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February 05, 2015

Lincoln Center's Great Performers 50th Season (2015-16) Announced

Great Performers


Marian Skokan, 212-875-5386

[email protected]

Eileen McMahon, 212-875-5392

[email protected]




50th Anniversary Season Offers Hallmark Performances by Renowned Orchestras,

Conductors, Recitalists, and Chamber Ensembles



Valery Gergiev Leads London Symphony Orchestra in Final New York Appearances as

Chief Conductor in Two Concerts with Pianist Yefim Bronfman


Mark Padmore and Paul Lewis Perform the Complete Schubert Song Cycles in

Three Immersive October Recitals for “Art of the Song”; Series also Features


Rare Voice and Solo Organ Recital by Christine Brewer and Paul Jacobs

Gerald Barry’s The Importance of Being Earnest U.S. Stage Premiere as Part of

Major New Opera Initiative in Collaboration with the New York Philharmonic


U.S. Debut of Anima Eterna Brugge, First Lincoln Center Appearance by Accademia Bizantina,

And Return of Les Arts Florissants and Freiburg Baroque Orchestra on Period Instrument Series


PLUS: Pianists Piotr Anderszewski, Richard Goode, Murray Perahia and Paul Lewis;

Emerson String Quartet in Three Spring Concerts;

Rising Artists in Sunday Morning Coffee Concerts and Complimentary Classical series


New York, New York, February 5, 2015—The 50th season of Lincoln Center’s Great Performers series, which will run from October 14, 2015 through June 4, 2016, was announced today by Jane Moss, Ehrenkranz Artistic Director. Reflecting the defining character of the series, Great Performers 2015–16 will present renowned orchestras, conductors, recitalists, and chamber ensembles, as well as outstanding emerging artists, across several long-running and newer series. It also breaks new ground, as it has many times, with several debuts and premieres, as well as a fully-staged contemporary opera as part of an unprecedented, multi-year collaboration with the New York Philharmonic.


The Great Performers season opens with a three-concert survey of the complete song cycles of Franz Schubert sung by tenor Mark Padmore with pianist Paul Lewis, on October 14, 15 and 17 in Alice Tully Hall. Padmore recently triumphed in the role of the Evangelist in the White Light Festival 2014 presentation of Peter Sellars’ and the Berlin Philharmonic’s St. Matthew Passion at the Park Avenue Armory.


Highlighting the season’s orchestral offerings are two milestones: Valery Gergiev’s final New York appearances as Chief Conductor of the London Symphony Orchestra (LSO) before taking up the baton as Principal Conductor of the Munich Philharmonic Orchestra; and Louis Langrée’s first New York concerts with the Cincinnati Symphony Orchestra since assuming the post of music director last season.  Maestro Gergiev will lead the LSO in two Bartók programs (October 23 and 25), both with pianist Yefim Bronfman, who returns to Great Performers after a 10-year absence. Maestro Langrée and the Cincinnati Symphony perform an all-Tchaikovsky program at Avery Fisher Hall on January 6, 2016. 

BNY Mellon is a Proud Supporter of Great Performers.


Said Jane Moss: “Over the years, the Great Performers palette has diversified, but what has remained constant is the exceptional musical virtuosity that lies at the heart of the series. Our 50th anniversary season celebrates that excellence with artists and ensembles who have figured prominently in the series’ history—the London Symphony Orchestra, Los Angeles Philharmonic, Joshua Bell, Murray Perahia, Richard Goode, William Christie and Les Arts Florissants—and with a series-defining composer-focused, three-concert immersion in the complete Schubert song cycles. The season is marked equally by discoveries such as the superb period-instrument ensemble Anima Eterna Brugge, and by new directions—the exciting initiative, in partnership with the New York Philharmonic, to bring the first staged productions of extraordinary contemporary operas to New York.  It’s a privilege to share these performances, which embody the hallmarks of excellence that have made Great Performers a vital part of New York’s musical life for 50 years.”


Tenor Mark Padmore and his fellow Englishman, pianist Paul Lewis, open the Great Performers season with “Art of the Song” recitals of the three Schubert song cycles:  October 14, Die schöne Müllerin; October 15, Schwanengesang, paired with Beethoven’s An die ferne Geliebte; and October 17, Winterreise. The two artists have delved deeply into these beloved exemplars of the song literature, with acclaimed recitals and a triptych of recordings over the past five years. Both artists have strong connections to Great Performers.  Padmore’s first series appearance was in 1992 with William Christie and Les Arts Florissants, and he has returned often over the years. Paul Lewis made his U.S. recital debut in 2002 on the Great Performers “Sunday Mornings” series.


“Art of the Song” 2015–16 continues on November 1 with soprano Christine Brewer and organist Paul Jacobs performing works by Handel, Bach, Puccini, Franck, and Gounod in the first recital ever recital for voice and organ on the series since it began in 1982. Soprano Karita Mattila will appear on March 10 with pianist Martin Katz. Baritone Matthias Goerne is joined by pianist Alexander Schmalcz on April 20 for the final season recital.  “Art of the Song” recitals take place in Alice Tully Hall.


The October LSO concerts open the “Symphonic Masters” series.  On October 23, Gergiev and the orchestra perform Bartók’s The Miraculous Mandarin and Stravinsky’s The Firebird (complete), joined by Yefim Bronfman for Bartók’s Piano Concerto No. 3. They return on October 25 with an all-Bartók program: Dance Suite, Concerto for Orchestra, and Piano Concerto No. 2.  Louis Langrée and the Cincinnati Symphony Orchestra’s January 6 concert features an all-Tchaikovsky program: the Fifth Symphony and Piano Concerto No. 1, with Ukrainian-born rising pianist Alexander Gavrylyuk.  Gustavo Dudamel leads the Los Angeles Philharmonic in two concerts: Mahler’s Symphony No. 3 with mezzo-soprano Tamara Mumford on March 13; and on March 14, a program featuring New York premieres of works by John Williams and Andrew Norman, Ginastera’s Piano Concerto No. 1 with soloist Sergio Tiempo, and Copland’s Appalachian Spring.  For the final “Symphonic Masters” concert on March 21, Joshua Bell and Academy of St. Martin in the Fields offer works by Prokofiev, Tchaikovsky and Beethoven.


The London Symphony Orchestra, Los Angeles Philharmonic, and Academy of St. Martin in the Fields all made their first Great Performers appearances in the 1982–83 season. All “Symphonic Masters” concerts take place in Avery Fisher Hall.


Four renowned European period-instrument ensembles will perform on next season’s “Chamber Orchestras” series in Alice Tully Hall beginning October 31 with William Christie and Les Arts Florissants’ semi-staged production of Handel’s opera Theodora. The Freiburg Baroque Orchestra, led by Gottfried von der Goltz, violinist and director, perform an all-Mozart program on February 25, featuring Symphony No. 31 (“Paris”), the Clarinet Concerto, and arias from Don Giovanni and Le nozze di Figaro, sung by baritone Christian Gerhaher. Belgium’s Anima Eterna Brugge, led by Jos van Immerseel, conductor and fortepiano, will make its U.S. debut with an all-Beethoven program on January 28.  Making its Great Performers debut on April 13 is Italy’s Accademia Bizantina, with Ottavio Dantone, conductor, in his New York conducting debut, leading an all-Vivaldi program that includes arias sung by contralto Delphine Galou and renowned period-instrument soloists, cellist Christophe Coin and bassoonist Sergio Azzolini.


“Virtuoso Recitals” presents four incomparable pianists, including one who appeared on the first Great Performers all-piano recital series, Richard Goode.  Paul Lewis, who was heard in solo recital in the 2012 White Light Festival, opens the series on November 14 with an all-Beethoven program.  On March 3, Piotr Anderszewski gives his first Great Performers solo recital in more than 10 years, performing works by Bartók, Janácek, and Schubert.  An early Avery Fisher Prize winner (1980), Richard Goode has performed frequently at Lincoln Center over the years.  On April 9, he returns with an all-Bach program.  Winding up the series on May 8 is Murray Perahia, the first recipient of the Avery Fisher Prize (1974, along with cellist Lynn Harrell), a frequent and favorite artist on both the Great Performers series and at the Mostly Mozart Festival.


Launched on the next phase of its storied career last year with a new member, cellist Paul Watkins, the Emerson String Quartet returns to Great Performers for three 2016 spring concerts.  Across three evenings—April 7, April 17, and May 12—the quartet will perform all six of Haydn’s late Opus 76 quartets alongside all six of Beethoven’s first published quartets, Opus 18, illuminating an important transitional moment in the history of the musical form.


“Sunday Morning Coffee Concerts,” launched in the 1994–95 season, has introduced two decades of New York audiences to exciting rising artists from home and abroad in a casual atmosphere, with the opportunity to meet the artists over refreshments following each concert.  The 2015–16, six-concert series at the Walter Reade Theater has an international focus.


“Sunday Morning” opens on October 25 with Queen Elisabeth and Yehudi Menuhin Competition First Prize-winner, violinist Ray Chen performing a program of works by Bach, Ysaÿe, and Milstein.  Spain’s award-winning Cuarteto Quiroga, performs quartets by Haydn and Brahms on November 22.  Swedish cellist Jakob Koranyi, an alumnus of The Chamber Music Society of Lincoln Center’s CMS Two development program for young artists, will play a recital on December 6. Ukrainian-born Australian pianist Alexander Gavrylyuk gives a solo recital on January 10, following his January 6 “Symphonic Masters” performance as soloist in Tchaikovsky Piano Concerto No. 1 with the Cincinnati Symphony Orchestra. A duo-recital by English violinist Jack Liebeck and Russian-born pianist Katya Apekisheva takes place on February 7. Finally, concluding the series on April 3, young Israeli pianist Roman Rabinovich will perform a world premiere by American composer-pianist Michael Brown, along with works by Mozart and Schumann.


The new season of the “Music on Film,” series, presented in association with the Film Society of Lincoln Center and Classifilms, brings three films focused on legendary violinists to the Walter Reade Theater in February 2016. Program 1 on February 3 is a screening of Peter Rosen’s 2011 film biography, Jascha Heifetz: God’s Fiddler.  Program 2 on February 6, Yehudi Menuhin Returns to the USSR, Part I, offers selected segments from Bruno Monsaingeon’s extended documentation of the violinist’s 1987 trip to his parent’s homeland, Belarus.  Program 3, also on February 6, is Christopher Nupen’s 1992 documentary, Nathan Milstein: Master of Invention.


Launched last season, “Complimentary Classical,” a series of free, hour-long concerts by notable, emerging string quartets, returns with four evenings in 2016 in the David Rubenstein Atrium.  Opening the series on February 11 is the 2013 Banff International String Quartet Competition-winning Dover Quartet. Boston-based Parker Quartet, 2011 Grammy Award-winners for Best Chamber Music Performance, comes to the Atrium on February 25. Founded at Yale, New York’s Enso String Quartet performs on May 5. Austria’s Minetti Quartett, already familiar to audiences of Europe’s leading concert halls, makes its Lincoln Center debut on March 31, closing out next season’s series. All concerts take place at 7:30.


Lincoln Center’s Great Performers 50th anniversary seasons concludes in June with Irish composer Gerald Barry’s acclaimed comic opera The Importance of Being Earnest in its first U.S. staging. Inspired by the Oscar Wilde play, the opera is directed by Ramin Gray and features the New York Philharmonic conducted by Ilan Volkov, and most of the original cast from its 2013 staged production at the Royal Opera House. The Importance of Being Earnest is presented jointly by the New York Philharmonic and Lincoln Center as part of a new artistic partnership to stage modern operas not yet seen in New York.


Pre- and post-concert talks by noted musicologists, writers and academics including Peter A. Hoyt, Christopher H. Gibbs, Susan Orlando, and Scott Burnham, along with discussions with artists, will provide background and insights into the programs. Details follow with program information, and in the Season Chronology.


Programs and artists subject to change.



Subscription Tickets for Great Performers 2015–16, are on sale now by phone via CenterCharge, 212-721-6500, online at, by mail: Great Performers, Alice Tully Hall Box Office, 1941 Broadway,  New York, NY 10023-6588, or in person at the Alice Tully Hall or Avery Fisher Box Office, 65th Street and Broadway. Single tickets are on sale starting in June. Tickets for The Importance of Being Earnest are on advance sale only as a Producers Circle premium purchase. For more information, call 212-875-5466.


To request a season brochure, call 212-875-5766.


BNY Mellon is a Proud Supporter of Great Performers.


Support is provided by Rita E. and Gustave M. Hauser, Great Performers Circle, Chairman’s Council, and Friends of Lincoln Center.


Public support is provided by the New York State Council on the Arts.


Endowment support for Symphonic Masters is provided by the Leon Levy Fund.


Endowment support is also provided by UBS.


MetLife is the National Sponsor of Lincoln Center


Movado is an Official Supporter of Lincoln Center


United Airlines is the Official Airline of Lincoln Center


WABC-TV is the Official Broadcast Partner of Lincoln Center


William Hill Estate Winery is the Official Wine of Lincoln Center


Coffee and refreshments are provided by Zabar’s and


Initiated in 1965, Lincoln Center’s Great Performers series offers classical and contemporary music performances from the world’s outstanding symphony orchestras, vocalists, chamber ensembles, and recitalists. One of the most significant music presentation series in the world, Great Performers runs from October through June with offerings in Lincoln Center’s Avery Fisher Hall, Alice Tully Hall, Walter Reade Theater, and other performance spaces around New York City. From symphonic masterworks, lieder recitals, and Sunday morning coffee concerts to films and groundbreaking productions specially commissioned by Lincoln Center, Great Performers offers a rich spectrum of programming throughout the season. For more information:


Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. A presenter of more than 3,000 free and ticketed events, performances, tours, and educational activities annually, LCPA offers 15 series, festivals, and programs including American Songbook, Avery Fisher Artist Program, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, Martin E. Segal Awards, Meet the Artist, Mostly Mozart Festival, Target Free Thursdays, and the White Light Festival, as well as the Emmy Award-winning Live From Lincoln Center, which airs nationally on PBS. As manager of the Lincoln Center campus, LCPA provides support and services for the Lincoln Center complex and 11 resident organizations: Chamber Music Society of Lincoln Center, The Film Society of Lincoln Center, Jazz at Lincoln Center, The Juilliard School, Lincoln Center Theater, The Metropolitan Opera, New York City Ballet, New York Philharmonic, The New York Public Library for the Performing Arts, the School of American Ballet and Lincoln Center for the Performing Arts. For more information:



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London Symphony Orchestra, Valery Gergiev, principal conductor


October 23, 2015 at 8 pm – Bartók: The Miraculous Mandarin (complete)

Bartók: Piano Concerto No. 3 with Yefim Bronfman

Stravinsky: The Firebird (complete)


October 25, 2015 at 3 pm – All Bartók program: Dance Suite;

Piano Concerto No. 2 with Yefim Bronfman; Concerto for Orchestra


Valery Gergiev has led engrossing programs of Shostakovich, Prokofiev, Mahler, and Brahms since his first appearance with the London Symphony Orchestra (LSO) on the Great Performers series in the 2005–06 season. Next season Maestro Gergiev returns for his final New York concerts as principal conductor with the LSO, bringing works of Bartók, and Stravinsky and featuring Yefim Bronfman playing Bartók’s second and third piano concertos.


Resident orchestra at the Barbican London, the London Symphony Orchestra (LSO) presents more than 70 concerts at home and an equal number on tour.  In addition to its annual Lincoln Center concerts, the LSO is international resident orchestra at the Philharmonie de Paris. The orchestra also performs under Conductor Laureate André Previn, Principal Guest Conductors Daniel Harding and Michael Tilson Thomas, and regularly with Bernard Haitink, Pierre Boulez, and Sir Simon Rattle. Outside the concert hall, the LSO’s many other activities include an energetic and ground-breaking education and community program, a record company, a music education center, and pioneering work in the field of digital music.


Upcoming this season for the LSO are concerts at the Barbican with Sir Mark Elder and Donald Runnicles; performances at the new Philharmonie de Paris led by Gergiev, and at the new Hamburg concert hall with Gianandrea Noseda; a 90th birthday concert for Pierre Boulez, conducted by Peter Eötvös in April; and a Michael Tilson Thomas 70th birthday celebration launched with the conductor in March, followed by a U.S. tour including the Lincoln Center “Symphonic Masters” concert on March 18, 2015.


Valery Gergiev has been principal conductor of the LSO since 2007, performing with the orchestra at the Barbican, BBC Proms, and Edinburgh International Festival, as well as on international tours. He has guided the LSO through repertoire ranging from Berlioz to Shostakovich and full cycles of the symphonies of Prokofiev, Brahms, Szymanowski, Mahler, and Tchaikovsky, as well as 20 LSO Live recordings.  His final performances with LSO in October 2015 celebrate his roots in opera and theatrical repertoire in three concerts pairing dramatic pieces by Stravinsky and Bartók with their concert works. Gergiev is currently at the start of a run conducting the double bill of Tchaikovsky’s Iolanta and Bluebeard’s Castle at the Metropolitan Opera. Coming up in 2015 are appearances with the Philadelphia Orchestra and Berlin Philharmonic; a Wagner cycle at the Mariinsky and a European tour with the orchestra; and March and April guest conducting assignments with the La Scala and Royal Concertgebouw orchestras. In 2016, Gergiev will become principal conductor of the Munich Philharmonic.  For more information visit:


“A pianist with a wondrous capacity to galvanise a hall,” is how The Independent (London) described a 2011 performance of Bartók’s Piano Concerto No. 1 by Yefim Bronfman with London’s Philharmonia Orchestra and Esa-Pekka Salonen conducting. In 1997 Bronfman, Salonen, and the Los Angeles Philharmonic won a Grammy for their recording of all three Bartók concertos. The New York Times called Bronfman’s performance of the Bartók Piano Concerto No. 3 with the New York Philharmonic in 2014 “a brilliantly charismatic reading.” Next season, the preeminent pianist returns to Great Performers to play the second and third concertos with the London Symphony Orchestra. This season, Bronfman’s busy recital and concert schedule takes him to Taiwan and Japan in March performing Prokofiev sonatas, followed by a European tour, which includes concerts with the London Philharmonia Orchestra where he’ll give the U.K. premiere of Magnus Lindberg’s Piano Concerto No. 2—the work he performed to great acclaim in its world premiere with the New York Philharmonic in 2012. Other 2014–15 highlights include a multi-city U.S. tour with Anne-Sophie Mutter and Lynn Harrell and a performance with the Met Opera Orchestra at Carnegie Hall in May.  Recognized in particular for his mastery of the Russian repertoire, in recent years Bronfman has championed the work of living composers.


The winner of Lincoln Center’s 1991 Avery Fisher Prize, Bronfman gave his first solo recital on the Great Performers series in 1993 at Avery Fisher Hall. He has made frequent appearances at the Mostly Mozart Festival and the Great Performers series, with his last appearance in 2006 as soloist with the Russian National Orchestra. For more information, visit:


Cincinnati Symphony Orchestra, Louis Langrée, conductor


January 6, 2016 at 8 pm – All Tchaikovsky Program:

Piano Concerto No. 1 with Alexander Gavrylyuk; Symphony No. 5


One of the oldest orchestras in the United States, the Cincinnati Symphony Orchestra (CSO) will make its first visit to Lincoln Center in 50 years next season. Louis Langrée, whom New York audiences have embraced as music director of the Mostly Mozart Festival, introduces his new American orchestra to New York for for the first time as music director next season. The Cincinnati Symphony Orchestra last performed at Lincoln Center in March 1966 with an all-Beethoven program featuring conductor Max Rudolf and pianist Claudio Arrau. Next season’s concert marks the Great Performers series debut for the orchestra, conductor and soloist, pianist Alexander Gavrylyuk.


Cincinnati’s all-Tchaikovsky program next January features the Piano Concerto No. 1 and the magnificent Symphony No. 5. Gavrylyuk, born in the Ukraine in 1984, has emerged in recent seasons as a bright new talent on concert and recital stages. The pianist will also have a solo recital at Lincoln Center next season on January 10, 2016 on the Great Performers “Sunday Morning Coffee Concerts” series.  For more details, and additional biographical information, see that section of this press release.


Louis Langrée became music director of the Cincinnati Symphony Orchestra at the start of the 2013–14 season, and their work together has quickly developed into a rich partnership. Highlights of the orchestra’s 2014-15 season include the ensemble’s second collaboration with the MusicNOW Festival, featuring a performance with the rock band The National, and world premiere commissions by Caroline Shaw and Daníel Bjarnason. Next season, the orchestra will continue its popular “One City, One Symphony” community engagement initiative, as well as the MusicNOW series, and present new works by Thierry Escaich, Sebastian Currier, Zhou Tian, and Gunther Schuller. The orchestra will also present a Brahms Festival celebrating Cincinnati‘s German roots. In 2014 the CSO released its first recording with Langrée—Hallowed Ground—featuring Maya Angelou narrating Copland’s Lincoln Portrait, paired with new works by Nico Muhly and David Lang. For more information about CSO visit:


In addition to his CSO post, Louis Langrée has been music director of the Mostly Mozart Festival since 2002, recently renewing his contract through 2017, and has been chief conductor of the Camerata Salzburg since 2011. As guest conductor, Langrée has led the Wiener Philharmoniker in concert in both Vienna and Salzburg, the London Philharmonic, Deutsche Kammerphilhamonie, Orchestre de la Suisse Romande, the Santa Cecilia Orchestra, as well as the Sao Paulo and Tokyo Philharmonics. He also regularly conducts the Freiburg Baroque Orchestra, Orchestra of the Age of Enlightenment, and Le Concert d’Astrée. On the opera stage, he has held music directorships at Opéra National de Lyon (1998–2000) and Glyndebourne Touring Opera (1998-2003), and guest conducts at La Scala, the Royal Opera House Covent Garden, Opéra-Bastille, and Théâtre des Champs-Elysées, among others. During the 2014–15 season he continues his regular appearances with the Wiener Staatsoper (Eugene Onegin) and returns to the Metropolitan Opera to lead February and March 2015 performances of Carmen. For more about Louis Langrée, visit:



Los Angeles Philharmonic, Gustavo Dudamel, conductor


March 13, 2016 at 3 pm – Mahler: Symphony No. 3 with Tamara Mumford, mezzo-soprano


March 14, 2016 at 8 pm – John Williams: Soundings (New York premiere);

Ginastera: Piano Concerto No. 1 with Sergio Tiempo;

Andrew Norman: New work (New York premiere);

Aaron Copland: Appalachian Spring



The Los Angeles Philharmonic and its dynamic music director Gustavo Dudamel return to Lincoln Center’s Great Performers with two concerts in March 2016 at Avery Fisher Hall.  The orchestra has been hailed for its forward-thinking vision on and off stage, reflected in innovative programming mixing standards and boundary-pushing new repertoire, as well as groundbreaking education and community initiatives in Los Angeles. The New York Times recently called it “the envy of every American orchestra.”


The orchestra has visited Lincoln Center many times over the past 30 years, and annually since 2000, including memorable concerts with the late Sir Colin Davis. Simon Rattle made his New York conducting debut in 1984 leading the Los Angeles Philharmonic in a program of Beethoven and Sibelius on the Great Performers series. The March 2016 concerts mark the orchestra’s fourth visit to New York since 2010, when Gustavo Dudamel made his first New York appearance as Music Director.


The first of two upcoming concerts in March 2016 features one of the classical canon’s great works: Mahler’s Symphony No. 3, with mezzo-soprano Tamara Mumford (chorus and boys choir will be announced at a later date). The following day, the Los Angeles Philharmonic offers an evening of works reflecting voices from the Americas, featuring two local premieres by living composers. The concert begins with the New York premiere of John Williams’ Soundings, the work commissioned and premiered by the orchestra on the occasion of the opening of its home, Walt Disney Concert Hall. The orchestra pays tribute to the great Argentinian composer Alberto Ginastera, who would have turned 100 in 2016, with his Piano Concerto No. 1, a piece filled with color and contrast that reflects the composer’s late-career 12-tone style. The concerto soloist is Venezuelan pianist Sergio Tiempo. The second New York premiere is by the rising young composer Andrew Norman, a Pulitzer Prize finalist in 2012 who has held composer-in-residence positions with the Boston Modern Orchestra Project, Los Angeles Chamber Orchestra, and Opera Philadelphia.  The program concludes with Aaron Copland’s Appalachian Spring.


For more about the Los Angeles Philharmonic, visit:


Gustavo Dudamel is in his sixth season as Music Director of the Los Angeles Philharmonic and 16th leading Venezuela’s Simon Bolívar Symphony Orchestra.  In March 2015, he’ll take the Los Angeles Philharmonic on a multi-city Asian tour. Back in Los Angeles, he and the orchestra close out the season in May with programs of new works, including world premiere commissions by Bryce Dessner, Steven Mackey, and Philip Glass. Guest conducting assignments for Dudamel in the 2014–15 season include appearances with the Berlin Philharmonic, Berlin Staatskapelle, Gothenburg Symphony, Tonhall Orchestra Zurich, and the Vienna Philharmonic. In late August, Dudamel travels with the Simon Bolívar Symphony Orchestra to La Scala, to conduct them and a cast of world-renowned opera singers in the Franco Zeffirelli production of Puccini’s La bohème. For more information about the conductor, visit:


American mezzo-soprano Tamara Mumford sang the role of Martha in John Adams’ oratorio The Gospel According to the Other Mary presented in Peter Sellars’ staging at Lincoln Center in 2013. She regularly appears at the Metropolitan Opera and has sung with the New York Philharmonic and San Francisco Symphony. At Opera Philadelphia, she sang the title role in the 2011 U.S. premiere of Hans Werner Henze’s Phaedra. She will make her Dallas Opera debut in April 2015 singing the role of Marta in Tchaikovsky’s Iolanta.  In June 2015, Mumford will sing the role of the Baroness, “Nica,” in the world premiere of Daniel Schnyder’s Charlie Parker’s Yardbird at Philadelphia Opera. For more information visit:


Sergio Tiempo was described by Gramophone magazine as, “a colourist in love with the infinite variety a piano can produce.” He made his professional debut at age 14 at the Royal Concertgebouw, Amsterdam. Tiempo appears regularly with the Simon Bolívar Orchestra and has performed with Orchestre Philharmonique de Radio France, the Singapore Symphony, and the BBC Symphony, among others.  In recital he has appeared at the Vienna Konzerthaus, London’s Wigmore Hall, and the Berlin Philharmonie.  Tiempo has made several Deutsche Grammophon recordings with Mischa Maisky and a solo disc on EMI Classic’s Martha Argerich Presents series.


A pre-concert lecture by Christopher H. Gibbs about the works on the program will take place at 1:45 pm at the Stanley H. Kaplan Penthouse, Rose Building, 165 West 65th Street.


Academy of St. Martin in the Fields, Joshua Bell, director and violin


March 21, 2016 at 8 pm – Prokofiev: Symphony No. 1 (“Classical“);

Tchaikovsky: Violin Concerto;

Beethoven: Symphony No. 8


Joshua Bell is only the second music director in the 58-year history of the Academy of St. Martin in the Fields (ASMF), taking on that mantle in 2011 from Sir Neville Marriner.  Since then, he and the ensemble have won steady acclaim for their fresh and dynamic music making—at Lincoln Center and around the world.


“The sight of a star soloist simultaneously conducting and performing a concerto has become fairly common. But the violinist Joshua Bell...reaches back to an 18th-century tradition...he also leads performances from the concertmaster's chair: He's not just having his cake and eating it—he helps bake it, too.“


So said The New York Times reviewing Bell’s widely-praised New York debut as ASMF’s music director, which took place at a March 2012 Great Performers concert. He returned with the ensemble in April 2014, with a program that included Beethoven’s “Eroica” Symphony.  The New York Times called it “a viscerally exciting performance.”  The ensemble continues a survey of the complete Beethoven symphonies, begun in 2012, with a performance of the composer’s Symphony No. 8 next season at Lincoln Center on a program that also includes the beloved Tchaikovsky Violin Concerto and Prokofiev’s Symphony No. 1, which the composer scored for a classical-era orchestra.


The Academy of St. Martin in the Fields gave its first performances in its namesake church in 1959. Founded by Neville Marriner and a group of London musicians in 1958, it has since risen to become one of the world’s leading chamber orchestras maintaining a flexible configuration that goes back to its roots as a conductor-less ensemble.  The ensemble performs some 100 concerts annually, at home and on tour. In addition to Joshua Bell, the ensemble works with Principal Guest Conductor Murray Perahia, as well as Sir Neville Mariner, and collaborates with internationally-renowned music artists. The Academy boasts a vast and award-winning discography of more than 500 recordings. 


In January, before the start of his own concert engagements, Bell led ASMF on a five-city European tour joined by guest soloists, violists Antoine Tamesit and Lawrence Power. Upcoming for ASMF are a six-city tour to Germany with pianist David Fray and a Wigmore Hall concert with clarinetist Martin Fröst. A March 2015 concert in London performing works of Bach, Dvorák, and Suk with pianist Jeremy Denk launches a 13-city U.S. tour. In April, ASMF collaborates with violinist Julia Fischer in a London concert and performances in Switzerland.  Joshua Bell returns in July to lead the final concert of the season, which features works by Vivaldi, Tchaikovsky, and Piazzolla. Visit:


Joshua Bell’s relationship with Lincoln Center is a long and storied one. He made his New York recital debut in 1988 playing on Great Performers “Next Generation” series. Bell has made multiple appearances on Lincoln Center’s Emmy Award-winning Live From Lincoln Center broadcasts.  He has performed many times at the Mostly Mozart Festival, most recently in 2014, and regularly on the Great Performers series, in solo recital, as well as orchestral and chamber-music concerts. Bell was a recipient a Lincoln Center Avery Fisher Career Grant in 1986, and was awarded the 2007 Lincoln Center Avery Fisher Prize for outstanding achievement and excellence in music.


Bell’s 2015 schedule includes concerto performances with leading European orchestras in February, followed in March by a multi-city North-American recital tour, which includes a stop at Alice Tully Hall for the Great Performers “Virtuoso Recital” series.  Concerto appearances with the Cincinnati Symphony Orchestra and North Carolina Symphony are on tap in May 2015


Although he has recorded more than 40 CDs since the release of his first Decca album at age 18, Joshua Bell had not recorded Bach—until now.  In November 2014, Sony Classical (with which the artist now has an exclusive recording contract) released a Bach CD of Bell with the Academy of St. Martin’s in the Fields. Bach, featuring Violin Concertos No. 1 and No. 2, and a never-done-before violin and orchestra arrangement of the Chaconne from the Partita No. 2, is Bell’s second CD with ASMF. Reviewing it, The Independent (London) wrote, “It’s been worth the wait…outstanding…great vivacity and clarity of tone.”  Bach was named a top classical album in 2014 by Classic FM magazine and many other media outlets.


For a complete bio and more information on Joshua Bell, visit:


These programs are supported by the Leon Levy Fund for Symphonic Masters.


“Symphonic Masters” is made possible in part by endowment support from UBS.





In 1983, Great Performers launched “Music on Original Instruments.” Under that banner (the name was later changed to “Music on Period Instruments”), New York audiences were treated by an array of renowned artists and ensembles, including Christopher Hogwood and the Academy of St. Martin’s in the Fields, Emma Kirkby, Jordi Savall, William Christie and Les Arts Florissants, and the Freiburg Baroque Orchestra.  In recent years, the “Chamber Orchestras” series has continued to present period-instrument favorites, and brought new artists to New York audiences as it will in the 2015–16 season with the U.S. debut of Anima Eterna Brugge and the first New York appearance by Accademia Bizantina in 16 years.


Les Arts Florissants, William Christie, conductor

Handel: Theodora (in concert)

Katherine Watson, Theodora

Stéphanie d’Oustrac, Irene

Philippe Jaroussky, Didymus

Kresimir Spicer, Septimus

Callum Thorpe, Valens


October 31, 2015 at 7:00 pm (note early start time)


Theodora, Handel’s favorite oratorio and the next to last one he composed, is set in third-century Antioch at the time of Emperor Diocletian’s persecution of the Christians, and is based on the 17th-century novel, The Martyrdom of Theodora and Didymus.  The central characters are Theodora, a Christian woman and Roman soldier Didymus, secretly a Christian and in love with her, who are put to death by Valens the Roman governor. American Record Guide, reviewing the 2003 recording by William Christie and Les Arts Florissants (Erato) calls the oratorio “a hymn to loving devotion, loyalty, and self-sacrifice; and it may be the most humane of all of Handel’s works.” 


Theodora was one of William Christie’s earliest forays into Handel’s music. He led the Orchestra of the Age of Enlightenment in now-legendary 1996 performances of Peter Sellars’ controversial staging at the Glyndebourne Festival, with Dawn Upshaw, David Daniels, and Lorraine Hunt Lieberson as Theodora’s friend, Irene. The American-born Christie, a harpsichordist, conductor, musicologist and teacher, founded Les Arts Florissants in 1979 to re-awaken interest in French Baroque music.  Opera-ballets and operas by Charpentier, Lully, Rameau and other 17th- and 18th-century French composers were the focus of his early triumphs.  After Glyndebourne, he led performances of Theodora with Les Arts, and in 2003 released a much-praised recording with the ensemble. Christie’s acclaim now runs to wide-ranging repertoire from works of Monteverdi, Rossi, Scarlatti, and Landi to Purcell, Handel, Mozart and Haydn.


Les Arts Florissants’ 2014?15 season opened with a five-city European tour with the semi-staged Rameau, maître a danser, followed by a concert tour to South America.  This January, Les Arts Florissants took part in the inaugural concerts for the Philharmonie de Paris, the new concert hall designed by Jean Nouvel as the home of Orchestre de Paris, where Les Arts will be artists-in-residence. This spring, members of Le Jardin des Voix, the academy for young singers founded by Christie in 2002, joined by musicians of Les Arts, will tour to a number of European capitals, as well as Hong Kong, Australia, Russia, and, in April, to New York for an Alice Tully Hall performance of In an Italian Garden, rarely-performed 16th- to 18th-century Italian works. Les Arts ends the current season performing Monteverdi’s Eight Book of Madrigals, the final concerts of its multi-year Monteverdi project, launched in 2011 by Associate Musical Director and Conductor Paul Agnew, to perform the composer’s complete madrigal cycle.


With more than 100 recordings on several labels, Les Arts launched its own label, Éditions Arts Florissants, in 2013. Four Éditions recordings have been released to date, the latest, in December 2014, Music for Queen Caroline, works by Handel composed for, or associated with, the wife of England’s King George II. For complete biographies of Les Arts Florissants and William Christie, visit


Anima Eterna Brugge, Jos van Immerseel, conductor and fortepiano

U.S. debut


January 28, 2016 at 7:30 pm – All-Beethoven Program:

Overture to Egmont; Piano Concerto No. 1; Symphony No. 5


Belgium’s Jos van Immerseel founded Anima Eterna Brugge (AEB) in 1987 to give voice to his passionate research into the music and instruments of the Baroque era. Originally a small ensemble, today, it ranges in configuration from seven to 80 musicians, depending on the musical project at hand. From an early focus on Bach and Mozart, AEB’s repertoire expanded to include Mendelssohn, Beethoven and Schubert, and over the years, composers as wide-ranging as Saint-Saëns, Musorgsky, Liszt, Franck, Strauss, and Ravel.  AEB performs symphonic works and opera, and has collaborated with choreographer Anne Teresa De Keersmaeker and her company ROSAS. It is an Associate of the Opéra de Dijon, and has been ensemble in residence at Concertgebouw Brugge since 2003. In January 2015, it also became ensemble in residence at Beethovenfest Bonn.


Anima Eterna Brugge forged, and has maintained, its own definition of period-instrument performance, with a core mission to present a work as closely as possible to the composer’s original intentions, whether it was written in 18th-century Germany or early-20th-century Paris. In a collaborative, exploratory phase at the beginning of each project, meticulous research is done about the original performances, and how instruments of the period were made and sounded.  In addition, the musicians explore variables such as playing technique, pitch, tempo, and orchestral balance, and how the sound of a composition might have been affected by the acoustics of the space in which it premiered or had subsequent performances.


Jos van Immerseel was born in Antwerp in 1945 and studied piano, organ, voice, and conducting at the Royal Conservatory in Antwerp, and harpsichord with Kenneth Gilbert. He founded the period-instrument ensemble Collegium Musicum (1964–1968). In 1973, he took first prize in the first edition of the Paris International Harpsichord Competition playing a historic instrument. Today, van Immerseel is recognized as a leading artist of the harpsichord and fortepiano, with an active solo and chamber music career.  He has appeared as guest conductor with Akademie für Alte Musik Berlin, Wiener Akademie, Budapest Festival Orchestra, Tafelmusik Toronto, Mozarteum Salzburg, and Musica Florea Prague. From 1982 to 1985 he worked alongside Ton de Leeuw as an artistic director at the Sweelinck Conservatorium Amsterdam. Van Immerseel has been on the faculty of the Conservatoire National Supérieure in Paris since 1992 and has been a visiting professor at the Schola Cantorum Basiliensis, Kunitachi University, Tokyo, and Indiana University in Bloomington.


With Anima Eterna Brugge, van Immerseel has produced more than 100 recordings on the Accent, Channel Classics, and Sony labels, including many award-winning discs. In 2002, he started the Collection Anima Eterna imprint produced by Parisian label Zig-Zag Territoires (Outhere). To date, more than 20 recordings have been released, including a much-admired Schubert symphony cycle (1996–97) and the complete Beethoven symphonies in 2008.  Classic FM, reviewing Symphony No. 5, called it “a riveting account…van Immerseel has done everything imaginable to approximate the performing conditions prevalent during the composer’s lifetime.”  It goes on to say, “[at the finale] one is startled by the music’s sheer power and dynamism as it hearing it for the very first time.”  For more information on Anima Eterna Brugge and Jos van Immerseel, visit:


Freiburg Baroque Orchestra – Gottfried von der Goltz, violin and director

Christian Gerhaher, baritone; Lorenzo Coppola, clarinet d’amour


February 25, 2016 at 7:30 pm – All-Mozart Program:

Arias from Don Giovanni and Le nozze di Figaro; Clarinet Concerto;

Symphony No. 31 (“Paris”)


Next season, the Freiburg Baroque Orchestra offers an all-Mozart program of works from three key periods in the composer’s life: a symphony at the start of his mature career, arias from the height of his opera writing, and in the last year of his life, the final instrumental work he composed, the Clarinet Concerto.


Originating as a conductor-less ensemble in 1987, the Freiburg Baroque Orchestra remains one the world’s leading period-instrument ensembles as it has expanded its repertory in recent years to include works of the Romantic period and beyond.  Led by co-artistic directors/concertmasters violinists Gottfried von der Goltz and Petra Müllejans, the ensemble also collaborates with guest conductors including René Jacobs, Ivor Bolton and Louis Langrée. FBO presents approximately 100 performances annually, at home, throughout Europe and in the U.S. at major concert venues and festivals. The ensemble’s live and recorded performances of Mozart works have received high praise. In 2008, FBO released the final CD in a trio of recordings devoted to the composer’s concertos and other instrumental works, featuring the Clarinet Concerto performed by clarinet d’amour expert Lorenzo Coppola.


Gottfried von der Goltz is known as one of the leading Baroque violinists on the international scene. His repertory ranges from the 17th century to modern works, with a special focus on the Dresden Baroque and music of the four Bach sons.  As a guest director and soloist, he appears regularly with the Berliner Barocksolisten, Frankfurt Radio Symphony Orchestra, and the Tafelmusik Baroque Orchestra. He serves as artistic director of the Norsk Barokkorkester and is a professor of Baroque and modern violin at the College of Music in Freiburg.


Highlights of FBO’s 2014–15 season include all-Mozart programs this past November in Oxford and Bath, England, and the opening concert of Montreal’s Bach Festival. In January, the ensemble performed at the Berlin Philharmonie.  In early March, with René Jacobs conducting, it will perform Giovanni Paisiello’s Il Barbiere di Siviglia at BOZAR (Center for Fine Arts) in Brussels. Upcoming in late March 2015 are concerts in Berlin, Freiburg, and Stuttgart.


A frequent Lincoln Center presence at the Mostly Mozart Festival and on the Great Performers series, the FBO performed a Schubert and Mendelssohn program with guests Kristian Bezuidenhout, piano-forte, and conductor Pablo Heras-Casado at the Mostly Mozart Festival in 2013. FBO made its most recent appearance at Great Performers in early 2014 performing the complete Bach Brandenburg Concertos. For more information on the artists, visit:


Baritone Christian Gerhaher, a widely-acclaimed lieder and opera singer, recently sang the role of Jesus in the acclaimed U.S. premiere of Peter Sellars’ staging of Bach’s St. Matthew Passion with the Berlin Philharmonic that opened Lincoln Center’s 2014 White Light Festival. In addition to a long-standing recital partnership with pianist Gerold Huber, Gerhaher is much in demand as an orchestra soloist. January 2015 saw a busy schedule of recitals in Europe and a performance of Brahms’ Ein deutsches Requiem with the Berlin Philharmonic; he’ll repeat the Brahms’ Requiem with the San Francisco Symphony in February. He sings Wolfram von EschenbachWolfram von Eschenbach in Wagner’s Tannhäuser with Berlin Staatsoper in April, and will appear at the Munich Opera Festival in June in performances of Monteverdi’s L’Orfeo. For a biography and more information, visit:


Lorenzo Coppola received his diploma in historic clarinet performance at the Royal Conservatory of The Hague.  He has collaborated with Les Arts Florissants, La Petite Bande, Chambre du Roy, and other period-instrument ensembles, as well as in chamber music performances with Kuijken Quartet, Philidor Ensemble, Ensemble Zefiro, The Academy of St. Cecelia, and the Manon Quartett. He has been a professor of historic clarinet at Barcelona’s Escola Superior de Música de Catalonia since 2004.  Coppola has recorded the Mozart Clarinet Concerto with both Ensemble Zefiro and FBO.


Accademia Bizantina, Ottavio Dantone, conductor (New York conducting debut)

Christophe Coin, cello; Sergio Azzolini, bassoon; Delphine Galou, contralto


April 13, 2016 at 7:30 pm – All-Vivaldi Program:

Concertos for cello, bassoon, and strings; selected arias

Concerto for strings in G major, RV 146

       Cello Concerto in D minor, RV 407

       Bassoon Concerto in G minor, RV 495

       Agitata infido flatu, from Juditha triumphans devicta Holofernes barbarie, RV 644

       Cello and Bassoon Concerto in E minor, RV 409


       Sinfonia from Dorilla in Tempe, RV 709

       Sorge l’irato nembo, from Orlando furioso, RV 728

       Bassoon Concerto in F major, RV 491

       D’un bel viso, from L’incoronazione di Dario, RV 719

       Concerto for strings in G minor, RV 156

       Cello Concerto in B minor, RV 424


Founded in Ravenna, Italy in 1983 with the intent of making music like “a great string quartet,” Accademia Bizantina is recognized today as one of the foremost ensembles interpreting 17th- and 18th-century Baroque Italian repertoire. Its playing is distinguished for its rigorous style, colorful interpretations, and the superb technique of each player, all on original instruments. Collaborations with artists such as violinists Viktoria Mullova and Giugliano Carmignola, and singers Sandrine Piau and Andreas Scholl have produced sold-out concerts and acclaimed recordings on several labels, recognized with the Diapason d’Or and Midem Classical Awards, among others, and a Grammy nomination.


The ensemble has been at the forefront of a re-awakened interest in the music of Vivaldi in the last dozen years, coinciding with the release in 2000 of the first of an anticipated 100 recordings of the composer’s entire known works as part of the Vivaldi Edition project. Conceived by Italian musicologist Alberto Basso and taken on by the Naïve label, the project is directed by American scholar and musician Susan Orlando.  Its goal is to record the massive collection of Vivaldi autograph manuscripts held at the Biblioteca Nazionale in Turin—some 450 works—including his extant operas, and hundreds of concertos, sacred compositions and cantatas. Until the launch of the project, much of the music had not been heard since the 18th century. The project has released 50 recordings to date. Accademia Bizantina released its first Vivaldi CD with the project in 2005, and the most recent release, in May 2014, the composer’s 1717 opera L’incoronazione di Dario, with contralto Delphine Galou as one of the three daughters of King Cyrus of Persia.  She will sing an aria from the opera and Vivaldi’s only known oratorio, Juditha triumphans devicta Holofernes barbarie, at Lincoln Center. The other two soloists on the April 2016 program—Christophe Coin, cello and Sergio Azzolini, bassoon—both acclaimed early-music specialists—also have made notable contributions to the Naïve project.


Ottavio Dantone, co-founder of Accademia Bizantina, and artistic and music director since 2012, will make his New York conducting debut with this Great Performers concert. A graduate of Giuseppe Verdi Conservatory in Milan, where he studied organ and harpsichord, Dantone took first prize at the prestigious international harpsichord competitions in Paris (1985) and Brugge (1986), the first Italian to do so. Dantone leads both period- and modern-instrument performances in opera and concerts with renowned orchestras across Europe including those of Staatskapelle Berlin, The Academy of Santa Cecilia, Teatro Real, La Scala, the Musikverein, the Concertgebouw, and La Fenice.  He can be heard on numerous recordings, as a conductor, soloist and playing basso continuo. Conducting engagements in the current season included Handel’s Alcina in September at the Bremen Fest, and Rossini’s Il barbiere di Siviglia in Oviedo, Italy. Upcoming in March 2015 is Rossini’s Tancredi at Opera Lausanne and in May and June, Vivaldi’s La verita in cimento at Zurich Oper.  For more information visit:




Great Performers “Virtuoso Recitals” series was formally launched in the mid-1990s, and since that time has presented an array of renowned artists, a number making their New York debuts, including violinist Vadim Repin and pianist Christian Zacharias.  Pianist Paul Lewis, who made his U.S. solo recital debut on the Great Performers “Sunday Morning” series, returns for his first “Virtuoso Recitals” appearance next season. He’s joined on the all-pianist series by Lincoln Center favorites Richard Goode and Murray Perahia, and by Piotr Anderszewski, returning to Great Performers after a 10-year absence.


Paul Lewis, piano

November 14, 2015 at 7:30 – All-Beethoven program:

Sonata No. 30 in E major, Op. 109; Sonata No. 31 in A-flat major, Op. 110;

            Sonata No. 32 in C minor, Op. 111


“There are many prized recordings of the Beethoven sonatas from past masters and current artists, but if I had to recommend a single complete set, I would suggest Mr. Lewis’s distinguished recordings.” – The New York Times


That was The New York Times assessment when the final three-disc installment of Paul Lewis’ recordings of the complete Beethoven sonatas was released in 2008.  The Boston Globe said, “The clarity, openness, and breadth of imagination here is remarkable.”


Lewis began his traversal of the sonatas and other Beethoven works in 2005 and in November 2015, 10 years later, revisits the composer’s three final piano sonatas—glorious, unequalled examples of the form. Conceiving them as a whole, Beethoven composed the three sonatas between 1820–22, when he was profoundly deaf, and five years before he died. Hailed as masterworks in their time, they’ve inspired and challenged pianists of every generation. 


English pianist Paul Lewis’ cycles of core works by Beethoven and, more recently, Schubert, in live performance and recordings, have received unanimous critical and public acclaim and consolidated his reputation as one of the world’s foremost interpreters of the classical repertoire. He performs regularly with the world’s great orchestras and in recital on the stages of the world’s leading concert halls and international festivals. 


Lewis has a full schedule of concert and recital engagements through the end of the current season. Beginning in February, he’ll perform Beethoven in recital in Ireland, Italy, the U.S., Canada, and the Czech Republic before taking the program to Wigmore Hall in June. The pianist’s 2015 concert engagements began with the Chicago Symphony Orchestra and the London Philharmonia Orchestra in January and February performing Beethoven’s Piano Concerto No. 5, and they’ll continue in the spring with Mozart, Beethoven, Schumann, and Brahms concertos performed with the Singapore Symphony Orchestra and Salzburg Mozarteum Orchestra, among others. In late February, Lewis and violinist Lisa Batiashvili will perform works of Schubert, Bach, and Beethoven at Wigmore Hall, and then tour with the program to Canada and the U.S., including to New York, for a Great Performers concert on March 30, 2015 in Alice Tully Hall.


In addition to his “Virtuoso Recitals” concert next season, Paul Lewis joins frequent recital partner tenor Mark Padmore in three concerts of the complete Schubert song cycles to open the Great Performers season in October 2015.


At Lincoln Center, Lewis has appeared with the Mostly Mozart Festival and on “Symphonic Masters” as a soloist with the London Symphony Orchestra.  He electrified audiences with his performances of works by Schubert at the 2012 at the White Light Festival and at 2013 at a Mostly Mozart Festival late-night concert.


For a biography and more information, visit:


Piotr Anderszewski, piano

March 3, 2016 at 7:30 pm – Works by  Bartók, Janácek, and Schubert


“Anderszewski has striking and deeply personal ideas about everything he performs…his pianism shows a powerful interpretive imagination at work.” – The Chicago Tribune


Polish-Hungarian pianist Piotr Anderszewski is recognized for the intensity and originality of his interpretations.  Winner of the prestigious Gilmore Prize, he appears with leading orchestras and recital stages throughout the world. He has led Sinfonia Varsovia, the Scottish Chamber Orchestra, and Deutsche Kammerphilharmonie Bremen, among others, directing from the keyboard. The pianist’s recent chamber music collaborations have included appearances with the Belcea Quartet and violinist Frank Peter Zimmermann. He has also curated and performed in a number of festivals devoted to the music of Szymanowski, most notably at Carnegie Hall and Wigmore Hall.


The Guardian (London) praising a recent recital of Anderszewski’s—a program featuring works by Bach, Schumann, and Janácek—said, “Two hours were filled with some of the most sublime piano playing London has witnessed all season.  He appears less to perform existing repertoire than rebuild each piece from scratch, holding everything spontaneously in balance like a chef building cathedrals from spun sugar.”


An exclusive artist with Warner Classics/Erato since 2000, the pianist has made award-winning recordings including a Bach, Beethoven, and Webern CD (2004 re-issue) that have received the Diapason d’or and a Grammy-nominated disc of Mozart piano concertos and Bach Partitas. Other notable releases include CDs of solo works of Chopin, Szymanowski and collaborations on Mozart and Beethoven Piano concertos.  His latest CD of Bach’s English Suites Nos. 1, 3, and 5, was released in November 2014. Gramophone said, “This is a glorious disc. Simply glorious. The way he has considered the touch and dynamic of every phrase means that these are readings that constantly impress with fresh details each time you hear them.”


Anderszewski has been the subject of two award-winning documentaries by acclaimed filmmaker Bruno Monsaingeon. The 2009, Unquiet Traveller, was screened at the Mostly Mozart Festival, where it was introduced by the director and followed by a discussion with the pianist.


Piotr Anderszewski made his Lincoln Center solo recital debut in a Great Performers concert in 2004.  He has made several Mostly Mozart Festival appearances in concerto performances with the Mostly Mozart Festival Orchestra, as well as a soloist with visiting chamber ensembles, and in solo recital.


Highlights of Anderszewski’s 2014–15 season include recitals at the Weiner Konzerthaus, the Royal Concertgebouw, the Tokyo Opera House, and this March, at Carnegie Hall. His orchestral engagements include appearances with the London Symphony, NHK Symphony, and the Vienna Symphony orchestras. In March 2015 he has a three-concert residency with the Bamberg Symphony Orchestra.  He will also partner with baritone Matthias Goerne on a program of Schumann lieder in concerts in Vienna, Berlin, and London. For additional information, visit:


Richard Goode, piano

April 9, 2016 at 7:30 pm– All-Bach Program

 French Suite No. 6 in E major, BWV 817

            15 Sinfonias, BWV 787–801


Partita No. 2 in C minor, BWV 826

Italian Concerto, BWV 971


“He has done as much as any important pianist to reclaim Bach for the piano, admitting to an anti-stylistic prejudice (‘it’s imprisoning’) and believing that when you look at Bach through the sound, the instruments are left behind: ‘Your ear is giving you an opening—to find something fitting in your quest for expressiveness on whatever you have at your disposal.” – Gramophone


Richard Goode’s last appearance at the Mostly Mozart Festival included a late-night concert with selections from Bach’s Well-Tempered Clavier, Book II. He will perform an all-Bach program for next season’s “Virtuoso Recitals” series in April 2016.


Hailed for music-making of tremendous emotional power, depth, and sensitivity, Richard Goode is acknowledged as a master musician and one of the leading interpreters of Bach, Beethoven, Chopin, Mozart, and Schubert. In performances with the world’s major orchestras, recitals at leading concert halls, and acclaimed Nonesuch recordings, he has won a large and devoted following. “It is virtually impossible to walk away from one of Mr. Goode’s recitals without the sense of having gained some new insight, subtle or otherwise, into the works he played or about pianism itself,” praised The New York Times.


The pianist’s orchestral engagements in 2014–15 include concerts with the Los Angeles Philharmonic and the St. Louis, Milwaukee, and San Diego symphonies.  Goode makes five appearances at Carnegie Hall this season, including upcoming chamber music concerts with artists from Marlboro Music Festival, a solo recital in April 2015, and a master class on Debussy piano works.   His schedule also includes solo recitals at the Royal Concertgebouw, Wigmore Hall, the Celebrity Series of Boston, Cal Performances in Berkeley, the Philadelphia Chamber Music Society, the University Musical Society in Ann Arbor, Shriver Hall in Baltimore, Toronto’s Royal Conservatory, Duke Performances, and a number of other university performance series.


Richard Goode was one of four pianists featured on the first all-piano solo recital series introduced by Great Performers in the 1991–92 season.  He had already made his mark at Lincoln Center as an artist member of The Chamber Music Society of Lincoln Center, an early winner (1980) of the Avery Fisher Prize, in chamber and recital appearances for Great Performers,  and as a frequent guest at the Mostly Mozart Festival.  For additional information, visit:



Murray Perahia, piano

May 8, 2016 at 3 pm – Program to be announced


“The pianist Murray Perahia took to the stage of Avery Fisher Hall…for a performance of works by Bach, Beethoven, Schumann and Chopin. It's a big hall for a solo recital, but Mr. Perahia commands a powerful sound and the ability to spin sustained legato lines that bloom in space as if they were produced by a wind instrument. Above all, though, he is a musician in search of big ideas, and throughout the engrossing performance there was a sense that he relishes the opportunity to air them in a large public forum.” – The New York Times


The “stormy applause” that the Times critic went on to describe greeting Perahia at the end of the concert—his last Great Performers recital in March 2014—is sure to be repeated when he returns to Avery Fisher Hall next season for another “engrossing” performance in front of a hometown audience. 


Known for his mastery of works by giants of the classical canon, Murray Perahia remains one of the most sought-after and cherished pianists after a stellar 40-year career. In addition to his worldwide orchestral and recital appearances, Perahia is Principal Guest Conductor of the Academy of St. Martin in the Fields, with which he has toured as conductor and pianist throughout the U.S., Europe, Japan and Southeast Asia.


Perahia has a wide and varied discography. Among his more than 50 recordings to date are two Grammy Award-winners, and a number of Grammy Award-nominated albums. In 2012, he was voted into the inaugural Gramophone Hall of Fame after winning eight Gramophone Awards over the years. Also in 2012, Sony Classical marked its 40-year association with the pianist by issuing a 67-volume boxed set of CDs. The pianist’s 2010 CD release, Brahms: Handel Variations, has been called “one of the most rewarding Brahms recitals currently available.” (The Financial Times). Perahia is in the middle of an ambitious project to edit the complete Beethoven sonatas for Henle Urtext Edition.


The 2014–15 season began for Perahia with a 10-city tour of Asia with the Academy of St. Martin’s in the Fields, conducting and performing works by Bach, Haydn, Mozart, Beethoven, Mendelssohn, and Stravinsky.  His spring 2015 tour of the U.S. includes performances at Carnegie Hall, Walt Disney Hall, and Chicago’s Symphony Hall, with appearances scheduled in Tucson, Scottsdale, Kalamazoo, Sarasota, and Savannah. Starting in April 2015, Perahia begins a multi-city European recital tour that will take him to Zurich, Dortmund, Lisbon, and Barcelona—ending in June with performances at the Barbican Centre, and the Philharmonie Paris.


Murray Perahia has maintained strong connections with Lincoln Center since the start of his career. He appeared as a soloist with the Brandenburg Ensemble in 1972 on what was then called “Great Performers at Philharmonic Hall.”  He was one of the inaugural winners of the Avery Fisher Prize in 1975 (the other was cellist Lynn Harrell).  Over the years he has been presented numerous times on both the Great Performers and Mostly Mozart Festival series.  For additional information, visit:




Launched in the 1981?82 season, “Art of the Song” has presented the U.S. and New York debuts of an array of vocal artists, including Deborah Voigt, Renée Fleming, Susan Graham, Stephanie Blythe, Cecilia Bartoli, Michael Schade, Anna Caterina Antonacci, and Christine Brewer, who made her New York recital debut on the series in 1995 and returns to Alice Tully Hall on November 1.  Three special “Art of the Song” programs with Mark Padmore and Paul Lewis will open the Great Performers season in October.


Mark Padmore, tenor, Paul Lewis, piano

Complete Schubert Song Cycles

October 14, 2015 at 7:30 pm – Schubert: Die schöne Müllerin

October 15, 2015 at 7:30 pm – Beethoven: An die ferne Geliebte

Schubert: Schwanengesang

October 17, 2015 at 7:30 pm – Schubert: Winterreise


Tenor Mark Padmore has long enjoyed a flourishing career on the world’s leading opera, concert and recital stages.  But in a 2008 article he wrote for The Guardian (London), he explained why it took him so long to perform the Schubert song cycles.  He admitted that he attempted them in his 20s, but gave up in frustration:


“I didn’t have the voice or the imagination to do them justice….It wasn’t until shortly before my 40th birthday that I summoned up the courage to perform Die schöne Müllerin for the first time, at a lunchtime concert at [London’s] Ealing Hospital.”


Beginning with May 2008 performances of the three song cycles in London’s Wigmore Hall, Padmore and his frequent recital partner, pianist Paul Lewis, continued their exploration of the works for the next five years in a series of recitals and three recordings released on Harmonia Mundi.  The Evening Standard (London) described the Wigmore performances as “…breathtaking. Schubert couldn’t be better served.”  BBC Music magazine, reviewing the 2011 Schwanengesang CD wrote, “This is a wonderful recording. Two supreme Schubertians working in perfect harmony.” The pair’s Winterreise CD was the first release in the cycle (2009) and received numerous awards for vocal recording of the year, including the 2010 Gramophone Magazine Award. 


Padmore has referred to Die schöne Müllerin and Winterreise, respectively as, “the Hamlet and King Lear of the repertoire,” and called Schwanengesang—the collection of Schubert’s final songs published after the composer’s death—“music of the most incredible generosity, totally lacking in self-pity, written by a man who knew he was dying but that is completely free from irony and bitterness.”


Mark Padmore first came to international attention for his performances of the Baroque repertoire. His performances in the Bach Passions, including Peter Sellars’ staging of St. Matthew Passion for the Berlin Philharmonic, seen as part of Lincoln Center’s White Light Festival this past October, have been widely acclaimed.  On opera and concert stages he has worked with other preeminent directors, including Peter Brook, Mark Morris, Deborah Warner, and Katie Mitchell, in repertoire ranging from Handel and Mozart to Britten, Stravinsky, and Birtwistle. Lincoln Center audiences have enjoyed Padmore’s sublime artistry in previous Great Performers seasons, most recently in 2009, in the U.S. premiere of One Evening, Mitchell’s re-imagining of Schubert’s Winterreise with texts of Samuel Beckett recited by actor Stephen Dillane. For Mark Padmore’s biography and additional background, visit:


For information on pianist Paul Lewis, please see the “Virtuoso Recitals” section of this press release.


Christine Brewer, soprano, Paul Jacobs, organ

November 1, 2015 at 5 pm – Bach: Prelude and Fugue in C major, BWV 547;

Handel: But Oh! What Art Can Teach, from Ode for St. Cecilia’s Day, HWV 76;

Bach: Bist du bei mir, BWV 508; Franck: Panis angelicus; Lili Boulanger: Pie Jesu;

Nadia Boulanger: Three Pieces for organ solo

Gounod: Repentir; Wolf (arr. Reger), Three songs: Nun wandre, Maria, from Geistliche Lieder,

Führ mich, Kind, nach Bethlehem, from Geistliche Lieder, Gebet, from Mörike-Lieder;

Reger: Toccata and Fugue, from 12 Pieces, Op. 59


“Art of the Song” will present a recital for voice and organ for the first time when Christine Brewer returns to the series, joining organist Paul Jacobs in a wide-ranging program on November 1.  Alice Tully Hall is the only major concert hall in New York City with a pipe organ.  Originally installed in 1974, as a gift of Miss Alice Tully, the organ was designed and built by the Kuhn company of Switzerland.  Removed for the renovation of Alice Tully Hall, the 4,192-pipe organ with 85 ranks distributed in 61 speaking stops was lovingly re-installed in 2010 and re-voiced for the improved acoustics of the hall.


“One of the most impressive voices of our day,” is how the Los Angeles Times described Christine Brewer.  The golden-toned American soprano is an acclaimed Wagnerian and dedicated recitalist.  She sang the role of Isolde in the Great Performers “New Visions” 2007 presentation of The Tristan Project, the Peter Sellars and Bill Viola staging of the Wagner work performed by the Los Angeles Philharmonic. Her last “Art of the Song” appearance, with pianist Craig Ruttenberg, was a recital of American music in 2012.  Opera News, writing about her opening song by Barber, called it, “A thing of beauty…its combination of warmth and power unparalleled among contemporary sopranos.” 


Highlights of Brewer’s current season include performances with the Sydney Symphony and the St. Louis Symphony Orchestras.  For a biography and more background, visit:  or


Organist Paul Jacobs’ performances of new works and core recital and symphonic repertoire have transfixed audiences and critics alike.  The New Yorker called him “one of the major musicians of our time” and The Washington Post “one of the great living virtuosos.”  Chairman of the organ department at The Juilliard School since 2004, Jacobs maintains a busy schedule of orchestra and recital appearances.  His 2014?15 season included a debut with the National Symphony Orchestra at the Kennedy Center and a concert with the Philadelphia Orchestra at the Kimmel Center.  Upcoming this season are concerts with the Cleveland Orchestra, Phoenix and Dallas Symphony Orchestras, and recitals in Florida, Maryland, Arizona, Dallas, and Birmingham, England.  Jacob’s 2010 Naxos recording of Messiaen’s Livre du Saint Sacrement received the 2011 Grammy Award for Best Solo Instrumental, the first ever for an organ solo performance.  In 2010, Jacobs gave the inaugural, sold-out concert for the refurbished Kuhn organ in the new Alice Tully Hall, performing Bach’s complete, monumental Clavier-Übung III, entirely from memory, as part of Lincoln Center’s first White Light Festival. For a biography and more background, visit: and


The solo voice and organ configuration is as rare on recordings as in live performance.  Christine Brewer and Paul Jacobs have just collaborated on a CD that is set for release later this year.


Karita Mattila, soprano, Martin Katz, piano

March 10, 2016 at 7:30 pm


Writing about the selection of the Finnish soprano as one of its 2012 Opera News Awards recipients, the magazine said, “Karita Mattila is an artist who confounds expectations…..Her choices as a singer and as an actress are invariably daring and original….Mattila lives completely in the present tense and never rests on her laurels or repeats herself” (Opera News).


Although she has given concert performances on the Great Performers series at Lincoln Center, the internationally-acclaimed lyric dramatic soprano will appear on the “Art of the Song” series for the first time in March 2016, joined by one of the leading pianists working with vocal artists today, Martin Katz.


Mattila’s commanding stage presence and “a voice that is most often described in terms reserved for varieties of light—radiant, luminous, incandescent, shining,” (Opera News) have led to triumphs in numerous new opera productions by noted stage directors, including Luc Bondy’s Don Carlos; Lev Dodin’s Elektra (Salzburg Easter Festival) and Salome (Opéra National de Paris); Peter Stein’s Don Giovanni (Chicago), and Jürgen Flimm’s Fidelio (Metropolitan Opera).  Composer Kaija Saariaho created and dedicated the title role of her 2010 opera-monodrama Emilie de Châtelet to Mattila. Among the singer’s numerous recordings is the 2004 Grammy Award-winning Jenufa (Erato/Warner) with Bernard Haitink.  The singer’s most recent appearance at the Metropolitan Opera was in 2012 singing the role of Emilia Marty in The Makropoulos Case


In June 2014, Mattila sang her first Prima Donna-Ariadne in Strauss’ Ariadne auf Naxos at the Royal Opera House, London and she reprised the role in January and February 2015 at Opéra National de Paris.  The Guardian (London) called hers “a glorious performance,” and The Daily Telegraph (London) said, “Mattila sings with radiant tone and glowing power.” She opened the 2014?15 season singing Jenufa at the Hamburg Opera.  In April and May 2015, Mattila will add Sieglinde to her repertoire in Wagner’s Die Walküre at Houston Grand Opera, and she is considering more Wagner in the future. For a biography and more information, visit:


Martin Katz has been dubbed “the gold standard of collaborative pianists today,” and for four decades has performed in recital, master classes, and on recordings with celebrated vocal artists including Marilyn Horne, Samuel Ramey, David Daniels, José Carreras, Cecilia Bartoli, and Karita Mattila, among others.

The Los Angeles native resides in Michigan where he chairs the University of Michigan School of Music’s program in collaborative piano.  The university has recognized his work by naming him the first Artur Schnabel Professor of Music. He guest teaches and conducts regular master classes at Songfest, Santa Fe Opera, San Francisco Opera, San Francisco Conservatory, and Tokyo’s New National Theatre, and is the author of a comprehensive guide to accompanying, The Complete Collaborator (Oxford University Press), widely regarded as the standard textbook on the subject.



Matthias Goerne, baritone, Alexander Schmalcz, piano

April 20, 2016 at 7:30 pm


Citing Matthias Goerne’s performance in Winterreise, the stunning production featuring films by William Kentridge that concluded the 2014 White Light Festival, The New York Times said, “One of the most compelling and insightful performances…I have ever heard.”  The review continued, “Mr. Goerne is an ideal singer of lieder. His voice is strong, dark and rich. Though he can easily summon chesty power and chilling intensity, he can also bend a phrase with tenderness and focus his sound into streams of ethereal lyricism.”  Those qualities will certainly be on display next season for Goerne’s 2016 “Art of the Song” recital with pianist Alexander Schmalcz.


A consummate song recitalist, Matthias Goerne has also appeared on the world’s leading opera stages in roles ranging from Wolfram, Amfortas, Kurwenal, and Orest, to the title roles in Wozzeck, Bluebeard’s Castle, Hindemith’s Mathis de Maler, and Reimann’s Lear.  He has made numerous recordings and since 2008 for Harmonia Mundi has recorded and released, to great acclaim, 12 discs of Schubert lieder with several pianists, concluding in 2014 with Winterreise.


In the second half of the 2014?15 season, Goerne took part in the recent gala inaugural concert for Paris’ new concert hall, the Philharmonie de Paris, as soloist in the Fauré Requiem with the Orchestra de Paris, conducted by Paavo Järvi.  In February, the baritone will make orchestral appearances with the Chicago Symphony Orchestra singing orchestrated songs of Strauss and Schubert, before performances of Bluebeard’s Castle in concert version with the Israeli Philharmonic.  Other orchestral engagements later in the season include Ein Deutsches Requiem in Rome with the National Academy of St. Cecilia Orchestra and Chorus and at the Barbican in London with the London Symphony, Das Lied von der Erde with the Vienna Philharmonic, and return visits to Philharmonie de Paris for Dalbavie’s Concerto for voice and orchestra and Beethoven’s Symphony No. 2, both with Orchestre de Paris.  A busy recital schedule includes engagements in Florence, London, Vienna, Berlin, and Madrid.


Matthias Goerne made his “Art of the Song” recital debut in 1998 with pianist Andreas Haefliger and had return engagements in the 2002?03 and 2005?6 seasons with pianist Eric Schneider.  Next season will be the first time pianist Alexander Schmalcz, Goerne’s frequent collaborator over the past 10 years and partner for several of the 12-volume Schubert song recordings, appears at Lincoln Center.


Alexander Schmalcz studied at both the Dresden and Utrecht Conservatoire’s, before continuing studies with Iain Burnside and Graham Johnson at the Guildhall Scholl of Music and Drama in London. In 1995, with his piano trio, he won the Nederlands Impressariaat Competition.  He received the Gerald Moore Award in 1996.  The pianist performs regularly in the world’s leading concert halls and as an accompanist has collaborated with Peter Schreier, Grace Bumbry, Konrad Jarnot, Stephan Genz, and Christoph Genz, among others, in addition to Matthias Goerne. Schmalcz has taught at the Robert Schumann Conservatoire in Düsseldorf since 1999.




Eugene Drucker and Philip Setzer, violins; Lawrence Dutton, viola; Paul Watkins, cello


Thursday, April 7, 2016 at 7:30 

Haydn: String Quartet in G major, Op. 76, No. 1

Beethoven: String Quartet in D major, Op. 18, No. 3

Haydn: String Quartet in D minor, Op. 76, No. 2 (“Fifths”)

Beethoven: String Quartet in F major, Op. 18, No. 1


Sunday, April 17, 2016 at 5:00   

Haydn: String Quartet in C major, Op. 76, No. 3 (“Emperor”)

Beethoven: String Quartet in G major, Op. 18, No. 2

Haydn: String Quartet in B-flat major, Op. 76, No. 4 (“Sunrise”)

Beethoven: String Quartet in C minor, Op. 18, No. 4


Thursday, May 12, 2016 at 7:30

Haydn: String Quartet in D major, Op. 76, No. 5

Beethoven: String Quartet in A major, Op. 18, No. 5

Haydn: String Quartet in E-flat major, Op. 76, No. 6

Beethoven: String Quartet in B-flat major, Op. 18, No. 6


The Emerson String Quartet has an unparalleled list of achievements over three decades in live performance and recording that have placed the ensemble at the pinnacle of its profession.


A new era began in the 2013?14 season, when Welsh-born Paul Watkins became the Emerson cellist. Watkins, a distinguished soloist, award-winning conductor, and devoted chamber musician, has infused the quartet with a warm, rich tone and a palpable joy in the collaborative process.  The reconfigured group has been greeted with impressive accolades. 


“Let’s make one thing perfectly clear: The “old” Emerson String Quartet never phoned one in. But this new group…complemented their customary power, finesse and unanimity with a fresh, palpable vigor.” – The New York Times


Commenting on next season’s Great Performers engagement—the paring of the six Opus 76 quartets of Haydn with the six Opus 18 of Beethoven—Philip Setzer said, “We are focusing on Haydn's last major set of quartets and Beethoven's first.  All of the works were written between 1796 and 1800, in Vienna.  I don't remember ever seeing these two quartet sets interwoven in a series the way that we are presenting them.  It is a hugely important moment in music history, the baton being handed from the first great composer of string quartets to his successor.” 


Formed in 1976 and based in New York City, the Emerson String Quartet has had a long and special relationship with the Great Performers series spanning 25 years. The quartet made its series debut in 1989, and since then, has returned regularly with enticing, critically-acclaimed programs including a marathon performance of the complete Bartók quartets in 1996 and “Beethoven and the Twentieth Century,” a two season (launched 1996?97) eight-concert survey of the complete Beethoven Quartets paired with significant quartets by 20th-century composers. In 2000, the quartet performed the New York premiere of the Lincoln Center co-commission, The Noise of Time, a multi-media theater work in collaboration with director Simon McBurney and the theater company Complicite about Shostakovich that incorporated the composer’s last quartet. That same season, it also performed the complete Shostakovich string quartets at sold-out performances in Alice Tully Hall. In 2010, Emerson participated in the gala concert inaugurating the new Alice Tully Hall. In 2014, the quartet reprised the Shostakovich cycle, in its first Great Performers appearance with cellist Paul Watkins.


The quartet’s 2014?15 season features 80 performances on both coasts and throughout North America, interspersed with the members’ individual artistic commitments. Multiple tours of Europe in February and March take the quartet to Austria, Ireland, Switzerland, France, Germany, and the United Kingdom.  The Emerson continues its series at the Smithsonian Institution in Washington, DC for its 35th season, and, in May 2015, will be presented by colleagues David Finckel and Wu Han for the two final season concerts by the Chamber Music Society of Lincoln Center in Alice Tully Hall.  Guest artists Colin Carr and Paul Neubauer join the Emerson in a program that includes the New York premiere of Lowell Liebermann’s String Quartet No. 5. As an exclusive artist for SONY Classical, the Emerson recently released Journeys, its second CD on that label, and its final disc with cellist David Finckel, featuring Tchaikovsky's Souvenir de Florence and Schoenberg's Verklärte Nacht. Future recordings are planned with Paul Watkins. For more information on the quartet, visit:


The April 17 date includes a pre-concert lecture at 3:45 pm by Scott Burnham in the Stanley H. Kaplan Penthouse, Rose Building, 165 West 65th Street.





Sunday, October 25, 2015 at 11 am – Ray Chen, violin       

Bach: Partita No. 3 in E major, BWV 1006; Chaconne, from Partita No. 2 in D minor, BWV 1004

Ysaÿe: Sonata in A minor, Op. 27, No. 2 (“Obsession”); Milstein: Paganiniana

Sunday, November 22, 2015 at 11 am – Cuarteto Quiroga

Works by Haydn and Brahms


Sunday, December 6, 2015 at 11 am – Jakob Koranyi, cello


Sunday, January 10, 2016 at 11 am – Alexander Gavrylyuk, piano


Sunday, February 7, 2016 at 11 am – Jack Liebeck, violin; Katya Apekisheva, piano 


Sunday, April 3, 2016 at 11 am – Roman Rabinovich, piano         

Mozart: Sonata in A major, K.331

Michael Brown: Surfaces (World premiere)

Schumann: Faschingsschwank aus Wien, Op. 26


Great Performers established a Sunday morning recital series in 1994 shortly after the opening of the Walter Reade Theater, home of the Film Society of Lincoln Center. The series was immediately embraced by New York audiences and continues to draw sold-out houses as “Sunday Morning Coffee Concerts” at the Walter Reade Theater, offering an international roster of both rising young artists and more established musicians who perform infrequently in New York.  Each hour-long recital is followed by a reception and refreshments in the Theater’s Furman Gallery, where audience members can mingle with the artists.


“Sunday Morning” opens on October 25 with Queen Elisabeth and Yehudi Menuhin Competition First Prize-winning violinist Ray Chen.  Born in Taiwan and raised in Australia, Chen was accepted by the Curtis Institute of Music at age 15.  In 2012, the 22-year-old violinist became the youngest soloist ever to perform in the televised Nobel Prize Concert for the Nobel Laureates and the Swedish Royal Family. He has performed at Carnegie Hall as soloist with the Royal Stockholm Philharmonic and with the Gewandhaus Orchestra at the Musikverein. In the 2013–14 season, he made acclaimed debuts with Orchestre National de France and the London Philharmonic Orchestra.  Chen's debut album Virtuoso (Sony) won Germany’s coveted Echo Klassik prize. He has more than one million followers on SoundCloud, and is the first classical musician invited to write a regular blog by RCS Rizzoli, Italy’s largest publisher (Corriere della Sera, Gazzetta dello Sport). The Times (London) said, “Colors dance, moods swing, and Chen’s artistry blazes.” For his Lincoln Center program, Chen pairs works of Bach with Ysäye’s Sonata in A minor, Op. 27, No. 2 (“Obsession”), one of the set of six sonatas Ysaÿe composed between 1923–24, inspired by Bach. For more information about the artist, visit:


Spain’s Cuarteto Quiroga, coming to the series in November, has won prizes at a number of major international quartet competitions. The ensemble’s European engagements take it to Wigmore Hall, Philharmonie Berlin, and the Royal Concertgebouw, among others; it has also performed at the National Gallery in Washington, D.C. The New York Times called the group’s New York debut performance at the Frick Museum in 2012 “exquisite, precise, perfectly balanced, and interpretively fresh.” The quartet was awarded the prestigious Spanish National Radio Culture Prize (Premio Ojo Critico). It is quartet-in-residence at Madrid’s Fundación Museo Cerralbo and Valladolid’s Miguel Delibes Auditorium, and holds the String Quartet Chair at the Conservatorio Superior de Música de Aragón. The group premiered a commissioned work by Kurtág and performed Haydn’s complete Opus 20 quartets as part of a 2014 residency at the National Auditorium in Madrid. Reviewing one of residency concerts, Concertonet (France) wrote, “They approach Haydn through a modern prism, with a classicism which avoids sweetness but not elegance….This is rigorous technique and preparation, in the service of a musical discourse.” The group takes its name from the Galician violinist Manuel Quiroga, considered to be—with Pablo Casals and Pablo Sarasate—one of Spain’s greatest string players. Cuarteto Quiroga’s November 2015 program will feature works by Haydn and Brahms.  For more information, visit:


The Strad called Swedish cellist Jakob Koranyi “a force to be reckoned with.”  The winner of the Soloist Prize from the Royal Swedish Academy of Music will give a “Sunday Morning” recital in December 2015.  Koranyi is an alumnus of The Chamber Music Society of Lincoln Center’s CMS Two development program for young artists.  Hailed for his commanding virtuosity and passion for diverse and innovative programs, the cellist has toured extensively throughout Europe to leading concert halls and music festivals, including the Verbier and Juventus festivals.  He has performed chamber music concerts with world-renowned musical artists Yuri Bashmet, Kim Kashkashian, Leonidas Kavakos, Misha Maisky, Daniel Hope, and Lawrence Power, among others. Koranyi has also collaborated on a number of dance projects, notably Snow, a contemporary work for solo cello, percussionists, and dancers with music composed by Tan Dun, performed by Dance Forum of Taipei. He was second prize winner at the Rostropovich Competition in 2009.  For more information about the artist, visit:


Ukrainian-born Australian pianist Alexander Gavrylyuk gives a solo recital on January 10, 2016 following his January 6 “Symphonic Masters” debut as soloist in Tchaikovsky Piano Concerto No. 1 with the Cincinnati Symphony Orchestra and Louis Langrée. “Gavrylyuk demonstrated immense command, pianistic colour, dynamic range, dazzling technical assuredness, conviction, musical personality, and a deep understanding of the music,” said Bachtrack in a review.  In 1999, Gavrylyuk took first prize and the Gold Medal at the Horowitz International Piano Competition and a year later, first prize at the Hamamatsu International Piano Competition. In 2005, he was awarded both the Gold Medal and the award for Best Performance of a Classical Concerto at the Arthur Rubinstein International Piano Masters Competition. Since debuting with the Royal Concertgebouw Orchestra in 2010, Gavrylyuk is increasingly in demand as a concerto soloist and has collaborated with conductors such as Herbert Blomstedt, Vladimir Jurowski, and Osmo Vänskä. Highlights of his 2014–15 season include performances with the NHK Orchestra, the Rotterdam Philharmonic, Netherlands Radio Philharmonic, and the Russian State Svetlanov Orchestra. For more information on the artist, visit:


In February 2017 English violinist Jack Liebeck and Russian-born pianist Katya Apekisheva will perform a duo recital on the series. The Daily Telegraph (London) called the violinist a “musician who puts the composer first, using skill, flair, a wide palette of tone and intelligent thought processes.”  Pianist Katya Apekisheva was praised by The Times (London) for a performance displaying “astute colours and brilliant technique.” The two artists have collaborated on several critically-acclaimed recordings, the most recent in 2014 of Kreisler violin music—their first release on Hyperion. The Observer (London) found their performance to be “so refreshingly bright and zestful they feel like new pieces.”


Born in 1980, Jack Liebeck has appeared with all the major British orchestras as well as the Royal Stockholm and Oslo philharmonics, the Moscow State Symphony, and the Indianapolis Symphony Orchestra, among others, under the baton of conductors Paul Daniel, Sir Mark Elder, Sir Neville Marriner, Jukka-Pekka Saraste, and Leonard Slatkin.  He performs recitals throughout Europe and has toured to Asia and Australia.  Liebeck is a professor of violin at the Royal Academy of Music London and artistic director of the Oxford May Music Festival. In 2013, he became violinist of the Paris-based piano trio, Trio Dali. For more information about the artist, visit:


Gramophone described Katya Apekisheva as “a profoundly gifted artist who has already achieved artistic greatness.” The winner of the Leeds and Scottish Piano competitions was born in Moscow into a family of musicians and began her music studies at the famed Gnessin Music School. She appears in concert performances with the world’s leading orchestras and on important recital stages in Europe and abroad. Equally at home as a chamber musician, the pianist counts Janine Jansen, Natalie Clein, and Maxim Rysanov among her frequent collaborating partners. Her first solo CD of works by Musorgsky and Shostakovich (Onyx) was released in 2012. Katya Apekisheva is a professor of piano at The Guildhall School of Music and Drama in London. For more information about the artist, visit:

Concluding the 2015–16 “Sunday Morning Coffee Concerts” series in April 2016 is young Israeli pianist Roman RabinovichSeen and Heard International said about his Wigmore Hall debut, “The whole concert was played in an exceptionally cultivated way and with a high degree of technical finish…an evening of exceptional music making.” For his Lincoln Center recital, Rabinovich will perform a world premiere by American composer-pianist Michael Brown, along with works by Mozart and Schumann. Rabinovich was the First Prize winner of the 2008 Arthur Rubinstein International Piano Master Competition. Born in Tashkent, Uzbekistan in 1985, he emigrated to Israel with his family in 1994 where he studied at the Rubin Academy of Music in Tel Aviv.  He graduated from The Curtis Institute and has a Master’s Degree from The Juilliard School. He has had concerto engagements with most of Israel’s major orchestras and has appeared with the Prague Symphony, and the Buffalo Philharmonic Orchestra.  An avid chamber musician, he has collaborated with Daniel Hope, Miriam Fried, and Ralph Kirshbaum, among other artists.  In addition to the world premiere by fellow Juilliard School graduate Michael Brown, Rabinovich’s program includes a Schumann work that Clara Schumann requested from her husband for a performance in Paris. In a letter to him, she pleaded, “Won’t you for once compose something brilliant and easy to understand, something that is a complete and coherent piece without special titles, not too long and not too short.” Schumann’s “response” was the five-movement Faschingsschwank aus Wien, Op. 26 (Carnival in Vienna), filled with musical pranks and the composer’s full arsenal of stylistic features. For more information about the artist, visit:


Coffee and refreshments for “Sunday Morning Coffee Concerts” provided by Zabar’s and




Great Violinists of the 20th Century


Three programs at the Walter Reade Theater


Next season’s “Music on Film” series, co-presented with the Film Society of Lincoln Center and Classifilms, focuses on three giants of the violin—Jascha Heifetz, Yehudi Menuhin and Nathan Milstein—with “Great Violinists of the 20th Century” screening rare performance footage, and definitive film biographies of these legendary masters.


Program 1

Wednesday, February 3, 2016 at 6:30 pm — Jascha Heifetz: God’s Fiddler

“The violinist whose name for more than half a century was synonymous with perfection of technique and musicianship” (The New York Times) is the subject of Peter Rosen’s compelling biography God’s FiddlerGod’s Fiddler contains rare performance clips, home movies, and personal family photos. Filmed in Vilna, Lithuania, St. Petersburg, Russia, and in the Heifetz Studio in Los Angeles, the film sheds light on the enigmatic virtuoso, who remained aloof and mysterious even to his most devoted students, despite decades spent in the international spotlight. God’s Fiddler. Peter Rosen, director. 2011, 87 minutes.


Saturday, February 6, 2016 at 1 pm — Yehudi Menuhin Returns to the USSR, Part 1

French filmmaker Bruno Monsaingeon’s life-long fascination with violinist Yehudi Menuhin began at age 13 when he first heard Menuhin perform. His discovery of unknown Menuhin performance footage from the 1940s spurred Monsaingeon on a decades-long project filming the great New York-born violinist. The result is 13 films, including a 3-part series on the violinist’s return to his parents’ homeland. Yehudi Menuhin Returns to the USSR, Part 1 (Bruno Monsaingeon, director. 1988. 52 minutes) captures intimate conversations, rehearsals, and behind-the-scenes moments. Paired with the film is footage of a Leningrad recital from that trip of Menuhin and pianist Viktoria Postnikova playing Bartók’s Violin Sonata No. 1 and Kreisler’s Liebesleid (1987).


Saturday, February 6, 2016 at 3 pm — Nathan Milstein: Master of Invention

Over the course of a 73-year career, Nathan Milstein invented myriad new ways to coax miraculous sound from his violin—even for his last public concert at age 82, which acts as a focal point of pioneering documentarian Christopher Nupen’s two-part film.  Despite having to modify his fingering because of an ailing first finger on his left hand, Milstein delivers a superb performance, impressive in its freshness. In the film, Milstein talks about his life and career, his music and his friends, including his relationships with Rachmaninoff, Horowitz, and Piatigorsky.

Nathan Milstein: Master of Invention. Christopher Nupen, director. 1992. 115 minutes.


“Great Violinists of the 20th Century” is presented in association with the Film Society of Lincoln Center and Classifilms.




Dover Quartet

February 11, 2016 at 7:30 pm


Parker Quartet

February 25, 2016 at 7:30 pm


Minetti Quartett

March 31, 2016 at 7:30 pm


Enso String Quartet

May 5, 2016 at 7:30 pm


Launched in the 2014–2015 season, “Complimentary Classical” brings a new roster of young quartets to the David Rubenstein Atrium to explore this intimate genre. The quartets—three hailing from the U.S., and one from Austria—will play repertory favorites and introduce new work in free, hour-long concerts in February and March 2016.  Audiences enjoy a casual setting where they can purchase drinks and refreshments from ‘wichcraft café. One of the quartets, the Dover, has performed in pre-concert recitals as part of Lincoln Center’s Mostly Mozart Festival. The Enso String Quartet and Parker Quartet have made appearances on Great Performers “Sunday Morning Coffee Concerts.”


The Dover Quartet was formed in 2008 at the Curtis Institute when its members were just 19 years old. Since giving its first public performance in 2009, the quartet has been on a fast rise. The Dover swept the 2013 Banff International String Quartet Competition, winning the Grand Prize as well as all three special prizes.  The Strad recently praised the quartet’s “exceptional interpretative maturity, tonal refinement and taut ensemble.”  Members—violinists Joel Link and Bryan Lee, violist Milena Pajaro-van de Stadt, and cellist Camden Shaw—cite the Vermeer and Guarneri Quartets as touchstones of their style and approach. The ensemble took the grand prize in the 2010 Fischoff Chamber Music Competition and won prizes at the Wigmore Hall International String Competition. A 2013 European tour included performances throughout Germany, as well as Austria, Spain, and the U.K.  Members of the Dover have performed with the world-renowned Philadelphia Orchestra and Tokyo Philharmonic. The Dover Quartet was named the first Quartet-in-Residence at the Curtis Institute and was the Ernst Stiefel String Quartet-in-Residence at the Caramoor Festival for the 2013-14 season. For more information, visit:


Austria’s Minetti Quartett was formed in 2003 and named an ECHO “Rising Star” by the European Concert Hall Organization in 2009. It has garnered a number of first prizes at prestigious European competitions, along with acclaim for its performances at Europe’s leading concert venues, including Wigmore Hall, the Royal Concertgebouw, Palau de la Música, the Salzburg Mozarteum, and Vienna’s Konzerthaus and Musikverein.  Berlin’s Der Tagesspiegel declared the quartet “a musical sensation” when it debuted at the Berlin Philharmonie. Frankfurter Allgemeine described a performance of “captivating transparency, drama, accuracy, and with lightness and depth.”  The Minetti, whose members are Maria Ehmer and Anna Knopp, violin; Milan Milojicic, viola; and Leonard Roczek, cello, has collaborated with Till Fellner, Martin Fröst, Paul Meyer and Fazil Say, among other notable musicians. The quartet has performed in North, Central, and South America, as well as Australia, Japan, and China, and in New York at Trinity Church Wall Street’s concert series. The Minetti has released several acclaimed recordings, including a debut CD of works by Haydn in 2009.  Its newest CD—Beethoven string quartets—was released in 2014. For more information, visit:


Formed at Yale University in 1999 and based in New York since 2007, the Enso String Quartet is a top prize winner of the Concert Artists Guild and Banff International String Quartet competitions.  The Washington Post recently praised the ensemble—Maureen Nelson and Ken Hamao, violin; Melissa Reardon, viola, and Richard Belcher, cello—for its “glorious sonorities.” The Enso has been hailed for championing lesser-known works of the quartet repertoire and also performs its own transcriptions, primarily of Renaissance works. The Enso has also premiered new works by New Zealand composer Dame Gillian Whitehead and Joan Tower’s Piano Quintet. The quartet has made a number of acclaimed recordings on the Naxos label, including a Grammy-nominated album of works by Ginastera.  A fifth album, released in fall 2014, features quartets of Puccini, Verdi, and Strauss. The Enso’s extensive U.S. tours have included engagements at the Philadelphia Chamber Music Society and the Kennedy Center, and in 2013 it performed in Brazil and Mexico. The ensemble’s name is derived from the Japanese Zen painting of the circle, which carries a range of meanings including, but not limited to, perfection and imperfection, the moment of chaos that is creation, and the fullness of the spirit. The Enso String Quartet’s program next season for “Complimentary Classical” will include works by Beethoven and Sibelius. For more information about the quartet, visit:


The Grammy-award winning Parker Quartet was formed in 2002 in Boston by members Daniel Chong and Ying Xue, violin; Jessica Bodner, viola; and Kee-Hyun, cello. The New York Times recently said the Parker’s performance “set the group apart as something extraordinary.” The quartet is the recipient of a number of prestigious awards including top prize from the Concert Artists Guild Competition and Chamber Music America’s biennial Cleveland Quartet Award.  Highlights of the ensembles extensive 2014–15 North American and European schedule include engagements at Carnegie Hall, the 92nd Street Y, Music Toronto, the Royal Concertgebouw, Wigmore Hall, and Vienna’s Musikverein. The quartet has enjoyed fruitful collaborations with a variety of artists including Kim Kashkashian, Nadja Salerno-Sonnenberg, Anne-Marie McDermott, Shai Wosner, and Kikuei Ikeda of the Tokyo String Quartet. The Parker Quartet’s second recording (Naxos), the complete string quartets of György Ligeti, won the 2011 Grammy Award for Best Chamber Music Performance. Recently appointment to the faculty of Harvard University’s Department of Music as Blodgett Artists-in-Residence, the quartet also has a visiting residency at the University of South Carolina. It was the first ever quartet named Artists-in-Residence with Minnesota Public Radio, serving in that role in the 2009–10 season.  For more information visit:





An opera in three acts, based on Oscar Wilde’s original text

Music and libretto by Gerald Barry

U.S. stage premiere 


June 2 and June 4, 2016


New York Philharmonic, Ilan Volkov, conductor


Lincoln Center’s 50th Great Performers season concludes with The Importance of Being Earnest, Irish composer Gerald Barry’s comic opera inspired by Oscar Wilde’s classic play. The June 2016 performances will be the first staged production of the opera in the United States.  The Importance of Being Earnest is presented jointly by Great Performers and the New York Philharmonic as part of its 2016 NY PHIL BIENNIAL, and is part of a new artistic collaboration recently announced to present staged productions of contemporary opera in New York.


The Importance of Being Earnest was lauded by critics when it was performed for the first time in a concert staging in 2011 by the Los Angeles Philharmonic, co-commissioner of the opera with London‘s Barbican Centre.  The comic opera masterpiece continued to gather accolades with susequent performances in Europe, including a 2013 staged production at the Royal Opera House in London.


Capitalizing on what he deems the “ruthless ecstasy” in Oscar Wilde’s play, Barry’s take on The Importance of Being Earnest is characterized by an intensity that heightens both the comedy and the seriousness of the source material. By juxtaposing the extreme isolation of each of the characters with absurdist twists, such as casting Lady Bracknell as a bass (Alan Ewing), Barry highlights the frenetic strength of Wilde’s story even as he strips the play of two-thirds of its text for the opera’s libretto. Barry gleans inspriation from exisitng textural sources for some of his music, including an opening that features an atonal version of “Auld Lang Syne” and Lady Bracknell’s rendition of “Ode to Joy.”  The Guardian (London) deemed the three-act, 90-minute work “that rarest of things in contemporary music, a genuinely comic opera.”  The production is directed by Ramin Gray. Ilan Volkov leads the chamber orchestra of musicians from the New York Philharmonic. Reuniting for the U.S. premiere at Lincoln Center will be most of the original cast from the Royal Opera House production.


Gerald Barry was born in Ireland in 1952. His time in Germany with Karlheinz Stockhausen and Mauricio Kagel proved to be a liberating experience and he came to public attention in 1979 with two radical works   "_____" and "ø". Barry’s surreal, virtuosic music is unmistakable in his five operas and wide body of work for ensemble, orchestra, and choir. Recent works include Feldman’s Six-Penny Editions written for the London Sinfonietta and Saint Paul Chamber Orchestra, and a Piano Concerto for Nicolas Hodges jointly commissioned by the Symphonieorchester des Bayerischen Rundfunks and the City of Birmingham Symphony Orchestra. His most recent opera, The Importance of Being Earnest, was commissioned by the Los Angeles Philharmonic and the Barbican, and presented in concert versions by both. A recording from the London performance, with the Birmingham Contemporary Music Group conducted by Thomas Adès, was released on NMC in 2014. Barry’s upcoming projects include an evening-length opera, Alice's Adventures Under Ground.


Ramin Gray is the Artistic Director of the Actors Touring Company, based in the U.K.  Born in London, Gray has worked on productions at the Royal Shakespeare Company, the Theatre Downstairs, and the Royal Court, where he served as International Associate, and later as Associate Director. He has also worked on projects with the Salzburg Festival, the Volkstheater Wien, and Moscow’s Pratika Theatre. Gray directed Benjamin Britten’s Death in Venice at the Hamburg State Opera in 2009, and a later staging at Theater an der Wien. He also directed the European premiere of Brett Dean’s Bliss at the Hamburg State Opera. Gray directed the staged production of Barry’s The Importance of Being Earnest at the Royal Opera House.


A frequent guest with leading orchestras worldwide, conductor Ilan Volkov works regularly with the BBC Symphony Orchestra, Stuttgart Opera, City of Birmingham Symphony Orchestra, SWR Sinfonieorchester Freiburg, Utah Symphony, Salzburg Festival, BBC Proms, and the Lucerne Festival. Since the 2011–12 season, Volkov has been Music Director and Principal Conductor of the Iceland Symphony Orchestra, where he helped open Harpa, Reykjavik’s visually striking new concert hall. In March 2012, he curated and directed a three-day festival of contemporary music, “Tectonics,” exploring works by Icelandic composers. Equally active in the opera house, Volkov has conducted Tchaikovsky’s Eugene Onegin for San Francisco Opera, Britten’s A Midsummer Night’s Dream at the Glyndebourne Festival, Britten’s Peter Grimes for Washington National Opera, and, most recently, Kurt Weill’s Rise and Fall of the City of Mahagonny for Toulouse Opera and Bartók’s Duke Bluebeard’s Castle with the Israeli Opera.


Tuesday, June 2, 2016, one performance*

Wednesday, June 4, 2016, two performances*

Rose Theater, Frederick P. Rose Hall, Jazz at Lincoln Center

The Importance of Being Earnest

U.S. stage premiere

An opera in three acts, based on Oscar Wilde’s original text


New York Philharmonic

Ilan Volkov, conductor


Composer: Gerald Barry

Libretto: Prepared by Gerald Barry

Director: Ramin Gray



Simon Wilding (Lane/Merriman)

Benedict Nelson (Algernon Moncrieff)

Paul Curievici (John Worthing)

Stephanie Marshall (Gwendolen Fairfax)

Alan Ewing (Lady Bracknell)

Hilary Summers (Miss Prism)

To be announced** (Cecily Cardew)

To be announced (The Rev. Canon Chasuble, D.D.)


*Performance times to be announced at a later date.

**Ida Falk Winland, previously announced in the role of Cecily Cardew, will not be in the production. The role of Cecily will be announced at a later date.


The Importance of Being Earnest at Lincoln Center is co-presented by Great Performers and the New York Philharmonic as part of the NY PHIL BIENNIAL.


The Importance of Being Earnest is a production of the Royal Opera House, London. The opera was commissioned by the Los Angeles Philharmonic and the Barbican Centre, London.


Programs and artists subject to change.


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