MARCH 2 02 0
the magazine of the
Oregon Symphony
Prohibition Party Relive the 1920s with music by Kurt Weill, Jelly Roll Morton, Irving Berlin, and more.
FE ATURED CONCER T S Berio’s Sinfonia by Rose Bond | Mar. 14–16 Nas: Illmatic – 25th Anniversary | Mar. 19 Prohibition Party | Mar. 21–22
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CONTENTS MARCH 2020 16
Feature
18
about us LETTER FROM THE PRESIDENT 11 CONDUCTORS 13 ORCHESTRA, STAFF & BOARD 14 RECOMMENDED RECORDINGS 25 OUR SUPPORTERS 32
featured MICHAEL CURRY 16 Michael Curry
FASCINATING FACTOIDS: PROHIBITION 43
Berio’s Sinfonia by Rose Bond
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ON A HIGH NOTE: NANCY IVES 44 ASK URSULA THE USHER 46
performances BERIO’S SINFONIA BY ROSE BOND 18 SATURDAY, MARCH 14, 7:30 PM SUNDAY, MARCH 15, 2 PM MONDAY, MARCH 16, 7:30 PM NAS: ILLMATIC – 25TH ANNIVERSARY 26 THURSDAY, MARCH 19, 7:30 PM Nas: Illmatic – 25th Anniversary
Prohibition Party
43
Feature
Fascinating Factoids: Prohibition
Feature
On a High Note: Nancy Ives
44
PROHIBITION PARTY 28 SATURDAY, MARCH 21, 7:30 PM SUNDAY, MARCH 22, 2 PM
Oregon Symphony programs are supported in part by the Oregon Arts Commission, the National Endowment for the Arts – a federal agency – and by the Regional Arts & Culture Council, which includes support from the Arts Education and Access Fund; Arts Investment Fund; the City of Portland; Multnomah, Clackamas, and Washington Counties; and Metro.
on the cover: Prohibition Party
®
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March 20 – April 11, 2020
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LETTER FROM THE PRESIDENT Dear Friends, This month, we launch Open Music, a series that brings contemporary composers, musicians from your Oregon Symphony, and Creative Chair Gabriel Kahane together in intimate venues for chamber music experiences. Our first installment, March 13 at the Alberta Rose Theatre, features Caroline Shaw offering a window into her inspirations and creative life. March begins with Young People’s Concerts in Portland, Salem, and Newberg. These programs provide a fun and educational introduction to classical music for thousands of students in grades 3–8, at low or no cost to families and schools who participate. In our Classical Series, we present the second of this season’s SoundSights productions, Berio’s Sinfonia by Rose Bond (March 14–16). In this concert, multimedia artist Rose Bond’s video installation offers visual layers of interpretation and inspiration to Berio’s sound collage. Next, hip hop artist Nas joins us for a 25th anniversary celebration of Illmatic, his genre-defining debut album (March 19). Finally, Pops program Prohibition Party showcases iconic jazz and cabaret music of the 1920s (March 21–22). March also sees the release of the Oregon Symphony album emergency shelter intake form, which examines the scourge of deep poverty in America through the lens of homelessness and housing insecurity. With this project, we sought to bring people together around a pressing issue in our community, and we are proud to share it with our listeners and the artistic world at large.
Thank you for joining us here in the concert hall and at our learning and community engagement events throughout the region. Enjoy the music!”
Scott Showalter president & ceo orsymphony.org | 503-228-1353 11
APRIL CONCERTS Beethoven’s Ninth APRIL 4–6 Jonathon Heyward, conductor • Oregon Repertory Singers • Alexandria Shiner, soprano • Siena Licht Miller, mezzo-soprano • Kyle van Schoonhoven, tenor • Reginald Smith, Jr., baritone Stravinsky: Agon Beethoven: Symphony No. 9, “Choral”
Oregon Repertory Singers join the orchestra and four soloists for a full-throated celebration of Beethoven’s final masterpiece.
The Flaming Lips with the Oregon Symphony APRIL 13 Norman Huynh, conductor Reed College Chorus
Kristin Chenoweth in Concert – For The Girls
Revueltas’ Night of the Mayas by Michael Curry
APRIL 16 Mary-Mitchell Campbell, conductor
APRIL 25–27 Carlos Kalmar, conductor • Michael Curry, stage designer/director
The star of Broadway, film, and tv joins the Oregon Symphony for a spectacular evening featuring songs from her latest album, For The Girls. Celebrated for originating the role of Glinda the Good Witch in the Broadway hit Wicked, the Emmy and Tony awardwinning actress will pay tribute to remarkable women singers, including Dolly Parton, Ariana Grande, and Jennifer Hudson.
Villa-Lobos: Uirapurú D vořák: The Golden Spinning Wheel • Revueltas: La noche de los mayas (The Night of the Mayas)
Award-winning designer Michael Curry – whose 2017 imagining of Stravinsky’s Persephone dazzled three sold-out halls – returns to the Oregon Symphony, drawing from ancient Mayan tradition to create a mysterious, supernatural setting for Revueltas’ 1939 film score La noche de los mayas.
The Flaming Lips will perform their iconic 1999 masterpiece The Soft Bulletin in its entirety, joined by the Oregon Symphony.
Revueltas’ Night of the Mayas by Michael Curry April 25–27
orsymphony.org 503-228-1353 your official source for symphony tickets
CONDUCTORS Carlos Kalmar Jean Vollum music director chair
Carlos Kalmar is in his 17th season as music director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago. In May 2011, he made his New York debut at Carnegie Hall with the Oregon Symphony as part of the inaugural Spring for Music festival. Both his imaginative program, Music for a Time of War, and the performance itself were hailed by critics in The New York Times, The New Yorker magazine, and Musical America, and the concert was recorded and released on the Pentatone label, subsequently earning two Grammy nominations (Best Orchestral Performance and Best Engineered). Under Kalmar’s guidance the orchestra has recorded subsequent cds on the Pentatone label – This England, featuring works by Britten, Vaughan Williams, and Elgar; The Spirit of the American Range, with works by Copland, Piston, and Antheil, which received another Best Orchestral Performance Grammy nomination; Haydn Symphonies; and Aspects of America. The New Yorker magazine critic Alex Ross called the Oregon Symphony’s Carnegie Hall performance under Kalmar “the highlight of the festival and one of the most gripping events of the current season.” That verdict was echoed by Sedgwick Clark, writing for Musical America, who described the performance of Vaughan Williams’ Fourth Symphony as “positively searing… with fearless edge-of-seat tempos… breathtakingly negotiated by all…” A regular guest conductor with major orchestras in America, Europe, and Asia, Kalmar recently made his subscription series debuts with three of America’s most prestigious orchestras: those of Boston, Chicago, and San Francisco. Past engagements have seen him on the podium with the Philadelphia Orchestra, the Los Angeles Philharmonic, the Minnesota Orchestra, and the New World Symphony, as well as the orchestras of Baltimore, Cincinnati, Dallas, Houston, Milwaukee, Nashville, Seattle, and St. Louis. Kalmar, born in Uruguay to Austrian parents, showed an early interest in music and began violin studies at the age of six. By the time he was 15, his musical promise was such that his family moved back to Austria in order for him to study conducting with Karl Osterreicher at the Vienna Academy of Music. He has previously served as the chief conductor and artistic director of the Spanish Radio/Television Orchestra and Choir in Madrid as well as the music director for the Hamburg Symphony, the Stuttgart Philharmonic, Vienna’s Tonnkunsterorchester, and the Anhaltisches Theater in Dessau, Germany. He lives in Portland with his wife, Raffaela, and sons, Luca and Claudio.
Norman Huynh Harold and Arlene Schnitzer associate conductor chair
Norman Huynh has established himself as a conductor with an ability to captivate an audience through a multitude of musical genres. This season, Huynh continues to showcase his versatility in concerts featuring Itzhak Perlman, hip hop artists Nas and Wyclef Jean, and vocal superstar Storm Large. Born in 1988, Huynh is a first generation Asian American and the first in his family to pursue classical music as a career. Upcoming and recent engagements include the St. Louis Symphony, Detroit Symphony, and Grant Park Music Festival. He has served as a cover conductor for the New York Philharmonic and Los Angeles Philharmonic with John Williams. Huynh has been at the forefront of moving orchestral music out of the traditional concert hall. In 2011, he co-founded the Occasional Symphony in Baltimore to celebrate holidays by performing innovative concerts in distinct venues throughout the inner-city. The orchestra performed on Dr. Seuss’ birthday at Port Discovery Children’s Museum, Halloween in a burnt church turned concert venue, and Cinco de Mayo in the basement bar of a Mexican restaurant. Huynh currently resides in Portland and enjoys skiing, board games, and riding his motorcycle. You can follow him on Instagram @normanconductor. Jeff Tyzik principal pops conductor
Jeff Tyzik has earned a reputation as one of America’s foremost pops conductors and is recognized for his brilliant arrangements, original programming, and rapport with audiences. Now in his 26th season as principal pops conductor of the Rochester Philharmonic, Tyzik is also in his 13th season as the Oregon Symphony’s principal pops conductor and continues to serve in the same role with the Seattle Symphony, Detroit Symphony, Florida Orchestra, and Canada’s Vancouver Symphony. Tyzik is also highly sought after as a guest conductor across North America. He holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. He lives in Rochester, New York, with his wife, Jill. orsymphony.org | 503-228-1353 13
O R C H E S T R A , S TA F F & B O A R D Orchestra MU S I C D IR E C TO R
CE LLO
H O RN
Carlos Kalmar Jean Vollum music director chair
Nancy Ives, Mr. & Mrs. Edmund Hayes, Jr. principal cello chair Marilyn de Oliveira, assistant principal Seth Biagini Kenneth Finch Trevor Fitzpatrick Antoinette Gan Kevin Kunkel
John Cox, principal Joseph Berger, associate principal Graham Kingsbury, assistant principal Matthew Berliner* Mary Grant** Alicia Michele Waite
A S S O CIATE COND U C TO R Norman Huynh Harold and Arlene Schnitzer associate conductor chair PR IN CIPAL P O P S COND U C TO R Jeff Tyzik VI O LIN
BASS Colin Corner, principal Braizahn Jones, assistant principal Nina DeCesare Donald Hermanns Jeffrey Johnson Jason Schooler
Sarah Kwak, Janet & Richard Geary concertmaster chair Peter Frajola, Del M. Smith & Maria Stanley Smith associate concertmaster chair FLU TE Erin Furbee, Harold & Jane Pollin Martha Long, Bruce & Judy Thesenga assistant concertmaster chair principal flute chair Chien Tan, Truman Collins, Sr. principal Alicia DiDonato Paulsen, second violin chair Inés Voglar Belgique, assistant principal assistant principal Zachariah Galatis second violin Fumino Ando PI CCO LO Keiko Araki Zachariah Galatis Clarisse Atcherson Ron Blessinger OBOE Lisbeth Carreno Martin Hébert, Harold J. Schnitzer Ruby Chen principal oboe chair Emily Cole Karen Wagner, assistant principal Julie Coleman Kyle Mustain** Eileen Deiss Jason Sudduth* Jonathan Dubay Gregory Ewer ENGLI S H H O RN Daniel Ge Feng Kyle Mustain** Lynne Finch Jason Sudduth* Shin-young Kwon Ryan Lee CL AR INE T Yuqi Li James Shields, principal Samuel Park Todd Kuhns, assistant principal Searmi Park Mark Dubac Vali Phillips Shanshan Zeng B A S S CL AR INE T VIOLA Todd Kuhns Joël Belgique, Maybelle Clark Macdonald Fund principal viola chair Charles Noble, assistant principal Jennifer Arnold** Kenji Bunch* Silu Fei Leah Ilem Ningning Jin Brian Quincey Viorel Russo Martha Warrington
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TR UMPE T Jeffrey Work, principal David Bamonte, assistant principal, Musicians of the Oregon Symphony Richard Thornburg trumpet chair Doug Reneau TR OMB ONE Casey Jones, principal Robert Taylor, assistant principal Charles Reneau B A S S TR OMB ONE Charles Reneau TUBA JáTtik Clark, principal TIMPANI Jonathan Greeney, principal Sergio Carreno, assistant principal PE R CU S S I ON Niel DePonte, principal Michael Roberts, assistant principal Sergio Carreno HAR P Jennifer Craig, principal LIB R ARY Joy Fabos, principal Kathryn Thompson, associate Sara Pyne, assistant O R CHE S TR A PE R S ONNE L MANAGE R Leah Ilem AR TI S T- IN - R E S ID EN CE
B A S S O ON
Johannes Moser
Carin Miller Packwood, principal Evan Kuhlmann, assistant principal** Nicole Haywood, assistant principal* Adam Trussell ** Steve Vacchi*
Artist-in-Residence program is sponsored by Drs. Cliff and Karen Deveney
CR E ATIVE CHAIR Gabriel Kahane
CONTR AB A S S O ON
Creative Chair is sponsored by Michael, Kristen, and Andrew Kern, and Anna Sanford
Evan Kuhlmann** Steve Vacchi*
* Acting position ** Leave of absence
Administration Scott Showalter, president and ceo Diane M. Bush, executive assistant Susan Franklin, assistant to the music director Hilary Blakemore, vice president for development Ellen Bussing, senior director for campaigns Charles Calmer, vice president for artistic planning Russell Kelban, vice president for marketing and strategic engagement Janet Plummer, chief financial and operations officer Steve Wenig, vice president and general manager B U S INE S S O PE R ATI ONS Allison Bagnell, art director David Fuller, tessitura applications administrator Tom Fuller, database administrator Julie Haberman, finance and administration associate Randy Maurer, creative services and publications manager Peter Rockwell, graphic designer D E VE LO PMENT Meagan Bataran, director of development Ryan Crump, development associate Kerry Kavalo, annual giving manager Leslie Simmons, director of events
Ethan J H Evans, patron services representative Rebecca Van Halder, lead patron service, teleservices Danielle Jagelski, patron services representative Emily Johnstone, lead patron services, ticket office Chris Kim, patron services representative Nils Knudsen, ticket office manager Jen McIntosh, patron services representative Elliot Menard, patron services representative Carol Minchin, patron services representative O PE R ATI ONS Amanda Preston, patron services representative Jacob Blaser, director of operations Beatrix Rowland, patron Ryan Brothers, assistant stage manager services representative Monica Hayes, Hank Swigert director, Tyler Trepanier, patron learning and community services representative engagement programs Darcie Kozlowski, director of Robert Trujillo, patron popular programming services representative Steve Stratman, orchestra manager Laura Udelson, patron services Lori Trephibio, stage manager representative Jacob Wade, manager, operations and S ALEM artistic administration Laura AgĂźero, director of TI CKE T O FFI CE Oregon Symphony in Salem programs Adam Cifarelli, teleservices manager L. Beth Yockey Jones, Alison Elliott, operations manager patron services representative
Courtney Trezise, foundation and corporate giving officer Victoria Wolfe, assistant director of development MAR KE TING , COMMUNI C ATI ONS & S ALE S Ethan Allred, marketing and web content manager Liz Brown, marketing partnership and group sales manager Katherine Eulensen, audience development manager John Kroninger, front of house manager Lisa McGowen, marketing operations manager John Zinn, director of marketing and sales
Board of Directors O FFI CE R S
D IR E C TO R S
Robert Harrison, chair Dan Drinkward, vice chair Tige Harris, vice chair & treasurer Rick Hinkes, vice chair Nancy Hales, secretary
Courtney Angeli Rich Baek Janet Blount Christopher M. Brooks Cantor Ida Rae Cahana Eve Callahan Cliff Deveney Lauren D. Fox Robyn Gastineau Jeff Heatherington J. Clayton Hering Sue Horn-Caskey Judy Hummelt Braizahn Jones
LIFE TIME D IR E C TO R S William B. Early RenĂŠe Holzman Gerald R. Hulsman Walter E. Weyler Jack Wilborn
Grady Jurrens Gerri Karetsky Kristen Kern Thomas M. Lauderdale Martha Long Priscilla Wold Longfield Peggy Miller Roscoe C. Nelson III Dan Rasay Lane Shetterly, ex-officio Scott Showalter James Shields Amanda Tucker Chabre Vickers Derald Walker
orsymphony.org | 503-228-1353 15
F E AT U R E D A R T I C L E
BY ELIZABETH SCHWARTZ
If you live in Oregon and love it, whether you are native-born or a willing transplant, chances are one of the things you love is the feisty independence of so many of our citizens. Among those who make art here, that independence usually manifests as an eagerness to embrace the unconventional and demands a certain kind of single-minded fearlessness to bring that art – literary, visual, or performance – to life. Designer Michael Curry is celebrated around the world for just this kind of bold, innovative approach. Over the last 30-plus years, Curry has built an international reputation as a production designer specializing in transformational scenery, large-scale puppetry, costuming, and character design. Audiences may know him best as the creator of the animal puppets for the blockbuster Broadway show The Lion King. Curry collaborates regularly with The Walt Disney Company, Cirque du Soleil, the International Olympic Committee, and the Metropolitan Opera, among others.
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Given his glittering resume, you might be surprised to find out Curry’s production company, Michael Curry Design, Inc., is not based in New York or Europe but in Scappoose, a small town 25 miles north of Portland. You might be less surprised to learn that Curry himself is a native Oregonian, born in Grants Pass. When he was in his teens, his family struggled with poverty. Curry grew up surrounded by people who, out of necessity and inclination, epitomized the Oregon diy (Do It Yourself) approach to life. In a 2015 interview in the magazine 1859, Curry observed, “The people around me had a fearlessness about making things and solving problems. They gave me that.” On April 25, 26, and 27, Curry and the Oregon Symphony present their second artistic collaboration, the staging of Mexican composer Silvestre Revueltas’ score for the 1939 film La noche de los mayas (Night of the Mayas). Curry’s first partnership with the Symphony, a production of Igor Stravinsky’s Persephone in 2017, earned positive reviews from both critics and audiences, and was later staged in Seattle.
The Mayan culture dates from approximately 1800 bce to 900 ce, and reached its zenith in the sixth century ce. Over time, the Mayans became especially skilled in architecture, pottery, hieroglyphs, and mathematics; many examples of their art and architecture, found in the ruins of Chichen Itza and other locales, attest to their abilities. For reasons unknown, Mayan civilization collapsed over a period of centuries, and by 900 ce, the great Mayan cities were abandoned. Today, descendants of the Mayan people continue to live in areas of Mexico, Honduras, El Salvador, Belize, and Guatemala. Curry found himself quickly seduced by the beauty of Mayan art and by Revueltas’ vigorous, elemental score. “The beauty and strength of Mayan artwork are driving the aesthetic, to the point where some of the music sounds blue and orange to me, because I’m reacting to the Mayan artwork,” he explained enthusiastically. “The bas-relief carvings I’ve seen on the ceremonial columns at Chichen Itza or Copán are more fascinating to me than paintings; I’m treating the shallow sculptural relief facades graphically.”
MICHAEL CURRY: FROM PERSEPHONE TO REVUELTAS’ NIGHT OF THE MAYAS
The Oregon Symphony performs Revueltas’ Night of the Mayas with Michael Curry’s direction and designs on April 25, 26, and 27. For tickets and more information, go to orsymphony.org.
This [collaboration] is even more driven by the music [than Persephone]. Being a film score, it’s all over the place: the breadth of style has been really fun because some is folkloric, and some is bombastic movie music.” Revueltas died in 1940; 20 years later, the Mexican conductor/composer José Yves Limantour arranged the score into a four-movement concert suite. Curry has found some artistic freedom in the conflicting narratives about Mayan history and culture. “Mayan history is truly misunderstood; there’s a lot of conjecture and argument among archaeologists and historians about what happened.” For Curry, the lack of consensus gives him what he calls “license to be creative.” Curry points out that Revueltas also did not limit himself exclusively to indigenous Mayan music, probably for similar reasons. “The only thing that Revueltas got right regarding ‘authentic Maya’ is in the percussion
sections where traditional Mayan instruments are used.” “I’ve been unintentionally drawn into a more filmic technique than I’d originally planned,” Curry continues, “because I want to do point of view changes, closeups, and distant shots that you can only do with film. I’m also using more video in tribute to the fact that this was originally film music.” Curry has cast two local dancers: Steve Gonzales, artistic director of the acclaimed Jefferson Dancers, and hip hop dancer/teacher Mariecella Devine. Both previously worked with Curry on his 2001 production, Spirits. And yes, Curry’s signature puppets will make an appearance. The human actors will have 14-inch puppet character counterparts that allow Curry to play with scale and perspective.
a modern-day Mayan man who still makes offerings to the old gods. He’s somebody trying to gain entry into the truth of the ancient past, but he’s lost his connection to it. Eventually, via a filmed projection of a snake dancer (Gonzales), the present-day Mayan is invited to join the ancient cultures in the underworld.” These mythological spirits are summoned by a battery of indigenous percussion instruments prominently featured in the third and fourth movements. “You’ll hear them four or five times at least,” says Curry. “Listen to the music and see if the images I came up with match what you hear.”
Curry’s interpretation of Revueltas’ music explores the way old superstitions and beliefs persist in modern life. “La noche de los mayas is an original story about a jaguar god-king, starting in the year 578 ce; the first scene features the highest point of Mayan culture,” Curry explains. “The second act begins with orsymphony.org | 503-228-1353 17
BERIO’S SINFONIA BY ROSE BOND SATURDAY, MARCH 14, 2020, 7:30 PM SUNDAY, MARCH 15, 2020, 2 PM MONDAY, MARCH 16, 2020, 7:30 PM
sponsored by
presenting venue sponsor
Carlos Kalmar, conductor Rose Bond, director and animator Zak Margolis, production artist Steve Farris, technical producer Roomful of Teeth, vocal ensemble Richard Wagner Caroline Shaw
Overture and Venusberg Music from Tannhäuser Partita for 8 Voices Allemande Sarabande Courante Passacaglia Roomful of Teeth (without orchestra)
INTERMISSION
Luciano Berio
Sinfonia [untitled] O King In ruhig fliessender Bewegung (With Quietly Flowing Movement) [untitled] [untitled] Roomful of Teeth Rose Bond ARLENE SCHNITZER CONCERT HALL
First presented in 2016/17, our SoundSights series featured collaborative works with visual artists Michael Curry and Rose Bond, and director Mary Birnbaum. All three artists return this season with new productions to make you think afresh about music and art.
CONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature Music Director Carlos Kalmar and host Robert McBride. You can also enjoy the Concert Conversation in the comfort of your own home. Visit orsymphony.org/conversations to watch the video on demand.
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A collaboration with Portland Baroque Orchestra
A N T O N I O V I VA L D I
BAJAZET MARCH 20, 22m, 24, 26, 28 NEWMARK THEATRE
A groundbreaking new production of a rarely performed gem, conducted by Erin Helyard, who edited this score from the sole source in Vivaldi’s hand. Featuring contralto Avery Amereau and countertenor Aryeh Nussbaum Cohen. UP NEXT: A SPECIAL CONCERT
COMING SOON: LEONCAVALLO
MAY 9 | KELLER AUDITORIUM
JUNE 5 –13 | KELLER AUDITORIUM
BIG NIGHT
PAGLIACCI
PORTLANDOPERA.ORG | 503. 241.1802 | TICKETS START AT $35
BERIO’S SINFONIA BY ROSE BOND Biographies
Chinatown Museum, 2018; Illumination No.1 at Portland’s Old Town Society Hotel, 2014; a prototype for a media installation in the Smithsonian’s Arts & Industries Building, 2012; Broadsided! at Exeter Castle, 2010; and Intra Muros, shown during the 2007 Platform International Animation Festival and reprised for the Holland Animation Film Festival, Utrecht, 2008, and Nuit Blanche, Toronto, 2011.
Rose Bond Rose Bond last appeared with the Oregon Symphony on December 5, 2016, when she directed animation for Messiaen’s Turangalîla with conductor Carlos Kalmar. Rose Bond produces work at the juncture of cinema, animation, and experiential design. Her large-scale, site-specific installations navigate the allegories of place and illuminate urban space. In 2016, Bond directed an expanded animation piece projected live with the Oregon Symphony’s performance of Olivier Messiaen’s Turangalîla. Other sited projections include two pieces for the permanent collection at the Portland
Bond’s paint-on-film animated films have been presented at major international festivals and are held in the MoMA Film Collection. She has received honors from the American Film Institute, The Princess Grace Foundation, the National Endowment for the Arts, and was awarded an Oregon Media Arts Fellowship in 2016. Bond’s work has been cited in numerous publications including Experimental Animation: Origins of a New Art, Re-imagining Animation: The Changing Face of the Moving Image, The Animation Bible, Experimental and Expanded Animation: New Perspectives and Practices, and
design portland .org
Body of Sound
design week portland 2020
JOYFUL & GROUNDBREAKING performance, featuring mixedability dance paired with live music from the region's finest string quartet Coming to Portland April 3rd! $5 tickets at delgani.org
18 — Ap25 r
#dwpdx2020
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Also in Bend, Eugene & Ashland
Experimental Animation: From Analogue to Digital. She received her mfa in experimental filmmaking from the School of the Art Institute of Chicago on a Princess Grace Film Graduate Scholarship. Canadian by birth, Bond is based in Portland, Oregon, where she heads animated arts and is institute director for boundary crossings at the Pacific Northwest College of Art.
Roomful of Teeth With this concert, Roomful of Teeth makes their debut with the Oregon Symphony. Roomful of Teeth is a Grammy-winning vocal project dedicated to reimagining the expressive potential of the human voice. Through study with masters from vocal traditions the world over, the eight-
BERIO’S SINFONIA BY ROSE BOND voice ensemble continually expands its vocabulary of singing techniques and, through an ongoing commissioning process, forges a new repertoire without borders. Founded in 2009 by Brad Wells, Roomful of Teeth gathers annually at the Massachusetts Museum of Contemporary Art (mass MoCA) in North Adams, Massachusetts, where they’ve studied with some of the world’s top performers and teachers in Tuvan throat singing, yodeling, Broadway belting, Inuit throat singing, Korean P’ansori, Georgian singing, Sardinian cantu a tenore, Hindustani music, Persian classical singing, and death metal singing. Commissioned composers include Rinde Eckert, Fred Hersch, Merrill Garbus (of tUnE-yArDs), William Brittelle, Toby Twining, Missy Mazzoli, Julia Wolfe, Ted Hearne, and Ambrose Akinmusire, among many others.
Program Notes RICHARD WAGNER 1813–83
Overture and Venusberg Music from Tannhäuser composed: 1845, rev. 1861 most recent oregon symphony performance: March 31, 2008; Juanjo Mena, conductor instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, castanets, cymbals, tambourine, triangle, and strings estimated duration: 24 minutes Richard Wagner’s reshaping of opera as music drama included that oftenoverlooked component of every opera: the overture. In 1841, he published an article tracing the overture’s history and development. Wagner wrote that
the perfect overture would contain “the drama’s leading thought delineated in a purely musical, but not in a dramatic shape,” and went on to assert that it “should form a musical artwork entire in itself.” In his overture to Tannhäuser, Wagner came close to realizing this goal. Tannhäuser centers on the internal war waged by its title character, who struggles with his desire for sacred, perfect love represented by the devout Elisabeth, and the profane erotic love of the goddess Venus. Two contrasting themes dominate the overture: the solemn hymn of pilgrims (sacred love), intoned by the winds and brasses, and the wild debauchery of Venus, signaled by a sumptuous sweep of violins and bright flashes from the winds. The Venusberg music eventually devolves into a Bacchanalian maelstrom of erotic frenzy. Before the overture concludes, the pilgrim hymn sounds again as a triumphant shout, accompanied by swirling violins. Fans of classic Warner Brothers cartoons will recognize the pilgrim hymn from the 1957 Bugs Bunny parody, “What’s Opera, Doc?”
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MARY & DON BLAIR
Photo: Jamie Sanders in The Curious Incident of the Dog in the Night-Time. Photo by Cory Weaver/ Courtesy of Kansas City Repertory Theatre
orsymphony.org | 503-228-1353 21
Sophisticated Elegance...
B E R I O ’ S S I N F O N I A BY ROSE BOND CAROLINE SHAW b. 1982
Partita for 8 Voices composed: 2009–2011 first oregon symphony performance instrumentation: 2 sopranos, 2 altos, 1 tenor, 1 baritone, 1 bassbaritone, and 1 bass vocal soloists estimated duration: 24 minutes DIAMOND PENDANT AND EARRINGS SET IN 18K ROSE GOLD WITH BLACKENED STAINLESS STEEL
“Partita is a simple piece. Born of a love of surface and structure, of the human voice, of dancing and tired ligaments, of music, and of our basic desire to draw a line from one point to another.” – Caroline Shaw Composer, violinist, vocalist, and producer Caroline Shaw became the youngest recipient of the Pulitzer Prize for Music in 2013 when she won for her Partita for 8 Voices. Her recent commissions include new works for Renée Fleming with Inon Barnatan; Dawn Upshaw with Sō Percussion and Gil Kalish; the Orchestra of St. Luke’s with John Lithgow; the Dover Quartet; the Calidore Quartet; Brooklyn Rider; and the Baltimore Symphony, among others.
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“Each movement takes a cue from the traditional baroque suite in initial meter and tone, but the familiar historic framework is soon stretched and broken through speech, whispers, sighs, murmurs, wordless melodies, and novel vocal effects,” Shaw wrote in her program notes. “Roomful of Teeth’s utterly unique approach to singing and vocal timbre originally helped to inspire and shape the work during its creation, and the ensemble continues to refine and reconsider the colors and small details with every performance.
V I P P A R K I N G AT T H E F O X T O W E R G E N E R O U S LY D O N AT E D B Y
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“Allemande opens with the organized chaos of square dance calls overlapping with technical wall drawing directions of the artist Sol LeWitt, suddenly congealing into a bright, angular tune that never keeps its feet on the ground for very long. There are allusions to the movement’s intended simulation of motion and space in the short phrases of text throughout, which are
BERIO’S SINFONIA BY ROSE BOND sometimes sung and sometimes embedded as spoken texture. Sarabande’s quiet restraint in the beginning is punctured in the middle by an ecstatic, belted melody that resolves quietly at the end, followed soon after by the Inuit-inspired hocketed (syncopated) breaths of Courante. A wordless quotation of the American folk hymn ‘Shining Shore’ appears at first as a musical non sequitur but later recombines with the rhythmic breaths as this longest movement is propelled to its final gasp. “Passacaglia is a set of variations on a repeated chord progression, first experimenting simply with vowel timbre, then expanding into a fuller texture with the return of the Sol LeWitt text. At Passacaglia’s premiere in 2009, there was spontaneous applause and cheering at the explosive return of the D-major chord near the end – so feel free to holler or clap any time if you feel like it. “Of the premiere of Partita, New York magazine wrote that I had ‘discovered a lode of the rarest commodity in contemporary music: joy.’ And it is with joy that this piece is meant to be received in years to come.”
LUCIANO BERIO Sinfonia composed: 1968–69 first oregon symphony performance instrumentation: 8 amplified singers, piccolo, 3 flutes, 2 oboes, English horn, 3 clarinets, E-flat clarinet, alto and tenor saxophones, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, orchestra bells, three tamtams (high, medium, low), snare drum, bongos, marimba, sizzle cymbal, bass drum, tambourine, three wood blocks, frusta (slapstick or whip), guïro, sleigh bells, two triangles, vibraphone, cymbals, castanets, harp, piano, electric harpsichord, electric organ, and strings estimated duration: 35 minutes
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The British music journalist Tom Service, in a 2012 column for The Guardian, described Luciano Berio’s methodology for writing music as “[tackling] the immanent historicism of every note played on every instrument he wrote for, and for whom each new piece wasn’t so much a sallying forth into oceans of new musical possibility so much as a writing on, over, and with the music of the past, whether his own or of other composers.” Berio’s collage approach to sound, and the wideranging scope of his intellectual and artistic interests, are captured in his most famous work, Sinfonia. Written in 1968–69 on commission from the New York Philharmonic to celebrate the orchestra’s 125th anniversary (and dedicated to Leonard Bernstein), Sinfonia layers spoken word quotations from the French anthropologist Claude LéviStrauss and Irish writer Samuel Beckett with fragments of spoken syllables; musical quotations from Mahler, Strauss, Schoenberg, Debussy, and others; 1960s avant-garde musical language; and the strategic use of dynamics and silence. Award-winning multimedia Portland artist Rose Bond was intrigued by Berio’s sound collage but understood her animations had to move beyond a visual representation. Bond, who has described her role in Sinfonia as that of “a dance partner,” says her animation brings an additional component – movement – to the live concert experience. “Your mind dances back and forth between the audio and the music,” Bond explains, “Certain words and phrases start taking over your mind, and then the visual becomes the dominant experience.” Members of the audience will find themselves fading in and out of these different components: symphonic music paired with shocking, sometimes funny narration and Bond’s immersive, kinetic animation.
Your host Ashley Coates.
1925–2003
“It is the tendency towards reunion that justifies the tendency to many-sidedness.” – Luciano Berio
OPENING THIS WEEK
in ®
WITH ASHLEY COATES
WEEKLY VIDEO ARTS CALENDAR PRESENTED ON KATU, AT ARTSLANDIA.COM, BY E-MAIL TO ARTSLANDIA SUBSCRIBERS
“What I’m adding at this point with the visuals is not just the experience of
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BERIO’S SINFONIA BY ROSE BOND sounding and seeing together,” Bond explains. Her animation moves. It pulses, dances, breaks apart and re-forms in a kaleidoscopic, kinetic way. The images shift, evolve, and transform before our eyes.
THE SOLO PIANO SERIES 2019 / 2020 SEASON
IMOGEN COOPER MAY 2 & 3, 2020 / 4PM LINCOLN HALL
“In the right hands, the music of the various Viennese Schools can still sound almost startlingly original. Imogen Cooper’s are very much the right hands...” − THE ARTS DESK
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The visual depiction of a nonlinear work like Sinfonia creates certain challenges at the outset. “Most people, when you say visual meaning, they expect a narrative, like a movie with a plot,” Bond explains. “Music appeals on a much more abstract or suggestive or emotive level, and I think moving images can do that too. What Berio did was bring together seemingly unconnected quotations of music and literature in this piece. There are direct passages from [French anthropologist Claude Lévi-Strauss’ book] ‘The Raw and the Cooked,’ Samuel Beckett’s ‘The Unnamable,’ and the Scherzo from Mahler’s ‘Resurrection’ Symphony; it’s a big jambalaya. I think today we would call that sampling. My approach to Sinfonia is to respect that form.” On first hearing, Sinfonia might sound arbitrary or self-consciously “modern.” Berio himself, in his own program notes for Sinfonia’s premiere, offered listeners a guide for experiencing the music: “The title is not meant to suggest any analogy with the classical symphonic form,” Berio wrote. “It is intended purely etymologically: the simultaneous sound of various parts, here eight voices and instruments. Or it may be taken in a more general sense as the interplay of a variety of things, situations, and meanings. Indeed, the musical development of Sinfonia is constantly and strongly conditioned by the search for balance, even identity between voices and instruments, between the spoken or the sung word and the sound structure as a whole. This is why the perception and intelligibility of the text are never taken as read, but on the contrary, are integrally related to the composition. Thus, the various degrees of intelligibility of the text, along with the hearer’s experience of almost failing to understand, must be seen as essential to the very nature of the musical process.” The first movement features fragments of quotations from Lévi-Strauss’ The
Raw and the Cooked, the first book in the series Mythologiques, which explores myths of the indigenous peoples of the Americas. In 1968, Berio wrote a chamber version of O King as a standalone memorial to the recently slain civil rights leader. His second version, for eight voices and orchestra, became the second movement of Sinfonia. The singers sound the individual syllables in “Martin Luther King” out of order, and come together at the end to proclaim King’s name. “I’m using visual sampling to suggest iconic images, especially photos we might remember, to sound together with the music and the vocals,” says Bond. “[With regard to] King – Berio was situating that event in the moment of 1968 but also taking note of music of the past. My goal is to take notice of the culmination of visual art forms from the perspective of 2019. To me, there’s a kind of time shifting going on. I can’t do just this historic thing. If I’m going to be true to the nature of the piece, I have to be in my present as well.” As the singers sustain each syllable, Bond animates some of the famous images associated with King’s civil rights protests: the bus station in Montgomery, Alabama; the Freedom Riders; and the balcony of the Lorraine Motel, in Memphis, where King was assassinated. Bond’s images reveal themselves gradually, welling upwards from murky depths until they emerge as the pictures that have come to define King, his death, and his legacy. The central third movement, anchored by the Scherzo of Mahler’s “Resurrection” Symphony and text from Beckett’s The Unnamable, is both the longest and most emblematic section of Sinfonia. The ambiguous quotations, mostly from Beckett, provide rich opportunities for metaphor and commentary on the chaos of the late 1960s, as well as the fragmented, hyperactive, uncertain nature of our contemporary world: “Where now?” “When now?” “Who now?” “It all boils down to a question of words, I must not forget this, I have not forgotten it. But I must have said this before, since I say it now;” “We need to do something;” “Keep going!” “Stop!”
BERIO’S SINFONIA BY ROSE BOND and, most famously, “You must go on. I can’t go on. I’ll go on.” Berio wrote, “The [third movement] is a tribute to Gustav Mahler (whose work seems to carry all the weight of the last two centuries of musical history) and, in particular, to the third movement of his Second Symphony (“Resurrection”). Mahler bears the same relation to the whole of the music of this part as Beckett does to the text… This movement is treated as a generative source, from which are derived a great number of musical figures ranging from Bach to Schoenberg, Brahms to Stravinsky, Berg to Webern, Boulez, Pousseur, myself, and others. The various musical characters, constantly integrated in the flow of Mahler’s discourse, are combined together and transformed as they go.” In this movement, Bond presents snapshots of particular moments in time: people costumed in the clothes of the French Revolution; protests against fascism from the 1940s; and images of the 1960s, from flower children to people on their daily subway commute to work. The images of protest are symbolic, not tied to a particular event or date; they simply capture and recall the many times people have taken to the streets to fight for human rights. Bond says, “I like that you fade in and out of the different components, transitioning among different experiences. We also take you through a number of emotions: it’s comedic, romantic, angry – it runs the gamut of emotions.” Berio wrote, “In this way these familiar objects and faces, set in a new perspective, context and light, unexpectedly take on a new meaning. The combination and unification of musical characters that are foreign to each other is probably the main driving force behind this third part of Sinfonia… If I were asked to explain the presence of Mahler’s Scherzo in Sinfonia, the image that would naturally spring to mind would be that of a river running through a constantly changing landscape, disappearing from time to time underground, only to emerge later totally transformed. Its course is at times perfectly apparent, at others hard to
perceive, sometimes it takes on a totally recognizable form, at others it is made up of a multitude of tiny details lost in the surrounding forest of musical presences.” Bond’s visual narrative is both specific and generic. The images she brings to the screen are always open to the viewer’s own interpretation. Bond’s and Berio’s mixture of realism with abstraction allows each member of the audience to create their own interpretation of what the words and images mean. On a personal note, the first time I heard Sinfonia I was in college, and I was struck by the repetition of Beckett’s exhortation to “Keep going!” in the third movement. At that time, I heard it as a metaphor for the United States’ catastrophic foreign policy decisions regarding the Vietnam War. By 1968–69, many people both inside and outside government circles knew the war was not “winnable” in the conventional sense, and yet we continued to fight on – “Keep going!”
RECOMMENDED RECORDINGS Wagner: Overture and Venusberg Music from Tannhäuser Sir Georg Solti – Vienna Philharmonic Orchestra Decca 000897802 Caroline Shaw: Partita for 8 Voices Roomful of Teeth New Amsterdam 41 Berio: Sinfonia Roomful of Teeth Ludovic Morlot – Seattle Symphony Orchestra Seattle Symphony 1018 or Swingle Singers Luciano Berio – New York Philharmonic Sony Classical 49992 Recordings selected by Michael Parsons, who studied music at Lewis & Clark College and has worked professionally with classical recordings for several decades. Select recordings will also be available for purchase in the Grand Lobby.
The second time I listened to Sinfonia, several decades later, Mahler’s Scherzo wove in and out of the phrases that resonated most with me: Beckett’s humorously nonsensical pronouncements: “Where now?” “When now?” “Who now?” “It all boils down to a question of words, I must not forget this, I have not forgotten it. But I must have said this before, since I say it now.” Again, all apt metaphors, this time for the chaos of our current political situation in America. If you attend all three performances of Sinfonia, you might well come away with three different and equally valid experiences of what you saw and heard. And that, ultimately, is the point. “Once or twice in a century,” said conductor Semyon Bychkov in a 2018 interview with The New York Times, “somebody will create something that will change our idea of what music can be. Beethoven did it with the ‘Eroica’ Symphony, Wagner did it with Parsifal, and Stravinsky did it with Le sacre du printemps. Luciano’s Sinfonia was next.” © 2020 Elizabeth Schwartz
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NAS: ILLMATIC – 25TH ANNIVERSARY THURSDAY, MARCH 19, 2020, 7:30 PM Norman Huynh, conductor
Program will be announced from the stage.
ARLENE SCHNITZER CONCERT HALL
Biography
Nas “So much to write and say/Yo, I don’t know where to start/So I’ll begin with the basics and flow from the heart” – Nas, “Loco-Motive” Hip hop is a fickle, ephemeral beast; a genre filled with trend-hopping “artists,” corporate hucksters, and walking gimmicks desperate to achieve their 15 minutes of shine. Look back at the hip hop charts 20 years ago – hell, look back 10 – and see how many names you’re still reading about today. Ever since a 17-year-old Nasir Bin Olu Dara Jones appeared on Main Source’s 1991 classic “Live at the Barbeque,” hip hop would be irrevocably changed. Nas. Gifted poet. Confessor. Agitator. Metaphor master. Street’s disciple. 26 artslandia.com
Political firebrand. Tongue twisting genius. With music in his blood, courtesy of famed blues musician father Olu Dara, the self-taught trumpeter attracted crowds with his playing at age four, wrote his first verse at age seven, and, with 1994’s Illmatic, created one of the greatest hip hop albums of all time before he could legally drink. Two decades on, Nas remains an incendiary, outspoken, and brutally candid rapper on the recently released Life is Good, his tenth album and sixth to debut at the top of the Billboard 200. Nasir, which debuted at number five on the Billboard Top 200 and was the rapper’s 12th album among the list’s top ten. Before the 13 Grammy nominations, seven platinum albums, and Top 5 rankings on mtv’s 10 Greatest mcs of All Time and The Source’s Top 50 Lyricists of All Time, 17-year-old Nas would take daily trips to Manhattan hoping to secure a major label deal, only to be shot down by nearly every label. When 3rd Bass co-founder mc Serch brought his demo tape to the attention of Faith Newman, then-Director of a&r for Columbia Records, she made a deal with Serch that day, offering Nas a $17,000 advance and the lifeline to begin his career.
With hundreds of thousands of words alongside entire books written on the album, it seems almost trite today to discuss the universal impact and acclaim that Illmatic had on rap. Put simply: the album has long been considered a masterpiece not just in hip hop, but in music as a whole, inspiring countless subsequent rappers and establishing Nas as the most vivid storyteller of urban life since Rakim and Chuck D. Rapper J-Live once said satirically, “To be a great mc, you have to be a great liar.” It’s safer to not tell the truth; safer to sanitize your existence; safer to align yourself with the producer du jour; safer to rhyme about tropes over truths. Nas’ catalog speaks for itself. Over 12 studio albums, the rapper has never been one to play it safe. Whether it’s rhyming about politics, hip hop, race, religion, other artists, or personal relationships, Nas has consistently brought unparalleled and unprecedented levels of honesty to hip hop, a trait often overlooked in the genre. On Life is Good’s “Reach Out,” Nas rhymes, “So call me a genius/If you didn’t/Now that I said it/I force you to think it.” For most artists, this would be arrogance bordering on hubris. For Nas, who’s remained vital and relevant for more than two decades, it’s just fact.
FREE NEIGHBORHOOD CONCERT
WEDNESDAY, MARCH 18 | 7–8 PM
OREGON SYMPHONY
DAVID DOUGLAS HIGH SCHOOL at
Join your Oregon Symphony for a FREE Neighborhood Concert at David Douglas High School Associate Conductor Norman Huynh leads your Oregon Symphony in a program of classical favorites for all ages in the David Douglas High School Gym, plus a special side-by-side performance with members of the award-winning David Douglas High School orchestra on a selected work. From Britten’s Young Person’s Guide to the Orchestra to Elgar’s Serenade for Strings, this free concert has something to delight everyone in your family.
Free and open to the public, no ticket needed David Douglas High School Gym 1001 se 135th Avenue, Portland
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PROHIBITION PARTY SATURDAY, MARCH 21, 2020, 7:30 PM SUNDAY, MARCH 22, 2020, 2 PM sponsored by
Jeff Tyzik, conductor Olivia Hernandez, Myra Maud, and Bronson Norris Murphy, vocals Eric Metzgar, drums Raymond Scott Jack Golden Gilbert Wolfe/Harry Warren Irving Berlin
Vincent Youmans
Powerhouse My Canary Has Circles Under His Eyes Put a Tax on Love What’ll I Do Hallelujah
Edward Elzear “Zez” Confrey
Dizzy Fingers
Louis Guglielmi
La vie en rose
André Hornez/Paul Misraki Jen Charles/ André Giot de Badet/ Armando Bega Orefiche Raymond Scott
Frederick Hollander
De temps en temps La conga blicoti
Twilight in Turkey Jonny
Kurt Weill
Alabama Song from Rise and Fall of the City of Mahagonny
Kurt Weill
Mack the Knife from The Threepenny Opera
Sholom Secunda
Bei Mir Bist du Schoen
INTERMISSION Ferdinand Joseph “Jelly Roll” Morton Harry Revel/Mack Gordon
Black Bottom Stomp Doin’ the Uptown Lowdown
William Christopher Handy
St. Louis Blues
Ben Bernie/Maceo Pinkard
Sweet Georgia Brown
Raymond Scott
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At an Arabian House Party
Jay Gorney Harry Warren
We’re in the Money
Fabian Andre/ Wilbur Schwandt
Dream a Little Dream of Me
James Campbell/ Reginald Connelly/ Harry M. Woods
Midnight, the Stars and You
Jimmy McHugh
Brother, Can You Spare a Dime
John Hart/Tom Blight Irving Berlin
On the Sunny Side of the Street Shout for Happiness Puttin’ on the Ritz Arrangements by Jeff Tyzik. All arrangements and imagery licensed by Schirmer Theatrical, LLC CREATIVE TEAM:
Robert Thompson, creative producer Jeff Tyzik, producer & arranger Jami Greenberg, producer & booking agent Alyssa Foster, producer Mary Helen Gustafson, assistant producer Tyler Hanes, choreographer Adam Grannick, video designer & consultant ARLENE SCHNITZER CONCERT HALL
MARCH 30 THE NEUROSCIENCE OF PLEASURE
How your brain responds to music, love and chocolate
Newmark Theatre
Brain Awareness Lecture Series 2020
W W W. OHSU.EDU/SYMPHONY
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PR OHIB ITI ON PAR T Y Biographies
Olivia Hernandez Olivia Hernandez got her start in her parents’ living room in southern California, singing “Somewhere over the Rainbow” in exchange for quarters. She began her formal music training in piano but was promptly bitten by the theater bug and never looked back. She studied both musical theater and classical voice throughout her formative years with her longtime mentor, the late Tim MacDougall. At 17, Hernandez was a grand-prize finalist in the nonclassical voice category of The Los Angeles Music Center Spotlight Awards at the Dorothy Chandler Pavilion, hosted by John Lithgow. Following Spotlight, she joined the Music Center in their collaboration with Crystal Cruises, singing throughout Scandinavia as a part of the Emerging Artists program. Hernandez studied at The University of Michigan, graduating with a bachelor of fine arts from the renowned musical theater department. With a knack for grounding her characters “with a sense of realism” (Houston Chronicle), Hernandez particularly enjoys reexamining the ladies of the golden age of musical theater for today’s audiences. She played Laurey in Oklahoma! in a collaborative production between the Houston Ballet and Theatre Under The Stars, starring Priscilla Lopez as Aunt Eller, under the direction of Kevin Moriarty, and music direction of Kimberly Grigsby. Hernandez went on to play Sarah Brown in Guys and Dolls at The Guthrie Theater in Minneapolis, directed by Kent Gash. 30 artslandia.com
The Minneapolis Star Tribune said of her performance as Sarah Brown, “…Hernandez’s Brown is a charmer who’s presented as easily the most together person onstage.” Most recently, she played the role of Elizabeth Bennet in Austen’s Pride, a new musical of Pride and Prejudice, at Seattle’s 5th Avenue Theatre alongside Laura Michelle Kelly as Jane Austen. Other favorite roles include Maria in West Side Story, Guenevere in Camelot, Mary Poppins in Mary Poppins, and Cinderella in Into the Woods. Hernandez dedicates all of her performances, with deepest gratitude, to Tim MacDougall.
Myra Maud Spreading her “Joie de Vivre” with charm and generosity, Myra Maud’s voice touches the soul and the world is amazed.
Throughout the years, Maud shared the stage with superstars such as Mireille Matthieu, Johnny Hallyday, Céline Dion, and Enrique Iglesias. She starred as the great Josephine Baker in the French movie Les enfants du pays with Michel Serrault. In 2001, she left Paris to play the lead role of Nala in The Lion King musical in Hamburg. In 2010, Maud received her first platinum record in South Africa for the album AfriFrans, a project that presents traditional South African folk songs in French. The second album reached Gold Status. Maud’s international acclaim tremendously grew when she was invited to be the lead singer of the opening ceremony of the 2011 fifa Women’s Soccer World Cup in Frankfurt, an event that had in excess of 130,000 spectators. In 2014, she released her first jazz album entitled Salt – La Solution, a project in collaboration with acclaimed producer Lutz Krajenski. From 2016 to 2019, Maud starred in a series of tribute performances honoring the life and legacy of the legendary Whitney Houston accompanied by the Leipzig Philharmonic Orchestra.
Her intriguing personality and captivating artistry are as diverse as her origins. Living between New York City and Hamburg, Germany, born and raised in Paris, France, with roots in Madagascar and Martinique, Maud is a real citizen of the world. The singer-songwriter, instrumentalist, and producer started her career in Paris, where she studied piano, saxophone, and dance at the Conservatory. Like many singers, Maud developed her singing and musical craft in church. After several shows as a singer and master of ceremonies at Disneyland Paris, she was invited to travel the world as a soloist with the Claude Bolling Jazz Big Band and the Orchestre national de France.
Bronson Norris Murphy Recognized for his “prodigious acting abilities” and a voice that has been acclaimed as “masterful, passionate and soaringly beautiful,” Bronson Norris Murphy is best known for premiering the role of The Phantom in the first North American production of Andrew Lloyd Webber’s Love Never Dies: The Phantom Returns. Other notable performances include Raoul
PROHIBITION PART Y in the long-running production of The Phantom of the Opera on Broadway; the world premiere of unmasked: The Music of Andrew Lloyd Webber at Paper Mill Playhouse; the 2019 New York City Center revival of Evita; the 30th Anniversary National Tour of Cats as Gus, Growltiger, and Bustopher Jones; and multiple us productions of West Side Story as Tony. In just over a decade of performances, some of his other credits include New York City developmental productions of Faustus, the Musical (mtm’s Best Actor Award); I Hate Holmes; Joan of Arc; Catch the Wind; Alan Menken & Tim Rice’s King David; and Maybe One Day: A Fable for the York Theatre. Concert work includes I Am Harvey Milk at The Avery Fisher Hall, Music City Christmas with the Nashville Symphony, West Side Story in Concert with Norwalk Symphony, The Music Man in Concert with Orchestra Kentucky, The Ocean City Pops Tribute to the American Songbook, and as a soloist for Bach’s Cantata No. 140, Ramirez’ Misa Criolla, Saint-Saëns’ Christmas Oratorio, Vivaldi’s Magnificat, and Dubois’ Seven Last Words of Christ. In addition to his work onstage, Murphy is an advocate for music literacy, maintaining regular classroom hours as an active voice and acting teacher in New York City while hosting workshops on vocal production, song interpretation, music theory, and musical theater audition techniques at New York University, The New York Film Academy, The Joffrey School of Ballet, Broadway Classroom, and The Institute for American Musical Theatre. Please follow @BronsonBiz for the latest information!
Portland State University Opera Presents
Based on the play by William Shakespeare
April 17 - 26 Lincoln Performance Hall Tickets $20 - $40
pdx.edu/boxoffice or 503-725-3307
The Arts Card gets you 2-for-1 tickets to hundreds of performances & events.
Learn more at artsimpactfund.racc.org Photo on card by Casey Campbell Photography for Peter/Wendy at Bag&Baggage Productions
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OUR SUPPORTERS The Oregon Symphony thanks these individuals for their generous contributions received in the 2018/19 Season (July 1, 2018–June 30, 2019). We apologize for any omissions or misspellings. Please notify us of any adjustments. TRANSFORMATIONAL: $100,000–ABOVE
Anonymous (3) Rich* & Rachel Baek Karen & Bill* Early Robert* & Janis Harrison Michael & Kristen* Kern Lynn & Jack Loacker Stephanie McDougal+ Harold & Jane Pollin Arlene Schnitzer & Jordan Schnitzer
VIRTUOSO SOCIETY: $50,000–$99,999
Duncan & Cindy Campbell of The Campbell Foundation Drs. Cliff* & Karen Deveney Judith Mary Erickson+ Elizabeth N. Gray Fund of ocf Wendy & Paul Greeney Tige* & Peggy Harris Rick* & Veronica Hinkes The Mary Dooly & Thomas W. Holman Fund of ocf Holzman Foundation/ Renée* & Irwin Holzman Beth & Jerry* Hulsman Priscilla Wold Longfield* Nancie S. McGraw Laura S. Meier Eleanor & Georges St. Laurent Hank Swigert Nancy & Walter* Weyler Jack* & Ginny Wilborn The Jay & Diane Zidell Charitable Foundation Pat Zimmerman & Paul Dinu
OPUS SOCIETY: $25,000–$49,999
Anonymous (3) Ken Austin+ Rick Caskey & Sue Horn-Caskey* Cecil & Sally Drinkward Fund of ocf Richard & Janet Geary Foundation Suzanne Geary Dr. Thomas & Alix Goodman Ned & Sis Hayes Family Fund of ocf Keller Foundation Gerri Karetsky & Larry Naughton Richard Rauch Dan G. Wieden & Priscilla Bernard Wieden
MOZART SOCIETY: $10,000–$24,999
Anonymous (7) David & Courtney* Angeli In Loving Memory of Lloyd Babler Jr. Alan & Sherry Bennett
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Robert & Jean Bennett Susan & Larry Black Mr.+ & Mrs. Thomas Boklund Evona Brim William M. Brod Fund of the ocf Richard Louis Brown & Thomas Mark Cascadia Foundation Chocosphere Truman Collins, Jr. Mark & Georgette Copeland Michael Davidson Daniel* & Kathleen Drinkward John S. Ettelson Fund of the ocf Lauren Fox* & John Williamson Robyn* & John Gastineau Frank & Mary Gill Jonathan‡ & Yoko Greeney Charles & Nancy* Hales Jim & Karen Halliday Mr. & Mrs. Stephen J. Harder Bonnie Haslett & Terry Strom Jeff Heatherington* Mr. & Mrs. J. Clayton* Hering Robert & Marilyn Hodson Hank & Judy Hummelt Kathy & Steve Johnson Lamb Family Foundation (wa) Richard+ & Delight Leonard Gil & Peggy Miller Michael & Susan Mueller Roscoe* & Debra Nelson Ann Olsen The Outlander Private Foundation Janice Phillips Travers & Vasek Polak Charles & Jennifer Putney Dan Rasay* & Katherine FitzGibbon Rod & Cheryl Rogers Alise Rubin+ & Wolfgang Dempke Rutherford Investment Management & William D. Rutherford The Leonard & Lois Schnitzer Fund of ocf In Memory of Mayer D. Schwartz Scott Showalter§ Victoria Taylor Estate of David Wedge+ Dean E. & Patricia A. Werth Gary Whitted Ken & Karen Wright Dr. & Mrs. Michael Wrinn Zera Foundation
SILVER BATON: $6,000–$9,999
Anonymous (5) Anonymous Fund #16 of ocf The Breunsbach Family Joe Cantrell
Deanna Cochener Jane & Evan Dudik Stephen & Nancy Dudley Family Fund of ocf Bruce & Terri Fuller Andrew Kern Michele Mass & Jim Edwards Ronald & Phyllis Maynard Jill McDonald Millicent Naito Janice Phillips Bonnie & Peter Reagan John+ & Charlene Rogers Carol+ & Frank Sampson R. Kent Squires George & Sue Stonecliffe Jean Vollum Fund Nancy & Herb Zachow Jason Zidell
BRONZE BATON: $4,000–$5,999
Anonymous (1) Anne M. Barbey David E. & Mary C. Becker Fund of ocf John & Yvonne Branchflower Kay Bristow Margery Cohn & Marvin Richmond Terry & Peggy Crawford Dr. & Mrs. David Cutler J. M. Deeney, M.D. Allen L. Dobbins Wayne & Julie Drinkward Mr. & Mrs. Dale Dvorak Mark & Ann Edlen Susan & Andrew Franklin Barbara Giesy Dr. Steve Grover Robert & Dorothy Haley Hibler Franke Foundation Marsh Hieronimus Carrie Hooten & David Giramma William H. Hunt Oregon Symphony Association Fund Jeff & Krissy Johnson Mark & Katherine Kralj Paul Labby Dorothy Lemelson Fernando Leon, M.D. & Dolores Leon, M.D. Mr. & Mrs. Robert McCall June McLean Hannelore Mitchell-Schict+ Hester H. Nau Susan Olson & Bill Nelson Michael & Janice Opton Barbara Page Mark Palmen Parsons Family Fund of the ocf Jane Partridge Franklin & Dorothy Piacentini Charitable Trust Fedor G. Pikus
Reynolds Potter & Sharon Mueller Pat Reser Rosemarie Rosenfeld Fredrick & Joanne L. Ross Holly & Don Schoenbeck John & June Schumann Diana & Hal Scoggins Bill Scott & Kate Thompson Jo Shapland & Douglas Browning Mr. & Mrs. W.T.C. Stevens N. Robert & Barre Stoll Dr. Derald Walker* & Charles Weisser Richard H. & Linda F. Ward Homer & Carol Williams
CONDUCTOR’S CIRCLE: $2,500–$3,999
Anonymous (6) An Advised Fund of ocf Ajitahrydaya Gift Fund Carole Alexander Kirby & Amy Allen Trudy Allen & Bob Varitz Meredith & Robert Amon David & Jacqueline Backman Bob Ball & Grant Jones Ed & Becky Bard Wayne Bartolet & Susan Remick Michael & Barbara Besand in Memory of Lillian (Lee) Besand Craig Billings David Blumhagen Josh & Wendie Bratt Gregory & Susan Buhr Tom Burke & Axel Brunger Ellen E. Bussing§ Eve Callahan* & Scott Taylor Mrs. Robert G. Cameron Cynthia & Stanley Cohan Mike & Becky DeCesaro Nicholas & Jamie Denler Ginette DePreist Richard B. Dobrow, M.D. Donald & Katharine Epstein Kenneth & Carol Fransen Y. Fukuta Liz Fuller & Brent Barton Richard Gallagher Robert & Carolyn Gelpke Daniel Gibbs & Lois Seed Jamieson & Tiffanie Grabenhorst Don Hagge & Vicki Lewis Paul Hamilton Jamey Hampton & Ashley Roland Kirk & Erin Hanawalt Sonja L. Haugen Dennis & Judy Hedberg Diane M. Herrmann Dan & Pat Holmquist Brad & Bente Houle Dennis Johnson & Steven Smith Penelope Johnstone Barbara Kahl & Roger Johnston
Susan D. Keil David & Virginia Kingsbury Drs. Arnold & Elizabeth Klein Lakshman Krishnamurthy & Rasha Esmat Mary Lago Paul W. Leavens Cary & Dorothy Lewis Eric & Hollie Lindauer Peter & Allison Lyneham Dana & Susan Marble M. & L. Marks Family Fund of ocf Sir James & Lady McDonald Designated Fund of ocf Duane & Barbara McDougall Bonnie McLellan Violet & Robert+ Metzler Anne K Millis Fund of ocf Dolores & Michael Moore Lindley Morton & Corrine Oishi John & Nancy Murakami Jon Naviaux & Anne Kilkenny Ward & Pamela Nelson John & Ginger Niemeyer Larry & Caron Ogg George & Deborah Olsen Barbara & Art Palmer Charles & Ruth Poindexter Janet C. Plummer§ & Donald S. Rushmer Katie Poppe & Sam House Lawrence Powlesland & James Russel Vicki Reitenauer & Carol Gabrielli Jeff & Kathleen Rubin Brooks & Wendi Schaener Susan Schnitzer Mrs. & Mr.* Francine Shetterly Peter Shinbach Jaymi & F. Sladen Sue & Drew Snyder George & Molly Spencer Annetta & Ed St. Clair David Staehely Jack & Crystal Steffen Garry & Ardith Stensland Straub Collaborative, Inc. Eustacia Su Drs. John & Betty+ Thompson Robert Trotman & William Hetzelson Charles & Alice Valentino Ravi Vedanayagam & Ursula Lukert David & Christine Vernier Drs. Bastian & Barbara Wagner Wells Family Foundation Elaine M. Whiteley+ Robert & Margaret Wiesenthal Davida & Slate Wilson Loring & Margaret Winthrop Jeffrey Yandle & Molly Moran-Yandle Zephyr Charitable Foundation Inc. Charlene Zidell
A vibrant and artful evening with the Oregon Symphony SUNDAY, APRIL 19 Portland Art Museum Cocktail Hour Concert Dinner & Special Appeal Reserve your tickets today. orsymphony.org/gala
CONCERTO SOCIETY: $1,000–$2,499
Anonymous (10) Markus Albert Joseph Allan & Karen Saul Dr. Christopher Amling Jonathan & Deanne Ater Michael Axley & Kim Malek Stephen S. Babson+ Steve & Mary Baker James & Kathryn Bash John & Claudette Beahrs Eric Bell Broughton & Mary Bishop Family Advised Fund of cfsww Paul Black & Greg Eicher Priscilla Blumel Lynne & Frank Bocarde Henry Bodzin Benjamin & Sandra Bole Mrs. Fanny P. Bookout Fred & Diane Born Mr. & Mrs. Peter Brix Christopher Brooks* & Brittney Clark Craig & Karen Butler Martin & Truddy Cable Barbara & Robb Cason Carlos Castro-Pareja Audrey & Stephen Cheng Charles Clarkson Classical Up Close‡ Holly Cohen Maurice Comeau, M.D. Jeffrey G. Condit Susan & Mark Cooksey James & E. Anne Crumpacker Abby & Marvin Dawson Enrique deCastro
Edward & Karen Demko William Dolan & Suzanne Bromschwig Kay Doyle Tom & Roberta Drewes Gerard & Sandra Drummond Charlene Dunning & Donald Runnels Richard & Jill Schnitzer Edelson Douglas Egan & Susan Bach Lee & Robin Feidelson Ray & Nancy Friedman Paul Gehlar David & Kiki Gindler Michael & Gail Gombos Harriet & Mitch Greenlick David & Caroline Greger Dr. & Mrs. Price Gripekoven Jeffrey & Sandy Grubb Louis & Judy Halvorsen Drs. James & Linda Hamilton Howard & Molly Harris Pamela Henderson & Allen Wasserman Jane & Ken Hergenhan Frances F. Hicks Joseph & Bette Hirsch Margaret & Jerry Hoerber Eric & Ronna Hoffman Fund of ocf Joseph Holloway, Sr. Lee & Penney Hoodenpyle Pamela Hooten & Karen Zumwalt Pam Horan Arthur Hung & James Watkins Doug Inglis Jon Jaqua & Kimberly Cooper David Jentz Harlan Jones
Bob Kaake Peter & Patricia Kane Carol Brooks Keefer Alexis Kennedy Douglas & Selby Key Fred Kirchhoff & Ron Simonis Sheldon Klapper & Sue Hickey John Kochis Kevin Komos & Bruce Suttmeier Sarah Kwak‡ & Vali Phillips‡ Frank Langfitt & MJ Steen Thomas M. Lauderdale* Dr. & Mrs. Mark Leavitt Dr. John & Elaine Lemmer, Jr. Phyllis J. Leonard Carol Schnitzer Lewis Fund of ocf Joanne Lilley Patrice Louie & Jeffrey Courion Richard & Diane Lowensohn Jerome Magill Linda & Ken Mantel Gayle & Jerry Marger Bel-Ami & Mark Margoles Dante Marrocco & Julia Marrocco Bob Martindale & Gwyneth Paulson Carolyn McMurchie Karen McNamee Anthony Merrill & Cheryl Thompson-Merrill Eric & Sarah Merten Sherrey & Robert Meyer Mia Hall Miller & Matthew Miller Greg & Sonya Morgansen Drs. Beth & Seth Morton Virginia S. Mullen+ Chris & Tom Neilsen
Ralph & Susan Nelson Peter & Cassie Northrup Libby Noyes Marianne Ott Thomas Palmer & Ann Carter Yoona Park & Tom Johnson Duane & Corinne Paulson Richard & Helen Phillips Diane Plumridge Hugh Porter & Jill Soltero Wally & Bettsy Preble William Pressly & Carole Douglass Dr. & Mrs. Kevin Proctor Ronald & Lee Ragen Dr. Gerald & Alene B. Rich Jan Robertson Anna Roe & Ken Schriver Dr. Lynne Diane Roe Rebecca Rooks Debora Roy Joshua Sabraw Robert & Ann Sacks Michael Sands & Jane Robinson Steven & Karen Schoenbrun Dr. & Mrs. George Sebastian Chris Sherry Gregory Shields The Shulevitz Family Dr. Rick Simpson Albert Solheim Ben & Jill Souede Jack & Charlene Stephenson Anne Stevenson Rabbi Ariel Stone & Dr. Joe Thaler Barbara J. & Jon R. Stroud Sandra Suran
Drs. Donald & Roslyn Elms Sutherland Matt & Bethany Thomas Richard & Larie Thomas Mike & Priscilla Thompson Laura Tomas & Jason Martin Ann Van Fleet Don & Marian Vollum Bill & Peggy Wagner Bill & Janet Wagner Kevin & Sharon Wei Joan & David Weil Weiss Fund of ocf Cameron J. Wiley & Carey Whitt Wiley Carol S. Witherell Bing Wong Jane Work Darrell & Geneva Wright Dr. Candace Young Lawrence & Jo Ann Young *current board ‡current musician §current staff + in memoriam
TR IB U TE Tribute gifts January 15– February 15, 2020 In Memory of Dennis Hall Gerel Blauer In Honor of Walt Weyler Floyd Sutz
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The Oregon Symphony 2020/21 Season On Sale Now Don’t miss Carlos Kalmar’s historic final season as music director – subscribe now. the best way to experience the season: Best seats at the best price Subscriber discounts all season Free and easy exchanges Early access to Special Concerts And much more!
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Encore Society The Oregon Symphony Encore Society was established to thank and recognize those generous individuals who have remembered the Oregon Symphony in their estate plans. For more information, please contact the Development Office at 503-416-6325. Anonymous (13) Markus Albert Carole Alexander Kirby & Amy Allen Margaret A. Apel Margaret & Scott Arighi Sabine Baer & Manfred Wiesel Laurel Bardelson+ Joy Belcourt Lynda R. Bell Steve & Patt Bilow Leola J. Bowerman+ Dean Boyd & Susan Wickizer John & Yvonne Branchflower Steve & Kristine Brey Elizabeth Burke Ellen E. Bussing§ Craig & Karen Butler Elaine Calder & William J. Bennett Carl & Connie Clark Debi Coleman Terry & Peggy Crawford Dr. Jim Darke Niel B. DePonte‡ Ginette DePreist Jess Dishman Allen L. Dobbins William Dolan & Suzanne Bromschwig Clarke Donelson Kay Doyle Gerard & Sandra Drummond Denise Chantrelle DuBois Bill* & Karen Early George Fabel Louise P. Feldman Harry & Gladys Flesher Kenneth & Carol Fransen Mark Gardiner & Mary Nolan Robyn Gastineau* Jim & Karen Halliday Susan Halton Betsy & Gregory Hatton Diane M. Herrmann Henry M. Hieronimus Rick* & Veronica Hinkes Renée* & Irwin Holzman Donna Howard Beth & Jerry* Hulsman Judy & Hank Hummelt Anne & Charles Jochim Dennis Johnson & Steven Smith Karen & Keith Johnson Richard Kaiser & Virginia Shipman Richard & Ruth Keller Georgia A. Koehler Sally & Tom Kuhns Kyle & Marcia Lambert Wayne & Carolyn Landsverk Barbara A. Lee Fernando Leon, M.D. & Dolores Leon, M.D. Cary & Dorothy Lewis Ardath E. Lilleland A. G. Lindstrand Lynn & Jack Loacker
Linda & Ken Mantel Michele Mass & Jim Edwards Dr. Louis & Judy McCraw Roger & Pearl McDonald Stephanie McDougal+ Duane & Barbara McDougall Edward+ & June McLean Sheila McMahon Karen McNamee Ruben J. & Elizabeth Menashe Robert+ & Violet Metzler Geri & Bruce F.+ Miller Mia Hall Miller Richard Patrick Mitchell Carol N. Morgan Roscoe* & Debra Nelson John Nettleton & Douglas Michael+ Christi R. Newton Ann H. Nicholas Ann Olsen Roger N.+ & Joyce M. Olson Marianne Ott Jane S. Partridge Janice E. Phillips Janet Plummer§ & Don Rushmer Arnold S. Polk Harold & Jane Pollin David Rabin Tom & Norma Rankin Richard & Mary Raub Barbara Perron Reader Ed Reeves & Bill Fish Mary & Mike Riley Sherry Robinson & Steve Shanklin Peter Rodda & Vincenza Scarpaci Betty Roren Walt Rose Betsy Russell Frank Sampson William C. Scott Scott Showalter§ V. L. Smith & J. E. Harman George & Molly Spencer Anne Stevenson Hank Swigert Diane Syrcle & Susan Leo Herman Taylor & Leslye Epstein Bruce & Judy Thesenga Mike & Diana Thomas Leslie & Scott Tuomi Linda & Stephen VanHaverbeke Randall Vemer John & Frances von Schlegell Les Vuylsteke Joella B. Werlin Jack* & Ginny Wilborn Gary Nelson Wilkins Roger & Kathleen Wolcott Nancy Wolff & E. David Booth
2019| 2020 L I V E . I N T I M AT E . I N S P I R E D .
Bang on a Can All-Stars Wed, A p ri l 1 5 | 7: 3 0 p m | Kaul Auditorium Freely crossing the boundaries between classical, jazz, rock, world, and experimental music, this eclectic ensemble has consistently forged a distinct category-defying identity, taking music into uncharted territories. Program: Best of Bang on a Can from the last 30+ years with works by Gordon, Lang, Wolfe, and others.
5 0 3 . 2 2 4 . 9 8 4 2 | w w w.f o c m .o r g |
NOT SO CLASSIC SERIES L I V E . I N T I M AT E . I N S P I R E D .
Intriguing, independent first-run films Dozens of signature series including pre-code films, foreign affairs, and Hollywood classics Films on film: 16mm, 35mm, and 70mm projection
hollywoodtheatre.org orsymphony.org | 503-228-1353 37
OUR SUPPORTERS Corporate Partners The Oregon Symphony thanks these corporations for their generous contributions received in the 2018/19 Season (July 1, 2018–June 30, 2019). TR ANS FO RMATI ONAL $10 0 , 0 0 0 A ND A B OV E
VIR T U O S O S O CIE T Y $5 0 , 0 0 0 – $ 9 9,9 9 9
O P U S S O CIE T Y $ 2 5 , 0 0 0 – $ 49,9 9 9
M OZ AR T S O CIE T Y $10 , 0 0 0 – $ 24 ,9 9 9
HOFFMAN CORPORATION
MACY’S
SAMUEL I NEWHOUSE FOUNDATION
PAR K ING S P ONS O R
ME D IA S P ONS O R
OTHE R S P ONS O R S
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ALL CLASSICAL PORTLAND AMAZON.COM ANDANTE VINEYARD THE AV DEPARTMENT BLUE STAR BOEING D.A. DAVIDSON & CO. DOMAINE SERENE FREELAND SPIRITS FURIOSO VINEYARDS GENIUS LOCI GERANIUM LAKE FLOWERS HEADWATERS AT THE HEATHMAN
HORST & GRABEN WEALTH MANAGEMENT INICI GROUP, INC. JACOBSEN SALT CO. JASON DESOMER PHOTOGRAPHY KEY BANK KLARQUIST SPARKMAN, LLP KROGER PAT MCGILLEN, LLC JONATHAN NAGAR MONDAY MUSICAL CLUB OF PORTLAND NEL CENTRO
NORDSTROM, INC. TIMOTHY O’MALLEY PDX ICE PORTLAND ART MUSEUM POSTERGARDEN RACHEL HADISHAR PHOTOGRAPHY RAVEN & ROSE RINGSIDE STEAKHOUSE SINEANN WINERY THE SWIGERT FOUNDATION THE STANDARD TIFFANY & CO. TONKON TORP LLP VIDON VINEYARDS
We’re just another bank… like this is just another band. What makes the Oregon Symphony and Umpqua Bank unique? Innovative ideas and our commitment to the communities we serve. Whether we’re volunteering in classrooms to teach the next generation about music and managing money, or reimagining the way we invest in our neighborhoods, the goal is to invest wisely in our future. Umpqua Bank is a proud sponsor of the Oregon Symphony. Together, we’re building a stronger community, one note at a time.
Member FDIC Equal Housing Lender
SBA Preferred Lender
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OUR SUPPORTERS Foundation and Government Support The Oregon Symphony thanks these organizations for their generous contributions received in the 2018/19 Season (July 1, 2018–June 30, 2019). TR ANS FO RMATI ONAL $10 0 , 0 0 0 A ND A B OV E
HEATHERINGTON FOUNDATION FOR INNOVATION & EDUCATION IN HEALTHCARE
GLOBE FOUNDATION
JAMES AND SHIRLEY RIPPEY FAMILY FOUNDATION
VIR T U O S O S O CIE T Y $5 0 , 0 0 0 – $ 9 9,9 9 9
O P U S S O CIE T Y $ 2 5 , 0 0 0 – $ 49,9 9 9
M OZ AR T S O CIE T Y $10 , 0 0 0 – $ 24 ,9 9 9
WILLIAM AND FLORA HEWLETT FOUNDATION
THE CAMPBELL FOUNDATION
ANONYMOUS (1)
RESER FAMILY FOUNDATION
ROSE E. TUCKER CHARITABLE TRUST
ROBERT & MERCEDES EICHHOLZ FOUNDATION
HAMPTON FAMILY FOUNDATION OF OCF
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LAMB FAMILY FOUNDATION
HERBERT A. TEMPLETON FOUNDATION
WALTERS FAMILY FOUNDATION
WHEELER FOUNDATION (WA)
THE WOLLENBERG FOUNDATION
S ILVE R B ATON $ 6 , 0 0 0 – $ 9,9 9 9
JUAN YOUNG TRUST
JW & HM GOODMAN FOUNDATION
B R ONZ E B ATON $ 4 , 0 0 0 – $5 ,9 9 9
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CON CE R TO $1, 0 0 0 – $ 2 , 49 9
H.W. & D.C. IRWIN FOUNDATION
MASON CHARITABLE TRUST
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THE WOLD FOUNDATION
PORTLAND’5 PRESENTS
DRUM 20 TA O 20 THURSDAY, APRIL 23 | 7:30PM
TICKETS & INFO: PORTLAND5.COM | PHONE: 800-273-1530 | PORTLAND’5 BOX OFFICE
FA S C I N AT I N G FA C T O I D S
PROHIBITION 1
NEITHER THE 18TH AMENDMENT TO THE U.S. CONSTITUTION, WHICH THE STATES RATIFIED IN JANUARY 1919, NOR THE NATIONAL PROHIBITION ACT (KNOWN AS THE “VOLSTEAD ACT”) MADE THE CONSUMPTION OF ALCOHOL ILLEGAL. The laws forbade the “manufacture, sale, and transportation of intoxicating liquors,” but personal use remained legal.
3
MISSISSIPPI WAS THE LAST STATE IN AMERICA TO REPEAL ITS PROHIBITION LAWS IN 1966. To this day, there are still entire counties throughout the country in which the sale of alcohol remains illegal.
5
THE JARGON OF PROHIBITION WAS PROLIFIC. An illegal drinking establishment became known as a speakeasy, gin joint, and blind pig or tiger. Illicitly distilled booze was called hooch, white lightning, giggle water, and bathtub gin. Someone who abstained from alcohol was dry or a teetotaler.
7
AL CAPONE’S OLDEST BROTHER, JAMES VINCENZO CAPONE, was a Prohibition enforcement agent for the federal Indian Affairs administration in Nebraska.
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FACED WITH THE GREAT DEPRESSION, THE COUNTRY CHOSE LAW ENFORCEMENT SAVINGS AND TAX REVENUE OVER TEMPERANCE. Franklin D. Roosevelt won the 1932 presidential election in part by campaigning on the repeal of Prohibition.
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4
6
2
MASSACHUSETTS ENACTED THE COUNTRY’S FIRST TEMPERANCE LEGISLATION IN 1838. The law prohibited the sale of spirits in less than 15-gallon quantities, meaning only the wealthy could afford to comply without a creative workaround.
THE ILLEGAL PRODUCTION AND SALE OF LIQUOR BECAME KNOWN AS “BOOTLEGGING” DURING PROHIBITION. The term originated from the practice of smuggling bottles of illicit liquor inside the top of one’s high boot.
PROHIBITION OFFERED AN UNPRECEDENTED OPPORTUNITY FOR ORGANIZED CRIME WITH BOOTLEGGING AND SPEAKEASY-FUELED ENTERPRISES AND PROFITS. Chicago’s Al Capone, the most infamous Prohibition mafia man, earned up to $100 million annually from his operations. In 1931, he was found guilty of income-tax evasion and sentenced to 11 years in prison.
THANKS TO A VOLSTEAD ACT EXCEPTION FOR MEDICINAL USES OF ALCOHOL, PHARMACIES COULD SELL A PINT OF SPIRITS EVERY TEN DAYS TO PATIENTS WITH A PHYSICIAN’S PRESCRIPTION. Historians speculate that Walgreens expanded from 20 stores to more than 500 during the 1920s thanks to sales of medicinal alcohol. Walgreens attributes the massive expansion to milkshake sales.
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THE 21ST AMENDMENT IN 1933 REPEALED THE 18TH AMENDMENT. It was the first and only time that state constitutional conventions ratified a constitutional amendment instead of state legislatures, and the only time an amendment abolished a previous one. .
orsymphony.org | 503-228-1353 43
ON A HIGH NOTE
Nancy Ives Oregon Symphony principal cello
Nancy Ives at Lewis & Clark College’s Agnes Flanagan Chapel, one of her favorite places to spend an evening enjoying one of the many concerts held here. The chapel is home to an 85-rank Casavant circular pipe organ, the only of its kind with nearly all of its 4,000 pipes suspended from the pinnacle of the ceiling. The stained glass windows were designed and crafted by Gabriel Loire of Chartres, France, an artist renowned for his work worldwide. Photo by Jennifer Alyse.
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Nancy Ives, Oregon Symphony principal cello since 2000, has built a career of such spectacular diversity that no summation will do her achievements justice. The broad strokes include teaching chamber music at Lewis & Clark College, becoming increasingly active as a composer, and playing locally with Palatine Piano Trio, Rose City Trio, Fear No Music, Chamber Music Northwest, 45th Parallel Universe, Portland Piano International Summer Festival, Third Angle, Pink Martini, and Portland Cello Project. She’s performed with Laurie Anderson, Gal Costa, and Naná Vasconcelos, in an off-Broadway production of Orpheus in Love, and with a touring production of Phantom of the Opera. While on that tour, she performed a comedy routine about the cello in aids benefits across the country. Ives is also a founder of Portland’s Classical Up Close, has served on the board of directors of the Oregon Symphony, spent a year as “Cellist in Residence” with opb Radio’s State of Wonder, and appears regularly on All Classical Portland to preview upcoming performances. When and why did you start playing? I was six years old. My mom studied violin and wanted her daughters to have the same opportunity. Is the rest of your family musical? I would say that music is my family’s “thing.” My mom plays viola in a community orchestra, and one of my sisters is a school orchestra director. Another sister went to Eastman to study violin but hasn’t pursued it as a career, and the other sister is a fine amateur singer. We all sing together, as a matter of a fact. My dad came from a family with deep roots in the barbershop world and was himself bass-baritone as well as a coach and judge for The Barbershop Harmony Society. Long car trips meant singing in four-part harmony to pass the time! If you had not become a professional musician, what would you be? In high school, I thought it would be interesting to be a genetic engineer – whatever I thought that was – and that would have turned out to be a fascinating
field. Most likely, I would have become a science fiction writer. Or both? If we agree to define “classical training” in music as an “extended study and mastery of a complete system of techniques, pedagogy, musical knowledge, and repertoire,” make the case for this approach in our multimedia, digitally driven world. Everyone should experience true mastery in something worthwhile. A pursuit that requires unity of mind, emotion, and body and is grounded in a deep historical tradition has a depth of meaning and reward that elevates one’s life. I would wish that experience for everyone, whatever the activity is. What advice do you have for someone wanting to follow in your footsteps? Well, you probably don’t want to do what I did! I alternate between two ways of looking at how I built my career before winning my position in the Oregon Symphony. Either I was unfocused and wasted a lot of time, or I followed my passions and gathered a diverse range of experiences that feed my creativity – and appreciation – in my current professional roles. The thing is, when you’re developing as a musician, “you are what you eat,” musically speaking. The music you work on and the people you work with will mold you in many ways, both seen and unseen. Choose wisely! Does your mind ever wander when you play onstage? Oh, yes. The mind is an unruly monkey, after all! There are internal distractions that are related to the music, i.e., “here comes that spot I messed up this morning,” and those that are completely extraneous, such as mulling over a difficult conversation or something mundane like a to-do list. Part of the mental conditioning required to perform is to strengthen the ability to bring one’s attention back to the music. What constitutes an extraordinary live performance in your opinion? There’s a kind of energetic connection between the performers and the audience that feels electric and profound. When
the music is great and the players are firing on all cylinders and the audience is absorbed and “with us,” it’s absolutely amazing. This happens a lot at the Oregon Symphony, I’m happy to report! In your opinion, is the symphony orchestra still relevant or is it a museum? I am thrilled with the current trends in this area. I think symphony orchestras are more relevant than ever, while still providing an opportunity to revel in the masterpieces of the past. People crave an immersive communal experience, and nothing beats an orchestra concert for that. Additionally, the current trends in composing and in interdisciplinary collaborations are broadening the range of issues to be explored and bringing fresh ideas to concert halls in very appealing ways. I also love the way our orchestra leverages its cultural capital to lift up others in the community. Which famous musicians do you admire? Why? Well, no surprise, I admire Yo-Yo Ma to the hilt. He is the essence of personal and artistic integrity and is an amazing ambassador for the cello to the world. How do you handle mistakes during a performance? If I have the bandwidth, I’ll file it away for later correction. I sometimes have to expend real energy countering my tendency to beat myself up about it. The most important thing is to keep my mind moving forward and not letting that mistake cause another one! Artslandia’s theme for the 2019/2020 Season is A Night Out. Describe for our readers your perfect night out. It can be challenging to find time to attend concerts when you play as many of them as I do, but when I can, I love to hear the performances given by my friends, colleagues, and students. It’s especially ideal to attend an afternoon concert and then go out to a leisurely dinner with my sweetheart and some friends. Being able to linger over a meal with wine (I can’t have any with dinner before playing a concert!) is a real treat – in fact, I’d say it’s one of the great gifts of civilization! . orsymphony.org | 503-228-1353 45
ASK URSULA THE USHER She’s not the sweetest usher in town (for which competition is fierce), but she knows her stuff.
Greetings, Artslandians. I’m Portland’s foremost and award-winning expert in propriety, crowd management, security, and patron services administration. I’m Ursula the Usher. Yes, that’s right. What’d you think? That ushers just stand around handing out the playbills and pointing to seats? You don’t even know the things we do to keep you safe and comfortable. Ushers are the unsung heroes of the performing arts. . Email your questions to ursula@artslandia.com.
Q
DEAR URSULA,
With the infiltration of cameras in every sphere of our existence and the penchant for documenting every experience having run wild, have the rules about taking photos at live performances changed? I see people doing all things now, but I’m curious about the actual rules. – K.G. A
DEAR K.G.,
Ah, a kindred spirit! Always a delight. Thank you for writing. I am, as you know, always happy to state rules. It is, actually, one of my favorite things. For the sake of word count, I’ll spare you the monologue on the avalanche effects of these camera-encompassing personal devices. It’s tempting, but Artslandia has yet to reward my burgeoning fame with a second page. Historically speaking, another favorite of mine, photography within a performing art auditorium has been strictly forbidden. Of course, cameras have become ever more diminutive throughout the years. Low lighting has become less and less of hindrance and deterrent. An eagle-eyed usher could quickly address an offending flashbulb or two. Rules were rules. And I do so love rules. However, as my five children, 14 grandchildren, and seven greatgrandchildren remind me endlessly, times are changing. As of 2016, two of three major Broadway theater owners changed their policies to allow photos. The director of media relations for the one of the organizations stated to the media: “To accommodate theater-goers 46 artslandia.com
in the age of social media, audience members in Shubert-owned theaters are generally permitted to take photos inside the house prior to the curtain going up, during intermission, and after the show, never during the performance when the taking of pictures is strictly prohibited.” The age of social media? Oh my. Perhaps some of my more finely aged readers will remember the glory days before cameras were pocket-sized and living real life in real-time was a fact of life instead of an acronym. Here in Portland, the stated rules for Portland’5 venues of Schnitzer, Winningstad, Keller, Brunish, and Newmark are: “Most shows do not allow photography of any kind, and flash photography is never allowed.” Why not take the bull by the horns with a clearly stated and outright ban? Some of the artists Portland’5 hosts have apparently embraced the age of social media as well. The modes of communication for this gray area vary greatly, which some ushers see as an opportunity to shine in their informativeness. In my book, definitiveness is divine. Of course, some artists are so definitive (and bold) that they call in reinforcements to create “phone-free spaces” In these cases, P5 brings in an outside vendor named Yondr. According to this social media-age company, “In our hyperconnected world, [they] provide a haven to engage with what you’re doing and who you’re doing it with. In physical space and real-time. Phone-free shows are more fun. Artists are uninhibited. The audience is present. Everyone is swept up into a shared mood.” Cue the Hallelujah Chorus!
This ingenious system provides each patron with a locking bag in which to place their phone as they enter the venue. Each patron retains possession of the locked bag containing their device. On egress, special-tool-wielding staff reunites patron and device. Life goes on as usual. Hannah Gadsby, a recent performer at Brunish Theatre, employed this system and made no bones about stating, “Anyone seen using a cellphone during the performance will be escorted out of the venue.” Gloriously definitive, if you ask me. If it were up to me, it’d be a matter of time before this becomes the standard, and if I were a betting woman, I’d put my money on a collective cry of relief from audiences and performers when that day dawns. I digressed. Back to the topic of clearly communicated rules, we have our beloved Oregon Symphony, clearly stating thus: “You might be surprised to hear that we sometimes encourage you to take pictures with your phone or to participate on social media. Most of the time, though, we’ll ask you to silence your phone before the concert begins. If you aren’t sure, just ask an usher, and they’ll be glad to let you know. The best photo opportunities are right before the conductor arrives and immediately following the concert.” Just ask an usher, indeed. We are, after all, experts in the firm but oh-so-polite policing of policies. Enough said, except for a final note of thanks to Colleen Schultz of Portland’5 for her help with this bit of wisdom. – Ursula the Usher
Retirement living with the city as your backyard
Whatever the indulgence, seeing is believing. Parkview at Terwilliger Plaza invites you to see floorplans, ponder interior treatments, and soak up the splendor of what makes Parkview so special. Why wait? ■
Take a tour
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Choose the right floorplan for you
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Find out about Charter Member privileges
503-808-7870 or marketing@terwilligerplaza.com
Parkview at Terwilliger Plaza is a not-for-profit continuing care retirement community for residents age 62+.
