Romeo And Juliet Program Notes
27Season 2018-2019Thursday, April 4, at 7:30Friday, April 5, at 2:00Saturday, April 6, at 8:00The Philadelphia OrchestraYannick Nézet-Séguin ConductorBrian Sanders’s JUNKJulia Higdon JulietTeddy Fatscher RomeoDarren Dash Robinson Mercutio/Prince EscalusJared Cutler Benvolio/Count ParisProkofiev Selections from Romeo and Juliet, Op. 64Act IIntroductionInterludeMasksDance of the KnightsJuliet’s VariationTybalt Recognizes RomeoGavotte (The Departure of the Guests)The Balcony SceneRomeo’s VariationLove DanceAct IIFolk DanceRomeo at Friar Laurence’s CellJuliet at Friar Laurence’s CellThe People’s Merry-Making ContinuesTybalt Encounters MercutioTybalt Fights with MercutioThe Death of MercutioRomeo Decides to Avenge Mercutio’s DeathFinale of Act IIIntermission
28Act IIIIntroductionFarewell Before PartingJuliet Refuses to Marry ParisJuliet AloneInterludeAt Friar Laurence’s CellInterludeJuliet AloneDance of the Girls with LiliesAt Juliet’s BedsideAct IVJuliet’s FuneralThe Death of JulietAdditional cast:Aaron MitchellFrank LeoneKyle YackoskiKelly TrevlynAmelia EstradaBriannon HolsteinJess AdamsThis program runs approximately 2 hours, 5 minutes.These concerts are part of the Fred J. Cooper MemorialOrgan Experience, supported through a generous grantfrom the Wyncote Foundation.These concerts are made possible, in part, through incomefrom the Allison Vulgamore Legacy Endowment Fund.The April 4 concert is sponsored bySandra and David Marshall.The April 5 concert is sponsored byGail Ehrlich in memory of Dr. George E. Ehrlich.The April 6 concert is sponsored by theVolunteer Committees of The PhiladelphiaOrchestra.Philadelphia Orchestra concerts are broadcast onWRTI 90.1 FM on Sunday afternoons at 1 PM, and arerepeated on Monday evenings at 7 PM on WRTI HD 2.Visit www.wrti.org to listen live or for more details.
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30The Philadelphia OrchestraJessica GriffinThe Philadelphia Orchestrais one of the preeminentorchestras in the world,renowned for its distinctivesound, desired for itskeen ability to capture thehearts and imaginations ofaudiences, and admired fora legacy of imagination andinnovation on and off theconcert stage. The Orchestrais inspiring the future andtransforming its rich traditionof achievement, sustainingthe highest level of artisticquality, but also challenging—and exceeding—that level,by creating powerful musicalexperiences for audiences athome and around the world.Music Director YannickNézet-Séguin’s connectionto the Orchestra’s musicianshas been praised byboth concertgoers andcritics since his inauguralseason in 2012. Under hisleadership the Orchestrareturned to recording, withfour celebrated CDs onthe prestigious DeutscheGrammophon label,continuing its history ofrecording success. TheOrchestra also reachesthousands of listeners on theradio with weekly broadcastson WRTI-FM and SiriusXM.Philadelphia is home andthe Orchestra continuesto discover new andinventive ways to nurtureits relationship with itsloyal patrons at its homein the Kimmel Center,and also with those whoenjoy the Orchestra’s areaperformances at the MannCenter, Penn’s Landing,and other cultural, civic,and learning venues. TheOrchestra maintains astrong commitment tocollaborations with culturaland community organizationson a regional and nationallevel, all of which creategreater access andengagement with classicalmusic as an art form.The Philadelphia Orchestraserves as a catalyst forcultural activity acrossPhiladelphia’s manycommunities, building anoffstage presence as strongas its onstage one. WithNézet-Séguin, a dedicatedbody of musicians, and oneof the nation’s richest artsecosystems, the Orchestrahas launched its HEARinitiative, a portfolio ofintegrated initiatives thatpromotes Health, championsmusic Education, eliminatesbarriers to Accessing theorchestra, and maximizesimpact through Research.The Orchestra’s awardwinning CollaborativeLearning programs engageover 50,000 students,families, and communitymembers through programssuch as PlayINs, side-bysides, PopUP concerts,free NeighborhoodConcerts, School Concerts,and residency work inPhiladelphia and abroad.Through concerts, tours,residencies, presentations,and recordings, theOrchestra is a global culturalambassador for Philadelphiaand for the US. Havingbeen the first Americanorchestra to perform in thePeople’s Republic of China,in 1973 at the requestof President Nixon, theensemble today boastsfive-year partnerships withBeijing’s National Centre forthe Performing Arts and theShanghai Media Group. In2018 the Orchestra traveledto Europe and Israel. TheOrchestra annually performsat Carnegie Hall while alsoenjoying summer residenciesin Saratoga Springs and Vail.For more information onThe Philadelphia Orchestra,please visit www.philorch.org.
6Music DirectorChris LeeMusic Director Yannick Nézet-Séguin will lead ThePhiladelphia Orchestra through at least the 2025-26 season,an extraordinary and significant long-term commitment.Additionally, he became the third music director of theMetropolitan Opera, beginning with the 2018-19 season.Yannick, who holds the Walter and Leonore AnnenbergChair, is an inspired leader of The Philadelphia Orchestra. Hisintensely collaborative style, deeply rooted musical curiosity,and boundless enthusiasm, paired with a fresh approachto orchestral programming, have been heralded by criticsand audiences alike. The New York Times has called him“phenomenal,” adding that under his baton, “the ensemble,famous for its glowing strings and homogenous richness, hasnever sounded better.”Yannick has established himself as a musical leader ofthe highest caliber and one of the most thrilling talents ofhis generation. He has been artistic director and principalconductor of Montreal’s Orchestre Métropolitain since 2000,and in summer 2017 he became an honorary member of theChamber Orchestra of Europe. He was music director ofthe Rotterdam Philharmonic from 2008 to 2018 (he is nowhonorary conductor) and was principal guest conductorof the London Philharmonic from 2008 to 2014. He hasmade wildly successful appearances with the world’s mostrevered ensembles and has conducted critically acclaimedperformances at many of the leading opera houses.Yannick signed an exclusive recording contract with DeutscheGrammophon (DG) in May 2018. Under his leadership ThePhiladelphia Orchestra returned to recording with four CDson that label. His upcoming recordings will include projectswith The Philadelphia Orchestra, the Metropolitan Opera,the Chamber Orchestra of Europe, and the OrchestreMétropolitain, with which he will also continue to recordfor ATMA Classique. Additionally, he has recorded with theRotterdam Philharmonic on DG, EMI Classics, and BISRecords, and the London Philharmonic for the LPO label.A native of Montreal, Yannick studied piano, conducting,composition, and chamber music at Montreal’s Conservatoryof Music and continued his studies with renowned conductorCarlo Maria Giulini; he also studied choral conducting withJoseph Flummerfelt at Westminster Choir College. AmongYannick’s honors are an appointment as Companion of theOrder of Canada; an Officer of the Order of Montreal; MusicalAmerica’s 2016 Artist of the Year; the Prix Denise-Pelletier;and honorary doctorates from the University of Quebec inMontreal, the Curtis Institute of Music, Westminster ChoirCollege of Rider University, McGill University, and theUniversity of Pennsylvania.To read Yannick’s full bio, please visit philorch.org/conductor.
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32ArtistsJUNK was founded in 1992. Its mission is to open mindsto new perspectives through the creation and productionof unpredictable, provocative, physically intense, andaccessible performance experiences. Blending traditionaldance-theater, acrobatics, and circus arts, the companyapproaches the art form with a no-holds-barredperspective—never declaring any idea or object too old orunwanted. Hailed by critics as “Philly’s most imaginativeperpetrator of dare-devilish physical theater,” JUNK strivesto endlessly push the boundaries of the performanceexperience. Additionally, through its programing theorganization implements the principles of creativity andmentorship to introduce young people to the arts and toencourage creative thought within the greater community.In the fall of 2019, JUNK will unveil a free virtual realityexperience available throughout the area in partnershipwith the Free Library of Philadelphia. While JUNK worksboth nationally and internationally, it maintains its homeseason in Philadelphia each fall as a mainstay of theFringe Festival.Growing up in Princeton, New Jersey, as a brother ofsix, Brian Sanders’s reckless fun was easily channeledonce he found his love for gymnastics and classicaldance. Inspired by shows such as Bob Fosse’s Dancin’and Pilobolus on Broadway, he resolved to become achoreographer. He would eventually sustain an extensiveworking relationship with one of the founding members ofPilobolus, Moses Pendleton, who also founded MOMIX.Mr. Sanders went on to choreograph and performwith MOMIX for 10 years. He has since gone on tochoreograph and perform nationally and internationallyfor dance, television, theater, and video. In Italy hechoreographed two nationally televised mini-series anda touring show, NOGRAVITY, which was performed atthe 2006 Paralympic Winter Games in Torino. In 1992Mr. Sanders founded JUNK. His recent creative visionswith the company include partnering with mural artistMeg Saligman to launch Figmago and choreographingPennsylvania Ballet’s Chicken Bone Brain. His nextproject, a new virtual reality and performance experiencein collaboration with Drexel University, premieres at the2019 Philadelphia Fringe Festival.
33ArtistsJulia Higdon (Juliet) was raised on the Eastern Shoreof Maryland, where she first began her years of danceeducation. By the age of 12 she was receiving herformal training at various institutions, including the KirovAcademy of Ballet, the Rock School for Dance Education,American Ballet Theatre, and the North Carolina Schoolof the Arts. In 2013, while enrolled at the University ofthe Arts, she was first introduced to Brian Sanders’swork, and for the last five years, she has worked withhis dance troupe JUNK. Offstage, Ms. Higdon educatesmany young, aspiring dancers in the hopes of carryingon the inspiration and traditions of the art form. In recentyears, she has performed with, and managed, severalPhiladelphia-based dance companies, including JUNK,Archedream for Humankind, and Cardell Dance Theater.She is also a local entrepreneur, recently becoming ownerof Dancewear on Broad.Teddy Fatscher (Romeo) was born and raised inMassapequa, Long Island, New York. He attended LongIsland High School for the Arts for his junior and senioryears of high school. After graduating he moved toPhiladelphia to further his studies in dance performanceat the University of the Arts, which provided manyopportunities to work with such world renowned artistsas Roni Koresh, Douglas Becker, and Brian Sanders. Hebegan working with Brian Sanders’s JUNK during hisfreshman year. He has recently started his own company,Matter Movement Group.
34ArtistsDarren Dash Robinson (Mercutio/Prince Escalus)is excited to be making his East Coast debut with BrianSanders’s JUNK. He was most recently seen as Racein Newsies (Hale Centre Theatre) following a one-yearcontract as a dancer/singer for Universal Studios Japan.He next embarks on Royal Caribbean’s Harmony of theSeas as a dancer/vocalist in Grease. He hails from ruralUtah, where he developed a passion for physical activityand the great outdoors. His other hobbies include rockclimbing, mountain biking, hiking, ultimate Frisbee, andpiano. His other appearances at the Hale Centre Theatreinclude Big Fish and The Little Mermaid (Flotsam).Jared Cutler (Benvolio/Count Paris) was born and raisedin Buffalo, New York, where he received a Bachelor’s ofFine Arts in Dance from the University at Buffalo. He wasa leading performer of the Zodiaque Dance Companyand director of Dancer’s Workshop 2015. He has workedonboard Norwegian and Royal Caribbean cruises as adancer/aerialist, fulfilling his passion of traveling the world.He recently held the role of a male ensemble member ina production of Mamma Mia! at the Kavinoky Theatre inBuffalo. He has also worked as a choreographer, teacher,and judge for several competitions, schools, and venues.
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36Framing the ProgramParallel Events1935ProkofievRomeo andJulietShakespeare’s plays have inspired an untold number ofcomposers and provided the basis for a vast range ofMusicpieces, from intimate songs to monumental symphoniesOrffand grand operas. The tragic tale of Romeo and JulietCarmina burana alone led to a great symphonie dramatique from Berlioz,Literaturea beloved fantasy overture from Tchaikovsky, enduringSteinbeckoperas by Bellini and Gounod, Leonard Bernstein’sTortilla Flatmodernization in West Side Story, and many other pieces.ArtDalíGiraffe on FireHistoryRoosevelt signsSocial SecurityActSergei Prokofiev’s brilliant ballet take of the “starcrossed lovers” premiered in 1938, two years after thecomposer returned to the Soviet Union following nearlytwo decades living in America and Western Europe. Hemade three different concert suites for independentorchestral performance and conductors have chosenfavorite sections from its rich offerings. Today we hear anunusually generous selection from the entire ballet.This performance will be highlighted by selected vignettesfrom the Philadelphia-based choreographer BrianSanders. His compact, athletic choreography will bring anedgy perspective to Verizon Hall with performers utilizingaerial techniques.The Philadelphia Orchestra is the only orchestra in theworld with three weekly broadcasts on SiriusXM’s SymphonyHall, Channel 76, on Mondays at 7 PM, Thursdays at 12 AM,and Saturdays at 6 PM.
37The MusicSelections from Romeo and JulietSergei ProkofievBorn in Sontsovka,Ukraine, April 23, 1891Died in Moscow, March 5,1953Many Russian composers of the mid-20th century werecompelled to write under the oppressive restrictions ofStalinism. But Sergei Prokofiev lived in the Soviet Unionby choice, not by fate. After establishing a youthfulreputation as the next Russian enfant terrible, thentempering that reputation with more orthodox works likethe “Classical” Symphony and the First Violin Concerto, hedecided to leave his native Russia in 1918. Even thoughhis Modernism would have been welcomed at first by thepost-Revolutionary Communist government, Prokofievhoped to pursue a career in the West, moving first tothe United States before settling in France. But like hiscompatriot Rachmaninoff, he felt alienated while abroad,separated from his friends and his culture. He graduallyre-established ties with Moscow, and with assurancesthat he would be given special advantages and privilegedtreatment, moved back to the Soviet Union in early 1936.Prokofiev was, however, no communist. Sovietapparatchiks were consistently suspicious of hisexperiences in the West. He was denounced in the 1948“purge” at the Union of Soviet Composers, which alsohumiliated Shostakovich and Khachaturian. And Stalinpersonally intervened to complicate Prokofiev’s latecareer. His spirit broken, his health (which was neverrobust) worsened. It seemed somehow emblematic ofhis career that Prokofiev died on the same day as Stalin:March 5, 1953. It took almost a week for the news of thisgreat composer’s death to be reported in the Russiannewspapers, and even then it was hidden in the middlepages. He was always more highly regarded in the Westthan in his own country.Just as Prokofiev’s career path followed an uneasybalance of Western and Russian experiences, his musicalso wavered between acerbic Modernism and theinfluence of traditional musical styles, both national andforeign. His compositional style blends the familiar withthe abstract; he was able to avoid the cloying simplicity ofmuch Soviet-produced music while largely eschewing theexperiments of the Western avant-garde.One constant thread in Prokofiev’s oeuvre was his interestin music for the stage, and his best-known works tend
38to be inherently dramatic. From the operas The Love forThree Oranges and War and Peace to the melodrama ofPeter and the Wolf and his most famous ballet, Romeo andJuliet, he excelled in creating musical narratives.An Often-Told Story The commission for Romeo andJuliet began with an inquiry from the Kirov Ballet in 1934,while Prokofiev was still living abroad. This tale of “starcrossed lovers,” doomed to a tragic end, was already wellknown not just to theater audiences, of course, but alsothrough its symphonic and operatic treatments over theprevious centuries. A German Singpsiel by Georg Bendain the 18th century paved the way for an 1830 opera byVincenzo Bellini (I Capuleti e i Montecchi) and CharlesGounod’s beloved Roméo et Juliette from 1867. HectorBerlioz’s operatically-conceived “dramatic symphony”Roméo et Juliette was premiered in 1839, and numerousother composers in the 19th and early 20th centurieshad translated the story’s impassioned drama and deeptragedy onto the opera and concert stages. But forProkofiev, and the Kirov audiences, the most significantforerunner was undoubtedly Tchaikovsky’s Romeo andJuliet fantasy-overture for orchestra, which was premieredin its third and final version in 1886—well within thememories of older audience members and musicadministrators in 1934.The Kirov’s director, Sergei Radlov, had worked withProkofiev on The Love for Three Oranges some yearsearlier, and asked the composer in 1934 if he might beinterested in writing a Romeo and Juliet ballet for thefollowing season. It was an important development inProkofiev’s career, as commissions from Moscow ratherthan the West would help facilitate the composer’splanned return to Russia. Radlov and Adrian Piotrovsky,the Kirov’s dramaturg, worked on a scenario for the balletthat adhered to the government-imposed precepts ofthe “drambalet,” which replaced the traditional virtuosicdisplays of classical ballet with pantomime and Russianfolk-inspired dance movements intended to highlight adramatic narrative. Ballet had been co-opted to supportthe Soviet ideals of unity and hard work. From the Kirov’spoint of view, though, Romeo and Juliet seemed theperfect vehicle: Tchaikovsky-esque in subject matter, butopen to a more “Soviet” treatment.From Theater to Theater Prokofiev worked on thisRomeo and Juliet project during 1935, fully aware thatthe Kirov’s audience was probably expecting somethinga little more traditional than what he had recently been
39producing. But before the score was complete, the Kirovbacked out of the deal, and the composer was compelledto find a new company. He approached the MoscowBolshoi Theatre, which initially signed a contract (includinga clause that Piotrovsky would stay on the project) butthen also broke it, declaring the music “undanceable.”The Bolshoi had also tried to give the work a happyending, creating (according to the composer) “quite afuss” among Russian Shakespeare scholars. Believingthat it’s easier for dancers to portray living characters thandead ones, the Bolshoi’s choreographers had decided thatat the conclusion Romeo should arrive one minute earlierto find Juliet still alive. Prokofiev composed music for this“happy ending,” but had second thoughts when a friendremarked that even this music was not especially joyful.Prokofiev later recalled, “After several conferences withthe choreographers, it was found that the tragic endingcould be expressed in the dance and in due time themusic for that ending was written.” But the ballet was stillnot performed.In 1937 the Leningrad School of Choreography alsosigned a production contract only to later renege. In themeantime, Piotrovsky had been denounced in Pravdaas a “degenerate modernist” and the as-yet unproducedballet had been tainted by that association. Despite thesesetbacks, Prokofiev revised the music into two o
Prokofiev Selections from Romeo and Juliet, Op. 64 Act I Introduction Interlude Masks Dance of the Knights Juliet’s Variation Tybalt Recognizes Romeo Gavotte (The Departure of the Guests) The Balcony Scene Romeo’s Variation Love Dance Act II Folk Dance Romeo at Friar Laurence’s Cell Juliet at Friar Laurence’s Cell The People’s Merry .
The death of Romeo and Juliet:The death of Romeo and Juliet: Inside the tomb, Romeo drinks the poison and dies next to Juliet. Soon after, Juliet wakes up and sees Romeo dead next to her. Friar Lawrence comes into the tomb and tells Juliet what happened. Juliet takes Romeo's dagger and kills herself. 7 A lesson learned:
DRAMA The 32-Second. Romeo and Juliet Actor 1 In fair Verona where we lay our scene. Romeo Did my heart love till now? Forswear it, Sight! Juliet My only love sprung from my only hate. Romeo It is my lady! O it is my love! Juliet Romeo, Romeo, wherefore art thou Romeo? Romeo Parting is such sweet sorro
daughter Juliet Evening Romeo, Benvolio and Mercutio gatecrash a masked ball at Capulet’s house. Tybalt tries to pick a fight with Romeo. Romeo and Juliet meet and fall in love. Juliet discovers Romeo is a Montague. Night Romeo jumps over a wall into Capulet’s garden. MONDAY Late night to before dawn Romeo
The letter doesn’t reach Romeo and he hears news that Juliet is dead. Romeo returns to Verona and, believing Juliet to be dead, visits the Capulet tomb where her body has been laid. Thinking Juliet is dead, Romeo poisons himself and dies. Juliet wakes and finds Romeo dead. She kills herself rather than live without him.
Make Model Year 1 Year-over-year Year Comments ALFA ROMEO Alfa Romeo GIULIA 2017 2017-Alfa Romeo GIULIA 2018 Alfa Romeo GIULIA 2019 Alfa Romeo GIULIA 2020 Alfa Romeo STELVIO 2018 2018-Alfa Romeo STELVIO 2019 Alfa Romeo STELVIO 2020 Alfa Romeo GIULIETTA VELOCE 2019 2019-Alfa Romeo GIULIETTA VELOCE 2020 ALPHINA Alphina B3 S BITURBO 2014 2014-2017 Alphina B3 S BITURBO 2015 Alphina B3 S BITURBO .
alfa romeo 147 1.9 jtd 16v edc16 obd 156 1.9 jtd 16v edc16 obd 159 1.9 jtd edc16 obd giulia obd gt 1.9 jtd edc16 obd romeo 147 1.9jtd edc15 obd euro3 romeo 147 obd romeo 156 1.9jtd edc15 obd euro3 romeo 156 2.4jtd edc15 obd euro3 romeo 159 obd romeo 166 2.4jtd edc15 obd euro3 romeo brera obd romeo ecu me 7.9.10 r
Act Two Forced to meet in secret, Romeo and Juliet declare their love to each other and decide to get married. Romeo visits Friar Laurence, a priest, and asks him to perform the wedding. Aided by Juliet’s nurse, Romeo and Juliet meet and marry in secret. Act Three During a street fight, Juliet’s cous
o Additif alimentaire. 41 Intrants alimentaires: o Matière première : matière unique ou principale soumise à la transformation Unique : blé en minoterie, betterave ou canne en sucrerie Principale en volume : lait pour le yaourt, eau pour les boissons gazeuses Principale en valeur : sucre pour les boissons gazeuses 1. Chapitre introductif 1.4- Intrants et produits des IAA. 42 o Ingrédient .
