let your heart, too, be moved, beloved, hear me! Trembling, I await you! Come, make me happy! Please turn page quietly. armoryonpark.org | @ParkAveArmory
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VINCENZO BELLINI (1801–1835) “Vaga luna, che inargenti” (1833) Anonymous text
Lovely moon, you who shed silver light English translation by Antonio Giuliano
Vaga luna, che inargenti queste rive e questi fiori ed inspiri agli elementi il linguaggio dell’amor; testimonio or sei tu sola del mio fervido desir, ed a lei che m’innamora conta i palpiti e i sospir.
Lovely moon, you who shed silver light On these shores and on these flowers And breathe the language Of love to the elements, You are now the sole witness Of my ardent longing, And can recount my throbs and sighs To her who fills me with love.
Dille pur che lontananza il mio duol non può lenir, che se nutro una speranza, ella è sol nell’avvenir. Dille pur che giorno e sera conto l’ore del dolor, che una speme lusinghiera mi conforta nell’amor.
Tell her too that distance Cannot assuage my grief, That if I cherish a hope, It is only for the future. Tell her that, day and night, I count the hours of sorrow, That a flattering hope Comforts me in my love.
GIOACHINO ROSSINI (1792–1868) “La legende de Marguerite” (1817) Text by N. Cimbal
The legend of Marguerite English translation by Carlo Vistoli
Marguerite n’avait rien Que douceur et bonté pour tout bien ; Pour gagner un peu de pain, Elle filait soir et matin ; Et toujours, toujours joyeuse, Laborieuse, Elle filait, Elle chantait : « Marguerite, Tourne vite, Tourne sans fin Ton fuseau de beau lin. Tra la la la la la… »
Marguerite had nothing, Nothing but kindness and goodness for all her worldly goods; To earn herself a little bread, She spun from dawn till dusk; And always, always cheerful, Hard-working, She kept spinning, She kept singing: “Marguerite, Spin more swiftly, Spin without end Your spindle of fine flax. Tra la la la la la…”
Marguerite n’avait rien Que douceur et bonté pour tout bien ; Sans souci du lendemain Elle accueillait le pauvre, l’orphelin. Et toujours, toujours généreuse, Gracieuse Elle donnait, Elle chantait : « Marguerite, Donne vite, Donne sans fin Le meilleur de ton pain. Tra la la la la la… »
Marguerite had nothing, Nothing but kindness and goodness for all her worldly goods; Never worrying for tomorrow, She welcomed the poor and the orphan. And always, always generous, So gracious, She kept giving, She kept singing: “Marguerite, Give with haste, Give without end, The finest of your bread. Tra la la la la la…”
Marguerite n’avait rien Que douceur et bonté pour tout bien ; Or un jour elle eut grand faim, Pas de travail et pas de pain. Son bon ange, alors fidèle,
Marguerite had nothing, Nothing but kindness and goodness for all her worldly goods; Then one day she grew so hungry, No work to do, and not a loaf of bread. Then her faithful guardian angel
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
Vint près d’elle En souriant Et lui disant : « Marguerite, Je t’invite, Voici des fruits Que j’ai cueillis, Les plus beaux fruits Du Paradis. »
Came beside her, Smiling, And softly said: “Marguerite, I invite you; Here are fruits That I have gathered, The fairest fruits Of Paradise.”
GAETANO DONIZETTI (1797–1848) “Me voglio fa’ ‘na casa” (1837) Anonymous text
I want to build a house English translation by Laura Stanfield Prichard
Me voglio fa ‘na casa miez’ ‘o mare Fravecata de penne de pavune, Tralla la le la...
I want to build a house surrounded by the sea made of the feathers of a peacock. Tralla la le la, tra la la la.
D’oro e d’argiento li scaline fare E de prete preziuse li barcune, Tralla la le la...
Of gold and silver I will make the stairs and of precious stones, the balconies. Tralla la le la, tra la la la.
Quanno Nennella mia se va a facciare Ognuno dice “mò sponta lu sole”, Tralla la le la...
When my Nennalla leans out everyone will say, here comes the sun. Tralla la le la, tra la la la.
REYNALDO HAHN (1874–1947) Venezia (1901)
Venice
La barcheta Text by Pietro Burrati (1772–1832)
The little boat English translation by Garrett Medlock
La note è bela, Fa presto, o Nineta, Andemo in barcheta I freschi a ciapar! A Toni g’ho dito Ch’el felze el ne cave Per goder sta bava Che supia dal mar. Ah!
The night is beautiful, Hurry, oh little Nina, Let us go in a little boat To take the fresh air! I told Toni To row to the cave To enjoy this breeze Which blows from the sea… Ah!
Che gusto contarsela Soleti in laguna, E al chiaro de luna Sentirse a vogar! Ti pol de la ventola Far senza, o mia cara, Chè zefiri a gara Te vol sventolar. Ah!
What pleasure to recount it Alone in the lagoon, And by the light of the moon To hear him row! You can with a fan Do without, oh my dear, Since the zephyrs in a race Want to fan you. Ah!
Se gh’è tra de lori Chi tropo indiscreto Volesse dal pèto EI velo strapar, No bada a ste frotole, Soleti za semo E Toni el so’ remo, Lè a tento a menar. Ah!
If there is among them One who, too indiscreet, Wishes from your breast The cover to tear, Do not heed these tall tales, We are alone And Toni has his oar To guide us carefully. Ah! Please turn page quietly. armoryonpark.org | @ParkAveArmory
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La biondina in gondoleta Text by Antonio Lamberti (1845–1926)
The blonde girl in the little gondola English translation by Garrett Medlock
La biondina in gondoleta L’altra sera g’ho menà: Dal piacer la povereta, La s’ha in bota indormenzà.
The blonde girl in the little gondola The other night I guided, Of pleasure the poor little one There in the boat fell asleep.
La dormiva su sto brazzo, Mi ogni tanto la svegiava, Ma la barca che ninava La tornava a indormenzar.
There she slept in my arms, Every little while she awoke to me, But the ship that rocked Put her back to sleep.
Gera in cielo mezza sconta Fra le nuvole la luna, Gera in calma la laguna, Gera il vento bonazzà. Una sola bavesela Sventola va i so’ caveli, E faceva che dai veli Sconto el sento fusse più.
Among the clouds the moon Was in the sky half hidden, In tranquility was the lagoon, The wind was gentle.
Contemplando fisso fisso Le fatezze del mio ben, Quel viseto cussì slisso; Quela boca e quel bel sen,
Contemplating intently The form of my beloved, That face so smooth; That mouth and that beautiful bosom.
A lone breeze Fluttered her hair, And made that by those veils Hidden her breast was no longer.
Me sentiva drento in peto Una smania, un missiamento; Una spezie de contento Che no so come spiegar.
I felt inside of my breast A restlessness, a powerlessness, A type of happiness That I do not know how to explain.
M’ho stufà po’, finalmente, De sto tanto so’ dormir, E g’ho fato da insolente, No m’ho avuto da pentir;
I got tired then finally Of this her excessive sleep, And I became bold, I did not have to repent;
Perchè, oh Dio, che bele cosse Che g’ho dito, a che g’ho fato! No, mai più tanto beato Ai mii zorni no son stà.
Why, oh God, what beautiful things That I said her, and that I did for her! No, never again so blessed In my days will I be.
Che pecà! Text by Francesco dall’ Ongaro (1808–1873)
What a shame! English translation by Garrett Medlock
Te recordistu, Nina, quei ani Che ti geri el mio solo pensier? Che tormento, che rabie, che afani! Mai un’ora de vero piacer! Per fortuna quel tempo xe andà. Che pecà!
Do you remember, Nina, those years That you were my only thought? What torment, what rage, what grief! Never an hour of true pleasure! Fortunately that time is gone. What a shame!
Ne vedeva che per i to’ oci, No g’aveva altro ben che el to’ ben … Che schempiezzi! che gusti batoci, Oh, ma adesso so tor quel che vien; No me scaldo po’ tanto el figà. Che pecà!
I saw only through your eyes, I had no other good than your good… What foolishness! what vain pleasures, Oh, but now I know how to take what comes; I no longer drive myself mad. What a shame!
Ti xe bela, me pur fi xe dona, Qualche neo lo conosso anca in ti; Co ti ridi co un’altra persona, Me diverto co un’altra anca mi. Benedeta la so’ libertà.
You are beautiful, but then you are a woman, Some flaw I recognize also in you; As you laugh with another person, I also amuse myself with another. Blessed be each one’s liberty.
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
Che pecà!
What a shame!
Te voi ben, ma no filo caligo, Me ne indormo de tanta virtù. Magno a bevo, so star co’ l’amigo E me ingrasse ogni zorno de più. Son un omo che sa quel che’l fa … Che pecà!
I wish you well, but I do not act gloomy, I fall asleep with so much virtue. I eat and drink, I know how to be with friends And I get fatter each day. I am a man who knows what he does… What a shame!
Care gondole de la laguna Voghè pur, che ve lasso vogar! Quando in cielo vien fora la luna, Vago in leto a me meto a ronfar, Senza gnanca pasargh’ al passà! Che pecà!
Dear gondolas of the lagoon Row then, I leave you to row! When in the sky the moon comes out, I go to bed and I start to snore, Without any thought of the past! What a shame!
STEPHEN FOSTER (1826–1864) “Jeanie with the light brown hair” Text by Stephen Foster I dream of Jeanie with the light brown hair, Borne, like a vapor on the summer air; I see her tripping where the bright streams play, Happy as the daisies that dance on her way. Many were the wild notes her merry voice would pour. Many were the blithe birds that warbled them o’er: Oh, I dream of Jeanie with the light brown hair, Floating, like a vapor, on the soft summer air. I long for Jeanie with a day-dawn smile, Radiant in gladness, warm with winning guile; I hear her melodies, like joys gone by, Sighing round my heart over the fond hopes that die:— Sighing like the night wind and sobbing like the rain,— Wailing for the lost one that comes not again: Oh, I long for Jeanie, with the light brown hair, Floating, like a vapor, on the soft summer air.
Please turn page quietly. armoryonpark.org | @ParkAveArmory
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LEONARD BERNSTEIN (1918–1990) “Somewhere” from West Side Story (1957) Lyrics by Steven Sondheim (1930–2021) There’s a place for us, Somewhere a place for us. Peace and quiet and open air Wait for us, somewhere. There’s a time for us, Some day a time for us, Time together with time to spare, Time to learn, time to care. Some day, Somewhere, We’ll find a new way of living, We’ll find a way of forgiving. Somewhere, Somewhere... There’s a place for us, A time and place for us. Hold my hand and we’re halfway there. Hold my hand and I’ll take you there Somehow, Some day, Somewhere!
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
ABOUT PARK AVENUE ARMORY Part palace, part industrial shed, Park Avenue Armory supports unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall—reminiscent of 19th-century European train stations—and an array of exuberant period rooms, the Armory provides a platform for artists to push the boundaries of their practice, collaborate across disciplines, and create new work in dialogue with the historic building. Across its grand and intimate spaces, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York. The Armory both commissions and presents performances and installations in the grand Drill Hall and offers more intimate programming through its acclaimed Recital Series, which showcases musical talent from across the globe within the salon setting of the Board of Officers Room; its Artists Studio series curated by Jason Moran in the restored Veterans Room; Making Space at the Armory, a public programming series that brings together a discipline-spanning group of artists and cultural thought-leaders
around the important issues of our time; and the Malkin Lecture Series that features presentations by scholars and writers on topics related to the Armory and its history. In addition, the Armory also has a year-round Artists-in-Residence program, providing space and support for artists to create new work and expand their practices. The Armory’s creativity-based arts education programs provide access to the arts to thousands of students from underserved New York City public schools, engaging them with the institution’s artistic programming and outside-the-box creative processes. Through its education initiatives, the Armory provides access to all Drill Hall performances, workshops taught by Master Teaching Artists, and in-depth residencies that support the schools’ curriculum. Youth Corps, the Armory’s year-round paid internship program, begins in high school and continues into the critical post-high school years, providing interns with mentored employment, job training, and skill development, as well as a network of peers and mentors to support their individual college and career goals. The Armory is undergoing a multi-phase renovation and restoration of its historic building led by architects Herzog & de Meuron, with Platt Byard Dovell White as Executive Architects.
BOARD OF DIRECTORS Chairman Emeritus Elihu Rose, PhD Co-Chairs Adam R. Flatto Amanda J.T. Riegel President Rebecca Robertson Vice Presidents David Fox Pablo Legorreta Emanuel Stern
Marina Abramović Abigail Baratta Joyce F. Brown Cora Cahan Hélène Comfort Paul Cronson Tina R. Davis Jessie Ding Sanford B. Ehrenkranz Roberta Garza Kim Greenberg Samhita Jayanti Branden Jacobs-Jenkins
Edward G. Klein, Brigadier General NYNG (Ret.) Ralph Lemon Jason Moran Emmanuel Morlet Janet C. Ross Stephanie Sharp Joan Steinberg Dabie Tsai Ku-Ling Yurman Ying Zhou
Avant-Garde Chair Adrienne Katz Directors Emeriti Harrison M. Bains Angela E. Thompson* Wade F.B. Thompson* Founding Chairman, 2000-2009 Deborah Warner Anita K. Hersh Artistic Director
*In memoriam Treasurer Emanuel Stern
armoryonpark.org | @ParkAveArmory
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ABOUT THE RECITAL SERIES Park Avenue Armory presents more intimate performances and programs in its acclaimed Recital Series, which showcases musical talent from across the globe in an intimate salon setting. Founded in 2013, the series has held the debuts of many world-class artists, including: the North American recital debuts of pianist Igor Levit, soprano Sabine Devieilhe, tenors Ilker Arcayürek and Allan Clayton, baritones Benjamin Appl, Roderick Williams, and Konstantin Krimmel, clarinetist Andreas Ottensamer, and cellist István Várdai; the North American solo recital debuts of tenors Michael Spyres and Pene Pati and mezzo soprano Emily D’Angelo; the US Recital debuts of sopranos Barbara Hannigan and Anna Lucia Richter and baritone Thomas Oliemans; and the New York debuts of pianist Severin von Eckardstein and the Dudok Quartet Amsterdam. The Recital Series has programmed the world premieres of: Roger Reynolds’ FLiGHT, performed by the JACK Quartet; Michael Hersch’s “…das Rückgrat berstend,” performed by violinist Patricia Kopatchinskaja and cellist Jay Campbell; and Chris Cerrone’s Ode to Joy, performed by Sandbox Percussion and commissioned by the Armory. Actor Charlotte Rampling and cellist Sonia Wieder-Atherton gave the US premiere of The Night Dances on the series in 2015, which brought together Benjamin Britten’s suites for solo cello and poetry by Sylvia Plath; Wieder-Atherton returned to the Armory in 2017 for the North American premiere of Little Girl Blue, a program that reimagined the music of Nina Simone. New York premieres include: Anna Thorvaldsdottir’s In the Light of Air and Shades of Silence performed by the International Contemporary Ensemble; Dai Kujikura’s Minina, John Zorn’s Baudelaires, and a new arrangement of Messiaen’s Chants de terre et de ciel, also performed by ICE; Michael Gordon’s Rushes performed by the Rushes Ensemble; Michael Harrison’s Just Constellations performed by Roomful of Teeth; David Lang’s depart, Gabriel Jackson’s Our flags are wafting in hope and grief and Rigwreck, Kile Smith’s “Conversation in the Mountains” from Where Flames A Word, Louis Andriessen’s Ahania Weeping, Suzanne Giraud’s Johannisbaum, David Shapiro’s Sumptuous Planet, Benjamin CS
Boyle’s Empire of Crystal, and Ted Hearne’s Animals (commissioned by Park Avenue Armory), all performed by The Crossing under conductor Donald Nally; John Zorn’s Jumalattaret sung by soprano Barbara Hannigan with pianist Stephen Gosling; Viet Cuong’s Next Week’s Trees, performed by Sandbox Percussion; and the Armory-commissioned work daisy by David Lang, performed by the Attacca Quartet. Additional notable programs include performances by: baritone Christian Gerhaher with pianist Gerold Huber; the Flux Quartet; tenor Ian Bostridge with pianist Wenwen Du; pianist David Fray; soprano Lisette Oropesa with pianist John Churchwell; countertenor Andreas Scholl with harpsichordist Tamar Halperin; soprano Kate Royal with pianist Joseph Middleton; pipa player Wu Man and the Shanghai Quartet; tenor Lawrence Brownlee with pianists Myra Huang and Jason Moran; mezzo soprano Isabel Leonard with pianist Ted Sperling; soprano Nadine Sierra with pianist Brian Wagorn; soprano Rosa Feola with pianist Iain Burnside; cellist Nicolas Altstaedt; tenor Paul Appleby with pianist Conor Hanick; baritone Will Liverman with pianist Myra Huang; mezzo soprano Jamie Barton with pianist and composer Jake Heggie; new music ensemble Alarm Will Sound; French period choir and chamber orchestra Ensemble Correspondances under the direction of harpsichordist and organist Sébastien Daucé; baritone Justin Austin and pianist Howard Watkins; soprano Ying Fang with pianist Ken Noda; baritone Stéphane Degout with pianist Cédric Tiberghien; pianist Pavel Kolesnikov in a two-night residency featuring Bach’s Goldberg Variations and a program entitles Celestial Navigation, inspired by Joseph Cornell’s orrery of the same name; soprano Julia Bullock with pianist John Arida; mezzo soprano Kate Lindsey with pianist Justina Lee; soprano Jeanine de Bique with pianist Warren Jones; tenor Matthew Polenzani with pianist Ken Noda; soprano Leah Hawkins with pianist Kevin Miller; tenor Karim Sulayman with guitarist Sean Shibe; soprano Barbara Hannigan with pianist Bertrand Chamayou; soprano Erin Morley and pianist Gerald Martin Moore; pianist Jeremy Denk; and mezzo soprano Sasha Cooke and pianist Myra Huang.
NEXT IN THE SERIES BEN BLISS & CHRISTOPHER ALLEN OCTOBER 9 & 11
Master Mozartean Ben Bliss has conquered stages from the Metropolitan Opera to Vienna, Barcelona, and Paris—not to mention being the recipient of the Metropolitan Opera’s prestigious Beverly Sills Award as well as other accolades. He comes to the Board of Officers Room to showcase his honeyed, lyric voice and warm, luminous timbre in an intimate evening of arias and art songs.
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DEEPA JOHNNY & JONATHAN WARE NOVEMBER 19 & 21 NORTH AMERICAN RECITAL DEBUT Expect to witness the undeniable stage presence, velvety bravado, and expressive palette of Omani-born mezzo soprano Deepy Johnny when she makes her North American recital debut in the Board of Officers Room with a thoughtful program of arias and art songs from composers from around the globe that beautifully showcase her gorgeous rich tones and flawless musicality.
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
NEXT AT THE ARMORY NORTH AMERICAN PREMIERE THE CHERRY ORCHARD SEPTEMBER 16 – 25
ARTISTS STUDIO
The award-winning director and dramatist Simon Stone returns to the Armory with his radical adaptation of Anton Chekhov’s final play about a family in crisis. Reimagined in modern-day South Korea and brought to life in a transparent glass house by an all-Korean cast including Haesoo Park, this tragicomedy offers audiences a voyeuristic view into the characters’ private lives as they navigate change and domestic conflict.
MUSIC FOR 18 MUSICIANS: STAGED VARIATIONS OCTOBER 14 – 18
In commemoration of the 50th anniversary of its premiere and the 90th birthday of composer Steve Reich, this masterpiece is staged in a durational cycle by enveloping audiences to reveal the intricate structure of the composition, performed by three generations of musicians including the Steve Reich Ensemble and Alarm Will Sound under the baton of Alan Pierson with connective interludes by special guests to hear the iconic composition anew and from within.
NORTH AMERICAN PREMIERE A PARK AVENUE ARMORY COMMISSION BALKAN EROTIC EPIC DECEMBER 8 – 20
RAVEN CHACON OCTOBER 7 & 8
Raven Chacon is a composer, performer, and visual artist who has developed a practice that connects Diné (Navajo) worldviews and relationship models with Western classical, avant-garde, and art-music traditions. This MacArthur Fellow and winner of the Pulitzer Prize in Music showcases his unique artistry when he comes to the Veterans Room to create a new work that cuts across boundaries of visual art and performance in his ongoing illumination of landscapes, their inhabitants, and histories.
IONE OCTOBER 20 & 21
An author, playwright, director, and dream specialist, IONE is also a noted sound artist who with her late partner Pauline Oliveros redefined the boundaries of music making in the development of experimental and electronic art music. She returns to the Veterans Room to lead a deep listening exercise—Listening with Dreams— with artistic collaborators to explore the difference between the involuntary and voluntary natures of hearing and the selective nature of listening through movement, and interactive sonic meditations.
MAKING SPACE AT THE ARMORY
Visionary performance artist Marina Abramović returns to the Armory to realize her largest-scale performance work to date, combining dance, song, and ritual to experience dramatic adaptations of Balkan mythology and folklore enacted by a cast of 50 performers. The durational work merges traditional elements of performance with sensuality and eroticism, removing modern taboos to reclaim the body as a site of power, mystery, and transformation.
VOICES RISING: KOREAN DIASPORA VOICES IN PERFORMANCE SEPTEMBER 24
This convening of company members from The Cherry Orchard and others reflects on Korean and Korean-American diasporas that have shaped the evolution of Asian American theater and performance. The conversation considers how Korean artists are influencing US culture—from the global reach of K-pop and K-drama to the vitality of the contemporary stage—while carrying forward deep artistic traditions. Presented in partnership with the Serica Initiative
NOW IS THE TIME: ARTISTS GO TO WORK – PART II OCTOBER 3 & 4
Following the public discussion in Part I earlier in the season, this two-day gathering in the year-long reckoning showcases the fruits of collaborative work on what remains unfinished in American democracy. Audiences are invited to attend keynote conversations, artist salons, open studios, intimate performances, and interactive workshops held in the Armory’s historic rooms. Presented in partnership with the Toni Morrison Foundation | National Arts Atelier
armoryonpark.org | @ParkAveArmory
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JOIN THE ARMORY Become a Park Avenue Armory member and join us in our mission to present unconventional works that cannot be fully realized elsewhere in New York City. Members play an important role in helping us push the boundaries of creativity and expression.
FRIEND $100
SUPPORTER $250
ASSOCIATE $500
BENEFACTOR $1,000
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10% discount on tickets* 20% subscription discount* Discounts at local partner restaurants Complimentary art installation admission** Invitation for two to annual Member Event Two tickets to an Armory Public Tour** Free ticket exchanges*
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Two complimentary passes to Art Fairs*** Patron Lounge Access
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No-wait ticket pick up at the Patron Desk Recognition in Armory programs Ticket service fees waived Invitation for two to a Chairman’s Circle event Two complimentary tickets to the Malkin Lecture Series
*Subject to ticket availability
**Certain restrictions apply
***Reservations required
For information on ticketing, or to purchase tickets, please contact the Box Office at (212) 933-5812 or visit us at armoryonpark.org. For more information about membership, please contact the Membership Office at (212) 616-3958 or members@armoryonpark.org. Each membership applies to one household, and one membership card is mailed upon membership activation.
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
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ARTISTIC COUNCIL The Artistic Council is a culturally adventurous leadership group that champions our season of “only at the Armory” productions in the Wade Thompson Drill Hall.
Chair Lisa S. Miller Abigail and Joseph Baratta Blavatnik Family Foundation♦ Jeanne-Marie Champagne Sasha Cutter and Aaron Hsu Hélène and Stuyvesant Comfort Caroline and Paul Cronson Jessie Ding and Ning Jin Misook Doolittle♦ Lisa and Sanford B. Ehrenkranz The Lehoczky Escobar Family Adam and Abigail Flatto Ella Foshay Robin Fowler♦ Roberta Garza and Roberto
Mendoza Lorraine Gallard and Richard H. Levy Barbara and Peter Georgescu Jennifer Goldsmith Joan Granlund♦ Kim and Jeff Greenberg Lawrence and Sharon Hite Samhita and Ignacio Jayanti Wendy Keys Irene Kohn Fernand Lamesch Almudena and Pablo Legorreta Helen Y. Little and William Little Jr. Christina and Alan MacDonald Andrew Martin-Weber and
Beejan Land♦ John N. and Lisa S. Miller♦ Emmanuel and Kathryn Morlet Steven Neckman and Larry Rivero Amanda Paret Valerie Pels Susan Pernick Slobodan Randjelović and Jon Stryker♦ Amanda J.T. and Richard E. Riegel Ben Rodriguez-Cubeñas Thomas Rom Susan and Elihu Rose Janet C. Ross Caryn Schacht and David Fox
Stephanie and Matthew Sharp Brian S. Snyder Sarah Billinghurst Solomon Joan and Michael Steinberg Emanuel Stern Christine van Itallie♦ Saundra Whitney Maria Wirth Ku-Ling Yurman Ying Zhou and Run Ye Anonymous (3) ♦
Artistic Council Luminary Member. Recognizes individuals whose generous philanthropic support helps underwrite a specific Drill Hall production in this or future seasons.
LEGACY CIRCLE The Armory’s Legacy Circle is a group of individuals who support Park Avenue Armory through a vitally important source of future funding, a planned gift. These gifts will help support the Armory’s out-the-box artistic programming, Arts Education Programs, and historic preservation into the future.
Founding Members Angela and Wade F.B. Thompson* Co-Chairs Lisa and Sanford B. Ehrenkranz Marjorie and Gurnee* Hart
Members The Estate of Ginette Becker Wendy Belzberg and Strauss Zelnick Emme and Jonathan Deland Lisa and Sanford B. Ehrenkranz Adam R. Flatto Roberta Garza Marjorie and Gurnee* Hart
Anita K. Hersh* Ken Kuchin Heidi McWilliams Gwendolyn and Peter Norton Michelle Perr Amanda J.T. Riegel Rebecca Robertson and Byron Knief Susan and Elihu Rose
Francesca Schwartz Joan and Michael Steinberg Angela and Wade F.B. Thompson*
PATRONS Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns.
$1,000,000 + Charina Endowment Fund Empire State Local Development Corporation Adam and Abigail Flatto Anita K. Hersh Philanthropic Fund Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Richard* and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs New York State Assemblymember
Dan Quart and the New York State Assembly Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan Smilow and Joel Smilow* Sanford L. Smith* The Thompson Family Foundation Wade F.B. Thompson* Anonymous (3)
$500,000 to $999,999 Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz
Almudena and Pablo Legorreta Adam R. Rose and Peter R. McQuillan Marvin and Donna K. Schwartz Emanuel Stern Anonymous
$250,000 to $499,999 American Express Abigail and Joseph Baratta Michael Field and Doug Hamilton Roberta Garza Ken Kuchin and Tyler Morgan Marshall Rose Family Foundation
armoryonpark.org | @ParkAveArmory
$100,000 to $249,999 R. Mark and Wendy Adams Linda and Earle Altman Blavatnik Family Foundation Hélène and Stuyvesant Comfort Caroline and Paul Cronson Jessie Ding and Ning Jin Misook Doolittle Caryn Schacht and David Fox The Fan Fox & Leslie R. Samuels Foundation Horace W. Goldsmith Foundation Joan Granlund 19
Kim and Jeff Greenberg Marjorie and Gurnee Hart The Hearst Foundations Samhita and Ignacio Jayanti Kirkland & Ellis LLP Julia Ledda Mr. and Mrs.* Lester S. Morse, Jr. Stavros Niarchos Foundation Donald A. Pels Charitable Trust The Pinkerton Foundation Slobodan Randjelović and Jon Stryker Amanda J.T. and Richard E. Riegel Rockefeller Brothers Fund Daniel and Joanna S. Rose Mrs. Janet C. Ross Jordan Roth and Richie Jackson Matthew and Stephanie Sharp Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg Jane Toll Mr. William C. Tomson Van Cleef & Arpels Wescustogo Foundation Ku-Ling Yurman Ying Zhou and Run Ye Anonymous (3)
$25,000 to $99,999 Agnes Gund* Sarah Arison Jody and John Arnhold The Avenue Association Susan and Jeff Campbell The Cowles Charitable Trust Jeanne Donovan Fisher Robin Fowler Amanda and Glenn Fuhrman Lorraine Gallard and Richard H. Levy Elizabeth Morse Genius Foundation Mrs. Heather Hoyt Georges Barbara and Peter Georgescu Howard Gilman Foundation Janet Halvorson Janine and J. Tomilson Hill The Keith Haring Foundation The Lehoczky Escobar Family Gina Maria Leonetti Christina and Alan MacDonald Marc Haas Foundation Andrew Martin-Weber and Beejan Land Helen Y. Little and William Little Jr. John N. and Lisa S. Miller Steven Neckman and Larry Rivero New York State Council on the Arts Kate and Bradford Peck 20
Rhodebeck Charitable Trust Genie and Donald Rice Rebecca Robertson and Byron Knief So-Chung Shinn Lee and Tony Lee The SHS Foundation The Shubert Foundation Sydney* and Stanley S. Shuman Amy and Jeffrey Silverman The Society of Memorial Sloan Kettering Sulwhasoo TEFAF NY The Gladys Krieble Delmas Foundation Susan Unterberg Saundra Whitney Anonymous (4)
$10,000 to $24,999 The Achelis and Bodman Foundations AECOM Tishman Judith Hart Angelo Kenneth Ashley Anne-Victoire Auriault / Goldman Sachs Gives Milton and Sally Avery Arts Foundation Harrison and Leslie Bains Nelia Barletta Susan Bram David and Peri Clark Ania Coffey Cornelia T. Bailey Foundation David L. Klein, Jr. Foundation Mahendra Durai Rick Feldman and Susan Horowitz Ella M. Foshay and Michael B. Rothfeld Jill and Michael J. Franco Elliot Friman Elaine Golin John R. and Kiendl Dauphinot Gordon Harkness Foundation for Dance Lawrence and Sharon Hite Mark Kingdon and Anla Cheng Fernand Lamesch Jean Sonia Lee Leon Levy Foundation James C. Marlas Dr. Nancy Maruyama Michael McCabe Ryan McNaughton and Anastasia Antoniev Danny and Audrey Meyer Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Netflix Stéphanie and Jesse Newhouse
Elyse and Michael Newhouse Sanjay and Leslie Patel Suzanne Peck and Brian Friedman Susan Pernick Michael Peterson Susan Porter The Prospect Hill Foundation Katharine Rayner David and Susan Rockefeller Thomas Rom Valerie Rubsamen and Cedomir Crnkovic Fiona and Eric Rudin Mrs. William H. Sandholm Susan Small Savitsky Christine and Stephen Schwarzman Cynthia and Tom Sculco Lea Simonds Brian S. Snyder Howard & Sarah D. Solomon Foundation The Kovner Foundation Tishman Speyer Tobin Theatre Arts Fund Coralie Toevs Dabie Tsai Michael Tuch Foundation Glenn Van Orden Wendy vanden Heuvel Gregory Annenberg Weingarten, GRoW @ Annenberg Maria Wirth Anonymous (3)
$5,000 to $9,999 Amy and David Abrams Barbara Goldstein Amster Arthur J. Gallagher & Co. Page Ashley Hanne Bak and Craig Bacon Candace and Rick Beinecke John and Gaily Beinecke Lee Bell and Fotios Pantazis Stephanie Bernheim Jill and Darius Bikoff The Emma and Georgina Bloomberg Foundation Nicholas Brawer Matthew and Marisa Brown Amanda M. Burden Mary and Brad Burnham Canard, Inc. Nancy Coles and Jeffrey Goldstein Judith-Ann Corrente Joshua Dachs / Fisher Dachs Associates Courtney and Jonathan Davis Anna Day Richard K. DeScherer* and Jennie L. DeScherer
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
Therme US Carol and David Domina Sharon Dorram Krause and Damian Krause Eleanor Edelman Dr. Nancy Eppler-Wolff and Mr. John Wolff The Felicia Fund Andrew and Theresa Fenster Amandine Freidheim Bart Friedman and Wendy A. Stein Buzzy Geduld The Georgetown Company Kurt Gilman and Paul Phillips Carrie and Laurence Goldberg Mira Goldberg Suzanne and John Golden Great Performances Holly and Robert Gregory Darren Henault Mr. Joseph C. Hoopes, Jr. Gregg Hymowitz and Marcella Guarino Hymowitz Elizabeth L. Johnson Adrienne Katz Amelia Kaymen Wyatt Koch Kameron Kordestani Douglas and Judith Ann Krupp Chad A. Leat Sherry Lee Gail and Alan Levenstein Jonathan Levin and Vicki Gross Charles and Georgette Mallory Lara Marcon Ellen Michelson Linda Mirels and Gerard Mossé Saleem and Jane Muqaddam Pericles and Neda Navab Mark and Lorry Newhouse Katie O’Boyle Olympic Plumbing and Heating Services, Inc. Orentreich Family Foundation / Dr. Catherine Orentreich Peter and Beverly Orthwein Joan R. and Joel I. Picket Phyllis Posnick and Paul Cohen Preserve New York, a grant program of Preservation League of New York Diana and Charles Revson Richenthal Foundation Rosenberg & Estis, P.C. Ida and William Rosenthal Foundation Marjorie P. Rosenthal Chuck and Stacy Rosenzweig Jane Fearer Safer Ami Sagy Sara Lee and Axel Schupf Baroness Lulu Dalkanat Sezercan
and Derin Sezercan Stephanie and Fred Shuman Denise Simon and Paulo Vieira da Cunha Allyson Tang and Robert Pollock Lenard and Fern Tessler Tiffany & Co. Doris Valle Risso Nina and Nicholas von Moltke Shanshan Xu and George Wang Beth Williams Frances Wilson Wonder Cynthia Young and George Eberstadt Toni Young Anonymous (9)
$2,500 to $4,999 Allen Adler and Frances Beatty Benigno Aguilar and Gerald Erickson Roland Augustine Ashwyn Balani Alexandra Ballard Rick Berndt and Marie-Camille Havard Elaine S. Bernstein Ann Marie E. Carr Lori and Alexandre Chemla Lisa Choi Orla Coleman and Rikki Tahta Scott Corbus Steven and Ellen Corwin Ellie and Edgar Cullman Tina R. Davis Anne Delaney Matilda Diaz Beatrice M Disman Sascha Douglass Anne and Joel Ehrenkranz Martin and Rebecca Eisenberg Foundation Deborah and Ronald Eisenberg Foundation Gwen and Austin Fragomen Eleanor Friedman and Jonathan J. Cohen Nadia Gakou and Jonathan Masci Harriet Goodman T.J. Gottesdiener and Abra Levine Dedrea and Paul Gray Yen Ha and Richard Tesler Rolf Heitmeyer Marieluise Hessel Barbara Hoffman Patty Horing Brian Hughes Shujaat Islam and Fay Sardjono Les Yeux Art Foundation
Jeanne Kanders Leona Kern Andre Kikoski Claire King Jana and Gerold Klauer Jill and Peter Kraus Lizbeth and George Krupp Brittany and Zachary Kurz Camille and Dennis LaBarre Marc Ladanyi Dominique Laffont Wen Li Michael Lonergan and William Beauchamp Jennifer Lum Gina Giumarra MacArthur Veena Mani Andrea Mann and Mitchell Scherzer Bonnie Maslin Nina B. Matis Michael Mattes Anna Maynard Constance and H. Roemer McPhee Peter D. Mensch and Anita Bitton Joyce F. Menschel Julia Moody Susan Numeroff Ellen Oelsner Kathleen O’Grady Arlena Olsten Theo Osborne and Justine Fisher Robert Ouimette and Lee Hirsch Claudia and Gunnar Overstrom Lori and Lee Parks Michéle* and Steve Pesner Marnie Pillsbury Jennifer Reardon The Reed Foundation Joanna Roche Laura and Gerald Rosberg May and Samuel Rudin Family Foundation, Inc. Susan Rudin Paola Saracino Fendi and Aram Ahmed Andrew and Denise Saul Susan and Charles Sawyers Davita Scarlett Benjamin Schor and Isabel Wilkinson Schor Nicholas and Shelley Schorsch Victoria Schorsch Mr. Barry Schwartz / M&F Worldwide Corp. Betsy Scott Nina Shapiro Dr. Ja Hyun Shin Lauryn Siegel R. Brandon Sokol Shelley Sonenberg Andre Spears and Anne Rosen
Michael and Marjorie Stern Stella Strazdas and Henry Forrest Michael and Veronica Stubbs Studio Institute A. Alfred Taubman Foundation TDF Tom and Diane Tuft Alessandro Uzielli Cynthia Vahlkamp and Robert Kenyon Deborah van Eck Stephanie Wagner Nora Ann Wallace Ross Weiner Ira and Cecilia Wolfson Amy Yenkin and Robert Usdan Jessie Zhou Yuan Zhou Bree Zucker Anonymous (6)
$1,000 to $2,499 Marina Abramović Nicole and David Abrams Eric Altmann Diane Archer Ken Barnett Alice + Olivia Judy and Howard Berkowitz Natalie Birnbaum Boehm Family Foundation Jill and Sheldon Bonovitz Denise Bradley-Tyson Sonja and Martin J. Brand Carolyn Brooker Clores James Brooks and Yann Coatanlem Nicholas Brown Spencer Brownstone Vineet Budhraja and Rebecca Bagdonas Valentine and Erich Carey Melinda Carroll Kenneth and Catherine Carroll Katz Ann Clairmont Betsy Cohn Marina Couloucoundis Courtyard New York Manhattan Upper East Side Abby and Andrew Crisses John Charles and Nathalie Danilovich Virginia Davies Sofia Drakotos William J Eisenberg Ellenoff Grossman & Schole LLP Patricia and Joel Ellis Carrie Elston and Ryan Coburn Dasha Epstein Katy Falco Nina and Robert Fallon
armoryonpark.org | @ParkAveArmory
Mr. and Mrs. Jonathan Farkas Mindy and Marc Feinberg Femenella & Associates, Inc. Nicholas Firth and Sophie de Brignac Eric Foran David O’Leary and Erica Frontiero Lauren Gaede Lower Patrick Galvin Kristin Gamble Flood Sayuri Ganepola-Kaczynski and Jeff Kaczynski Bruce and Alice Geismar Velandia Giorgio Family Katja Goldman and Michael Sonnenfeldt Laura J. Gregor Frances and Gerard Guillemot Susan Gutfreund Joann Habermann Ross and Ray Hammerman The Hill Family Paul and Else Blum Foundation Christina Hull Harriet Huston Magdalena Rodillo Ibanez Sylvia Jablonski Kathy Jaharis Jake Jamison Weslie and William Janeway Anuradha T. Jayanti Dustee and Justin Jenkins Fainna Kagan and Boris Segalis Hyung Jin Kang Lena Kaplan Boriana Karastoyanova Adrienne Katz Brigadier General Edward G. Klein, NYNG (Ret.) Meghan and Adam Klopp Joyce Kwok Dawn Ladd Thomas and Aleta Laine Joseph Laraia and Mary Motyl Gideon Lazarus Ralph Lemon Matthew Little Jane Lombard Bernard Lumpkin and Carmine Boccuzzi Bill and Jane Macan The Madigan Family John and Paula Mahoney Joanie Martinez Miss Charlotte Martin-Weber Match65 Larry and Mary McCaffrey Imelda McCain Scott McDonald Toni B. & Martin McKerrow Melanie and Matthew McLennan 21
Virginia A. Millhiser Whitney and Andrew Mogavero Ian Moon Angela Morrison Stephanie Neville & Alan Beller Nancy Newcomb and John Hargraves Olive Numeroff David Orentreich, MD / Orentreich Family Foundation Judith Stern Peck Charmaine and Brian Portis Robert A Press MD Benjamin and Janet Pyne Cami and Tarek Raucci Emily Reifel Chase Reyes Julie and Spencer Rice
John and Lizzie Robertshaw Whitney Rouse Michael Ruttledge and Rosana el Sayed Louisa Ryan Alexander and Sarah Saint-Amand Herbert A Satzman Paul H. Scarbrough, Akustiks, LLC. Benjamin and Louise Schliemann Pat Schoenfeld The Binkley-Sebring Fund Norman C. Selby Christina J Sethi Rose Shifke Esther Simon Charitable Trust Ileene Smith and Howard Sobel Winston Smith Max Snow
Megan Stackhouse Lauren Stafford Melissa Stewart Dr. Michael Stewart Christine Strumpen-Darrie Alexey Surkov Karen Taylor Barbara D. Tober Elizabeth Tunick Lindsey Turner Robert Turner and Peter Speliopoulos Untitled Future Steven Usdan and Amelia Cottrell Debra Valentine Todd van Stolk-Riley Timothy Wagner and Ola Kvist Kay and Sandy Walker
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
Andrew and Sarah Wetenhall Shelby White Katie Workman Kim and Sam Younes Samiah Zafar and Minhaj Patel Sabrina Zaro Judy Zhou Steven Zhou Jillian Zrebiec Zubatkin Owner Representation, LLC Anonymous (9) List as of August 1, 2026 * In memoriam
ABOUT THE BOARD OF OFFICERS ROOM “The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.” — The New York Times The Board of Officers Room is one of the most important historic rooms in America and one of the few remaining interiors by Herter Brothers. After decades of progressive damage and neglect, the room completed a revitalization in 2013 by the architecture team at Herzog & de Meuron and executive architects Platt Byard Dovell White Architects to transform the space into a state-of-the-art salon for intimate performances and other contemporary art programming. The Board of Officers Room is the third period room at the Armory completed (out of 18) and represents the full range of design tools utilized by the team including the removal of accumulated layers on the surfaces, the addition of contemporary lighting to the 1897 chandeliers, new interpretations of the stencil patterns on areas of loss, the addition of metallic finishes on new materials, new programming infrastructure, and custom-designed furniture. The room’s restoration is part of an ongoing $215-million transformation, which is guided by the understanding that the Armory’s rich history and the patina of time are essential to its character. A defining component of the design process for the period rooms is the close collaboration between architect and artisan. Highly skilled craftspeople working in wood, paint, plaster, and metals were employed in the creation of the building’s original interiors and the expertise—and hand—of similar artisans has been drawn upon for the renovation work throughout.
The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation.
armoryonpark.org | @ParkAveArmory
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue, New York, NY 10065