Welcome to the fourth edition of the Fisher Center LAB Biennial — a thematic festival that invites and commissions artists to create new works that grapple with some of the most pressing questions of our time.

For the 2022-23 edition we are partnering with the OSUN Center for Human Rights and the Arts (CHRA) to create Common Ground, a year-long international program focusing on the politics of land and food and taking place on four continents. We have commissioned new works from artists whose practices engage with food sovereignty, climate change, and land rights. Together they invite us to imagine a more equitable, sustainable, and healthful future.

Common Ground includes two four-day festivals at and around the Fisher Center – one at harvest time (October 13-16, 2022), one in the growing season (May 4-7, 2023). The harvest festival includes the US premiere of When [Salmon Salmon [Salmon]], a trilogy of performance installations by the Turner Prize-nominated Cooking Sections, and the world premiere of The Belly is a Garden, a performance and walk through the cultivated Bard Farm and the wild spaces that surround it with seed keeper and artist Vivien Sansour. The growing-season festival will include world premieres of performances and installations by Kenyon Adams and Chef Omar Tate, Tara Rodriguez Besosa, Tania El Khoury, Suzanne Kite, and Jordan Weber.

The subject matter of Common Ground is both vast and timely, encompassing ethics, politics, history, science, and aesthetics. We’ve commissioned some of the world’s most innovative artists, whose practices invite us to learn from them and join them in conversation. Taken together, the wide-ranging works they’re creating will provide audiences with a complex, multi-dimensional opportunity to explore foodways, land politics, and their central importance in sustainability, social justice, and climate action. The festival has evolved from Bard’s commitment to sustainability, advocacy, and support for marginalized communities in the region, and to the study and implementation of new directions in regenerative farming practices and food science.

Since the subjects of land and food are interconnected, Common Ground is a truly global program. In addition to the Hudson Valley festival, it includes artistic programs in Colombia (curated by Juliana Steiner), Palestine (curated by Emily Jacir), and South Africa (curated by Boyzie Cekwana), in collaboration with partner schools in the Open Society University Network. Ideas will flow between the four sites through a series of talks, classes, and sharing of knowledge. In addition to these artistic programs, CHRA and the Bard Farm have programmed a series of digital and in-person talks by artists and activists on the politics of food, farming, seed preservation, and land rights.

—Tania El Khoury and Gideon Lester

Part 1 • Salmon: A Red Herring

Cooking Sections, 2020

Lecture performance with the Artists: Daniel Fernández Pascual and Alon Schwabe

When [Salmon Salmon [Salmon]] opens with an exploration of the deceptive reality of salmon as a colour and as a fish. Salmon is usually thought of as pink. The colour is even called ‘salmon pink’. However, farmed salmon today would be grey. To make them the expected colour, synthetic pigment is added to their feed. The fish cannot be dyed in a standard pink tone, as it depends on how their bodies metabolise the chemical, and where they are to be shipped and sold. In Europe, market analysis shows that the preferred shade is ‘light-pink’ and so farmed salmon is coloured accordingly while in Japan, a darker pink is enjoyed more.

Salmon is the colour of a wild fish that is neither wild, nor fish, nor even salmon. But they are not alone. The changing colours of species around the planet are warning signs of an environmental crisis. Many of these alterations result from humans and animals ingesting and absorbing synthetic substances. Changes in flesh, scales, feathers, skin, leaves, or wings give us clues to environmental and metabolic transformations around us and inside us. Salmon: A Red Herring questions what colours we expect in our ‘natural’ environment. It asks us to examine how our perception of colour is changing as much as we are changing the planet.

Sosnoff Stage, Fisher Center

Friday, October 14, 2022 at 6 pm

Saturday, October 15, 2022 at 2:30 pm & 6 pm

Sunday, October 16, 2022 at 2:30 pm

Part 2 • Salmon: Traces Of Escapees

Cooking Sections, 2021

Performative installation

Open-net salmon farms are made of holes, the key structure of these underwater feedlots. Nets prevent circulation between an inside and an outside, at least in theory. They separate and concentrate bodies in space. In circles, automated feeders spin, bodies twist, guts revolve. Through the holes, excrement, drugs, synthetic colour, and parasites billow out, polluting the surrounding waters. But even if the nets break, farmed salmon remain captive; they can no longer escape their own modified bodies.

This immersive film installation explores the environmental impact of salmon farms, which can be traced far beyond the circumference of open-net pens. Originally developed in Norway in the past decades, modern salmon companies have expanded globally into less saturated (and less environmentally restrictive) waters, ranging from Scotland to Chile, Canada or Australia. Salmon: Traces of Escapees is a recognition that nothing can be removed without leaving traces, no divestment can be disassociated from extractivism, and no domestication comes without the colonisation of the gut.

Sosnoff Stage Right, Fisher Center

Thursday, October 13, 2022 at 6 pm, 6:30 pm, 7 pm, 7:30 pm, 8 pm, 8:30 pm

Friday, October 14, 2022 at 7 pm, 7:30 pm, pm, 8:30 pm

Saturday, October 15, 2022 at 12 pm, 12:30 pm, 1 pm, 3:30 pm, 4 pm, 4:30 pm, 7 pm, 7:30 pm, 8 pm, 8:30 pm

Sunday, October 16, 2022 at 12 pm, 12:30 pm, 1 pm, 3:30 pm, 4 pm, 4:30 pm

Part 3 • Salmon: Feed Chains

Cooking Sections, 2022

Performative installation

Co-commissioned by Bonniers Konsthall, Stockholm and Fisher Center at Bard

To feed is to be in loop. The final chapter of the trilogy When [Salmon Salmon [Salmon]] traces the landscapes consumed by the production of feed for salmon farms, which range from the anchovy-depleted waters of Peru, India, and Senegal to the krill-exhausted Arctic and Antarctic oceans, and the soy plantations in the deforested Amazon. Shaped as an automated feeder, a rotating arm activated when fish are hungry in salmon farms, the piece subjects the audience to the feeding mechanism in salmon farms that makes salmon swim round and round.

Salmon: Feed Chains revolves around the ecosystems that are transformed into feed, the landscapes that are fed to farmed fish and the pellets that are consumed by salmon in their pens. Pumped day and night outside human labour routines to pump up gains, the pellets are part of a sophisticated system to fake seasonal patterns of growth and rest. Feed is indeed displaced nutrients, extruded species, and exhausted spaces. Salmon are chained to their feed as much as millions of consumers worldwide are hooked to planetary flows of fish flesh.

Sosnoff Tower Storage, Fisher Center

Thursday, October 13, 2022 at 6 pm, 6:30 pm, 7 pm, 7:30 pm, 8 pm, 8:30 pm

Friday, October 14, 2022 at 7 pm, 7:30 pm, pm, 8:30 pm

Saturday, October 15, 2022 at 12 pm, 12:30 pm, 1 pm, 3:30 pm, 4 pm, 4:30 pm, 7 pm, 7:30 pm, 8 pm, 8:30 pm

Sunday, October 16, 2022 at 12 pm, 12:30 pm, 1 pm, 3:30 pm, 4 pm, 4:30 pm

The Fisher Center is generously supported by Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Advisory Boards of the Fisher Center at Bard and Bard Music Festival, and Fisher Center and Bard Music Festival members, as well as by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. Additional support for this season has been received funding from members of the Live Arts Bard Creative Council, The Educational Foundation of America, the Julia Child Foundation for Gastronomy and Culinary Arts, The Lucille Lortel Foundation, and the Fisher Center's Artistic Innovation Fund, with lead support from Rebecca Gold and S. Asher Gelman '06 through the March Forth Foundation.

Cooking Sections: Daniel Fernández Pascual and Alon Schwabe

Cooking Sections examines the systems that organize the world through food. Using site-responsive installation, performance and video, they explore the overlapping boundaries between art, architecture, ecology and geopolitics. Established in London in 2013 by Daniel Fernández Pascual and Alon Schwabe, their practice uses food as a lens and a tool to observe landscapes in transformation. They have worked on multiple iterations of the long-term site-responsive CLIMAVORE project since 2015, exploring how to eat as humans change climates. In 2016 they opened The Empire Remains Shop.

Their work has been exhibited at Tate Britain, Serpentine Galleries, SALT, Bonniers Konsthall, Lafayette Anticipations, Grand Union, Atlas Arts, Storefront for Art and Architecture; the Istanbul Biennial, Taipei Biennial, 58th Venice Biennale, Sharjah Architecture Triennial, Sharjah Art Biennial, Performa17, Manifesta12, and New Orleans Triennial among others. They have been residents at Headlands Center for the Arts, California, and The Politics of Food at Delfina Foundation, London. They are part of British Art Show 9. They lead a studio unit at the Royal College of Art, London.

Cooking Sections were nominated for the Turner Prize in 2021. They were awarded the Special Prize at the 2019 Future Generation Art Prize and were nominated for the Visible Award for socially-engaged practices. Daniel is the recipient of the 2020 Harvard GSD Wheelwright Prize for Being Shellfish.

BARD TO BECOME THE FIRST COLLEGE IN THE WORLD TO INTRODUCE A CLIMAVORE MENU

New ‘seasons’ are gradually emerging on our planet. The lines between spring, summer, autumn and winter are increasingly blurred, while periods of drought, oceanic pollution, soil depletion, subsidence and pandemics are becoming more prevalent.

As part of COMMON GROUND: an international festival on the politics of land and food, Bard College, in collaboration with Parkhurst Dining, has joined Cooking Sections’ extensive project Becoming CLIMAVORE to find new ways of eating in response to the new seasons of the climate emergency. Launched in 2017, this long-term initiative encourages institutions to remove farmed salmon from their menus and replace it with ingredients that improve biodiversity, soil and water quality. More than twenty art institutions are already involved in the project, including Tate and Serpentine in London. In collaboration with BardEATS, the Bard Office of Sustainability, and Parkhurst Dining, Bard has removed farmed salmon from its menu and introduced new dishes made with ingredients that help environmental regeneration.

COMMISSIONING CREDITS

Part 1 • Salmon: A Red Herring was commissioned by Art Now, Tate Britain

Part 2 • Salmon: Traces Of Escapees was commissioned for the 2021 Turner Prize Exhibition

Part 3 • Salmon: Feed Chains was co-commissioned by Bonniers Konsthall, Stockholm, Fisher Center LAB, and the OSUN Center for Human Rights and the Arts for the Fisher Center LAB Biennial.

When [Salmon Salmon [Salmon]]

BIBLIOGRAPHY

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Blanchette, Alex. Porkopolis. 2020

Carson, Rachel. Silent Spring. Penguin Classics, 2000.

Despret, Vinciane. What would animals say if we asked the right questions? University of Minnesota Press 2016

Gray, Ros and Shela Sheikh, The Wretched Earth: Botanical Conflicts and Artistic Interventions, Third Text.

Hisano, Ai. Visualising Taste: How Business Changed the Look of What You Eat. Harvard Business School, 2019.

Hoover, Elizabeth. The River Is In Us: Fighting Toxics in a Mohawk Community. University of Minnesota Press 2017.

Jarman, Derek. Chroma: A book of Colour. Vintage Classics, 1995.

Kurlansky, Mark. Salmon: A Fish, the Earth, and the History of Their Common Fate. Patagonia, 2020.

Leslie, Esther. Synthetic Worlds: Nature, Art, and the Chemical Industry. Reaktion Books, 2005.

Lien, Marianne Elizabeth. Becoming Salmon. UC Press, 2015

Morton, Alexandra. Not on My Watch

Sharpe, Christina. In The Wake: On Blackness and Being.

Swanson, Heather Anne, Marianne Elisabeth Lien, Gro B. Ween (eds.), Domestication Gone Wild: Politics and Practices of Multispecies Relations, Duke University Press, 2018.

Taussig, Michael. What Colour is the Sacred. University of Chicago Press, 2011.

Tsing, Anna L., Heather Anne Swanson, Elaine Gan, and Nils Bubandt (Eds). Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene. 2017.

Wark, McKenzie. Molecular Red: Theory for the Anthropocene. Verso, 2016.

Wilson, Elizabeth A. Gut Feminism. Duke University Press, 2015.

Wittgenstein, Ludwig. Remarks on Colour. UC Press, 1978.

Yusoff, Kathryn. A Billion Black Anthropocenes or None. Minnesota University Press, 2018.

Zimring, Carl. Clean and White: A History of Environmental Racism in the United States, 2015.

Young readers:

Ter Horst, Wendy & Marc/Panders, Palm Trees at the North Pole. 2018

Lydia McCaw, Stage Manager
John Gasper, Video
Duane Lauginiger, Adam Bach, Audio
Walter Daniels, Lighting
Tim Duffy, Scenic

In the spirit of truth and equity, it is with gratitude and humility that we acknowledge that we are gathered on the sacred homelands of the Munsee and Muhheaconneok people, who are the original stewards of the land. Today, due to forced removal, the community resides in Northeast Wisconsin and is known as the Stockbridge-Munsee Community. We honor and pay respect to their ancestors past and present, as well as to future generations, and we recognize their continuing presence in their homelands. We understand that our acknowledgment requires those of us who are settlers to recognize our own place in and responsibilities toward addressing inequity, and that this ongoing and challenging work requires that we commit to real engagement with the Munsee and Mohican communities to build an inclusive and equitable space for all.

This land acknowledgment, adopted in 2020, required establishing and maintaining long-term, and evolving, relationships with the Stockbridge-Munsee Band of Mohican Indians. The Mellon Foundation's 2022 Humanities for All Times grant for “Rethinking Place: Bard-on-Mahicantuck” offers three years of support for developing a land acknowledgment–based curriculum, public-facing Native American and Indigenous Studies (NAIS) programming, and efforts to support the work of emerging NAIS scholars and tribally enrolled artists at Bard.

ABOUT FISHER CENTER

The Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspectives from the past and present, as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many communities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. Building on a 162-year history as a competitive and innovative undergraduate institution, Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders.

The Center presents more than 200 world-class events and welcomes 50,000 visitors each year. The Fisher Center supports artists at all stages of their careers and employs more than 300 professional artists annually. The Fisher Center is a powerful catalyst of art-making regionally, nationally, and worldwide. Every year it produces 8 to 10 major new works in various disciplines. Over the past five years, its commissioned productions have been seen in more than 100 communities around the world. During the 2018-19 season, six Fisher Center productions toured nationally and internationally. In 2019, the Fisher Center won the Tony Award for Best Revival of a Musical for Daniel Fish’s production of Oklahoma! which began life in 2007 as an undergraduate production at Bard and was produced professionally in the Fisher Center’s SummerScape Festival in 2015 before transferring to New York City.

ABOUT FISHER CENTER LAB

​​Fisher Center LAB is the Fisher Center’s artist residency and commissioning program, providing custom-made and meaningful support for innovative artists across disciplines. Since its launch in 2012, Fisher Center LAB has supported residencies, workshops, and performances for hundreds of artists, incubating new projects and engaging audiences, students, faculty and staff in the process of creating contemporary performance.

ABOUT BARD COLLEGE

Founded in 1860, Bard College is a four-year residential college of the liberal arts and sciences located 90 miles north of New York City. With the addition of the adjoining Montgomery Place estate, Bard’s campus consists of nearly 1,000 parklike acres in the Hudson River Valley. It offers bachelor of arts, bachelor of science, and bachelor of music degrees, with majors in nearly 40 academic programs; graduate degrees in 11 programs; nine early colleges; and numerous dual-degree programs nationally and internationally. Building on its 162-year history as a competitive and innovative undergraduate institution, Bard College has expanded its mission as a private institution acting in the public interest across the country and around the world to meet broader student needs and increase access to liberal education. The undergraduate program at the main campus in the Hudson Valley has a reputation for scholarly excellence, a focus on the arts, and civic engagement. Bard is committed to enriching culture, public life, and democratic discourse by training tomorrow’s thought leaders. For more information about Bard College, visit bard.edu.

Support for the Fisher Center and Bard Music Festival is provided by the following individuals, corporations, and foundations, among many others. We thank you for joining the late Richard B. Fisher with your generosity and partnership.

Special thanks to those who are supporting our programs with their commitments to the Bard College Endowment Challenge. Thank you for ensuring Bard’s continuity as a beacon for higher education, bolstering the development of innovative programs that offer access to rigorous, high-quality education for new populations around the world.

If you wish to become a member or make a contribution in support of vital arts experiences, please call 845-758-7987 or visit fishercenter.bard.edu/support.

Donors to the Bard College Endowment Challenge for the Fisher Center and Bard Music Festival

Jamie Albright and Stephen Hart

Anonymous

Bettina Baruch Foundation

Michelle R. Clayman

Robert C. Edmonds ’68

Jeanne Donovan Fisher

Neil Gaiman

Helena and Christopher Gibbs

Susan and Roger Kennedy

Dr. Barbara Kenner

Edna and Gary Lachmund

Alfred and Glenda Law

Gideon Lester

Anthony Napoli

David and Susan Rockefeller

Denise S. Simon and Paulo Vieiradacunha

Martin and Toni Sosnoff

Felicitas S. Thorne

Irene Zedlacher

Donors to the Fisher Center

Leadership Support

Anonymous

Arthur F. and Alice E. Adams Charitable Foundation

Brooklyn Community Foundation

Carolyn Marks Blackwood and Gregory H. Quinn

Jeanne Donovan Fisher

Alan H. and Judith Fishman

S. Asher Gelman ’06 and Mati Bardosh Gelman

March Forth Foundation

The Milikowsky Family Foundation

Millbrook Tribute Garden

Nancy and Edwin Marks Family Foundation

Anthony Napoli

National Endowment for the Arts

O’Donnell-Green Music and Dance Foundation

Rockefeller Brothers Fund

Denise S. Simon and Paulo Vieiradacunha

Martin and Toni Sosnoff

Felicitas S. Thorne

Andrew E. Zobler

Golden Circle

The Educational Foundation of America

Amy and Ronald Guttman

Barbara and Sven Huseby

Mary Byrne and Glenn Mai

Shao Mai

Daniel and Bonnie Shapiro

Director

Jamie Albright and Stephen Hart

Annie and Jim Bodnar

Gary DiMauro, Four Seasons Sotheby’s International Realty

Catherine C. Fisher

Jana Foundation

Donald and Gay Kimelman

Lizbeth and George Krupp

Marika Lindholm and Ray Nimrod

Lucille Lortel Foundation

Virginia and Timothy Millhiser

Martha Patricof

Alan Seget

Producer

Anonymous

John Geller and Alan Skog

Thomas and Bryanne Hamill

Paul and Lynn Knight

Ruth E. Migliorelli

Thendara Foundation

Patron

Mark Epstein and Arlene Shechet

James Gillson

Eileen Guilfoyle and David Moody

Frederic Harwood and Nedda Dimontezemolo

Arnold Iovinella Jr. and William Bozzetto

Beth Jones and Susan Simon

Raymond Learsy

Prof. Nancy S. Leonard and Dr. Lawrence Kramer

Gideon Lester and Tom Sellar

Liza Parker and Frank Migliorelli

Alex Payne and Nicole Brodeur

Ted Ruthizer and Jane Denkensohn

Myrna B. Sameth

David Schulz

Gail Shneyer and Abraham Nussbaum, MD

Elizabeth Weatherford

Donors to the Bard Music Festival

Leadership Support

Bettina Baruch Foundation

Robert C. Edmonds ’68

Jane W. Nuhn Charitable Trust

Dr. Barbara Kenner

Felicitas S. Thorne

Millie and Robert Wise

Golden Circle

Helen and Roger Alcaly

Jeanne Donovan Fisher

Director

Kathleen Vuillet Augustine

Michelle R. Clayman

Dr. Sanford Friedman and Virginia Howsam

Rachel and Dr. Shalom Kalnicki

Susan and Roger Kennedy

Edna and Gary Lachmund

Amy and Thomas O. Maggs

New York State Council on the Arts

Drs. M. Susan and Irwin Richman

Denise S. Simon and Paulo Vieiradacunha

Anthony and Margo Viscusi

Richard and Dee Wilson

Producer

Anonymous

Amy K. and David Dubin

John Geller and Alan Skog

Lazard Asset Management

Sarah Solomon

Thendara Foundation

Patron

Lydia Chapin and David Soeiro

Curtis DeVito and Dennis Wedlick

Estate of Clyde Talmadge Gatlin

Helena and Christopher Gibbs

Carlos Gonzalez and Katherine Stewart

Elena and Fred Howard

George and Barbara Kafka

Alison L. Lankenau

Evelyn and Don McLean

Martin L. and Lucy Miller Murray

Karl Moschner and Hannelore Wilfert

Samuel and Ellen Phelan

Jacqueline Royce

Janet and Michael Sirotta

Thomas and Diane Stanley

Edwin Steinberg and Judy Halpern

Olivia van Melle Kamp

Irene Zedlacher

William C. Zifchak, Esq.

List current as of September 29, 2022

Fisher Center

Executive Director
Liza Parker, Executive Director

Artistic Director
Gideon Lester, Artistic Director

Administration
Shannon Csorny, Executive Coordinator
Kayla Leacock, Hiring/Special Projects Manager

Artistic Direction
Caleb Hammons, Director of Artistic Planning and Producing
Nunally Kersh, SummerScape Opera Producer
Carter Edwards, Producing Operations Manager
Jason Collins, Associate Producer
Rachael Gunning ’19, Producing Coordinator

Development
Debra Pemstein, Vice President for Development and Alumni/ae Affairs
Alessandra Larson, Director of Institutional Advancement and Strategy
Kieley Michasiow-Levy, Senior Individual Giving Manager
Sarah Pultz, Development Operations Manager
Cate McDermott, Development Communications Manager
Michael Hofmann VAP ’15, Development Communications Associate

Theater & Performance and Dance Programs
Jennifer Lown, Program Administrator
Sophia Doctoroff, Administrative & Digital Operations Assistant

Production
Jason Wells, Director of Production
Stephen Dean, Orchestra Production Manager
Jessica Myers, Production Manager
Dávid Bánóczi-Ruof, ’22, Production Administrator
Rick Reiser, Technical Director
Josh Foreman, Lighting Supervisor
Moe Schell, Costume Supervisor
Kat Pagsolingan, Video Supervisor
Lex Morton, Audio Supervisor

Communications
Mark Primoff, Associate Vice President of Communications
Amy Murray, Videographer

Publications
Mary Smith, Director of Publications
Cynthia Werthamer, Editorial Director

Marketing and Audience Services
David Steffen, Director of Marketing and Audience Services
Nicholas Reilingh, Database and Systems Manager
Maia Kaufman, Audience and Member Services Manager
Brittany Brouker, Marketing Manager
Sean Jones, Assistant Marketing Manager
Garrett Sager HRA ‘23, Digital Archive Associate
Elyse Lichtenthal, House Manager
Simon Dimock’ 22, Associate House Manager
Rea Ábel ’23, Assistant House Manager
Lukina Andreyev’ 23, Assistant House Manager
Joel Guahnich ’24, Assistant House Manager
Mariella Murillo ’25, Assistant House Manager
Paulina Swierczek VAP ’19, Audience and Member Services Assistant Manager
Jardena Gertler-Jaffe VAP ‘21, Box Office Supervisor
Erik Long, Box Office Supervisor
Sarah Rauch VAP ‘22, Box Office Supervisor
Lea Rodriguez ’22, Box Office Supervisor
Alexis Seminario VAP ‘22, Box Office Supervisor
Courtney Williams, Box Office Supervisor

Facilities
Mark Crittenden, Facilities Manager
Ray Stegner, Building Operations Manager
Hazaiah Tompkins ’19, Building Operations Coordinator
Liam Gomez, Building Operations Assistant
Chris Lyons, Building Operations Assistant
Robyn Charter, Fire Panel Monitor
Bill Cavanaugh, Environmental Specialist
Drita Gjokaj, Environmental Specialist
Oksana Ryabinkina, Environmental Specialist

Bard Music Festival

Executive Director

Irene Zedlacher

Artistic Directors

Leon Botstein

Christopher H. Gibbs

Associate Director

Raissa St. Pierre ’87

Scholars in Residence 2023

Byron Adams

Daniel Grimley

Program Committee 2023

Byron Adams

Leon Botstein

Christopher H. Gibbs

Daniel Grimley

Richard Wilson

Irene Zedlacher

Director of Choruses

James Bagwell

Vocal Casting

Joshua Winograde

Producer, Staged Concerts

Nunally Kersh