The Importance of Being Earnest
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Calendar

The Importance of Being Earnest

Play
Location

The Rose Theater

Directions
Price Range

$40-150

Duration

1 hour & 50 minutes with intermission

Date & Times

2

Jun, 2016

Thursday, 7:30 PM

3

Jun, 2016

Friday, 7:30 PM

4

Jun, 2016

Saturday, 7:30 PM

Event Info

Buy Tickets through Lincoln Center’s Great Performers

Part of NY PHIL BIENNIAL

martiniPlay Date on June 4 with Lincoln Center’s Great Performers: mingle with performers after the concert at Rose Theater at Jazz at Lincoln Center.

“An immediate hit and that rare thing: a genuinely funny opera.” So said The Guardian of Gerald Barry’s The Importance of Being Earnest. Catch the Philharmonic perform it in an uproarious staging that “embodies the Wildian spirit in musical form, turning it into a frolicsome trip into the decadent late Victorian culture” (The Upcoming).

The U.S. Stage Premiere of The Importance of Being Earnest is a CONTACT! at the Biennial presentation in the 2016 NY PHIL BIENNIAL

A Co-Presentation of the New York Philharmonic and Lincoln Center’s Great Performers as part of the Lincoln Center–New York Philharmonic Opera Initiative.

Production by the Royal Opera.

Program

Gerald Barry

The Importance of Being Earnest (U.S. Stage Premiere; Co-Commissioned by Los Angeles Philharmonic Association, Gustavo Dudamel, Music Director, and Barbican Centre, London)

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Artists

Ilan Volkov

Conductor

Ilan Volkov

Conductor

Ilan Volkov

Conductor

Born in Israel in 1976, Ilan Volkov began his conducting career at the age of 19. Following studies at London’s Royal College of Music, he held posts including principal conductor of the London Philharmonic Youth Orchestra, assistant conductor of the Boston Symphony Orchestra, and principal conductor and then principal guest conductor of the BBC Scottish Symphony Orchestra. From 2011 to 2014 he was music director and principal conductor of the Iceland Symphony Orchestra; his arrival coincided with the opening of Harpa, Reykjavík’s new concert hall, and his tenure included the creation of the Tectonics Festival, which combined classical modern music improvisation, electronics, rock and other new-music genres and which, since 2014, expanded with residencies in cities like Glasgow, Adelaide, Oslo, New York, Tel Aviv, and London. A frequent guest with leading orchestras worldwide, Ilan Volkov works regularly with a wide range of ensembles and appears in many of the foremost festivals of the world, including Salzburg, Edinburgh, BBC Proms, Lucerne, and Berlin. Highlights include performances with the BBC Symphony and Stuttgart Opera, as well as City of Birmingham Symphony, SWR Stuttgart, Atlanta Symphony, Seoul Philharmonic, Ensemble Intercontemporain, WDR Köln, and Oslo Philharmonic orchestras. Equally interested in opera, He 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, Weill’s The Rise and Fall of the City of Mahagonny for Théâtre du Capitole de Toulouse, and Bartók’s Duke Bluebeard’s Castle with Israeli Opera. Ilan Volkov is one of the guiding forces behind Levontin 7, one of the most adventurous venues in Tel Aviv, which brings together classical, jazz, electronic, rock and other musical genres, reflecting his determination to keep alive the creative spirit and sense of artistic adventure that shaped so many late 20th-century works. 

Learn more about Ilan Volkov
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Ramin Gray

Director

Ramin Gray

Director

Ramin Gray

Director

Ramin Gray (director) was born in London and grew up in Oxford, Tehran, New York, and Paris. He studied at Oxford University and trained on the Regional Theatre Young Director Scheme at Liverpool Playhouse. In the 1990s he directed new plays by playwrights including Jon Fosse, Paul Godfrey, and Gregory Motton at the Gate Theatre, Odéon Théâtre de l’Europe, and Théâtre de Gennevilliers. In 2000 he joined the Royal Court as International Associate and went on to work there until 2009 as associate director, directing World or U.K. Premieres by such playwrights as Marius von Mayenburg, Mark Ravenhill, Roland Schimmelpfennig, and Simon Stephens. Other work includes productions for the Royal Shakespeare Company, Salzburg Festival, Vienna Schauspielhaus, and Moscow’s Praktika Theatre. He is artistic director of the Actors Touring Company, for which he has directed David Greig’s The Events (Traverse, Young Vic, and New York Theatre Workshop) and Marius von Mayenburg’s Martyr (Unicorn Theatre and tour). His opera directing credits include the European Premiere of Brett Dean’s Bliss and Death in Venice and the World Premiere of Beat Furrer’s La bianca notte for Hamburg Staatsoper.

Learn more about Ramin Gray

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Ben Clark

Associate Set Design, after an idea by Johannes Schütz

Ben Clark

Associate Set Design, after an idea by Johannes Schütz

Associate Set Design, after an idea by Johannes Schütz

Ben Clark (associate set design) is a freelance set designer based in Berlin. He has designed for thearres, companies, opera houses, and festivals including the Young Vic, Berliner Ensemble, Deutsches Theater Berlin, Volksbühne Berlin, Düsseldorf Schauspielhaus, Hamburg Schauspielhaus, Vienna Burgtheater, Vienna Festival, Salzburg Festival, Zurich Schauspielhaus, Théâtre de la Ville de Paris, Sydney Theatre Company, Theater an der Wien, Zurich Opera, Komische Oper Berlin, Opéra national du Rhin, and Florence’s Teatro del Maggio Musicale. He has worked with directors including Cate Blanchett, Thomas Vinterberg, Jürgen Gosch, Stein Winge, Benedict Andrews, Roland Schimmelpfennig, Claus Peymann, and Reinhild Hoffmann, and collaborated with designer Johannes Schütz.

Learn more about Ben Clark

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Christina Cunningham

Costume Designer

Christina Cunningham

Costume Designer

Costume Designer

Christina Cunningham’s (costume design) costume designs include People, Places, Things and As You Like It (National Theatre), The Nether (Royal Court), Chimerica (Almeida and West End), The Resistible Rise of Arturo Ui (National Actors Theatre, New York), and many productions for Complicite on international tours and at the Barbican, National Theatre, and Duchess Theatre, including The Master and Margarita, Shun-kin, Measure for Measure, Strange Poetry and Mnemonic. she has designed costumes for operas including Rise and Fall of the City of Mahagonny and The Importance of Being Earnest (The Royal Opera), A Dog’s Heart (English National Opera, Dutch National Opera, Milan’s Teatro alla Scala, and Opéra de Lyon), and Nabucco (Opéra de Nancy). Her dance designs include Sun (Hofesh Shechter Company), Just for Show (DV8), and Just Add Water (Shobana Jeyasingh Dance Company).

Learn more about Christina Cunningham

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Franz Peter David

Lighting Design

Franz Peter David

Lighting Design

Lighting Design

Franz Peter David (lighting design) began his career in several German theaters, and was lighting designer and head of the lighting department for Berlin Staatsoper, 1994–2005. He has worked with designers including Hans Schavernoch, Johannes Schütz, and Erich Wonder; directors including Ruth Berghaus, Luc Bondy, Götz Friedrich, Harry Kupfer, Johannes Schaaf, and Robert Wilson; and choreographers Patrice Bart, Maurice Béjart, and Vladimir Malakhov. Last year he lit Richard Strauss’s Der Rosenkavalier for Baden-Baden Easter Festival, and has worked for opera and theater companies in cities including Amsterdam, Brussels, Frankfurt, Hamburg, Beijing, Glasgow, Paris, Oslo, Tokyo, and Zurich. For The Royal Opera he lit Mozart’s The Marriage of Figaro for Johannes Schaaf, and designed the lighting for Gerald Barry’s The Importance of Being Earnest.

Learn more about Franz Peter David

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Leon Baugh

Movement Director

Leon Baugh

Movement Director

Movement Director

Leon Baugh (movement director) trained at Trinity Laban Conservatoire of Music and Dance, and went on to dance for companies and choreographers including Jasmin Vardimon and Frantic Assembly, and in many television commercials and music videos. He has worked as a dancer and deputy rehearsal director for Hofesh Shechter, assisting him on projects including Saint Joan (National Theatre) and Skins (Channel 4). He has worked as a choreographer and movement director for theaters including the Royal Court, Young Vic, Almeida Theatre, and Boston’s American Repertory Theatre, and in 2011 he won an Olivier Award for Best Theatre Choreographer for Sucker Punch (Royal Court). A qualified osteopath and movement coach, he treats dancers and performers internationally.

Learn more about Leon Baugh

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New York Philharmonic

New York Philharmonic

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Simon Wilding

Lane/Merriman

Simon Wilding

Lane/Merriman

Lane/Merriman

Bass Simon Wilding (Lane / Merriman) studied at the Royal National Conservatory of Music. For The Royal Opera he has most recently appeared as Lane / Merriman in Gerald Barry’s The Importance of Being Earnest, Sciarrone in Puccini’s Tosca, Lackey in Richard Strauss’s Ariadne auf Naxos, and Pinellino in Puccini’s Gianni Schicchi. Other recent appearances include Prince de Bouillon in Cilea’s Adriana Lecouvreur, Talpa in Puccini’s Il tabarro, and Betto di Signa in Gianni Schicchi for Opera Holland Park; Athlete in Olga Neuwirth’s American Lulu for The Opera Group at the Young Vic and the Edinburgh and Bregenz festivals; and Hobson in Britten’s Peter Grimes for the Beijing Music Festival. He has also sung Zaccaria in Verdi’s Nabucco for the Macedonian National Opera, Pig in Jonathan Dove’s The Enchanted Pig for New York’s New Victory Theater, and roles for the Wexford and Batignano Festivals, among others.

Learn more about Simon Wilding

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Benedict Nelson

Algernon Moncrieff

Benedict Nelson

Algernon Moncrieff

Algernon Moncrieff

Baritone Benedict Nelson (Algernon Moncrieff) was an inaugural Harewood Artist with English National Opera (ENO). His recent operatic highlights include Algernon (The Royal Opera) in Gerald Barry’s The Importance of Being Earnest, Count Almaviva in Mozart’s The Marriage of Figaro (ENO), Ned Keene in Britten’s Peter Grimes (Opéra de Lyon and Opera North), Stranger in Craig Armstrong’s The Lady from the Sea (Edinburgh Festival and Scottish Opera), Aeneas in Purcell’s Dido and Aeneas (Verbier Festival, Salzburg Festival, Teatro Regio, and Turin), the title role in Mozart’s Don Giovanni, Marcello in Puccini’s La bohème, and Tarquinius in Britten’s The Rape of Lucretia (Angers-Nantes Opéra). Concert highlights include Brahms’s A German Requiem (Hallé), Weill’s Berliner Requiem (Orchestre Philharmonique de Radio France), Brander in Berlioz’s The Damnation of Faust (Royal Philharmonic Orchestra led by Charles Dutoit) and Orff’s Carmina burana (Gulbenkian Orchestra). This season he sings Vaughan Williams’s Sea Symphony with the Royal Scottish National Orchestra and gives recitals at the Oxford Lieder Festival and the Norfolk and Norwich Chamber Music Festival.

Learn more about Benedict Nelson

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Paul Curievici

John Worthing

Paul Curievici

John Worthing

John Worthing

Tenor Paul Curievici (John Worthing) studied at the Guildhall School of Music and Drama and made his Royal Opera debut as Jack Worthing in Gerald Barry’s The Importance of Being Earnest in 2013, returning as Eames in Matt Rogers’s The Virtues of Things. His other appearances include Painter in Olga Neuwirth’s American Lulu (The Opera Group at the Young Vic and the Bregenz and Edinburgh festivals), roles in Philip Glass’s The Trial (Music Theatre Wales), and Sam Kaplan in Weill’s Street Scene (The Opera Group at Liceu, Barcelona, and Paris’s Théâtre du Châtelet). He has also worked with Scottish Opera, Northern Ireland Opera, New Sussex Opera, Clonter Opera, Chelsea Opera Group, and Grange Park Opera.

Learn more about Paul Curievici

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Stephanie Marshall

Gwendolen Fairfax

Stephanie Marshall

Gwendolen Fairfax

Gwendolen Fairfax

Mezzo-soprano Stephanie Marshall (Gwendolen Fairfax) studied at the Royal Academy of Music and was a company principal for English National Opera, where her roles included Wellgunde in Wagner’s Ring cycle, Sonya in Prokofiev’s War and Peace, Mercédès in Bizet’s Carmen, Cherubino in Mozart’s The Marriage of Figaro, Annio in Mozart’s La clemenza di Tito, Offred in Poul Ruders’s The Handmaid’s Tale, and Kasturbai in Philip Glass’s Satyagraha. She has also sung for Opera North, Pacific Opera, Victoria, and the Classical Opera Company; at the BBC Proms; for Boston’s Handel and Haydn Society; and for orchestras including the Berlin Philharmonic, Hallé, Britten Sinfonia, and BBC Symphony Orchestra. For The Royal Opera she has sung Gwendolen Fairfax in Gerald Barry’s The Importance of Being Earnest and Girl in Weill’s Rise and Fall of the City of Mahagonny. Upcoming appearances include Romeo in Bellini’s I Capuleti e i Montecchi for Buxton Festival.

Learn more about Stephanie Marshall

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Alan Ewing

Lady Bracknell

Alan Ewing

Lady Bracknell

Lady Bracknell

Bass Alan Ewing (Lady Bracknell) has performed for companies including The Royal Opera (in roles including Lady Bracknell in Gerald Barry’s The Importance of Being Earnest), Berlin Staatsoper, Zurich Opera, Dutch National Opera, and at Theater an der Wien, Amsterdam’s Royal Concertgebouw, Paris’s Salle Pleyel, and the Salzburg, Aix-en-Provence, and Lucerne festivals. His roles include many Handel bass roles, Osmin in Mozart’s The Abduction from the Seraglio, Leporello in Mozart’s Don Giovanni, Sarastro in Mozart’s The Magic Flute, Sparafucile in Verdi’s Rigoletto, Fafner in Wagner’s Das Rheingold and Siegfried, Baron Ochs in Richard Strauss’s Der Rosenkavalier, and the title roles in Bartók’s Bluebeard’s Castle and Stephen Sondheim’s Sweeney Todd. Recent appearances include Archbishop in Szymanowski’s Król Roger (The Royal Opera), Prince Gremin in Tchaikovsky’s Eugene Onegin (Grange Park Opera), and Claudio in Handel’s Agrippina (Northern Ireland Opera). Upcoming highlights include an appearance in Thomas Adès’s Powder Her Face (Bilbao), the role of Bottom in Britten’s A Midsummer Night’s Dream (Performing Arts Centre, Hyogo), and a return to The Royal Opera.

Learn more about Alan Ewing

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Hilary Summers

Miss Prism

Hilary Summers

Miss Prism

Miss Prism

Welsh contralto Hilary Summers (Miss Prism) has created several roles, including Stella in Elliot Carter’s What Next (Berlin Staatsoper), Irma in Peter Eötvös’s Le Balcon (Aix-en-Provence Festival), Miss Prism in the U.K. Stage Premiere of Gerald Barry’s The Importance of Being Earnest (The Royal Opera), and Mrs. Darling/Tiger Lilly in the U.K. and London Premieres of Richard Ayres’s Peter Pan (with the welsh National Opera, including at The Royal Opera House). Her operatic repertory also includes Baroque roles such as Juno in Handel’s Semele, performances in Handel’s Giulio Cesare, and Medoro in Handel’s Orlando. Other roles include Baba the Turk in Stravinsky’s The Rake’s Progress, Mrs. Sedley in Britten’s Peter Grimes, Geneviève in Debussy’s Pélléas et Melisande, and Mescalina in Ligeti’s Le Grand Macabre. She has recorded more than 30 CDs, including Boulez’s Grammy Award–winning Le Marteau sans maître, conducted by the composer.

Learn more about Hilary Summers

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Claudia Boyle

Cecily Cardew

Claudia Boyle

Cecily Cardew

Cecily Cardew

Soprano Claudia Boyle (Cecily Cardew) studied at the Royal Irish Academy of Music and participated in the 2010 Salzburg Festival Young Singers’ Project. She won First Prize and the Critics’ Prize in the 2012 Maria Callas Grand Prix. Her recent appearances include Konstanze in Mozart’s The Abduction from the Seraglio (Komische Oper Berlin), Tytania in Britten’s A Midsummer Night’s Dream, Cunegonde in Bernstein’s Candide, Gilda in Verdi’s Rigoletto (Rome Opera), the title role in Donizetti’s Lucia di Lammermoor (Danish National Opera), Mabel in Gilbert & Sullivan’s The Pirates of Penzance (English National Opera, Caen, and Luxembourg), Adina in Donizetti’s L’elisir d’amore (Semperoper Dresden), Jenny in Weill’s Rise and Fall of the City of Mahagonny (Dublin’s Opera Theatre Company), and May-Shan in the World Premiere of Christian Jost’s Rote Laterne (Zurich Opera). Upcoming highlights include a return to Dresden as Adina in L’elisir d’amore.

Learn more about Claudia Boyle

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Kevin West

The Rev. Canon Chasuble, D.D.

Kevin West

The Rev. Canon Chasuble, D.D.

The Rev. Canon Chasuble, D.D.

Kevin West (The Rev. Canon Chasuble, D.D.) began his career with D’Oyly Carte Opera Company and studied singing at the Guildhall School of Music & Drama. His operatic engagements include David in Wagner’s Die Meistersinger von Nürnberg for English National Opera, Pong in Puccini’s Turandot for The Royal Opera, Schoolmaster in Janáček’s The Cunning Little Vixen, Don Basilio in Mozart’s The Marriage of Figaro for Opera North and Northern Ireland Opera, Snout in Britten’s A Midsummer Night’s Dream, Governor in Bernstein’s Candide, and Missail in Musorgsky’s Boris Godunov for Turin’s Teatro Regio. He created the role of Swami Zumzum in Harrison Birtwistle’s The Second Mrs. Kong for Glyndebourne Festival as well as various roles for Almeida Opera, and sang in the World Premiere of Judith Weir’s Missa e combattimento for Brussels’s La Monnaie. He has appeared as an actor and narrator at Richmond Theatre and King’s Head Theatre. Television appearances include The People’s Passion and King Priam (Channel 4) and Figaro Live (BBC2).

Learn more about Kevin West

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Special Thanks

Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund.

Additional funding is provided by Howard Gilman Foundation and Honey M. Kurtz.

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