40th Mostly Mozart Festival at
New York's Lincoln Center
NEW YORK, New York, January 4, 2006—The 40th anniversary of Lincoln Center’s Mostly Mozart Festival was announced today by Artistic Director Jane S. Moss and Music Director Louis Langrée. Running from July 28 to August 26, 2006, the season features more than 35 events, including opera, dance, concerts, and films, with music ranging from Baroque and Classical to contemporary and world music. Now entering his fourth season as Music Director, Maestro Langrée extends his conducting role, leading opera and dance premieres, in addition to concerts by the Mostly Mozart Festival Orchestra in Avery Fisher Hall, which for the second year features an innovative stage installation with seating that surrounds the musicians.
Mostly Mozart’s 40th year falls during the 250th anniversary of Mozart’s birth, and for the occasion Lincoln Center has commissioned four new works by major artists inspired by the Festival’s namesake composer. These works—dance by choreographer Mark Morris, opera from director Peter Sellars, music by composer Magnus Lindberg, and a digital art installation from Marc Downie, Shelley Eshkar, and Paul Kaiser—form the centerpiece and overall concept of the anniversary Festival, which has been designed to offer an understanding of Mozart’s music within the cultural framework of today’s world.
“Our inspiration for this summer’s Festival is to pay tribute to the extraordinary and undiminished impact that Mozart has had on our lives,” said Artistic Director Jane S. Moss, Vice President of Programming at Lincoln Center. “Two-hundred and fifty years after the occasion of his birth, we wish to reveal that the meaning, resonance, and transcendence of his musical creations are truly timeless and as inspiring to the artists and audiences of today as when they were first created. With our commissions and Festival concerts, we wish to offer encounters with Mozart that embrace and celebrate his unique presence, vision, and relevance in the transformed world of the 21st century.”
Mostly Mozart Music Director Louis Langrée, who leads the performances of each commission, said “For much of my musical life, I have felt the inspiration of Mozart quite deeply. And even 250 years after his birth, he remains a strong and very alive musical presence for me. I greatly look forward to this summer’s Festival concerts and commissions, and I am certain they will illuminate the power of Mozart’s voice in our own time. Working closely with the Mostly Mozart Festival Orchestra, Peter Sellars, Mark Morris, Magnus Lindberg, and the other artists this summer, we hope to offer an inspiring portrait of the genius of Mozart, who continues to transform our spirit and touch our lives.”
The opera commission from director Peter Sellars is a new staging of Mozart’s unfinished Zaide, with music performed by the period-instrument ensemble Concerto Köln; it receives its U.S. premiere with three performances in the Rose Theater at Frederick P. Rose Hall. In addition, the Mark Morris Dance Group gives the world premiere of Mark Morris’s Mozart Dances, set to piano works of Mozart performed by Emanuel Ax, Yoko Nozaki, and the Mostly Mozart Festival Orchestra in three shows at the New York State Theater. And Finnish composer Magnus Lindberg’s Violin Concerto is given its world premiere by rising-star violinist Lisa Batiashvili and the Mostly Mozart Festival Orchestra in Avery Fisher Hall. Mostly Mozart Music Director Louis Langrée conducts each of these performances.
Mostly Mozart also unveils a cutting-edge digital art installation—Enlightenment—commissioned by Lincoln Center, which is displayed on the façade of Avery Fisher Hall 24 hours a day throughout the Festival. Created by digital artists Marc Downie, Paul Kaiser, and Shelley Eshkar (the OpenEnded Group), the artwork employs artificial intelligence and real-time graphics to analyze and perform the climactic coda section of Mozart’s “Jupiter” Symphony. In its attempt to understand the genius of Mozart, Enlightenment—the highest resolution digital artwork ever created—transports Mozart’s music from the Age of Enlightenment to the Information Age, connecting the 18th-century score with 21st-century code.
In addition to the commissions, Mostly Mozart 2006 features a number of 20th-century compositions written in homage to Mozart—Alexander Raskatov’s Five Minutes in the Life of W.A.M., Frank Martin’s Overture in Homage to Mozart, and Dieter Schnebel’s Mozart-Moment—that underscore the composer’s continuing influence. Mozart’s musical influences during his era are also explored in two late-night concerts of world music related to the Festival’s production of Zaide and performed by Concerto Köln and Sarband. These programs feature Turkish-influenced works of Mozart and his contemporaries paired with traditional music from the Ottoman Empire.
The 40th anniversary Mostly Mozart Festival previews on July 28, 2006, with a free birthday concert in Avery Fisher Hall by the Mostly Mozart Festival Orchestra and Maestro Langrée performing Mozart’s first and last symphonies, as well as his father Leopold’s Kinder-sinfonie. The Festival’s official opening program, August 1 and 2, features Mozart’s celebratory “Coronation” Piano Concerto No. 26 with Garrick Ohlsson and “Coronation” Mass in C major with soprano Hei-Kyung Hong, mezzo-soprano Sarah Connolly, tenor Matthew Polenzani, and bass John Relyea. The August 2 performance will be broadcast nationwide on PBS stations by the Emmy Award-winning Live From Lincoln Center, now in its 30th year. The Festival concludes on August 25 and 26 with Mozart’s last three symphonies (Nos. 39, 40, and 41) performed by the Orchestra and Maestro Langrée in Avery Fisher Hall.
For the second year, all Mostly Mozart concerts in Avery Fisher Hall take place on a special stage designed to create a more intimate concert environment for artists and audiences. This innovative installation, created especially for the Mostly Mozart Festival, extends the stage 30 feet into the hall and includes “courtside” seating sections that surround the orchestra.
Additional highlights of the 40th-anniversary season of the Mostly Mozart Festival include two semi-staged performances of Mozart’s opera Idomeneo by conductor William Christie and Les Arts Florissants, marking the first time Mr. Christie has conducted Mozart in the U.S.; violinist Gidon Kremer and Kremerata Baltica performing Mozart’s complete Violin Concertos, among other works; the U.S. debut of mezzo-soprano Elīna Garanča and New York debuts of violinist Sergey Khachatryan and conductor Edward Gardner; the return of conductors Osmo Vänskä and Christian Zacharias leading the Festival Orchestra; chamber music performed by violinist Joshua Bell, (inset photo by Chris Lee) as well as the Emerson String Quartet with pianist Leon Fleisher; concerts by period-instrument ensembles Concerto Köln and Zefiro (in its U.S. debut); and the third year of the popular late-night concert series “A Little Night Music,” featuring performances of Baroque, Classical, and world music.
U.S. Premiere: Peter Sellars Directs Mozart’s Zaide (August 9, 11, 12)
Mozart’s unfinished opera Zaide—a tragic romance set amidst the clash of cultures between European slaves and the Turkish sultans of the Ottoman Empire—comes to the 2006 Mostly Mozart Festival in the U.S. premiere of a new staging by renowned director Peter Sellars. Co-commissioned by Lincoln Center, Wiener Festwochen, and the Barbican Centre, Zaide is presented in three performances in the Rose Theater at Frederick P. Rose Hall performed by period-instrument ensemble Concerto Köln under Mostly Mozart Music Director Louis Langrée. Soloists include soprano Hyunah Yu (Zaide), tenors Norman Shankle (Gomatz) and Russell Thomas (Soliman), and basses Terry Cook (Osmin) and Alfred Walker (Allazim). For this production, Mr. Sellars works with Mozart’s unfinished material, rather than using one of a number of completions produced since the 19th century. (The production receives its world premiere in Vienna on May 21 with Maestro Langrée conducting the Camerata Salzburg.)
Mozart began Zaide in 1779 at the age of 23, but its completion was delayed due to the commission for Idomeneo—his first operatic triumph. He eventually abandoned work on Zaide, deeming it too serious for Viennese audience’s tastes, which tended to favor comic opera. Much of Zaide’s Orient-Occident subject matter then appeared in Mozart’s next commissioned opera, The Abduction from the Seraglio, although in a comic style. The music of Zaide, which is missing an overture and short final act—in addition to all of its spoken text—contains beautiful glimpses of the signature style of Mozart’s later mature operas. The libretto by Johann Andreas Schachtner was based on a 1778 singspiel entitled “The Seraglio, or The Unexpected Reunion of Father, Daughter and Son in Slavery.” Both texts may have been partly based on Voltaire’s Zaïre, although plots involving Europeans enslaved by Turks were very popular in the 18th century due to the exotic locale and subtle social criticism of rulers and their subjects.
Peter Sellars is one of the leading theater, opera, and festival directors in the world today. Known for re-envisioning classic works to engage contemporary social and political issues, Mr. Sellars is also a director of new works, including John Adams’s operas Doctor Atomic, Nixon in China, and The Death of Klinghoffer; Kaija Saariaho’s L'amour de loin; and Osvaldo Golijov’s Ainadamar (“Fountain of Tears”). Mr. Sellars’s New Crowned Hope festival takes place in Vienna in November and December 2006 as part of the Vienna Mozart year.
Zaide and World Music (August 11, 12)
As a special musical supplement that underscores Zaide’s East/West theme, Mostly Mozart presents two programs by Concerto Köln and world music ensemble Sarband in The Allen Room at Frederick P. Rose Hall as part of the Festival’s “A Little Night Music” late-night concert series (August 11 and 12). The programs, which immediately follow the final two performances of Zaide in the Rose Theater, feature excerpts from the two groups’ acclaimed recordings, Dream of the Orient and The Waltz: Ecstasy and Mysticism, which pair Turkish-influenced music of 18th- century Europe with traditional music from the seraglio of the Ottoman sultans. Founded in 1986, Sarband is devoted to showing all possible connections between European music and Islamic and Jewish culture, celebrating the symbiotic relationship between the Orient and the Occident.
World Premiere of Mark Morris’s Mozart Dances (August 17, 18, 19)
Lincoln Center has commissioned a new evening-length dance from acclaimed choreographer Mark Morris. Set to piano works of Mozart, Mozart Dances receives its world premiere in three performances in the New York State Theater and features the artistic collaboration of two regular visitors to the Mostly Mozart Festival: the Mark Morris Dance Group and pianist Emanuel Ax, together with pianist Yoko Nozaki and the Mostly Mozart Festival Orchestra led by Music Director Louis Langrée. The Mark Morris Dance Group, now in its 25th-anniversary season, makes its fifth annual appearance since its Mostly Mozart debut in 2002, and Mr. Ax has made 19 Festival appearances since his 1977 debut. These performances also mark the first time that the Festival Orchestra has performed outside a concert setting. Mozart Dances features sets by Howard Hodgkin, costumes by Martin Pakledinaz, and lighting by James F. Ingalls. The photo above of Louis Langrée, Emanuel Ax, and Mark Morris is by photographer, Susan Johann.
For Mozart Dances, Mr. Morris works with Mozart’s Piano Concerto Nos. 11 and 27, as well as the Sonata in D for two pianos. Over the course of his career, Mr. Morris, a great champion of classical repertoire, has choreographed dance set to works by a wide variety of composers from Schubert to Lou Harrison. His company is the only modern dance ensemble in the U.S. to feature live music at every performance. In recent Mostly Mozart festivals, the Mark Morris Dance Group has performed to music of Handel (L’Allegro, il Penseroso ed Il Moderato); Monteverdi (I Don’t Want to Love); and Schumann (V), among others.
World Premiere of Magnus Lindberg’s Violin Concerto (August 22-23)
In addition to the staged works by Peter Sellars and Mark Morris, Lincoln Center has commissioned new music from one of today’s leading composers, Magnus Lindberg. His work is given its world premiere in two performances by violinist Lisa Batiashvili and the Mostly Mozart Festival Orchestra led by Louis Langrée in Avery Fisher Hall. Mr. Lindberg, a contemporary master of orchestral composition who has already written concertos for piano, clarinet, and cello, is writing this work—his first violin concerto—specifically for Ms. Batiashvili, the dynamic young soloist who last season made debuts with the London Symphony, Berlin Philharmonic, and New York Philharmonic. These performances mark Ms. Batiashvili’s Mostly Mozart Festival debut.
A former student of the Sibelius Academy in Finland, where he collaborated with Kaija Saariaho and Esa-Pekka Salonen, Mr. Lindberg is known for scores that use the entire orchestra as one unified instrument. He has said: “The orchestra is my instrument. With it I can express my musical ideas.” These ideas are informed by a wide array of influences, from serialist and spectral composers to punk rock and world music. Though his recent works have begun to display a keen sense of melodic detail, Mr. Lindberg’s music is characterized by overarching harmony, tonal color, and intense rhythmic virtuosity.
Enlightenment: A Digital Art Installation on the Lincoln Center Plaza
During the opening week of the 2006 Mostly Mozart Festival, Lincoln Center unveils a commissioned art installation on the Lincoln Center Plaza by digital artists Marc Downie, Paul Kaiser, and Shelley Eshkar (the OpenEnded Group). This groundbreaking multimedia artwork—Enlightenment—uses machine intelligence distributed across a computer network to work out the genius of Mozart’s composition as manifested in the climactic section of his “Jupiter” symphony. Running 24 hours a day for the duration of the Festival, the artwork searches through and analyzes the “Jupiter” score in order to reconstruct the coda section perfectly. It does so through a series of increasingly accurate virtual approximations and displays its results—both audibly and visibly—on a series of speakers and ultra-high-definition monitors. Each speaker/monitor set represents a different section of the orchestra and faces out onto the Josie Robertson Plaza from the windows of Avery Fisher Hall.
Enlightenment’s search for meaning is itself the work of art, and it will continue its attempts to reconstruct Mozart’s music—beginning anew each time it makes a mistake—until the computers have reconnected and recombined its elements into a complete performance. Once finished, the artwork restarts the entire process, with each performance never the same. By the time it is taken down, Enlightenment will be the highest resolution digital artwork ever created, animating 41 million pixels in real time and, over the course of its five-week installation, generating 125 million frames of animation. The artists of the OpenEnded Group—Marc Downie, Shelley Eshkar, and Paul Kaiser—create digital artworks for stage, screen, gallery, and museum, with a recent focus on art for public spaces. They have collaborated with choreographers Merce Cunningham and Trisha Brown on previous Lincoln Center projects. (For additional information on Enlightenment, please see separate press release.)
Idomeneo Performed by William Christie and Les Arts Florissants (August 23, 25)
Mostly Mozart presents noted Baroque music conductor William Christie leading his period-instrument ensemble Les Arts Florissants and vocalists in two semi-staged performances of Mozart’s first operatic triumph, Idomeneo, marking the first time Mr. Christie has conducted Mozart in the U.S. (August 23 and 25). The performances take place in the Rose Theater at Frederick P. Rose Hall, located at Broadway and 60th Street. Mr. Christie and Les Arts Florissants’s recent acclaimed Lincoln Center performances have included performances of Charpentier and Purcell chamber operas.
Mostly Mozart Festival Orchestra Concerts in Avery Fisher Hall
Programs led by Music Director Louis Langrée:
Louis Langrée conducts the Mostly Mozart Festival Orchestra in seven Avery Fisher Hall concerts in addition to the three performances of Mark Morris’s Mozart Dances in the New York State Theater. These are:
• July 28 – Music Director Louis Langrée leads the Orchestra in a free preview concert for the public. The program includes Mozart’s first symphony and last (“Jupiter”), as well as his father Leopold’s Kinder-sinfonie (Toy Symphony) featuring special guest soloists to be announced.
• August 1-2 – The official opening program of the season features Mozart’s celebratory “Coronation” mass and concerto (Mass in C and Piano Concerto No. 26). Maestro Langrée is joined for the occasion by pianist Garrick Ohlsson, soprano Hei-Kyung Hong, mezzo-soprano Sarah Connolly, tenor Matthew Polenzani, and bass John Relyea. The August 2 performance will be broadcast during Live From Lincoln Center’s 30th anniversary year on PBS stations nationwide.
• August 22-23 – Maestro Langrée leads violinist Lisa Batiashvili in the world premiere of Magnus Lindberg’s Violin Concerto, commissioned by Lincoln Center, on a program that also includes Mozart’s overtures to Le nozze di Figaro and Don Giovanni, and Piano Concerto No. 23, K.488, with soloist Lars Vogt.
• August 25-26 – The 40th anniversary Mostly Mozart Festival closes with two performances by Maestro Langrée and the Festival Orchestra of Mozart’s last three symphonies, Nos. 39, 40, and 41 (“Jupiter”), perhaps Mozart’s most personal compositions and touchstone symphonic repertoire of the Classical era.
Programs Led by Guest Conductors:
• August 4-5 – Conductor Osmo Vänskä returns following his successful Mostly Mozart debut in 2005, leading the Mostly Mozart Festival Orchestra in a program of Beethoven’s Violin Concerto with soloist Sergey Khachatryan (winner of the 2005 Queen Elizabeth Competition in his New York debut), Mozart’s “Haffner” Symphony; and Frank Martin’s Overture in Homage to Mozart.
• August 8-9 – Edward Gardner, Music Director of the Glyndebourne Touring Opera, makes his New York debut, leading the Orchestra in Mozart’s Symphony No. 38 (“Prague”) and Piano Concerto No. 21 in C major, K.467, featuring guest soloist Alexei Lubimov.
• August 11-12 – Conductor and pianist Christian Zacharias conducts a program that includes Mozart arias with mezzo-soprano Elīna Garanča in her U.S. debut; Dieter Schnebel’s 1989 work, Mozart-Moment; as well as Mozart’s “Posthorn” Serenade and Piano Concerto No. 20 in D minor, K.466, with Mr. Zacharias conducting from the keyboard.
The Tallis Scholars in the Rose Theater (August 16)
In addition to the Rose Theater performances of Idomeneo and Zaide, the Festival presents the Tallis Scholars—one of the leading exponents of Renaissance sacred vocal music—in a Mostly Mozart appearance at that venue (August 16). The group performs a special program entitled From Dresden to Innsbruck (and Back), programmed in a similar spirit to last season’s Mostly Mozart exploration of Mozart’s travels and featuring music that Mozart heard and assimilated while on the road in 18th-century Europe, from Allegri’s Miserere to works by Isaac, Hassler, and Schütz.
Gidon Kremer, Joshua Bell, and the Emerson String Quartet in Avery Fisher Hall
In addition to orchestral concerts by the Mostly Mozart Festival Orchestra, Mostly Mozart 2006 features chamber music by world renowned artists in Avery Fisher Hall. Violinist Gidon Kremer and his ensemble Kremerata Baltica—whose 2001 Grammy Award-winning recording After Mozart put a contemporary spin on Mozart’s music—perform the composer’s five violin concertos over two concerts, in addition to other works including Alexander Raskatov’s Five Minutes in the Life of W.A.M. (August 6 and 7). Violinist Joshua Bell, who performed Tchaikovsky’s concerto at last year’s Festival, returns with a concert of recital and chamber repertoire with special guests to be announced (August 20). And the Emerson String Quartet performs Mozart’s Piano Concerto No. 12, K.414 (arranged for piano and string quartet), with guest soloist Leon Fleisher, in addition to Mozart’s “Hunt” Quartet (K.458) and Beethoven’s “Serioso” Quartet (Op. 95) (August 24).
“A Little Night Music” Late-Night Concert Series and Sunday Midday Concert
The Mostly Mozart Festival’s late-night concert series, “A Little Night Music,” returns for a third year with nine performances in 2006. These programs of recital and chamber repertoire performed by great artists begin at 10:30 p.m. and this year expand to The Allen Room, overlooking Central Park at Frederick P. Rose Hall, for two concerts, in addition to the primary setting of the intimate Stanley H. Kaplan Penthouse with its panoramic views of the Manhattan skyline.
The 2006 “A Little Night Music” concerts are to include:
• Pianist Garrick Ohlsson (August 3)
• Violinist Gidon Kremer and musicians from his ensemble Kremerata Baltica performing Mozart’s String Quintet in G minor, K.516, and a selection of Fugues (August 5)
• Pianist Christian Zacharias in a program of Mozart and Ravel (August 10)
• Period-instrument ensemble Concerto Köln and world music group Sarband performing traditional music from the Ottoman Empire and Turkish-influenced European music of the 18th century (August 11 and 12 in The Allen Room)
• Pianist Emanuel Ax (August 15)
• Italian period-instrument wind ensemble Zefiro, in its U.S. debut, performing arrangements from Mozart’s operas Le nozze di Figaro and Don Giovanni (August 19)
• Violinist Lisa Batiashvili and pianist Lars Vogt (August 22)
• The Emerson String Quartet performing Mendelssohn’s String Quartet in D major, Op. 44, No. 1, and excerpts from Bach’s Art of Fugue (August 24)
Zefiro, the period-instrument wind ensemble that performs a late-night concert on August 19, also returns the next day at noon to perform Mozart’s “Gran Partita” Serenade, K.361/370a, in the Walter Reade Theater.
Films, Pre-Concert Lectures, Pre-Concert Recitals
In addition to live performances, the Mostly Mozart Festival continues to offer a wide range of other presentations related to its namesake composer. As part of Lincoln Center’s ongoing effort to screen important music documentaries and historic film footage of the past century’s great musicians, the Festival presents a two-film series in the Walter Reade Theater (August 14). The first film is the New York premiere of In Search of Mozart, a new feature-length documentary on Mozart’s life, directed by Phil Grabsky, created to mark the 250th anniversary of his birth. The documentary features interviews with such performers as Renée Fleming, Magdalena Kožená, Lang Lang, Louis Langrée, Julian Rachlin, Roger Norrington, Imogen Cooper, and many other leading musicians and Mozart experts. The Festival pairs this with a special program entitled “Mozart Interpreted: From Toscanini to Harnoncourt,” that compiles archival footage of Mozart symphony performances conducted by Arturo Toscanini, Karl Böhm, and Nikolaus Harnoncourt.
In addition to these films, the 2006 Mostly Mozart Festival supplements the concert programs with its annual series of pre-concert lectures and recitals. Designed to illuminate concert programs and enhance the audience’s understanding of Mozart’s music, these pre-concert events feature great artists and experts in a casual environment. Pre-concert participants for the 2006 Festival are to be announced.
Louis Langree and Jane Moss, photo by Andrew Eccles
The French musician Louis Langrée was appointed Music Director of the Mostly Mozart Festival in 2003. He is also Music Director of the Orchestre Philharmonique de Liège, a position which he has held since September 2001. During the 2005-06 season, in addition to concerts in Belgium, he will conduct the Liège orchestra on tour in Europe including performances at the Musikverein in Vienna, Théâtre de Champs-Elysées in Paris, and Victoria Hall in Geneva. Other engagements this season include return visits to the London Philharmonic and City of Birmingham Symphony Orchestras and his debut appearances with the Sinfonica di Milano Giuseppe Verdi and Vienna and Scottish Chamber Orchestras.
Maestro Langrée was Music Director of Glyndebourne Touring Opera for five years. He has worked regularly at Glyndebourne Festival Opera, where he has conducted the Mozart Da Ponte Operas and Pelléas et Mélisande with the London Philharmonic Orchestra and Idomeneo and Fidelio with the Orchestra of the Age of Enlightenment. For his performance in Fidelio at Glyndebourne Opera in 2001 he was the joint recipient, with Sir Simon Rattle, of the Royal Philharmonic Society’s award for Best Musical Achievement for Opera. In forthcoming seasons he will be making his debut with the Lyric Opera of Chicago and the Metropolitan Opera in New York.
Jane S. Moss
In 1992, Jane S. Moss was appointed Lincoln Center’s Vice President of Programming, a position which includes her role as Artistic Director of the Mostly Mozart Festival. During her tenure, Ms. Moss has created several major new initiatives, including the international, multi-genre Lincoln Center Festival, the New Visions series—which links the worlds of the theater and classical music—and Lincoln Center's American Songbook series, which focuses on American popular song. In addition to overseeing these programs, Ms. Moss is also responsible for Great Performers, Lincoln Center's major season-long classical music series; Midsummer Night Swing; and the Lincoln Center Out of Doors summer series.
Prior to joining Lincoln Center, Ms. Moss worked as an arts consultant, designing and developing projects and programming initiatives for a variety of foundations and arts organizations, including the Lila Wallace-Reader's Digest Fund and the Pew Charitable Trusts. As Executive Director of Meet The Composer, a national organization serving American composers, Ms. Moss created the country's largest composer commissioning program, as well as a program supporting collaborations between composers and choreographers. In addition, she was the former Executive Director of New York's leading off-Broadway theater company, Playwrights Horizons, and Executive Director of the Alliance of Resident Theaters/New York.
About the Mostly Mozart Festival
Now in its 40th year, Lincoln Center’s Mostly Mozart Festival—America’s first indoor summer music festival—was launched as an experiment in 1966 as Midsummer Serenades: A Mozart Festival and devoted its first two seasons exclusively to the music of Mozart. Renamed the Mostly Mozart Festival in 1970, the event is now a New York institution and continues to broaden its focus to include works by Mozart’s predecessors, contemporaries, and related successors. In addition to concerts by the Mostly Mozart Festival Orchestra, Mostly Mozart now includes concerts by visiting period-instrument ensembles, chamber orchestras and ensembles, and acclaimed soloists, as well as staged music presentations, opera productions, dance, and film.
The Mostly Mozart Festival Orchestra is the resident orchestra of the Mostly Mozart Festival. Over the years, the Orchestra has toured to such notable festivals and venues as Ravinia, Great Woods, Tanglewood, the Tilles Center, and the Kennedy Center. Conductors who made their New York debuts leading the Mostly Mozart Festival Orchestra include Charles Dutoit, Leonard Slatkin, David Zinman, and Edo de Waart. Soloists including Itzhak Perlman, Pinchas Zukerman, Alicia de Larrocha, Richard Stoltzman, Emanuel Ax, and Garrick Ohlsson have had long associations with the Festival. Mezzo-soprano Cecilia Bartoli, flutist James Galway, soprano Elly Ameling, and pianist Mitsuko Uchida all made their U.S. debuts at the Mostly Mozart Festival.
Bank of America is the 2006 Mostly Mozart Festival corporate sponsor. "Our ongoing partnership with Lincoln Center and the Mostly Mozart Festival is evidence of Bank of America’s commitment to the city and to the arts," said Alan Rappaport, New York Market President for Bank of America. "As our presence in New York City grows, so too does our focus on being an integral part of the city’s civic landscape."
The Mostly Mozart Festival is sponsored by the Jerome L. Greene Foundation and The Peter Jay Sharp Foundation. The Festival’s Corporate Sponsor is Bank of America.
The Mostly Mozart Festival is also made possible by Rita E. and Gustave M. Hauser, the Hess Foundation, Inc., The Shubert Foundation, Ann and Gordon Getty Foundation, The Eleanor Naylor Dana Charitable Trust, Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts.
Movado is an Official Sponsor of Lincoln Center, Inc.
WNBC/WNJU are Official Broadcast Partners of Lincoln Center, Inc.
Continental Airlines is the Official Airline of Lincoln Center, Inc.
“Summer at Lincoln Center” is sponsored by Bloomberg and Pepsi-Cola Company.
Lincoln Center for the Performing Arts (LCPA) serves three primary roles: presenter of superb artistic programming, national leader in arts and education and community relations, and manager of the Lincoln Center campus. As a presenter of over 400 events annually, LCPA’s programs include American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of Doors, Midsummer Night Swing, the Mostly Mozart Festival, and Live From Lincoln Center
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Tickets for the 2006 Mostly Mozart Festival will go on sale May 7 for multi-buy purchases and June 7 for single ticket purchases. For more information, the public can contact the Lincoln Center Information Request Line at 212.875.5766 or visit the Lincoln Center on-line at : www.lincolncenter.org
We are grateful to the Lincoln Center for this information on Mostly Mozart 2006