Audience | Louisville Orchestra | January 2022 by Audience502

JANUARY 2022

JAN 7 & 8

Yuja Wang Premieres Abrams Concerto

JAN 15

Irresistible John Williams

JAN 28 & 29

Pines of Rome

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JANUARY 2022

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PROGRAMS

Kentucky Performing Arts Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville

Yuja Wang Premieres Abrams Concerto January 7 & 8, 2022...........................................................9

Publisher The Audience Group, Inc. G. Douglas Dreisbach Managing Editor Amy Higgs Founding Publishers Jeff and Kay Tull Creative Director Rhonda Mefford

Irresistible John Williams January 15, 2022.............................................................19 Pines of Rome January 28 & 29, 2022.....................................................23 Support and Staff.................................................... 34 Services.................................................................. 38

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THEATRE INFORMATION The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater) 501 West Main Street; Brown Theatre, 315 W. Broadway; and Old Forester’s Paristown Hall, 724 Brent Street. Tickets: The Kentucky Center Box Office, 502.584.7777 or KentuckyPerformingArts.org. Reserve wheelchair seating or hearing devices at time of ticket purchase.

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MESSAGE FROM THE LOUISVILLE ORCHESTRA

Happy 2022 on behalf of all of us at the Louisville Orchestra. I am certain we all share the same hope that this year, more than maybe any other, is filled with friends, family, community and perhaps most importantly, great live music. Perhaps there is no better way to kick off 2022 than with a celebration of our two artistic leaders: Teddy Abrams and Bob Bernhardt. Teddy, now in his eighth season as our Music Director, was just named Conductor of the Year by Musical America, unquestioned acknowledgment of his brilliance, artistry and unbounding talents — what we have seen and heard concert after concert here in Louisville. Teddy joins a prestigious list of previous winners including Michael Tilson Thomas, Marin Alsop, Robert Spano, Valery Gergiev and Sir Colin Davis. We have all come to expect something special and new every time he steps onto the stage, and this month is no different as he conducts the world premiere of a piano concerto he wrote for his friend and Louisville favorite, the dynamic soloist, Yuja Wang. The party continues as Bob Bernhardt steps onto the podium on January 15th, to celebrate 40 seasons with the Louisville Orchestra. Bob has single-handedly brought joy, delight, and discovery to generations of concertgoers through his energy, imagination and passion. And perhaps one or two jokes as well! Bob’s relationships and friendships with leading film and musical theater composers, performers, and collaborators have allowed us all to get behind the music and remind ourselves why these Pops classics are the soundtrack to our lives. Your Louisville Orchestra is here for you week after week, so come back often to discover new gems and get reacquainted with the classics. See you soon and often.

Graham Parker Interim Executive Director

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T E D D Y A B R A M S , M U S I C D I R E C TO R An unusually versatile musician, Teddy Abrams is the widelyacclaimed Music Director of the Louisville Orchestra. Now in his eighth season as Music Director, Teddy has fostered interdisciplinary collaborations with the Louisville Ballet and Speed Art Museum, and led Louisville’s cultural response to the pandemic with the Lift Up Lou initiative. Among other works, the 202122 season includes the world premieres of Teddy’s new piano concerto written for Yuja Wang and a concerto for timba band and orchestra composed by Grammyaward winner Dafnis Prieto. Teddy's rap-opera, The Greatest: Muhammad Ali, premiered in 2017, celebrating Louisville’s hometown hero with an allstar cast that included Rhiannon Giddens and Jubilant Sykes, as well as Jecorey “1200” Arthur, with whom he started the Louisville Orchestra Rap School. Abrams’ work with the Louisville Orchestra has been profiled on CBS Sunday Morning, NPR, The Wall Street Journal, PBS’ Articulate, and the PBS NewsHour. Teddy Abrams has been Music Director and Conductor of the Britt Festival Orchestra since 2013, where, in addition to an annual three-week festival of concerts, he has taken the orchestra across the region in the creation of new work—including Michael Gordon’s Natural History, which premiered on the edge of Crater Lake National Park in partnership with the National Parks Service, and was the subject of the PBS documentary Symphony for Nature; and Pulitzer Prize-winning-composer Caroline Shaw’s Brush, an experiential work written 6

and performed this past summer on the Jacksonville Woodlands Trail system. Abrams collaborated with Jim James, vocalist and guitarist for My Morning Jacket, on the song cycle The Order of Nature, which they premiered with the Louisville Orchestra in 2018 and recorded on Decca Gold. They performed the work with the National Symphony Orchestra at the Kennedy Center in 2019. Teddy Abrams records on Universal Music Group’s Decca Gold Label. In addition to The Order of Nature, Teddy and the Louisville Orchestra recorded All In in 2017 with vocalist Storm Large. Teddy’s most recent recording was an original track, “Fourth Mode,” as part of UMG’s World Sleep Day. Highlights of Teddy’s 2021-22 season include engagements with the Buffalo Philharmonic, Sarasota Orchestra, Pacific Symphony, and New World Symphony. He appears as a featured speaker at the Rancho Mirage Writers Festival. As a guest conductor, Teddy has worked with such distinguished ensembles as the Los Angeles Philharmonic; the San Francisco, National, Houston, Indianapolis, Milwaukee, Vancouver, Colorado, Utah, and Phoenix Symphonies; Saint Paul Chamber Orchestra; and the Florida Orchestra. Internationally, he has worked with the Royal Scottish National Orchestra, Orchestre Philharmonique du Luxembourg, and the Malaysian Philharmonic. He served as Assistant Conductor of the Detroit Symphony from 2012-2014. From 2008 to 2011, Abrams was the Conducting Fellow and Assistant Conductor of the New World Symphony. An accomplished pianist and clarinetist, Abrams has appeared as a soloist with a

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...continued on page 33

B O B B E R N H A R D T, P R I N C I PA L P O P S C O N D U C TO R This season we celebrate the 40 seasons that Bob Bernhardt has been a constant presence with the Louisville Orchestra. Starting in 1981 as Assistant Conductor, then as Associate Conductor at the LO, then as Principal Guest Conductor of Kentucky Opera, and now in his 24th season as Principal Pops Conductor, he continues to bring his unique combination of easy style, infectious enthusiasm, and wonderful musicianship to the city and orchestra he loves. Bernhardt is concurrently in his sixth season as Principal Pops Conductor of the Grand Rapids Symphony in Michigan, and Principal Pops Conductor and Music Director Emeritus of the Chattanooga Symphony and Opera, where he previously spent 19 seasons as Music Director, and is now in his 28th year with the company. He is also, since 2012, an Artist-in-Residence at Lee University in Cleveland, Tennessee. Previously, he was Music Director and conductor of the Amarillo Symphony, the Tucson Symphony, and Principal Conductor and Artistic Director of the Rochester Philharmonic. In the past decade, Bob has made his conducting debut with the Baltimore Symphony, Dallas Symphony, Houston Symphony, Cincinnati Pops, New Jersey Symphony, Louisiana Philharmonic, Las Vegas Philharmonic, Florida Orchestra, Grand Rapids Symphony, Fort Worth Symphony and Santa Barbara Symphony, all of which were rewarded with return engagements.

He has a continuing fourteen-year relationship with the Edmonton Symphony, conducting there several times each season, and as Festival Conductor for their Labor Day festival, Symphony Under the Sky. He made his debut with the Boston Pops in 1992 at the invitation of John Williams and has been a frequent guest there ever since. Recently, he returned to the podiums in Vail, Boston, Nashville, Detroit, Edmonton, Florida, Grand Rapids, Las Vegas, Baltimore, Santa Barbara, Portland (ME), Louisiana, and Rochester, and made his debut with the Utah Symphony, Portland Symphony (OR), Calgary Philharmonic, and the National Arts Centre Orchestra in Ottawa. His professional opera career began with the Birmingham Civic Opera in 1979, two years before he joined the Louisville Orchestra. He worked with Kentucky Opera for 18 consecutive seasons, and with his own company in Chattanooga, where he conducted dozens of fully staged productions in a genre he adores. Born in Rochester, New York, he holds a master’s degree from the University of Southern California’s School of Music where he studied with Daniel Lewis. He is also a Phi Beta Kappa, summa cum laude graduate of Union College in Schenectady, New York, where he was an Academic All-American baseball player. (While not all the research is in, Bernhardt believes that he is the only conductor in the history of music to be invited to spring training with the Kansas City Royals. After four days, they suggested to him a life in music.) His children, Alex and Charlotte, live in Seattle. He and his wife, Nora, live in Signal Mountain, Tennessee.

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THE LOUISVILLE ORCHESTRA, 2021-2022 Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

FIRST VIOLIN

Gabriel Lefkowitz, Concertmaster Julia Noone, Associate Concertmaster Katheryn S. Ohkubo Heather Thomas Mrs. John H. Clay Chair

VIOLA

Jack Griffin, Principal Evan Vicic, Asst. Principal Jacqueline R. and Theodore S. Rosky Chair

Clara Markham Mr.† and Mrs. Charles W. Hebel, Jr. Chair

Stephen Taylor Scott Staidle Nancy Staidle Patricia Fong-Edwards Chelsea Sharpe, Interim

Jennifer Shackleton Jonathan Mueller

SECOND VIOLIN

Meghan Casper

Julia Cash, Interim Principal

LG&E-KU Foundation Chair

Kimberly Tichenor, Assistant Principal Maria Semes* Mary Catherine Klan Chair

Christopher Robinson, Interim Andrea Daigle Cynthia Burton Charles Brestel James McFaddenTalbot Judy Pease Wilson Blaise Poth

Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor

CELLO

Nicholas Finch, Principal Jim & Marianne Welch Chair

Lillian Pettitt, Assistant Principal Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead

Christina Hinton James B. Smith Chair Endowed by Susannah S. Onwood

FLUTE

Kathleen Karr, Principal Elaine Klein Chair

Jake Chabot Donald Gottlieb

PICCOLO

Donald Gottlieb Alvis R. Hambrick Chair

OBOE

Alexandr Vvedenskiy, Principal Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra

Trevor Johnson, Asst Principal Jennifer Potochnic ‡

ENGLISH HORN Trevor Johnson

Philip M. Lanier Chair

CLARINET

Andrea Levine, Principal Brown-Forman Corp. Chair

Robert Walker Kate H. and Julian P. Van Winkle, Jr. Chair

Allison Olsen Lindy Tsai Julia Preston

Ernest Gross

BASS

Ernest Gross

BASS CLARINET

Brian Thacker, Interim Principal Patricia Docs Robert Docs Karl Olsen, Acting Assistant Principal

BASSOON

Matthew Karr, Principal Paul D. McDowell Chair

Francisco Joubert Bernard

Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation

Michael Chmilewski

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HORN

Jon Gustely, Principal Edith S. & Barry Bingham, Jr. Chair

Diana Wade Morgen Gary and Sue Russell Chair

Brooke Ten Napel, Interim Assistant Principal/Third Horn Stephen Causey

TRUMPET Alexander Schwarz, Principal Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra

Stacy Simpson ‡ James Recktenwald

TROMBONE

Donna Parkes, Principal* Brett Shuster, Interim Principal Nathan Siler

BASS TROMBONE J. Bryan Heath

TUBA

Andrew Doub, Principal

TIMPANI

James Rago, Principal Mr. and Mrs.‡ Warwick Dudley Musson Principal Timpani Chair

PERCUSSION

John Pedroja, Principal

HARP

Open, Principal * On leave ‡ Denotes Auxiliary Musician

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

COFFEE SERIES SPONSOR

COFFEE SERIES

YUJA WANG PREMIERES ABRAMS CONCERTO Friday, January 7, 2022 • 11AM The Kentucky Center, Whitney Hall Teddy Abrams, conductor Yuja Wang, piano Teddy ABRAMS

Sergei RACHMANINOFF

Piano Concerto (World Premiere) (36 min.) Yuja Wang, piano Symphony No. 2 in E Minor Op. 27 (35 min.) I. Largo – Allegro Moderato IV. Allegro Vivace

CONCERT SPONSOR: Hardscuffle Inc. GUEST ARTIST SPONSOR: Glenview Trust COMMISSIONING SPONSOR: Justus and Helen Schlicting

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. A U D I E N C E

opus noun

any artistic work, especially one on a large scale. Like many arts organizations, the Louisville Orchestra faced the issue of closed venues due to the COVID pandemic. The Opus 21 Society, a group of music lovers, came together to say “Music is essential to Louisville and who we are as a community. Our orchestra impacts all facets of the city and cannot go away.” Together, the Opus 21 Society members made sure the Louisville Orchestra had the funding needed to continue to make music.

Their support made possible: • Education NTI outreach to 49,565 students and 150 teachers • Louisville Orchestra Virtual Edition Online Concert Season • Presented over 200 produced music and educational videos and 10 live concerts • Reached audiences in 50 states and 12 countries • Provided free to thousands of music lovers

• Free Outdoor Community Concerts

Anonymous (1)

Jim and Sara Haynes

Julie and Bill Ballard

Humana

Christina Lee Brown

Jim and Irene Karp

Laura Lee Brown and Steve Wilson

Lindy B. Street

Mr. Owsley Brown, III

Marianne and Jim Welch

Cary Brown and Steve Epstein

Mary Gwen Wheeler and David Jones, Jr.

Brown-Forman Foundation

William Wood Foundation

Fund for the Arts

William and Susan Yarmuth

Mr. and Mrs. Frank Harshaw “Music is the universal language...” 10

-HENRY WADSWORTH LONGFELLOW A U D I E N C E

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

CLASSICS SERIES SPONSOR

LO CLASSICS

YUJA WANG PREMIERES ABRAMS CONCERTO Saturday, January 8, 2022 • 8PM The Kentucky Center, Whitney Hall Teddy Abrams, conductor Yuja Wang, piano Teddy ABRAMS

Piano Concerto (World Premiere) (36 min.) Yuja Wang, piano

INTERMISSION Sergei RACHMANINOFF

Symphony No. 2 in E Minor Op. 27 (35 min.) I. Largo – Allegro Moderato II. Allegro Molto III. Adagio IV. Allegro Vivace

CONCERT SPONSOR: Hardscuffle Inc. GUEST ARTIST SPONSOR: Glenview Trust COMMISSIONING SPONSOR: Justus and Helen Schlicting

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. A U D I E N C E

Enjoy these special tributes to Teddy!

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ONE-MINUTE NOTES The Louisville Orchestra audience knows that our gifted maestro is also a composer. Since 2014, it has performed ten of Abrams’s compositions, notably Unified Field (2016), The Greatest: Muhammad Ali (2017), and The Order of Nature (2018, in collaboration with Jim James). This weekend, our orchestra kicks off the new year in high style, with the world premiere of Abrams’s latest work: a major piano concerto for international superstar Yuja Wang. And therein lies a story.

PIANO CONCERTO TEDDY ABRAMS (B.1987)

Composition was an early interest for Abrams, who grew up in the San Francisco Bay Area. One of his first musical mentors was Michael Tilson Thomas, who became Music Director of the San Francisco Symphony in 1995. M.T.T. – as Tilson Thomas is known in musical circles – accepted Abrams as a private student in both composition and conducting when Abrams was 12. Abrams justified MTT’s belief in his talent and potential when he gained acceptance to Philadelphia’s prestigious Curtis Institute of Music as a conducting student – the youngest conducting applicant ever to be admitted.

Rachmaninoff’s Second Symphony is expansive, leisurely, and unapologetically romantic. Ignoring contemporary currents in the early 20th century, Rachmaninoff looked to Tchaikovsky for his inspiration. This symphony attests to his skill in handling a large orchestra − and his gift for the Big Tune. You will leave the hall tonight with the ravishing slow movement theme lingering in your ears.

Curtis’s heady environment gave Abrams access to superior players, and soon his compositions were being performed by fellow students. Abrams credits Ford Lallerstedt, one of his Curtis professors, for broadening his understanding of the philosophy of music and the use of musical language. Lallerstedt also encouraged improvisation as the primary means to connect to one’s creativity. An increased interest in improvisation altered Abrams’s approach to writing music, helping him to find his own compositional ‘voice.’ Another important Curtis connection was Yuja Wang, a fellow student who was one year ahead of Abrams. He was assigned to be her accompanist, which meant that, at her lessons, he would play orchestral reductions of concertos at a second piano. The two developed a strong friendship in the early 2000s that has endured.

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P R O G R A M N OT E S

“I tell people that if Gershwin and Rachmaninoff got together and wrote a piece, but in the musical vernacular of the 21st century, this is what it might sound like.”

to play,” says Abrams. “I tell people that if Gershwin and Rachmaninoff got together and wrote a piece, but in the musical vernacular of the 21st century, this is what it might sound like.” Abrams’s Piano Concerto is dedicated to Yuja Wang.

The resulting concerto is an enormous 35-minute canvas that he describes as a giant sonata form. It opens with a quasiclassical, full orchestral exposition, which is followed by the first of several solo cadenzas. The solo piano restates and adapts the material the orchestra has introduced. Abrams notes, “The piano solo cadenzas are the hinges of this concerto. They are meant to be a vehicle for Yuja Wang: all very tough, and all written out.”

SYMPHONY NO. 2 IN E MINOR, Op. 27 SERGEI RACHMANINOFF (1873-1943) Sergei Rachmaninoff is deservedly celebrated for his splendid contribution to the piano literature, both works for solo piano − notably two sets each of Préludes and Etudes-tableaux − and concerted ones. His Second Piano Concerto (1901) and the Rhapsody on a Theme by Paganini for piano and orchestra remain perennial favorites. Somewhat lesser known are Rachmaninoff's strictly orchestral compositions, which include two undisputed masterpieces: the late Symphonic Dances, Op. 45 (1940) and the symphony we hear at these performances.

The music is most definitely populist, an approach reflected in the expanded orchestra, which includes three saxophones, drum set, electronic keyboard, electric guitar, and electric bass in addition to the conventional orchestral instruments. Abrams writes sections that draw on Latin jazz, bebop, and funk — but he has also included passages of rich, late romantic material. “Essentially the concerto is grounded in the music I love

The Second Symphony was an easy sell for Rachmaninoff, and one that he badly needed to assuage damaged selfconfidence. Excepting an unfinished youthful symphony, his first effort in the genre was a Symphony in D minor from 1895. Its failure was so disastrous that Rachmaninoff hardly composed for three years following, and it was nearly twelve years before he saw fit to complete another symphony. Fortunately, the

Knowing the enormity and breadth of Yuja Wang’s repertoire, Abrams broached the subject of writing a concerto for her: one that would be positive, populist, and fun, with a high energy vibe, along the lines of what Gershwin’s Rhapsody in Blue and Concerto in F were nearly a century ago. She liked the idea and Abrams set to work.

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P R O G R A M N OT E S success of the Second Piano Concerto and a number of smaller works did much to restore his faith in his own talent. He began work on the Second Symphony in October 1906 while living in Dresden, where he and his family had moved in the aftermath of the failed Russian revolution of 1905. The piece gave him problems. He labored over the first movement alone for nearly three months. He spoke little of the work; most of his friends believed him to be immersed in a new opera. Somewhat frustrated by symphonic form, Rachmaninoff set the manuscript aside after completing the draft in April 1907. Back in Russia during the summer, he turned to orchestration, but remained very tight-lipped about having completed the score, and confiding to friends in letters that he was displeased with it. He managed to work through his dissatisfaction, and returned to St. Petersburg to conduct the premiere early in 1908. A Moscow premiere followed in mid-February. The Symphony was a great success in both cities, and the Russian academy hastened to formally recognize Rachmaninoff's achievement by awarding him the Glinka Prize for his new work in December 1908. The music is lush and relaxed. This is an expansive symphony in the late Romantic vein: heartfelt, emotional, and long. More than one writer has compared it to the Schubert Ninth, the "Great" C-major. It shares with that work an embarrassment of melodic riches, including at least one Rachmaninoff theme that has found its way into the popular canon via Eric Carmen’s 1976 hit “Never Gonna Fall in Love

Again.” (Carmen lifted his theme from Rachmaninoff’s slow movement.) Raw emotional power in this work points to mature Rachmaninoff; at the same time, it links him more strongly to his predecessor Tchaikovsky than probably any other composition.

"The music is lush and relaxed. This is an expansive symphony in the late Romantic vein: heartfelt, emotional, and long.” While each of the four movements has its share of the broad lines, arching melodies, and sometimes ecstatic expression that characterize this work, the brilliant Scherzo merits special mention. At approximately nine minutes it is certainly the shortest of the four, but the composer has compressed a wealth of ideas in that brief span. The orchestration is impeccable (listen for the sparkle of the glockenspiel), and Rachmaninoff's command of counterpoint in the central fugato is impressive. Also noteworthy is the exuberant opening of the finale, which matches the opening to Strauss's Don Juan in its evocation of newlypopped champagne bubbling over.

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ARTIST BIOGRAPHY YUJA WANG (B.1987)

Pianist Yuja Wang is celebrated for her charismatic artistry, emotional honesty and captivating stage presence. She has performed with the world’s most venerated conductors, musicians and ensembles, and is renowned not only for her virtuosity, but her spontaneous and lively performances, famously telling The New York Times “I firmly believe every program should have its own life, and be a representation of how I feel at the moment”. This skill and charisma was recently demonstrated in her performance of Shostakovich Piano Concerto No. 2 at Carnegie Hall’s Opening Night Gala in October 2021, following its historic 572 days of closure. Yuja was born into a musical family in Beijing. After childhood piano studies in China, she received advanced training in Canada and at the Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007, when she replaced Martha Argerich as soloist with the Boston Symphony

Orchestra. Two years later, she signed an exclusive contract with Deutsche Grammophon, and has since established her place among the world’s leading artists, with a succession of critically acclaimed performances and recordings. She was named Musical America’s Artist of the Year in 2017, and in 2021 received an Opus Klassik Award for her worldpremiere recording of John Adams’ Must the Devil Have all the Good Tunes? with the Los Angeles Philharmonic under the baton of Gustavo Dudame. As a chamber musician, Yuja has developed long lasting partnerships with several leading artists, notably violist Leonidas Kavakos, with whom she has recorded the complete Brahms violin sonatas and will be performing duo recitals in America in the Autumn. In 2022, Yuja embarks on a highlyanticipated international recital tour, which sees her perform in world-class venues across North America, Europe and Asia, astounding audiences once more with her flair, technical ability and exceptional artistry in a wide-ranging program to include Bach, Beethoven and Schoenberg. Yuja Wang is a 2021-22 Season Czech Philharmonic and Rotterdam Philharmonic Artist in Residence.

Yuja Wang

PHOTO BY JULIA WESELY

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OF THE IRREPRESSIBLE BOB BERNHARDT!

We celebrate this momentous occasion with music from Bob’s favorite composer, John Williams, and your Louisville Orchestra.

IRRESISTIBLE JOHN WILLIAMS Gabriel Lefkowitz, violin | SAT 15 JAN 2022 8PM

Enjoy these special accolades to Bob! 18

| Kentucky Center

The Pops Series is presented by Frank and Paula Harshaw

A U D I E N C E in celebration of Bob Bernhardt’s 40th season at the LO.

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

IRRESISTIBLE JOHN WILLIAMS Saturday, January 15, 2022 • 8PM The Kentucky Center, Whitney Hall Bob Bernhardt, conductor Gabriel Lefkowitz, violin Louisville Orchestra Pops Series is presented by Frank and Paula Harshaw in celebration of Bob Bernhardt's 40th season at the LO. John WILLIAMS

Raider’s March from Raiders of the Lost Ark (5 min.)

John WILLIAMS

The Mission (3.5 min.)

John WILLIAMS

Sayuri's Theme from Memoirs of a Geisha (4 min.)

John WILLIAMS

Remembrances from Schindler’s List (6 min.) Gabriel Lefkowitz, violin

John WILLIAMS

Olympic Spirit (4 min.)

John WILLIAMS

Suite from Far and Away (7.5 min.)

INTERMISSION John WILLIAMS

Theme from Jurassic Park (5.5 min.)

John WILLIAMS

Dartmoor, 1912 from War Horse (7 min.)

John WILLIAMS

Fawkes the Phoenix (4 min.) from Harry Potter and the Chamber of Secrets

John WILLIAMS

A Bridge to the Past (4 min.) from Harry Potter and the Prisoner of Azkaban

John WILLIAMS

Harry's Wondrous World (5 min.) from Harry Potter and the Sorcerer’s Stone

John WILLIAMS

With Malice Toward None (3.5 min.) from Lincoln

John WILLIAMS

The Jedi Steps and Finale (8 min.) from Star Wars: The Force Awakens

CONCERT SPONSORS: Lunsford Capital, Dr. Carmel Person, Fred & Claudia Pirman, Gary & Joe Russell, Joseph & Winona Shiprek Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. A U D I E N C E

COMPOSER BIOGRAPHY JOHN WILLIAMS (B. 1932) In a career spanning more than six decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage. He has served as music director and laureate conductor of one of the country’s treasured musical institutions, the Boston Pops Orchestra, and he maintains thriving artistic relationships with many of the world’s great orchestras, including the Boston Symphony Orchestra, the New York Philharmonic, the Chicago Symphony and the Los Angeles Philharmonic. Mr. Williams has received a variety of prestigious awards, including the National Medal of Arts, the Kennedy Center Honors, the Olympic Order, and numerous Academy Awards, Grammy Awards, Emmy Awards and Golden Globe Awards. He remains one of our nation’s most distinguished and contributive musical voices. Mr. Williams has composed the music and served as music director for more than one hundred films. His nearly 50-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, Amistad, Munich, Hook, Catch Me If You Can, Minority Report, A.I. Artificial Intelligence, Empire of the Sun, 20

The Adventures of TinTin, War Horse, The BFG and Lincoln. Their latest collaboration, The Post, was released in December of 2017. Mr. Williams composed the scores for all nine Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone, Nixon, The Patriot, Angela’s Ashes, Seven Years in Tibet, The Witches of Eastwick, Rosewood, Sleepers, Sabrina, Presumed Innocent, The Cowboys, The Reivers and Goodbye, Mr. Chips among many others. He has worked with many legendary directors, including Alfred Hitchcock, William Wyler and Robert Altman. In 1971, he adapted the score for the film version of Fiddler on the Roof, for which he composed original violin cadenzas for renowned virtuoso Isaac Stern. He has appeared on recordings as pianist and conductor with Itzhak Perlman, Joshua Bell, Jessye Norman, and others. Mr. Williams has received five Academy Awards and fifty-two Oscar nominations, making him the Academy’s mostnominated living person and the secondmost nominated person in the history of the Oscars. His most recent nomination was for the film Star Wars: The Rise of Skywalker. He also has received seven British Academy Awards (BAFTA), twentyfive Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. Born and raised in New York, Mr. Williams moved to Los Angeles with his family in 1948, where he studied composition with Mario Castelnuovo-Tedesco. After service in the Air Force, he returned to New York to attend the Juilliard School, where he studied piano with Madame

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COMPOSER BIOGRAPHY

"Mr. Williams has received five Academy Awards and fifty-two Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars." Rosina Lhevinne. While in New York, he also worked as a jazz pianist in nightclubs. He returned to Los Angeles and began his career in the film industry, working with a number of accomplished composers including Bernard Herrmann, Alfred Newman, and Franz Waxman. He went on to write music for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90. His more recent contributions to television music include the well-known theme for NBC Nightly News (“The Mission”), the theme for what has become network television’s longest-running series, NBC’s Meet the Press, and a new theme for the prestigious PBS arts showcase Great Performances. In addition to his activity in film and television, Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos for flute, violin, clarinet, viola, oboe and tuba. His cello concerto was commissioned by the Boston Symphony Orchestra and premiered by Yo-Yo Ma at Tanglewood in 1994. Mr. Williams also has filled commissions by several of the world’s leading orchestras, including

a bassoon concerto for the New York Philharmonic entitled “The Five Sacred Trees,” a trumpet concerto for the Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. “Seven for Luck," a seven-piece song cycle for soprano and orchestra based on the texts of former U.S. Poet Laureate Rita Dove, was premiered by the Boston Symphony at Tanglewood in 1998. At the opening concert of their 2009/2010 season, James Levine led the Boston Symphony in the premiere Mr. Williams’ “On Willows and Birches,” a new concerto for harp and orchestra. In January 1980, Mr. Williams was named 19th music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December 1993, after 14 highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. One of America’s best known and most distinctive artistic voices, Mr. Williams has composed music for many important cultural and commemorative events. “Liberty Fanfare” was composed for the rededication of the Statue of Liberty in 1986. “American Journey,” written to celebrate the new millennium and to accompany the retrospective film The Unfinished Journey by director Steven Spielberg, was premiered at the “America’s Millennium” concert in Washington, D.C. on New Year’s Eve, 1999. His orchestral work “Soundings” was performed at the celebratory opening of Walt Disney Concert Hall in Los Angeles. In the world of sport, he has contributed musical themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games, and the

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COMPOSER BIOGRAPHY 1987 International Summer Games of the Special Olympics. In 2006, Mr. Williams composed the theme for NBC’s presentation of Sunday Night Football. Mr. Williams holds honorary degrees from 22 American universities, including Harvard University, The Juilliard School, Boston College, Northeastern University, Tufts University, Boston University, the New England Conservatory of Music, the University of Massachusetts at Boston, The Eastman School of Music, the Oberlin Conservatory of Music, and the University of Southern California. He is a recipient of the 2009 National Medal of Arts, the highest award given to artists by the United States Government. In 2020, Mr. Williams received Spain’s prestigious Princess of Asturias Award for the Arts, as well as the Gold Medal from the Royal

Philharmonic Society in the UK. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first composer in history to receive this honor. In 2003, he received the Olympic Order, the IOC’s highest honor, for his contributions to the Olympic movement. He served as the Grand Marshal of the 2004 Rose Parade in Pasadena and was a recipient of the Kennedy Center Honors in December of that year. In 2018, he received the Trustees Award from the National Academy of Recording Arts and Sciences. Mr. Williams was inducted into the American Academy of Arts & Sciences in 2009, and in January of that same year he composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama.

Experience YOUR Louisville Orchestra

with an amazing line up of JANUARY concerts IRRESISTIBLE JOHN WILLIAMS Bob Bernhardt, conductor Jan. 15, 8PM Kentucky Center CELEBRATING YOUNG TALENT Teddy Abrams, conductor Michelle Cann, piano Jan. 21 - 22 Teddy Abrams. Photo by Jayna Fox.

Check website for locations and times

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PINES OF ROME Rei Hotoda, guest conductor Jan. 28, 11AM & Jan. 29, 8PM Kentucky Center PETER AND THE WOLF Jan. 23, 3PM Brown Theatre

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

COFFEE SERIES SPONSOR

COFFEE SERIES

PINES OF ROME Friday, January 28, 2022 • 11AM The Kentucky Center, Whitney Hall Rei Hotoda, conductor

Lili BOULANGER Ludwig van BEETHOVEN

D’un matin de printemps ("Of a Spring Morning") (6 min.) Symphony No. 8 in F Major, Op. 93 (26 min.) I. Allegro vivace con brio II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace

Ottorino RESPIGHI

Pines of Rome (23 min.) I. The Pines of the Villa Borghese II. Pines Near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way

CONCERT SPONSOR: Theresa and John T. Bondurant In memory of Dan McAninch and Sue McAninch Causey and in honor of Steve Causey.

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. A U D I E N C E

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

CLASSICS SERIES SPONSOR

LO CLASSICS

PINES OF ROME Saturday, January 29, 2022 • 8PM The Kentucky Center, Whitney Hall Rei Hotoda, conductor

Lili BOULANGER Ludwig van BEETHOVEN

D’un matin de printemps ("Of a Spring Morning") (6 min.) Symphony No. 8 in F Major Op. 93 (26 min.) I. Allegro vivace con brio II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace

INTERMISSION Ottorino RESPIGHI

Fountains of Rome (15 min.) I.The Fountain of Valle Guilia all’alba II. The Fountain of the Tritone al mattino III. The Fountain of Trevi al meriggio IV. The Fountain of Villa Medici al tramonto

Ottorino RESPIGHI

Pines of Rome (23 min.) I. The Pines of the Villa Borghese II. Pines Near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. 24

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ARTIST BIOGRAPHY REI HOTODA (B. 1959) Conductor Rei Hotoda has been hailed as an inexhaustible dynamo with a deep commitment to reimagining the 21st century concert experience. Her vision can be seen through her thoughtprovoking programming, passionate allyship to marginalized artists, advocacy for arts education, and an unwavering commitment to presenting the music of our times. Her success as the Music Director of the Fresno Philharmonic since 2017 has resulted in the extension of her tenure through the 2025 season. She has worked tirelessly to build first-time and unique connections with the Fresno community with an eye toward reaching different audiences with a new music concert series, Proxima, and special concerts at Bitwise South Stadium. She has reimagined the pre- and post-concert experience by creating the ever-popular Green Room and Stay Tuned series. Her programming continues to push through the preconceived notions of the classical concert going experience, offering audiences works by often marginalized composers and today’s leading voices in the field. Through her tireless efforts, she has successfully broken down the barriers that often exist between artist and listener and repositioned the Fresno Philharmonic as a leader in the community it serves. As a champion of today’s living composers and an artist who is

dedicated to amplifying marginalized voices, Rei’s innovative programming and interdisciplinary collaborations continue to position her as a leader in the industry. Highlights of her 202122 season include presentations of works by black, indigenous, Hispanic, and women composers, including Juan Pablo Contreras, Gabriela Lena Frank , Adolphus Hailstork , Jerod Impichchaachaaha’ Tate, George Walker and Jessie Montgomery. The world premieres of John Wineglass’ Alone/ Together and Kenneth Froelich’s Melt with the Fresno Philharmonic as well as those by Derek Bermel, Cynthia Lee Wong and Judah Adashi for her debut with ROCO, punctuate her season. For her debut with the Reno Chamber Orchestra she will conduct two seminal American works and marry the worlds of dance and opera when she conducts a reimagining of Copland’s Appalachian Spring featuring contemporary dancers choreographed by Seattle-based choreographer Alexander Ung alongside Bernstein’s opera Trouble in Tahiti. Her Silk Roadinspired program with the Oklahoma City Philharmonic features Aghaei & Jacobsen’s Ascending Bird, Dinuk Wijeratne’s Tabla Concerto with Sandeep Das and Rimsky-Korsakov’s Scheherazade, speaks to Rei’s desire to introduce audiences to world cultures and challenge them to think outside of the Western concert-going model. Rei is also an active and criticallyacclaimed keyboardist and embraces her time conducting from the piano and harpsichord. One of her many recent highlights was leading the Fresno Philharmonic from the piano in Beethoven’s monumental Triple Concerto

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ARTIST BIOGRAPHY their patrons through a new YouTube series. She continued her ever-popular Stay Tuned series, producing in-depth digital conversations with composers who were featured on the season. Lastly, through impactful programming she and the orchestra produced a four-concert digital Masterworks series.

Rei Hotoda

as part of the orchestra’s Beethoven@250 and from the harpsichord in Bach’s Brandenburg Concerto No. 3 as part of their Digital Masterworks series. This season she will conduct both the Winnipeg Symphony Orchestra and the Fresno Philharmonic from the keyboard in Mozart’s Concerto for Two Pianos in E-flat major. Rei has appeared as a guest conductor with many of today’s leading ensembles, including the symphony orchestras of Baltimore, Chicago, St. Louis, Dallas, Detroit, Toronto, Winnipeg, Hawaii and Utah as well as the Civic Orchestra of Chicago, among others. Rei’s unique abilities to innovate and adapt have been brought to the forefront in recent seasons due to the ongoing pandemic. Through fostering partnerships with organizations outside of the concert hall such as Valley Public, the local NPR radio station she brought the Fresno Philharmonic to a wider audience. With the staff and musicians of the Fresno Philharmonic she kept the orchestra intimately connected to 26

As a recording artist, Rei’s credits are wide-ranging and feature her as both conductor and piano soloist. She recorded the music of Nicole Lizée with members of the Winnipeg Symphony Orchestra on an album released in 2008 on the Centrediscs label entitled, This Will Not be Televised. Also, in 2008, Apparitions, her first recording as a solo pianist, was released by Signpost Records and featured works by Noriko Hisada, Vincent Ho, and Toru Takemitsu. Symphony Sessions was released in 2007 (Signpost Records), and featured Rei conducting the Winnipeg Symphony Orchestra in works by Juno award winner, Steve Bell. Rei is the proud recipient of several prestigious awards, including the 2006 Taki-Alsop Concordia Conducting Fellowship, created by Marin Alsop to mentor women conductors. Additionally, she has received a Peabody Career Development Grant, the Women’s Philharmonic Scholarship, and an Illinois Arts Council International Arts Exchange Grant. Her teachers and mentors include Gustav Meier, Marin Alsop, Jaap van Zweden and Thierry Fischer.

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ONE-MINUTE NOTES Lili Boulanger was the younger sister of the celebrated French composer and pedagogue Nadia Boulanger. Sadly, the prodigiously gifted Lili died at age 24. She wrote little for large ensembles; Of a Spring Morning is one of her three surviving orchestral pieces. It began as a duo for violin and piano, then evolved to a piano trio and finally the orchestral version. At times light and scherzo-like, it also has lush, misty passages that suggest the beauty of the dawn and nature’s awakening. Boulanger’s ending is brilliant, fulfilling the promise of rebirth that comes with spring. Beethoven’s Eighth Symphony seems almost intimate: shorter than his other

D’UN MATIN DE PRINTEMPS (1918) LILI BOULANGER (1893-1918)

If audiences know the name Boulanger, it is because of the great pedagogue Nadia Boulanger, whose composition studio at Fontainebleau included Aaron Copland, Walter Piston, Jean Françaix, Elliott Carter, David Diamond, and more than a hundred other 20th-century composers. Nadia lived to the ripe old age of 92. Her younger sister Lili was less fortunate; she died at 24.

symphonies and a bit ‘retro’ in its layout. For example, the third movement is an old-fashioned minuet rather than a scherzo. Beethoven takes an affectionate bow to his 18th-century predecessors, throwing in a dose of humor for good measure. Respighi’s most celebrated works are three tone poems known collectively as his Roman Trilogy. All are brilliant orchestral evocations of the Eternal City. We hear the first two. The Fountains of Rome comprises four sections that illustrate one of Rome’s beautiful and sculptural fountains. Respighi’s delicate orchestration evokes the interplay of water and light at various times of day.

She was probably the greater talent of the two sisters. Lili was the first woman to win the coveted Prix de Rome in composition, in 1913. Thanks to the reconsideration of women’s roles in music history in recent decades, Lili Boulanger has been rediscovered. A fervent Catholic, her most important works are her sacred and secular vocal music; she is particularly noted for her Psalm settings and her songs. Performers and audiences appreciate her sensitivity to poetry and her skilled use of the delicate sonorities associated with French musical impressionism. As a child, Boulanger contracted bronchial pneumonia, leaving her susceptible to Crohn’s disease for the

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P R O G R A M N OT E S balance of her brief life. She died in the aftermath of an appendectomy that weakened her already precarious health. D’un matin de printemps [Of a Spring Morning] is one of her three surviving orchestral works. Composed in late 1917 and early 1918, it was part of a larger project. The companion piece is D’un soir triste [Of a Sad Evening]. Both works derived from the same five-note motive and exist in three independent versions: for violin [or flute] and piano, piano trio, and orchestra. Boulanger heard the premières of Debussy’s Violin Sonata in May 1917 and Fauré’s Sonata No.2, Op.108 in November 1917. Their influence is perceptible in the violin version of D’un matin de printemps; however, in 1970s interviews with Lili’s biographer Leonie Rosenstiel, Nadia Boulanger insisted that the three versions of both pieces were conceived simultaneously. The orchestral version of D’un matin de printemps is a busy affair and a celebration of Lili’s exceptional skill as an orchestrator. The entire natural world, it seems, is coming to life after the long winter slumber. The first violin section is an important melodic carrier, but not the sole beacon. Boulanger’s orchestra buzzes with activity, a veritable forest of sound as plants regenerate and creatures awaken. SYMPHONY NO. 8 IN F MAJOR, Op. 93 LUDWIG VAN BEETHOVEN (1770-1827) In early June 1815, Beethoven wrote to the impresario 28

"When friends told Beethoven that the Viennese public did not like the Eighth Symphony so much as the Seventh, he snapped, “That’s because it’s so much better.” Johann Peter Salomon in London, requesting Salomon’s assistance in getting some works published in England. He mentioned ‘a Grand Symphony in A major (one of my best) and a small Symphony in F.” We know those two works as the Seventh and Eighth Symphonies. What did Beethoven mean by “small”? Certainly the Eighth is shorter than the A-major work, which is a grand symphony in the heroic manner, clocking in at nearly forty minutes. By contrast, the Eighth is almost a miniature: four delightful movements that elapse in less than half an hour. The orchestra size is identical for the two symphonies, so “small” doesn’t necessarily refer to the number of instruments. That leaves us with an assessment of character. The Eighth Symphony is intimate: the way a dinner party with six people allows for more in-depth conversation than a large buffet reception with fifty guests. We know that Beethoven had a soft spot for this symphony. He seems to have composed it with comparative ease. Ordinarily he labored long and hard, with extensive sketches for his major compositions, yet this one flowed relatively easily from his pen. When friends told Beethoven that the Viennese

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P R O G R A M N OT E S public did not like the Eighth Symphony so much as the Seventh, he snapped, “That’s because it’s so much better.” The Eighth Symphony shows us Beethoven at his most ingratiating. His music is tuneful and appealing, often boasting a rich sense of humor, and always demonstrating Beethoven’s superb mastery of the orchestra. From its sunny first theme in the violins, this work is self-assured without being aggressive or overbearing. Many Beethovenian traits are present: strong gestures, sudden changes of dynamics, unusual accents where we don’t expect them. What’s different is the relative absence of heroism. That doesn’t mean the music isn’t strong; to the contrary, it breathes health and vigor. Rather, we don’t have a sense that the burdens of the world are weighing heavily on Beethoven’s shoulders. There is drama, but not tragedy. The very fact that the first movement ends quietly, with a pianissimo phrase exactly the same notes as the gesture that opened, suggests that Beethoven is at peace in this work. Another surprising aspect is the lack of a true slow movement. Beethoven introduces his perky Allegretto scherzando with a piping woodwind chorus. We have a sense of the outdoors, perhaps a village fair on a Sunday afternoon. The occasional outbursts of repeated notes in the strings interrupt like bursts of laughter at an especially funny joke. The Tempo di Menuetto, like the first movement, fuses melodic charm with grandeur and the grace of triple meter. By 1812, the year Beethoven composed this symphony, it was unusual to use the eighteenth-century minuet and trio

instead of the livelier scherzo/trio. His fond salute to the older dance reinforces the idea that there’s no hurry or stress on his musical horizon. Yet those misplaced accents keep us on our toes. The finale returns to the larger scale and decisive gestures of the opening movement. Here again, Beethoven’s sense of humor is front and center, what Sir George Grove called “Beethoven at his most unbuttoned.” The comedy is sometimes gentle, elsewhere uproarious, but every line sails forth with perfect timing. THE FOUNTAINS OF ROME (1916) THE PINES OF ROME (1924) OTTORINO RESPIGHI (1879-1936) Mention the name Respighi to music-lovers and the immediate, almost Pavlovian response is likely to be The Fountains of Rome or The Pines of Rome. These two magnificent tone poems are by far Respighi's most frequently performed works. They identify him rightfully as a programmatic composer, whose finest music drew inspiration from landscape, nature, and works of art. Fountains came first, in 1916. Anyone who has visited Rome knows that fountains abound: beautiful sculptural jewels that seem to adorn each public square, street corner, and private courtyard. He spaces his observations throughout the day, describing in music the Fountain of Valle Giulia at dawn, the Triton

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P R O G R A M N OT E S Fountain at morning, the Trevi Fountain at midday, and the Villa Medici Fountain at sunset. Thus we not only glimpse of four different locations, but also four ways the sunlight can play upon the spray of water in the fountains and the surrounding cityscape. Always a master at impression, Respighi paints vividly colored pictures: the languid calm of water splashing gently as the sun breaks, followed by the brilliant, flirtatious spray of the Triton. Each musical image prompts thoughts of another facet of Roman life. These fountains are a practical source of water as well as tourist attractions and works of sculpture. Only Rome boasts so many that are so beautiful; only Rome

has inspired such glorious music for her fountains. FOUR SNAPSHOTS OF ROME, THEN AND NOW Respighi opens The Pines of Rome at the Villa Borghese, a 17th-century palace with elegant pleasure gardens. Today, the building houses masterpieces of Italian painting and sculpture, and the Villa’s expansive grounds are one of Rome’s most popular public parks. We hear children playing, running this way and that, singing children’s ditties. (Respighi asked his wife Elsa, who was fifteen years his junior, to sing him the nursery songs she had grown up with; he incorporated some of these Italian tunes into the movement.)

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P R O G R A M N OT E S The inner movements of The Pines of Rome have their own magic, drawing on the timelessness and variety of Rome itself. “Pine Trees near a Catacomb” evokes the somber atmosphere of the underground Christian burial chambers in the 2nd and 3rd centuries. It is a brilliant dramatic stroke: total contrast after the exuberant young life depicted in the opening movement. Respighi’s music proceeds in a long, slow crescendo, sedate, serious, march-like, as if we were auditing the prayers of those early Christians. From this solemn section, Respighi moves to the serenity of the great outdoors. The Janiculum is one of Rome’s seven hills. A rhapsodic piano introduction and a clarinet theme establish the scene: far from the hubbub of the central city, on a moonlit night. At the end of the movement, we hear the song of a nightingale. In Respighi’s day, this interpolation of birdsong was wildly controversial. The steady build of “Pines of the Appian Way” is one of music’s great crescendos, suggesting the approach of Roman legions that tramped on those stones two millennia earlier. Respighi’s triumphant closing chords, dominated by brass, affirm the might of the Roman empire. The Pines of Rome is a stunning example of Respighi’s expertise in orchestration. He had secured an early foundation in Bologna under the tutelage of Giuseppe Martucci (1856-1909), a disciple of Richard Wagner. Respighi’s experience as an orchestral violinist and violist served him especially well in his handling of the strings. For two winters – 1901/2 and 1902/3 – he worked in St. Petersburg as a violist in the imperial opera orchestra. He took advantage of those sojourns to

seek out lessons with Nikolai RimskyKorsakov. The legendary Russian composer honed Respighi’s instinctive sense of orchestral color, and the young Italian started to come into his own. A MOMENTOUS PREMIERE Elsa Respighi, the composer's widow, attended the premiere of The Pines of Rome on 14 December 1924 at Rome’s Teatro Augusteo, with Bernardo Molinari on the podium. According to Elsa Respighi, The Pines of Rome was one of the compositions in which her husband was most emotionally involved. His success in immersing us in the beauty of his beloved city is compelling testimony to that involvement.

4OPTIONS TO RENEW CAR TAGS Online | JeffersonCountyClerk.org Telephone | (502) 569-3300 Drop-Box | At every Motor Vehicle location

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Mail-In | P.O. Box 33033

Louisville, KY 40232-3033

Eats The restaurants below are certified and recommended by Audience as premium places for pre-show dinner, drinks or mingling. Let them know we sent you! Area of Town

Restaurant Name

Downtown

Repeal Oak-Fired Steakhouse

Yes

Downtown

Jeff Ruby’s Steakhouse

Downtown

Reservations

Phone

Address

Notes

(502) 716-7372

101 West Main St.

Upscale steakhouse on historic Whiskey Row

Yes

(502) 584-0102

325 West Main St. (Galt House Hotel)

Premium steaks & seafood

Mayan Cafe

Yes

(502) 566-0651

813 E. Market St.

Farm-to-table Mexican & Pan-Latin cuisine

Downtown

Walker’s Exchange

Yes

(502) 272-1834

140 N. 4th St. (Galt House Hotel)

Casual Southern Contemporary

Crescent Hill

Pat’s Steakhouse

Yes

(502) 893-2062

2437 Brownsboro Rd.

Premium steaks since 1958

Crescent Hill

Porcini Restaurant

Yes

(502) 894-8686

2730 Frankfort Ave.

Fine Northern Italian cuisine

Highlands

Jack Fry’s

Yes

(502) 452-9244

1007 Bardstown Rd.

High-end Southern fare & cocktails

Check out our full list of preferred restaurants at Audience502.com.

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TEDDY ABRAMS ...continued from p. 6... number of orchestras — including playconducting the Ravel Piano Concerto with the Fort Worth Symphony in 2017 and the Jacksonville Symphony in 2013 — and has performed chamber music with the St. Petersburg String Quartet, Menahem Pressler, Gilbert Kalish, Time for Three, and John Adams, in addition to annual appearances at the Olympic Music Festival. Dedicated to exploring new and engaging ways to communicate with a diverse range of audiences, Abrams co-founded the Sixth Floor Trio in 2008. Together, they founded and direct GardenMusic, the music festival of the world-renowned Fairchild Tropical Garden in Miami; they continue to tour regularly throughout the U.S. Abrams was a protégé of Michael Tilson Thomas from the age of eleven, and studied conducting with Otto-Werner Mueller and Ford Lallerstedt at the Curtis Institute of Music, and with David Zinman at the Aspen Music Festival; he

was the youngest conducting student ever accepted at both institutions. Abrams is also an award-winning composer and a passionate educator. His 2009 Education Concerts with the New World Symphony (featuring the world premiere of one of Abrams’ own orchestral works) were webcast to hundreds of schools throughout South Florida. Abrams performed as a keyboardist with the Philadelphia Orchestra, won the 2007 Aspen Composition Contest, and was the Assistant Conductor of the YouTube Symphony at Carnegie Hall in 2009. He has held residencies at the La Mortella music festival in Ischia, Italy and at the American Academy in Berlin. Teddy was a proud member of the San Francisco Symphony Youth Orchestra for seven seasons, and graduated from the San Francisco Conservatory of Music with a Bachelor of Music, having studied piano with Paul Hersh.

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LOUISVILLE ORCHESTRA 2021-22 BOARD of DIRECTORS Mr. Lee Kirkwood Chair Mr. Andrew Fleischman Chair-Elect Mr. James S. Welch, Jr. Immediate Past Chair Mrs. Carole Birkhead* Mrs. Christina Brown Mrs. Ritu Furlan Mrs. Mariah Gratz Mrs. Paula Harshaw Mrs. Carol Hebel* Mrs. Michelle Hawk Heit

Ms. Wendy Hyland Mr. Scott Justice Mr. Brian Kane Mrs. Beth Keyes Mr. Don Kohler, Jr. Mrs. Karen Lawrence Mrs. Carol Barr Matton Mr. Joseph Miller Mr. Guy Montgomery Mrs. Mona Newell Mr. Khoa Nguyen Dr. OJ Oleka Mr. Timothy L. Peace Dr. Teresa Reed Mr. Jeff Roberts

Mr. Bruce Roth Mrs. Denise Schiller Mrs. Winona Shiprek* Mr. Gary Sloboda Ms. Min Son Mr. Dennis Stilger, Jr. Mr. William Summers, V Mrs. Susan Von Hoven Mrs. Mary Ellen Wiederwohl Mr. Robert H. Wimsatt *denotes Life Member

LOUISVILLE ORCHESTRA ADMINISTRATION EXECUTIVE

Graham Parker Interim Executive Director Nathaniel Koch Executive Administrator Megan Giangarra Office Administrator & Patron Services Associate

ARTISTIC OPERATIONS Matthew Feldman Director of Artistic Operations Jake Cunningham Operations Manager Adrienne Hinkebein Orchestra Personnel Manager Bill Polk Stage Manager Chris Skyles Librarian Adam Thomas Artistic Coordinator & Assistant to the Music Director

DEVELOPMENT

Bert Griffin Chief Development Officer Erynn McInnis Grant Writer Edward W. Schadt Director of Leadership Giving Jonathan Wysong Development Manager

FINANCE

Tonya McSorley Chief Financial Officer Cheri Reinbold Staff Accountant Angela Pike Receptionist

EDUCATION & COMMUNITY

Jennifer Baughman Education & Community Engagement Coordinator

MARKETING & COMMUNICATIONS Michelle Winters Director of Marketing Arricka Dunsford Marketing & Communications Strategist Stephen Koller Graphic Designer

PATRON SERVICES

Carla Givan Motes Director of Patron Services Shane Wood Patron Systems Manager

Sarah Lempke O’Hare Director of Education & Community Engagement

ASSOCIATION OF THE LOUISVILLE ORCHESTRA, INC . EXECUTIVE OFFICERS Lindsay Vallandingham President Mona Newell Immediate Past President Helen Davis VP Communications Pam Brashear & Liz Rorke VP Education Co-Chairs Jeane James & Suzanne Spender VP Hospitality Co-Chairs Marguerite Rowland VP Membership 34

Michele Oberst VP Ways and Means Susan Smith Recording Secretary Sue Bench Corresponding Secretary Ann Decker Treasurer Rita Bell Parliamentarian Carol Hebel, Winona Shiprek, & Anne Tipton President's Appointments A U D I E N C E

ALO BOARD of DIRECTORS Randi Austin Helen Davis Janet Falk Margie Harbst Paula Harshaw Sara Huggins Jeanne James John Malloy Marcia Murphy Nancy Naxera Roycelea Scott Mollie Smith Susan Smith Harriet Treitz Carol Whayne Suzanne Whayne

THE CONDUCTORS CONDUCTORS SOCIETY AND THE SOCIETYCORPORATE CORPORATE & FOUNDATION FOUNDATIONMEMBERS MEMBERS FOUNDER| $250,000+ Owsley Brown II Family Foundation William M. Wood Foundation

SUSTAINER | $100,000 - $249,000 Crankstart Foundation Harshaw Family Foundation Jasteka Foundation

VIRTUOSO | $50,000 - $99,999

Maxine and Stuart Frankel Foundation for Art The Diaz Family Foundation

BENEFACTOR | $25,000 - $49,999

LOUISVILLE

Augusta Brown Holland Philanthropic Foundation Brooke Brown Barzun Philanthropic Foundation

SPONSOR | $10,000 - $24,999 Arthur K. Smith Family Foundation Carol Barr Matton Charitable Foundation Clifton Foundation Gheens Foundation Norton Foundation Roth Family Foundation Weishar Family Foundation

MEMBER | $3,000 - $9,999 Altsheler-Durell Foundation Paristown Preservation Trust LLC Barr Foundation William H. Smith Fund General Dillman Rash Fund Woodrow M. and Florence Strickler Fund Gilbert Foundation University of Louisville School of Music G.S.R. Foundation Habdank Foundation Lyndon and Helen Schmid Charitable Foundation Mildred V. Horn Foundation

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L O U I S V I L L E O R C H E S T R A C O N T R I B U TO R S Annual gifts provide funding that is critical to the success of our mission to bring diverse programming and educational opportunities to our community. The Louisville Orchestra gratefully acknowledges the following donors of record for the period of May 1, 2020 to October 31, 2021. CONDUCTORS SOCIETY (FOUNDER) $250,000+ Christina L. Brown Owsley Brown III Lindy B. Street CONDUCTORS SOCIETY (SUSTAINER) $100,000 - $249,999 William and Julie Ballard Ms. Cary Brown and Dr. Steven E. Epstein Jim and Irene Karp David Jones and Mary Gwen Wheeler William and Susan Yarmuth CONDUCTORS SOCIETY (VIRTUOSO) $50,000 - $74,999 Anonymous Betty & George Gibbs Brian Kane Warwick Dudley Musson Mr. & Mrs. Robert W. Rounsavall III CONDUCTORS SOCIETY (BENEFACTOR) $25,000 - $49,999 Anonymous (2) Steve and Gloria Bailey Elizabeth W. Davis Bruce and Marcia Roth Brook and Pam Smith Mr. and Mrs. James R Voyles CONDUCTORS SOCIETY (SUPPORTER) $10,000 - $24,999 Anonymous (2) Gladys Bass † Dr. and Mrs. David P Bell Marilyn and Brooks Bower Dr. and Mrs. Bruce Burton David † and Patricia Daulton Nan Dobbs Andrew and Trish Fleischman Elisabeth U. Foshee Ritu Furlan Matthew and Lena Hamel Louise and Jay Harris Charles † and Carol Hebel Scott Justice Lee and Rosemary Kirkwood Mary Kohler Dr. Carl E. Langenhop † Kenneth and Kathleen Loomis Sheila G. Lynch Carol Barr Matton Guy and Elizabeth Montgomery John and Patricia Moore Thomas Noland and Vivian Ruth Sawyer Dianne M. O'Regan Marla Pinaire Dr. Teresa Reed Barbara and Lee Robinson Michael and Chandra Rudd Kenneth L. Sales Denise Schiller Rev. Alfred Shands † Winona and Joseph Shiprek

Dennis Stilger Jr. James and Marianne Welch Jane Feltus Welch Orme and Mary Wilson Dr. Joan and Robert Wimsatt Mary Bert and Dr. Richard Wolf Jason Zachariah CONDUCTORS SOCIETY (PATRON) $5,000 - $9,999 Teddy Abrams Barbara Berman Edith S. Bingham Mr. and Mrs. J. McCauley Brown Mr. Stephen P. Campbell and Dr. Heather McHold Thomas A. Conley III Susan Diamond Mr. and Mrs. Thomas E. Dunham Mr. and Mrs. William L. Ellison Jr. Kendra Foster and Turney Berry Thelma Gault Owen and Eleanor Hardy Dan and Lisa Jones Elizabeth and Mike Keyes Kate and Allan Latts Herbert and Barbra Melton Carolyn Neustadt Kent and Katherine Oyler Dr. Carmel Person Fred and Claudia Pirman Jeff and Paula Roberts Ellen and Max Shapira Gary and Amy Sloboda Robert Steen Dr. Gordon Strauss and Dr. Catherine N. Newton Ann and Glenn Thomas Ruth and Bryan Trautwein Dr. and Mrs. Nathan Zimmerman CONDUCTORS SOCIETY (MEMBER) $3,000 - $4,999 John and Theresa Bondurant Walter Clare Mr. and Mrs. Donan David and Regina Fry Joseph Glerum Mary Louise Gorman Mrs. Spencer E. Harper, Jr. Drs. Eugene and Lynn Gant March Raulee Marcus Joseph Miller Norman and Sue Pfau Eugenia and John Potter Clifford Rompf Russell and Theresa Saunders Mr. and Mrs. Joseph Sireci Carole Snyder Mr. and Mrs. Robert W. Vaughan Susan and Michael Von Hoven Mr. and Mrs. Kevin Wardell Maud Welch Mary Ellen Wiederwohl and Joel Morris PRELUDE $1,500 - $2,999 Anonymous (2) Hon. and Mrs. Jerry E. Abramson

Cheryl Ambach Joseph and Linda Baker Dr. Stephen and Jeannie Bodney Cornelia Bonnie Dr. and Mrs. Lawrence H. Boram Garvin Brown IV Jennifer Buttrick Evelyn T. Cohn Brian Cook Dr. Christopher Croot Marguerite Davis Gayle DeMersseman Gerald Doss Mr. and Mrs. Daniel L. Dues George and Mary Lee Fischer Dr. Karen Abrams and Dr. Jeffrey Glazer Bert Greenwell John R. Gregory June Hampe Kenneth and Judy Handmaker Barbara B. Hardy David Sickbert and Thomas Hurd Wendy Hyland Allison Jacobs Tamina and Edward Kim Estate of Margot Kling Amy and Matthew Landon Thomas and Judith Lawson Bethany Breetz and Rev. Ronald Loughry W. Bruce Lunsford Jennifer and Charles Marsh Lynn and Roy Meckler Elizabeth Merdian Dr. Sean Muldoon Mr. and Mrs. Robert B. Nesmith Susannah S. Onwood Joseph A. Paradis III Mrs. William P. Peak Joan Pike Gordon and Patty Rademaker Embry Rucker and Joan MacLean Rev. Edward W. Schadt Alleine Schroyens Ruth Simons Susan and Raymond Smith Dr. Anna Staudt Richard Stephan Constance Story and Larry G. Pierce Beverly J. Tilmes James Van Daalen Dr. Juan Villafane Carolyn Marlowe Waddell Roger and Janie Whaley Hon. and Mrs. John Yarmuth SONATA $500 - $1,499 Anonymous (4) Mr. Karl Adams Carlyn and Bill Altman Lisa Archer Dr. Fredrick W. Arensman David and Madeleine Arnold Boe and Judith Ayotte Miriam Ballert John and Mary Beth Banbury Clarence and Mary Barton

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Tom and Marceline Barton John Bates Mike and Gail Bauer David B. Baughman Lynne A. Baur Hans Bensinger Tanya and Wendell Berry Doris Bridgeman Virginia and Gary Buhrow Jane Burbank Mary Burkhart Drs. Frank and Carolyn Burns Dr. and Mrs. Jeffrey P. Callen Dave Calzi William Carrell II Joan Chandler Karen and Robert Chatham Patricia Chervenak Michael and Nancy Chiara Mike and Sue Chmilewski Lee Cochran George and Frances Coleman Cynthia and David Collier Susan Collins Carolyn Congleton, DVM Judith K. Conn Jeff and Marjorie Conner Jill and William † Cooper Arthur and Virginia Cromer Stephen Cross Linda Dabney Betsey Daniel Lorie and Robert Davenport Kate and Mark Davis Robert and Ann Decker Carol W. Dennes Pat DeReamer and Cynthia DeReamer Rollins Dr. John and Mrs. Dee Ann Derr Judy Dickson James and Etna Doyle Uwe and Kathy Eickmann Rev. John G. Eifler Ann-Lynn Ellerkamp Kathleen Elliott Susan Ellison Bert and Jane Emke Mr. and Mrs. Eric V. Esteran Janet G. Falcone Nancy Fleischman Dr. and Mrs. Eugene C. Fletcher James R. Gillespie Edward and Linda Goldstein Julie and Laman Gray Jr., MD Dr. Misty and Mr. Bert Griffin John and Jody Hamilton Lee and John Hancock Mary C. Hancock Michael R. † and Martha Hardesty Karen R. Harris James and Sara Haynes Timothy and Natalie Healy Carl Helmich Jr. Dr. Fred Hendler Susan J. Herlin Chris and Marcia Hermann Dr. William Hoffman Jane Hoke Denise Holmgren

L O U I S V I L L E O R C H E S T R A C O N T R I B U TO R S Thomas and Patrice Huckaby Alec Johnson and Rachel Grimes Mr. and Mrs. W. Richard Jones Danielle B. Kannapell Richard Kaukas Warren Keller William † and Elizabeth Kelly Barbara and Gary Knupp Donald and Ann Kohler Mr. Phillip Kollin and Ms. Brooke Heisel The Edwards-Kuhn Family Dr. and Mrs. Forrest S. Kuhn Karl and Judy Kuiper Dwight Kyle Margaret Lanier Dr. and Mrs. Robert G. Lawrence Portia Leatherman Willard and Lynnette LeGette Samuel and Stephanie Levine Philip Lichtenfels Cantor David Lipp and Rabbi Laura Metzger Mr. and Mrs. Joseph Lyons Anne Maple Emma March David McAfner Joan McCombs Patrcia McHugh Robert and Grace McKeel Colin and Woo McNaughton Susan S. Means Kathryn Mershon Bob and Barbara Michael William Mitchell Biljana N. Monsky Dr. and Mrs. Ronald Morton Abigail L. Mueller Ronald and Debra Murphy Alton E. Neurath Jr. Susan Norris Dr. and Mrs. Lynn L. Ogden Dr. Naomi J. Oliphant Devon Oser John and Lue Peabody Jean Pettitt Sharon Pfister Arthur Pratt Joseph A. Pusateri Charles † and Carol Clow Pye Tracy Redmon Douglas Rich Mary Jo Ridenour Dr. Jon H. Rieger † Marsha Roberts John Robinson Bill and Judy Rudd Robert Rudd Medora Safai Susan G. Zepeda & Dr. Fred Seifer Dr. and Mrs. Saleem Seyal Earl Shiring Jr. Jennifer Shumaker Mark Slafkes Richard and Terri Smith Sharon Smith Vernon M. and Peggy T. Smith Cathy and Kenney Snell Richard O. Spalding Eileen Spears Katherine Steiner Mary C. Stites Dr. and Mrs. Temple B. Stites William E. Summers V William F. and Barbara J. Thomas

John Tiano Mary and John Tierney Sally Vail Lindsay Vallandingham Jeanne D. Vuturo Robert and Ann Wade Ronald and Charlotte Walford Jane Walsh Joyce and Jim Walters Suzanne Warner Matt and Kathy Watkins Betty S. Weaver Anita and Shelton Weber William and Ginny Weber Robert Weekly Kendrick Wells III Prudence Westholm Stephen and Patricia Wheeler James and Carole Whitledge Joan T. Whittenberg Shirley and James Whyte Susan Harris Wilburn Emily and Ellington Willingham Jonathan and Stephi Wolff Frank and Keitt Wood Dr. Janice W. Yusk Jeanne and Paul Zurkuhlen DUET $250 - $499 Anonymous (9) Michael and Barbara Abell Marilyn Abrams Ms. Mary Beth Adams Doris L. Anderson Corrine and Matthew Anderson Walter and Lynne Anderson John and Carolyn Arnett Dr. and Mrs. Joe F. Arterberry Cindy Bagley George Bailey Mary Kay H. Ballard Nancy Beasley Wm. David and Judy Beaven Becky Becherer Leah Berry Dr. Rebecca and William Biles Sara Blake and Kingsley Durant Eunice F. Blocker Bruce Blue and Louise Auslander Richard Boland and Annette Rudd Elaine B. Bornstein Dennis and Joan Brennan Rebecca Bruner Michael Campbell Julia Carey James C. Carpenter Will and Kathy Cary Helen K. Cohen Paul Contois Virginia J. Copenhefer Robert Cox Janet R. Dakan Roger Dalton Mr. Leonidas D. Deters and Ms. Penny Shaw Deborah A. Dunn Stephen B. Ellis Mr. James Engler Marc Evans Dr. Walter Feibes Mr. Matthew L. Feldman Dan and Ellen Baker Finn Carl and Roberta Fischer Mr. and Mrs. Carl T. Fischer

Leslie and Greg Fowler William and Ilona Franck Ellen and Richard Goldwin Elizabeth Goodman Pamela Greene James W. Gruneisen Dr. Mary Harty Lawrence Herzog Dr. Frederick K. Hilton Brett Hudspeth Meredith Hughes Robert Hughes Carl and Donna Hulsewede Benjamin Jacoby Alba Jennings Anne Joseph Judy Kaleher Dr. Bob S. Kanovitz Dean Karns Annora Karr Maureen Kelly James and Rebecca King Jim Kinsman Marjorie and Robert Kohn Stanley Krol Suzanne Kueber Peter K. Lauf Elizabeth S. Lavin Dr. † and Mrs. † Leonard Leight Mr. and Mrs. John Lepper Stanley and Kathy Levinson Bette Levy Thomas M. Lewis Robert Maddox Gretchen Mahaffey Michael McCullough Matthew McGarvey Ms. Erynn McInnis Fred McMorris and Peggy Underwood Anthony Minstein Douglas Moran June E. Morris Jennifer Munson Dr. Ian and Stephanie Mutchnick Mona and John Newell Dr. OJ Oleka Mr. and Mrs. Edwin Olliges Jr. William and Joana Panning Don and Jan Parson Louise Pass Janet Patterson Kathleen Pellegrino Lynn Pereira Robert Petrokubi Doug Elstone and Russ Powell Dr. Sarah Cox and Mr. Dwight D. Pridham Charles Raith Drexel and Patricia Rankin Mitchell and Cindee Rapp Irene M. Rawlings Sharon Reel Heather Reesor David Rodger Barbara Sandford Dr. David Sawyer Courtney and Brandon Schadt Margaret Schmidt Amanda Schmitt Louise B. Seiler Marshall and Terrie Sellers Gregg and Leisa Siebert Dave Sipes Donald Snow

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Lauren Songer Natalie Stephens Donna M. Stewart Dr. and Mrs. Gerald F. Sturgeon Linda Shapiro and Bob Taylor Mr. and Mrs. William Theuer Ron and Mary Thompson Dr. and Mrs. Robert S. Tillett Jr. Alison Torpey Waverly and Brenda Townes Anna Laura and Thomas Trimbur Michael Turley James Valdes and Ana Danies Linda and Chris Valentine Ericus VanKleef Gordon and Cassandra Varner Tom Wakefield Bonnie Walker Don Walker Dennis and Julie Walsh William and Alice Walsh Linda Watson Martha F. Watson Crawford and Alice Wells James and Carole Whitledge James R. Wilkinson Edward Williams Michelle Winters Richard T. Wolf Melanie Wood Jimmie York Judith and John Youngblood ROBERT S. WHITNEY SOCIETY Members of The Robert S. Whitney Society are Individuals who have generously made estate plans for the Louisville Orchestra. For more information on ways to join the Whitney Society, please contact Edward W. Schadt, Director of Leadership Giving at 502-585-9413 or ESchadt@LouisvilleOrchestra.org. Anonymous Doris L. Anderson Mr. and Mrs. Gary Buhrow Douglas Butler and Jamey Jarboe Walter Clare Mr. † and Mrs. Stanley L. Crump Janet R. Dakan Betty Moss Gibbs Anita Ades Goldin Louise and Jay Harris Mr. † and Mrs. Charles W. Hebel, Jr. Mr. Henry Heuser, Jr. Dr. Carl E. Langenhop † Mrs. Philip Lanier Mr. and Mrs. † Warwick Dudley Musson Dr. Naomi Oliphant Susannah S. Onwood Paul R. Paletti, Jr. Sharon Pfister Mr. and Mrs. Gary M. Russell Rev. Edward W. Schadt Rev. Gordon A. and Carolyn Seiffertt Dr. Peter Tanguay and Margaret Fife Tanguay Bob Taylor and Linda Shapiro Rose Mary Rommell Toebbe † Dr. and Mrs. Richard S. Wolf † Denotes deceased

T H E AT R E S E R V I C E S COURTESY • As a courtesy to the performers and other audience members, please silence all mobile devices. • The emergency phone number to leave with babysitters or message centers is (502) 562-0128. Be sure to leave your theater and seat number for easy location • Binoculars are now for rent in the lobby for select performances. Rental is $5 per binocular. An ID must be left as a deposit. • Cameras and recording devices are not allowed in the theaters. • Latecomers will be seated at appropriate breaks in the program, as established by each performing group. Please be considerate of your fellow audience members during performances. Please remain seated after the performance until the lights are brought up. • Children should be able to sit in a seat quietly throughout the performance. • To properly enforce fire codes, everyone attending an event, regardless of age, must have a ticket.

ACCESSIBILITY Wheelchair accessible seating at The Kentucky Center is available on every seating and parking level, as well as ticket counters and personal conveniences at appropriate heights. Infrared hearing devices are available to provide hearing amplification for patrons with hearing disabilities in all spaces of The Kentucky Center and Brown Theatre, including meeting spaces. Audio Description is available for selected performances for patrons who are blind or have low vision. Caption Theater is available for selected performances as a service for patrons who are deaf or hard of hearing. Please make reservations for services at the time you purchase your ticket through the Box Office to ensure the best seating location for the service requested. Call (502) 566-5111 (V), (502) 566-5140 (TTY) or email access@kentuckycenter.org for more information about the range of accessibility options we offer, or to receive this information in an alternate format.

CHRISTOPH WILLIBALD GLUCK

FEBRUARY 11 & 13, 2022 Brown Theatre A Timeless Story of Sacrificial Love — With One of Opera’s Most Beautiful Scores Starring Catherine Martin, Flora Hawk, and Catherine Goode Choreography by Robert Curran This project is supported in part by the National Endowment for the Arts.

Presented in collaboration with Louisville Ballet Featuring the period instruments of Bourbon Baroque

KYOPERA.org | 502-584-4500

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