Audience - Louisville Orchestra - October 2018 by Audience502

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October 2018

Audience® is the official program guide for:

MUSICIAN HIGHLIGHT

Actors Theatre of Louisville Kentucky Center Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville

James Recktenwald, Assistant Principal Trumpet............................8

Publisher The Audience Group, Inc. G. Douglas Dreisbach Editor Kay Tull Managing Editor Aggie Keefe Creative Director Jeff Tull Design Kay & Jeff Tull Production Aggie Keefe Sales & Marketing G. Douglas Dreisbach Printing Clark & Riggs

PROGRAM CLASSICS Series: Mozart Requiem Coffee Concert, October 26, 2018................... 9 Classics Concert, October 27, 2018............... 10 Pops Concert: Brass Transit: The Musical Legacy of Chicago November 10, 2018...................................... 28 Staff and Support.............................................................30 Services..............................................................................34 Theatre Information The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway). et igital with Tickets: The Kentucky Center Box Office, 502.584.7777 or 1.800.775.7777.

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Teddy Abrams, Music Director, Mary and Barry Bingham, Sr., Music Director Chair Bob Bernhardt, Principal Pops Conductor

FIRST VIOLIN Gabriel Lefkowitz, Concertmaster Fanny and Charles Horner Concertmaster Chair Julia Noone, Assistant Concertmaster National City Bank Chair Katheryn S. Ohkubo Cheri Lyon Kelley Mrs. John H. Clay Chair Stephen Taylor Clayton Pusateri Chair, Endowed by Joe and Vickie Pusateri Scott Staidle Nancy Staidle Heather Thomas Patricia Fong-Edwards Maria Semes Second Violin Robert Simonds, Principal Claire and Lee Lenkoff Chair Kimberly Tichenor, Assistant Principal Devonie Freeman Mary Catherine Klan Violin Chair, Endowed by Chase Elisa Spalding Andrea Daigle Charles Brestel Patricia Ann Jenkins Endowed Chair James McFadden-Talbot Judy Pease Wilson Blaise Poth Viola Jack Griffin, Principal Aegon Chair Evan Vicic, Assistant Principal Jacqueline R. and Theodore S. Rosky Chair Clara Markham Mr. and Mrs. Charles W. Hebel, Jr. Chair Jennifer Shackleton Jonathan Mueller Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor Meghan Casper

Cello Nicholas Finch, Principal Thomas Mattingly and Anita Grenough Abell Memorial Chair Joseph Caruso, Assistant Principal Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead Christina Hinton Dr. Edward Leo Callahan Chair Allison Olsen Frances Shapiro-Weitzenhoffer Chair, Endowed by Esther & Dr. David Shapiro Deborah Caruso Julia Preston Bass Bert Witzel, Principal Patricia Docs Robert Docs Karl Olsen, Acting Assistant Principal Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation Michael Chmilewski Flute Kathleen Karr, Principal Elaine Klein Chair Jake Chabot Donald Gottlieb Philip M. Lanier Chair Piccolo Donald Gottlieb Alvis R. Hambrick Chair

Bass Clarinet Ernest Gross General Dillman A. Rash Chair Bassoon Matthew Karr, Principal Paul D. McDowell Chair Christopher Reid † Horn Jon Gustely, Principal Edith S. and Barry Bingham, Jr. Chair Stephen Causey, Assistant Principal Diana Wade Morgen Gary and Sue Russell Chair Bruce Heim † Trumpet Open, Principal Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra James Recktenwald, Assistant Principal Lynne A. Redgrave Chair Daniel Kassteen Trombone Donna Parkes, Principal PNC Bank, Kentucky, Inc. Chair Brett Shuster † Bass Trombone J. Bryan Heath Tuba Open, Principal

Oboe Alexander Vvedenskiy, Principal Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra Trevor Johnson, Assistant Principal Edgar J. Hinson III Chair Jennifer Potochnic †

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

ENGLISH HORN Trevor Johnson

Harp Mary Julian Rapier, Principal The Humana Foundation Chair

Clarinet Andrea Levine, Principal Brown-Forman Corp. Chair Robert Walker Ernest Gross Kate H. and Julian P. Van Winkle, Jr. Chair A U D I E N C E

Percussion John Pedroja, Principal Mark Tate †

KEYBOARD Grace Baugh-Bennett † Margaret S. Comstock Piano Chair †Auxiliary musician *On leave

Teddy Abrams Music Director An unusually versatile musician, Teddy Abrams is the widely-acclaimed Music Director of the Louisville Orchestra and Music Director of the Britt Festival Orchestra. An advocate for the power of music, Abrams has fostered inter-disciplinary collaborations with organizations such as the Louisville Ballet, the Center for Interfaith Relations, Oregon Shakespeare Festival, the Speed Art Museum and the Folger Shakespeare Library. His rap-opera, The Greatest: Muhammad Ali, premiered in 2017, celebrating Louisville’s hometown hero. Teddy makes his debut with the National Symphony Orchestra in the 2018-19 season in a program built around a commission by Lera Auerbach, and he appears with the Utah, Wichita, Eugene and Elgin Symphonies. He celebrates Leonard Bernstein’s centenary with an all-Bernstein program at the Kennedy Center on what would have been his 100th birthday. Recent guest conducting highlights include engagements with the Los Angeles Philharmonic; the San Francisco, Houston, Milwaukee, Vancouver, Colorado and Phoenix Symphonies; Saint Paul Chamber Orchestra; and the Florida Orchestra. He has enjoyed a longstanding relationship with the Indianapolis Symphony and recently conducted them with Time for Three for a PBS special. He served as Assistant Conductor of the Detroit Symphony from 2012 to 2014. From 2008 to 2011, Abrams was the Conducting Fellow and Assistant Conductor of the New World Symphony (NWS). He has conducted the NWS in Miami Beach, in Washington, D.C. and at Carnegie Hall, and recently returned to conduct the NWS on subscription with Joshua Bell as soloist. An accomplished pianist and

clarinetist, Abrams has appeared as a soloist with a number of orchestras— including play-conducting the Ravel Piano Concerto with the Fort Worth Symphony and the Jacksonville Symphony—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. 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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BOB BERNHARDT Principal Pops Conductor This season, Bob Bernhardt begins his 37th consecutive year with the Louisville Orchestra as Assistant Conductor, then as Associate Conductor, then Principal Guest Conductor of Kentucky Opera, and is now in his 22nd season as Principal Pops Conductor. For nearly four decades, he’s been a constant presence with the LO and continues to bring his unique combination of easy style, infectious enthusiasm and wonderful musicianship to the city and orchestra he loves. Bernhardt is concurrently Principal Pops Conductor of the Grand Rapids Symphony in Michigan and Principal Pops Conductor and Music Director Emeritus of the Chattanooga Symphony and Opera. He previously spent 19 seasons as Music Director and is now in his 26th year with the company. He is also an Artist-in-Residence at Lee University in Cleveland, Tennessee. Previously, he was Music Director and conductor of the Amarillo Symphony and the Tucson Symphony, and Principal Conductor and Artistic Director of the Rochester Philharmonic. In the past decade, Bernhardt has made his conducting debuts 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 thirteen-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 6

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, Louisiana and Rochester; made his debut with the Utah Symphony and Calgary Philharmonic; and will conduct the National Arts Centre Orchestra in Ottawa for his first time this season. His professional opera career began with the Birmingham Opera in 1979, two years before he joined the Louisville Orchestra. He worked with Kentucky Opera for 18 consecutive seasons; and with Chattanooga Opera, 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 two children, Alex and Charlotte, live in Seattle. He and his wife, Nora, live in Chattanooga, Tennessee.

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MUSICIAN HIGHLIGHT James Recktenwald Assistant Principal Trumpet, Lynne A. Redgrave Chair

At 6:00 a.m., in the middle of August several years ago, I received the call from my oldest brother that Dad had just passed. My brother spent the night at Dad’s hospice bedside so Mom could rest at the home she and dad had shared together for more than fifty years. Mom was waiting on the porch when I arrived to take her to Dad. As we pulled out of the subdivision, on the opposite side of the road, an unpretentious white peacock stood in the grass, with its feathers tucked tightly to its body. Never before had I seen a white peacock near my childhood home. I rolled down the window to get a better look through the thin fog. The still air was filled with a peaceful silence as the white peacock was poised and quiescent. I was surprised to later discover religious associations of the white peacock. One association of particular note is the symbolic representation of the white peacock to the death, resurrection and eternal life of Jesus Christ. This symbolism helps one to remember the dead and to celebrate their life, in the hope that the deceased too might have eternal life. This same sentiment is portrayed in the text of Mozart’s Requiem, in the Hostias, the second part of the Requiem’s Offertorium: Hostias Hostias et preces tibi, Domine laudis offerimus tu suscipe pro animabus illis, quaram hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus.

Lord, in praise we offer you sacrifices and prayers, accept them on behalf of those whom we remember this day: Lord, make them pass from death to life, as once you promised to Abraham and his descendants.

The soulful journey of resurrection, that one “pass from death to life” as symbolized by the white peacock, is perhaps a comforting thought as we listen to Mozart’s Requiem in remembrance today. Needless to say, I did return to visit with the owner of the white peacock! 8

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

COFFEE SERIES Friday, October 26, 2018 • 11 a.m. The Kentucky Center • Whitney Hall

COFFEE SERIES Season Sponsor

Mozart Requiem Teddy Abrams, conductor Kent Hatteberg, chorusmaster Jessica Rivera, soprano • Kendall Gladen, mezzo-soprano Jesse Donner, tenor • Evan Boyer, bass Louisville Chamber Choir • Louisville Collegiate Chorale

Program (No Intermission)

MONTEVERDI Vespers of 1610 (“Vespers of the Blessed Virgin”) (John Kilpatrick Edition) I. Deus in Adjutorium II. Dixit Dominus VIII. Nisi Dominus X. Lauda Jerusalem Louisville Chamber Choir W.A. MOZART Requiem, K. 626 (Süssmayr Edition) I. Introitus: Requiem II. Kyrie III. Sequenz: Dies irae, Tuba mirum, Rex tremendae, Recordare, Confutatis, Lacrimosa IV. Offertorium: Domine Jesu, Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio: Lux aeterna Jessica Rivera, Kendall Gladen, Jesse Donner, Evan Boyer, Louisville Chamber Choir, Louisville Collegiate Chorale Additional support in memory of Mary, Ed and Patricia Macior by Jean M. and Kenneth S. Johnson.

See Teddy Abrams’

bio on page

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 Saturday, October 27, 2018 • 8 p.m. The Kentucky Center • Whitney Hall

Classics Series Season Sponsor

Program MONTEVERDI Vespers of 1610 (“Vespers of the Blessed Virgin”) (John Kilpatrick Edition) I. Deus in Adjutorium II. Dixit Dominus IV. Laudate Pueri Domine VI. Laetatus Sum VIII. Nisi Dominus X. Lauda Jerusalem XIII. Magnificat Louisville Chamber Choir

Intermission W.A. MOZART Requiem, K. 626 (Süssmayr Edition) I. Introitus: Requiem II. Kyrie III. Sequenz: Dies irae, Tuba mirum, Rex tremendae, Recordare, Confutatis, Lacrimosa IV. Offertorium: Domine Jesu, Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio: Lux aeterna Jessica Rivera, Kendall Gladen, Jesse Donner, Evan Boyer, Louisville Chamber Choir, Louisville Collegiate Chorale Additional support for this performance provided by an anonymous donor.

See Teddy Abrams’

bio on page

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. 10

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Kent Hat teberg, Kent Hatteberg is Artistic Director of the Louisville Chamber Choir and Director of Choral Activities at the University of Louisville, where he directs the Collegiate Chorale and Cardinal Singers and teaches graduate and undergraduate courses in conducting, choral literature, and choral techniques. He earned the Bachelor of Music degree in piano and voice summa cum laude from the University of Dubuque and the master’s and doctoral degrees in choral conducting from The University of Iowa, where he studied with Don V Moses and directed the renowned Old Gold Singers. Named a Fulbright Scholar in 1990, Dr. Hatteberg studied conducting in Berlin with Uwe Gronostay while pursuing research on Felix Mendelssohn. He conducted the world premiere of Mendelssohn’s Gloria in 1997. He has taught at Sam Houston State University in Huntsville, TX, Washington High School in Cedar Rapids, IA, and Solon Jr.-Sr. High in Solon, IA. Dr. Hatteberg is active nationally and internationally as a guest conductor, clinician, and adjudicator, most recently in Korea, Poland, the Philippines, China, Hungary, Austria, Spain, and the U.S. He is co-director of the Kentucky Ambassadors of Music, a program that affords students from across the state of Kentucky the opportunity to perform and tour in Europe.

chorusmaster

Dr. Hatteberg was named a University of Louisville Faculty Scholar in 2002, KMEA College/University Teacher of the Year in 2004, and was selected for the International Who’s Who in Choral Music in 2007. He received the 2008 KCDA Robert A. Baar Award for choral excellence, the University of Dubuque Career Achievement Award in 2008, and the University of Louisville Distinguished Faculty Award for Outstanding Scholarship, Research, and Creative Activity in the Performing Arts in 2010 and 2015. Choirs under his direction at the University of Louisville have been featured at numerous international festivals, symposia, and competitions, including Cardinal Singer performances at the Zadar (Croatia) International Choir Competition (2018), the 2017 Xi’an International Choral Festival (China), the 13th China International Chorus Festival (2016), the Taipei International Choral Festival (2015 and 2010), the Singapore International Choral Festival (2015), the Cuba/United States Choral Symposium in Havana (2012), the Beijing International Choral Festival (2010), and the 7th World Symposium on Choral Music in Kyoto, Japan (2005). The Collegiate Chorale and Cardinal Singers have performed at several national and regional conventions in the United States, most recently at the American Choral Directors Association (ACDA) National Convention in Minneapolis in March 2017.

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L o u i s v ill e C ha m b e r C h o i r Kent Hatteberg, Artistic Director The Louisville Chamber Choir was formed in the fall of 2013 by Artistic Director Kent Hatteberg with a mission to present exceptional musical experiences that nurture community appreciation of choral singing through quality performances, recordings and collaborations. Comprised of musicians drawn from the Louisville Metropolitan Area and beyond, the Choir is dedicated to the highest levels of ensemble performance. Since its inception, the Louisville Chamber Choir has dedicated itself to fulfilling its mission through collaborations, recordings, and performance. Recently, the Choir partnered with WUOL to record Thomas Tallis’s Spem in alium in 360 video and audio, creating a virtual reality experience that married classical choral music with cutting edge technology. The Choir also performs regularly with the Louisville Orchestra to present diverse and exciting works. Recent partnerships include Leonard Bernstein’s Chichester

Soprano 1 Haley De Witt Erin Shina Sarah Tubbesing Soprano 2 Won Joo Ahn Lydia Cox Elizabeth Smith Kelli White

Psalms (2013), Carl Orff’s Carmina Burana (2014), Bernstein’s Mass (2015), Gustav Mahler’s Symphony No. 2 (2016), War + Peace (2018), and George Frideric Handel’s Messiah (2015-18). The Louisville Chamber Choir recently released a Christmas recording that has met with widespread acclaim. The recording was featured on WUOL in December 2017 and contains a mixture of familiar seasonal songs with new carols. The Choir is preparing to release its next album in 2019. The Choir’s performances encompass a wide range of composers from Gabrieli and Byrd to E-riks Ešenvalds and Eric Whitacre. The Choir presents concerts that engage audiences through technical expertise and emotional expression. Each singer brings his or her musicality and merges it with the other singers to create a synergy between, choir, conductor, and audience.

Alto 1 Amy Cuenca Jill Felkins Lauren Montgomery Amy Powell

Tenor 1 Michael Colavita Bill Coleman Sam Soto Geoff Wallace

Alto 2 Marybeth Christman Eva Morse Carlie Perry Amber Whittaker

Tenor 2 Rob Carlson Seon Hwan Chu Josh Hamilton Blake Wilson

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Bass 1 Alex Kapp Peter Lovett Phillip Morgan Ben Powell Max Smith Bass 2 Austin Echols Phill Hatton Nathaniel Mo Daniel Reid

U ni v e r s i t y

L o u i s v ill e C o ll e g iat e C h o r al e

Kent Hatteberg, Director of Choral Activities The Collegiate Chorale is the premier choral ensemble of the University of Louisville. The Chorale performs primarily a cappella repertoire, with a particular emphasis on the performance of recently composed works, often featured at the University of Louisville annual New Music Festival. In addition, the singers collaborate regularly with the Louisville Orchestra. Recent performances include Leonard Bernstein at 100 (September 2018), Michael Gordon’s Natural History (April 2018), Gustav Holst’s The Planets and Claude Debussy’s Nocturnes (March 2018), War and Peace (February 2018), Gustav Mahler’s Symphony No. 2 (October 2016), Leonard Bernstein’s Mass (September 2015), Carl Orff’s Carmina Burana (October 2014), and Beethoven’s Symphony No. 9 (April 2014). The Chorale has been featured in performance at numerous national and regional conventions, including the 2011 National ACDA Convention in Chicago, the 2009 ACDA National Convention in Oklahoma City, the Headliner Concert at

Soprano I Sarah Byrd Brittany Carwile Mea Graham# Nala Kathleen Savannah Knapp Hannah Lee Hannah Moon Sarah Moser Marypaige Taylor Soprano II Rachel Barber Lorin Bridges Lauren Curtsinger Makya Griffin Jessica Heinz Seungah Kwon*# Kelsey Lyvers Reagan Shourds Ashley Stephens

Alto I Emily Brumley Callie Cowart Sydney Davenport Jill Felkins Riley Ferretti Adelaide Hincks Seunggyeong Seo*# Katie Vessels Alto II Reagan Bunce Amelia Hurt# Katie Jordan Hannelore Mehler Madison Offenberger Emily Spradling Rachel Turnbill Tamia Yates

the 2008 ACDA Southern Division Convention in Louisville, the National Collegiate Choral Organization (NCCO) 2008 National Convention in Cincinnati, the 2005 ACDA National Convention in Los Angeles, the 2001 ACDA National Convention in San Antonio, the 2000 ACDA Southern Division Convention in Orlando, and the 2001 Inauguration of President George W. Bush. Several members of the Chorale also perform in the Cardinal Singers, who have performed in major competitions, festivals, and symposia in China, Singapore, South Korea, Taiwan, Japan, Vietnam, Austria, Slovenia, Croatia, Germany, Poland, Spain, Estonia, Latvia, Lithuania, and Cuba as well as numerous ACDA and NCCO conventions in the United States. The Chorale and Cardinal Singers have recently premiered works by Ivo Antognini, E-riks Ešenvalds, Vytautas Miškinis, Vaclovas Augustinas, Grzegorz Miśkiewicz, and University of Louisville faculty composer Marc Satterwhite.

Tenor I Tim Clay* Michael Colavita* John Hynes Andrew Miller*# Nico Palania JT Roy Connor Wilkerson Tenor II Tyler Carnes Seon Hwan Chu*# Nicholas Claussen Dylon Crain Adrian Lopez Ethan Murphey Isaac Pendley Cory Spalding

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Baritone Cameron Carnes Jonah Carter Andrew Chapman Andrew Durham# K. Alex Hatton Matthew Houston Lattie Neely Liam Resener Samuel Ritchie Luke Wilkins Bass II Jimmy Cluxton Phill Hatton Nathaniel Mo*# Zach Willman * graduate student # section leader 13

Jessica Rivera, Possessing a voice praised by the San Francisco Chronicle for its “effortless precision and tonal luster,” Grammy Award-winning soprano Jessica Rivera is one of the most creatively inspired vocal artists before the public today. The intelligence, dimension and spirituality with which she infuses her performances on great international concert and opera stages have garnered Ms. Rivera unique artistic collaborations with many of today’s most celebrated composers, including John Adams, Osvaldo Golijov, Gabriela Lena Frank, Jonathan Leshnoff, Nico Muhly, and Paola Prestini, and have brought her together with such esteemed conductors as Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano, Markus Stenz, Bernard

s o p r an o

Haitink and Michael Tilson Thomas. An advocate of new music, Ms. Rivera has lent her voice to a plethora of world premieres, including Adams’s opera A Flowering Tree, Frank’s Conquest Requiem, Golijov’s opera Ainadamar, Muhly’s song cycle The Adulteress, and Spano’s Hölderlin Lieder, a song cycle written specifically for her. During the 2018–19 season, Ms. Rivera debuts at the Aspen and Grand Teton Music Festivals. Orchestral engagements include performances of Handel’s Messiah with the Nashville Symphony and Giancarlo Guerrero, Four Last Songs by Richard Strauss with the Fort Worth Symphony and Robert Spano, and Beethoven’s Ninth Symphony with the Atlanta Symphony Orchestra conducted by Thomas Søndergård. Photo by Isabel Pinto

K e n d all G la d e n , American mezzosoprano Kendall Gladen, born in St. Louis, Missouri, has earned a reputation as one of the most highly sought after mezzos of her generation. She has performed with such companies as Los Angeles Opera, Florida Grand Opera, New Orleans Opera, Madison Opera, Washington National Opera, Opera Theatre of St. Louis, Michigan Opera Theatre and San Francisco Opera, to name a few. Ms. Gladen made her San Francisco Opera debut as Giovanna in Rigoletto and has also appeared as Elizabeth Keckley in the world premiere 14

m e z z o - s o p r an o

of Philip Glass’s Appomattox and The 2nd Lady in Die Zauberflöte; she later returned as Maddalena in Rigoletto, and shortly thereafter in her highly anticipated debut of the title role Carmen in 2012. Recent engagements for Ms. Gladen have included performances of Beethoven’s Symphony No. 9 with The San Francisco Symphony and in New York at Carnegie Hall; and this year she made her return to Richmond Symphony in Scenes from the Life of a Martyr, a tribute to Dr. Martin Luther King, Jr. Ms. Gladen made her Los Angeles Opera debut as Mercédès in Carmen, and she later assumed the title role conducted by Emmanuel Villaume. She then debuted

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“The mezzo (Carmen) sang beautifully, conveying perfectly controlled fear and cool dignity in the fatalistic soliloquy upon seeing her doom in the Card Aria.” ~ San Francisco Classical Voice as the title role in Carmen with Michigan Opera Theatre and San Francisco Opera. In the summer of 2010 Kendall Gladen made her debut with the Boston Symphony Orchestra at Tanglewood conducted by Michael Tilson Thomas. Ms. Gladen then made her very successful debut as Carmen for a new production with Florida Grand Opera, and she repeated

J e s s e D o nn e r , Tenor Jesse Donner is rapidly emerging on the operatic and concert stage with a voice that is “vibrant” (Chicago Classical Review), “fresh and juicy” (Chicago Tribune). In the 2016–17 season, Mr. Donner was part of six productions at Lyric Opera of Chicago, singing the roles of Froh (Das Rheingold), Helenus (Les Troyens), First Armored Man (Die Zauberflöte), Flavio (Norma) and covering the roles of Normanno (Lucia) and Lensky (Eugene Onegin). With the Ryan Opera Center, Donner’s concert appearances included the Civic Orchestra with Sir Andrew Davis, and the Grant Park Orchestra, singing Lennie Small in Of Mice and Men. In the 2015–16 season, as a member of the Ryan Opera Center, Mr. Donner performed the roles of Abdallo (Nabucco), Kellner (Der Rosenkavalier) and covered

the role for her international debut with the Deutsche Oper Berlin in 2012. Among other engagements, she made her return as Maddalena with The Canadian Opera Company in 2013, debuted with both Opera de Lausanne as Meg Page in Falstaff and Teatro Verdi Comune di Padova in Italy the following year for its praised production of Rigoletto.

tenor

leading tenor roles: General Alfredo, in the world premiere of Bel Canto, Ismaele in Nabucco and the Drum Major in Wozzeck. To close the season, he shared a recital with renowned soprano Christine Brewer as part of Harris Theater’s Beyond the Aria series in which he displayed his “polished” and “heroic” tenor and also “engaged in whimsical comedy” (Chicago Classical Review). The Des Moines native won the 2015 Luminarts Fellowship and the Bel Canto grand prize, and received the 2014 George Shirley Award for Opera Performance, an encouragement award from the 2014 Metropolitan Opera National Council Regional Auditions, and first place in the 2012 Michigan Friends of Opera Competition. Mr. Donner earned his master of music from the University of Michigan and bachelor of music degree from Iowa State University.

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E v an B o y e r ,

bass

A graduate of Lyric Opera of Chicago’s prestigious Ryan Opera Center, bass Evan Boyer has appeared on concert and opera stages around the world. During three seasons at the Lyric, he was heard in over a dozen productions, including La bohème, Die Meistersinger von Nurnberg, Aida, Carmen, Lohengrin, Macbeth and Rigoletto, among others. Since departing the program, he has already returned as Lodovico in Otello and the company’s annual concert at Millenium Park. In the 2018–19 season, he can be heard as a concert soloist in Mozart’s Requiem with the Louisville Orchestra; as Lodovico in Otello at Austin Opera; and in performances of Handel’s Messiah with Lexington, Baroque Ensemble, Peoria Symphony Orchestra and The Apollo Chorus in Chicago. Most recently, Mr. Boyer made his role and company debut as Don Basilio in The Barber of Seville at Opera North, appeared as Sarastro in a concert version of Mozart’s Die Zauberflöte with Pacific Symphony, sang Messiah with the Lexington

Philharmonic, and was heard in a semi-staged production of Don Giovanni as both the imposing Commendatore and Masetto with the Kalamazoo Symphony. Past seasons saw his debut at Cincinnati Opera as Angelotti in Tosca, Masetto in Don Giovanni for his debut with Seattle Opera, Colline in La bohème for his Palm Beach Opera debut, and was heard as the Armchair/Tree in L’enfant et les Sortilèges with Seiji Ozawa’s Music Academy in Japan. He debuted at the Canadian Opera Company in productions of Salome and Dialogues des Carmelites, followed by his return engagement as Samuel in Un ballo in Maschera. Previously he was a resident artist at Wolf Trap Opera, where he performed Ramfis in Aida and The Bonze in Madama Butterfly. Orchestral engagements include Mozart’s Requiem with the Dallas Symphony and the Houston Symphony, Handel’s Messiah with the Jacksonville Symphony Orchestra, and Salome with The Cleveland Orchestra at Severance Hall and Carnegie Hall with Music Director Franz Welser-Möst.

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Photo by Kristin Hoebermann

Program Notes Claudio Monteverdi Vespers of 1610 (“Vespers of the Blessed Virgin”) Claudio Monteverdi was born in Cremona, Italy, in 1567 and died in Venice in 1643. Monteverdi published this work in 1610; the circumstances of its first performance are unknown. He may have composed it as an “audition” piece as he sought a position in Rome or Venice. The John Kilpatrick edition performed here calls for six solo singers, a chorus divided into as many as eight parts, 2 recorders, 3 trumpets, 3 trombones, divided violins, violas, and cellos, and continuo. Claudio Monteverdi’s life spanned the turn of the sixteenth century to the seventeenth and likewise the evolution of the Renaissance period of music into the Baroque. He is often called the “bridge” between those two eras, but of course it’s not quite as simple as that. His earliest works were firmly in the Renaissance style, but as he matured as a composer he was open to the innovations going on around him: the increased use of dissonance and chromaticism, of melody-andaccompaniment rather than the traditional layered textures of multiple melodic lines (known as polyphony), the desire to express the emotional content of a text in the music, and many others. He never claimed to have invented any

of these things, nor did he consider them a radical departure from past practices. To Monteverdi, this new style was complimentary to the old, and he reached for whatever technique that suited him at the moment. As it happens, Monteverdi’s Vespers of 1610 deploys all the musical styles and techniques he had at his disposal. Vespers is one of the canonical hours in the Christian church that established specific times of the day for prayer, a practice that can be traced back to Judaism. In Monteverdi’s time it was the Catholic church, but later many of the other Christian sects brought the idea along with them under various names. Vespers is the name for the evening canonical hour. The Catholic vespers service has changed over the centuries, and what it contains will vary according to the liturgical calendar. It will usually include an opening responsorial psalm, a number of other psalms, hymns, scriptural readings, and the Magnificat; all these may be followed by a Benediction. Monteverdi’s setting is monumental, taking as much as ninety minutes for a complete performance, and demanding six or seven vocal soloists, an extremely capable choir divided into as many as eight parts, and what would have been a large orchestra for the time. Among its 13 movements, Monteverdi included settings of non-liturgical texts, two versions of the Magnificat, and what amounts to a purely instrumental movement accompanied by a plainchant. These quirks have led some scholars to believe that the Vespers of 1610 may not have been intended by the composer to be performed straight through as it

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appears in the printed score. In order to provide a satisfying portion of the Vespers of 1610â&#x20AC;&#x201D;but without all of its heavenly lengthâ&#x20AC;&#x201D; Maestro Teddy Abrams has selected the following movements: Domine ad adiuvandum. The Vespers begins with a plainsong melody sung over a held chord, interspersed with a repeating orchestral interlude. Dixit Dominus. Psalm 109. For soloists, choir and orchestra, with a fugal texture. Laudate, pueri, Dominum. Psalm 112. For soloists, choir and orchestra, an extended movement that deploys the choir antiphonally. Laetatus sum. Psalm 121. For soloists, choir and orchestra, with stunning vocal passages for the soloists. Nisi Dominus. Psalm 126. For choir

and orchestra, this contains both polyphonic and chordal textures in alternation, and an antiphonal choir. Lauda Jerusalem, Dominum. Psalm 147. For choir and orchestra with the choir divided into three. A joyous, intricately designed movement. Magnificat. For soloists, choir and orchestra. This magnificent conclusion to the Vespers is in twelve sections, setting the traditional Marian hymn from the Gospel of Luke (1: 46-55).

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Monteverdi’s Vespers of 1610 Translations Deus in Adjutorium. Ps. 69(70), 1 Deus, in adjutorium meum intende: Domine, ad adjuvandum me festina. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen. Allelujah.

Make haste, O God, to deliver me: make haste, O Lord, to help me. Glory be to the Father and to the Son and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, without end. Amen. Alleluia.

Dixit Dominus. Ps. 109(110) Dixit Dominus Domino meo: Sede a dextris meis: donec ponam inimicos tuos scabellum pedum tuorum. Virgam virtutis tuæ emittet Dominus ex Sion: dominare in medio inimicorum tuorum. Tecum principium in die virtutis tuæ in splendoribus sanctorum: ex utero ante luciferum genui te. Juravit Dominus, et non pœnitebit eum: tu es sacerdos in æternum secundum ordinem Melchisedech. Dominus a dextris tuis confregit in die iræ suæ reges. Judicabit in nationibus, implebit ruinas: conquassabit capita in terra multorum. De torrente in via bibet: propterea exaltabit caput. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

The Lord said to my Lord, sit at my right hand, until I make thine enemies thy footstool. The Lord shall send out the rod of thy strength from Zion: rule thou in the midst of thine enemies. At thy beginning in thy day of glory in the splendour of the holy places, before the first light I begat thee. The Lord hath sworn, and will not repent: thou art a priest for ever after the order of Melchisedech. The Lord at thy right hand shall destroy kings in the day of his wrath. He shall judge among the nations, fill them with the dead, and smash heads in many lands. He shall drink of the brook in the way: thus shall he raise his head. Glory be to the Father and to the Son and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, without end. Amen.

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Laudate Pueri Domine. Ps. 112(113) Laudate, pueri, Dominum: laudate nomen Domini. Sit nomen Domini benedictum, ex hoc nunc, et usque in sæculum. A solis ortu usque ad occasum, laudabile nomen Domini. Excelsus super omnes gentes Dominus, et super cœlos gloria ejus. Quis sicut Dominus Deus noster, qui in altis habitat, et humilia respicit in cœlo et in terra? Suscitans a terra inopem, et de stercore erigens pauperem: Ut collocet eum cum principibus, cum principibus populi sui. Qui habitare facit sterilem in domo, matrem filiorum lætantem. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

Praise the Lord, ye servants: praise the name of the Lord. Blessed be the name of the Lord, from this time forth for evermore. From the rising to the setting of the sun, the Lord’s name be praised. The Lord is high above all nations, and his glory above the heavens. Who is like the Lord our God, who dwelleth on high, yet respecteth humbly what is in heaven and earth? He raiseth the simple from the dust, and lifteth the poor from the mire. That he may set him with princes, even the princes of his people. Who maketh the barren woman to keep house, a joyful mother of children. Glory be to the Father and to the Son and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, without end. Amen.

Lætatus Sum. Ps.121(122) Lætatus sum in his, quæ dicta sunt mihi: in domum Domini ibimus. Stantes erant pedes nostri, in atriis tuis, Jerusalem. Jerusalem, quæ ædificatur ut civitas: cujus participatio ejus in idipsum. Illuc enim ascenderunt tribus, tribus Domini testimonium Isræl ad confitendum nomini Domini. Quia illic sederunt sedes in judicio, sedes super domum David. Rogate quæ ad pacem sunt Jerusalem: et abundantia diligentibus te. Fiat pax in virtute tua: et abundantia in turribus tuis. Propter fratres meos, et proximos meos, loquebar pacem de te: Propter domum Domini Dei nostri, quæsivi bona tibi. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

I was glad when they said to me: we will go into the house of the Lord. Our feet shall stand in thy gates, O Jerusalem. Jerusalem, that is built as a city that is at one with itself. For thither the tribes go up, the tribes of the Lord, to the testimony of Isræl, to give thanks to the name of the Lord. For there are the seats of judgement, the thrones of the house of David. Pray for the peace of Jerusalem: they shall prosper that love thee. Peace be within thy walls, and plenty within thy palaces. For my brethren, and my companions, I will seek peace for thee. For the house of the Lord our God, I will seek to do thee good. Glory be to the Father and to the Son and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, without end. Amen.

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Nisi Dominus Ps. 126(127) Nisi Dominus ædificaverit domum, in vanum laboraverunt qui ædificant eum. Nisi Dominus custodierit civitatem, frustra vigilat qui custodit eam. Vanum est vobis ante lucem surgere: surgite postquam sederitis, qui manducatis panem doloris. Cum dederit dilectis suis somnum: ecce, hæreditas Domini filii: merces, fructus ventris. Sicut sagittæ in manu potentis: ita filii excussorum. Beatus vir qui implevit desiderium suum ex ipsis: non confundetur cum loquetur inimicis suis in porta. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen Lauda Jerusalem Ps. 147 Lauda, Jerusalem, Dominum: lauda Deum tuum, Sion. Quoniam confortavit seras portarum tuarum: benedixit filiis tuis in te. Qui posuit fines tuos pacem: et adipe frumenti satiat te. Qui emittit eloquium suum terræ: velociter currit sermo ejus. Qui dat nivem sicut lanam: nebulam sicut cinerem spargit. Mittit crystallum suam sicut buccellas: ante faciem frigoris ejus quis sustinebit? Emittet verbum suum, et liquefaciet ea: flabit spiritus ejus, et fluent aquæ. Qui annunciat verbum suum Jacob: justitias et judicia sua Isræl. Non fecit taliter omni nationi: et judicia sua non manifestavit eis. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

Unless the Lord build the house, they labour in vain who build it. Except the Lord keep the city, he watcheth in vain who keepeth it. It is vain for you to rise before dawn: Rise later, ye who have eaten the bread of sorrows; When he will give sleep to his chosen. Lo, children are an heritage of the Lord; a reward, the fruit of the womb. As arrows in the hands of the mighty, thus are the children of outcasts. Blessed is the man whose quiver is full of them: they shall not be ashamed when they confront their enemies in the way. Glory be to the Father and to the Son and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, without end. Amen.

Praise the Lord, O Jerusalem; praise thy God, O Zion. For he hath strengthened the bars of thy gates; he hath blessed thy children within thee. He maketh peace in thy borders, and filleth thee with the finest wheat. He sendeth his commandment to the earth; his word runneth swiftly. He giveth snow like wool; he scattereth hoar frost like ashes. He casteth forth his ice like morsels; before his cold who can stand? He sendeth out his word, and melteth them; his spirit blows, and the waters flow. He sheweth his word unto Jacob, his statutes and judgements to Isræl. He hath not dealt so with any nation; and his judgments he hath not made manifest. Glory be to the Father and to the Son and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, without end. Amen.

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Magnificat Luc. 1,46-55 1. Magnificat anima mea Dominum: 2. et exultavit spiritus meus in Deo salutari meo. 3. Quia respexit humilitatem ancillæ suæ: ecce enim ex hoc beatam me dicent omnes generationes. 4. Quia fecit mihi magna qui potens est: et sanctum nomen ejus. 5. Et misericordia ejus a progenie in progenies timentibus eum. 6. Fecit potentiam in brachio suo: dispersit superbos mente cordis sui. 7. Deposuit potentes de sede, et exaltavit humiles. 8. Esurientes implevit bonis: et divites dimisit inanes. 9. Suscepit Isræl puerum suum, recordatus misericordiæ suæ. 10. Sicut locutus est ad patres nostros, Abraham et semini ejus in sæcula. 11. Gloria Patri et Filio et Spiritui Sancto. 12. Sicut erat in principio, et nunc, et semper, et in sæcula sæculorum. Amen.

My soul doth magnify the Lord, and my spirit hath rejoiced in God my saviour. For he hath regarded the lowliness of his handmaiden: for behold from henceforth all generations shall call me blessed. For he that is mighty hath done great things to me, and holy is his name. And his mercy is on them that fear him from generation to generation. He hath shewed strength with his arm; he hath scattered the proud of heart. He hath put down the mighty from their seat, and hath exalted the lowly. He hath filled the hungry with good things and the rich he hath sent empty away. He hath sustained Isræl his servant, remembering his mercy. As he promised to our forefathers, Abraham and his seed for ever. Glory be to the Father and to the Son and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, without end. Amen.

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Wolfgang Amadè Mozart Requiem, K. 626 Wolfgang Amadè Mozart (he never used “Amadeus” except when making a joke) was born in Salzburg, Austria, in 1756 and died in Vienna in 1791. He began his Requiem in 1791 but did not live to finish it. The score calls for soprano, alto, tenor, and bass soloists, chorus, 2 basset horns, 2 bassoons, 2 trumpets, 3 trombones, timpani, organ and strings. Although Peter Shaffer’s film Amadeus is excellent entertainment (and has probably brought the music of Mozart to the attention of more people than anything else), there is no need to embellish the story of the Mozart Requiem to achieve high drama. The facts of the tale are compelling in their own right. The late 1780s were years of disappointment for Mozart, who found that his formerly receptive Vienna had turned away from him. His commissions were fewer and he found his publishers turning down his offerings as “too difficult.” Though Mozart was never really poor, he continued to maintain an elegant lifestyle in spite of his waning income. As a result he usually found himself in debt and repeatedly seeking loans from friends and supporters. Society in Vienna was fickle, always looking for something new and different; Mozart had become passé. “A mysterious stranger cloaked in gray” appeared on Mozart’s doorstep in July of 1791 to commission a Requiem Mass. He was the emissary of one Count Walsegg, who wanted a Requiem in

memory of his recently deceased wife. Walsegg, who fancied himself a composer, was in the habit of secretly commissioning works that he would later pass off as his own. The stranger demanded anonymity for his master and paid a large sum in advance. Mozart accepted the commission and began work at once, having promised delivery in four weeks. Work on the Requiem was interrupted almost immediately by a commission to write an opera for the coronation of Emperor Leopold II in Prague. Mozart started at once on La Clemenza di Tito, for time was short. On September 30, as Mozart, his wife Constanze, and his pupil Franz Xaver Süssmayr were about to board their coach for the journey to Prague, the mysterious stranger appeared once more, asking what was to become of the Requiem. Mozart apologized, explained his delay, and said he would resume work on the Requiem as soon as he returned. This satisfied the stranger. When Mozart returned to Vienna, it was to a flurry of activity for the rehearsals and first performances of The Magic Flute. Mozart also worked on the Clarinet Concerto and other pieces while at the same time tackling the Requiem in earnest. He suffered increasing ill health, and by his own account he frequently worked himself to exhaustion. By late November, Mozart was bedridden with his final illness, and he came to believe that he was composing the Requiem for himself. Three days before he died he was appointed by the Emperor to be the music director of St. Stephen’s in Vienna, a position that would have brought him financial stability. The irony was not lost on Mozart: “Now that I am appointed to a situation where I could please myself in my writings, and I feel I could do

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something worthy, I must die.” At fifty-five minutes past midnight on December 5th, Mozart was dead. Scholars have tried to deduce what exactly his illness was but none agree on the diagnosis; it is sufficient to know that he died of natural causes. (It was not at all unusual for a fatal illness to strike a person of Mozart’s age, nor was it unusual for a man of his social class to have been buried in a mass grave.) Constanze, saddled with the couple’s debts, wanted the Requiem completed so she would not have to return the sizable fee already received (and likely, spent). After others had attempted and failed, she gave the score to Süssmayr to complete. We shall never know how much of the Requiem’s completion is attributable to notes and instructions given to Süssmayr and how much was the student’s own work. Beethoven, having studied the completed Requiem, is said to have exclaimed that whoever had done the completion was surely “another Mozart.” This Süssmayr was not. Süssmayr never equaled, let alone surpassed, the work attributed to him in the Requiem at any other time in his life. His deficiencies as a composer have led most scholars to assume that Süssmayr was informed by sketches and extensive oral instruction from Mozart, notably in the Benedictus and perhaps also the Agnus Dei. Many consider the Sanctus to be the weakest of the “missing” movements, and it may have been more or less Süssmayr’s own composition.

It has become fashionable nowadays to fault the work of Süssmayr, though without his completion we may never have known the Requiem at all. Süssmayr was at best a second-rate composer, but he is known to have been with Mozart in his final days, to have rehearsed the completed parts with Mozart, and to have received instructions as to the work’s completion. Mozart’s Requiem simultaneously presents our dual responses to death: the forbidding awe on the one hand and the sublime consolation on the other. This juxtaposition is never clearer than in the first line of the Confutatis: “When the damned are cast away and consigned to the searing flames” is set to terrifying, almost demonic string writing. When the same line continues at voca me, “call me to be with the blessed,” voices and instruments combine in a plea for mercy. That this music is so completely evocative of the text is evidence that Mozart must have felt this duality in the face of his own end. The Requiem is one of those rare works with the capacity to move us upon each hearing no matter how many times we have heard it before. Its eloquence and tragedy live deep within the notes and text; the mysteries of its inception and its completion are entirely surpassed by the mysteries of its power over us. ~ Mark Rohr Questions or comments? markrohrprogramnotes@gmail.com

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Mozart Requiem Introitus Requiem aeternam dona ets, Domine, et lux perpetua luceat ets. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona ets, Domine, et lux perpetua luceat ets.

Grant them eternal rest, O Lord, and may perpetual light shine on them. Thou, O God, art praised in Sion, and unto Thee shall the vow be performed in Jerusalem. Hear my prayer, unto Thee shall all flesh come. Grant them eternal rest, O Lord, and may perpetual light shine on them.

Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.

Lord have mercy upon us. Christ have mercy upon us. Lord have mercy upon us.

Sequentia Dies irae, dies illa Solvet saeclum in favilla, Teste David cum Sibylla. Quantus tremor est futurus Quando judex est venturus Cuncta stricte discussurus. Tuba mirum spargens sonum Per sepulcra regionum Coget omnes ante thronum.

Day of wrath, that day Will dissolve the earth in ashes As David and the Sibyl bear witness What dread there will be When the Judge shall come To judge all things strictly. A trumpet, spreading a wondrous sound Through the graves of all lands, Will drive mankind before the throne.

Mors slopebit et natora Cum resurget creatura Judicanti responsura. Liber scriptus proferetur In quo totum continetur, Unde mundus judicetur.

Death and nature shall be astonished When all creation rises again To answer to the Judge. A book, written in, will be brought forth In which is contained everything that is, Out of which the world shall be judged.

Judex ergo cum sedebit Quidquid latet apparebit, Nil inultum remanebit.

When therefore the Judge takes His seat Whatever is hidden will reveal itself. Nothing will remain unavenged.

Quid sum miser tunc dicturus, Quem patronum togaturus, Cum vix justus sit securus?

What then shall I say, wretch that I am, What advocate entreat to speak for me, When even the righteous may hardly be secure?

Rex tremendae majestatis, Qui salvandos salvas gratis, Salve me, fons pietatis. Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas ilia die.

King of awful majesty, Who freely savest the redeemed, Save me, O fount of goodness. Remember, blessed Jesu, That I am the cause of Thy pilgrimage, Do not forsake me on that day.

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Quaerens me sedisti lassus, Redemisti crucem passus, Tamus labor non sit cassus.

Seeking me Thou didst sit down weary, Thou didst redeem me, suffering death on the cross. Let not such toil be in vain.

Juste judex ultionis Donum fac remissionis Ante diem rationis.

Just and avenging Judge, Grant remission Before the day of reckoning.

lngemisco tamquam reus, Culpa rubet vultus meus, Supplicanti parce, Deus. Qui Mariam absolvisti Et latronem exaudisti, Mihi quoque spem dedisti. Preces meae non sum dignae, Sed tu bonus fac benigne, Ne perenni cremet igne.

I groan like a guilty man. Guilt reddens my face. Spare a suppliant, O God. Thou who didst absolve Mary Magdalene And didst hearken to the thief, To me also hast Thou given hope. My prayers are not worthy, But Thou in Thy merciful goodness grant That I burn not in everlasting fire.

Inter oves locurn praesta, Et ab haedis me sequestra, Statuens in parle dextra.

Place me among Thy sheep And separate me from the goats, Setting me on Thy right hand.

Confutatis maledictis Flammis acribus addictis, Voca me cum benedictis.

When the accursed have been confounded And given over to the bitter flames, Call me with the blessed.

Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.

I pray in supplication on my knees. My heart contrite as the dust, Safeguard my fate.

Lacrimosa dies ilia Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus, Pie Jesu Domine, Dona els requiem.

Mournful that day When from the dust shall rise Guilty man to be judged. Therefore spare him, O God. Merciful Jesu, Lord Grant them rest.

Offertorium Domine, Jesu Christe, Rex gloriae, libera animas omniurn fidelium defunctorum de poenis inferni, et de prof undo lacu: libera cas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum, sed signifer sanctus Michael repraesentet eas in lucem sanctam, quam olim Abrahae promisisti et semini ejus.

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the bottomless pit. Deliver them from the lion’s mouth. Neither let them fall into darkness nor the black abyss swallow them up. And let St. Michael, Thy standard-bearer, lead them into the holy light which once Thou didst promise to Abraham and his seed.

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Hostias et preces, tibi, Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte Iransire ad vitam, quam olim Abrahae promisisti et semini ejus.

We offer unto Thee this sacrifice of prayer and praise. Receive it for those souls whom today we commemorate. Allow them, O Lord, to cross from death into the life which once Thou didst promise to Abraham and his seed.

Sanctus Sanctus. Sanctus, Sanctus, Dominus Deus Sabaoth! Pleni suni coeli et terra gloria tua. Osanna in excelsis.

Holy, holy, holy, Lord God of Sabaoth. Heaven and earth are full of Thy glory. Hosanna in the highest.

Benedictus Benedictus qui venit in nomine Domini. Osanna in excelsis.

Blessed is He who cometh in the name of the Lord. Hosanna in the highest.

Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Lamb of God, who takes away the sins of the world, grant them rest. Lamb of God, who takes away the sins of the world, grant them everlasting rest.

Communio Lux aeterna luceat eis, Domine, cum sanctis mis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis, cum sanetis tuis in aeternum, quia plus es.

May eternal light shine on them, O Lord. with Thy saints for ever, because Thou art merciful. Grant the dead eternal rest, O Lord, and may perpetual light shine on them, with Thy saints for ever, because Thou are merciful.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

POPS SERIES Saturday, November 10, 2018 • 8 p.m. The Kentucky Center • Whitney Hall

Brass Transit—The Musical Legacy of Chicago Bob Bernhardt, conductor Ian Jutsun, lead vocals Tony Carlucci, trumpet Bob McAlpine, guitar + vocals Paul Delong, drums Don Breithhaupt, keyboard + vocals Doug Gibson, trombone Phil Poppa, saxophone + vocals Jay Speziale, bass + vocals

Program

Music of Chicago There will be one 20-minute intermission during this performance.

Additional support for this concert provided by Lunsford Capital.

S e e B o b B e r nha r d t ’ s

bio on page

Please turn off all electronic devices before the concert begins. The use of cameras and recording devices is strictly prohibited. 28

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B r a s s T r an s i t

What happens when eight of Canada’s most in-demand musicians and singers gather together out of a common love for one of the most successful pop/rock groups of all time? Brass Transit—a dynamic, crowdpleasing, studio-tight powerhouse and the world’s foremost CHICAGO tribute! Brass Transit was formed in 2008 and brought together eight of Canada’s most talented, accomplished and award-winning players. Their sole purpose was to pay tribute to the decades-long, multiplatinum songbook of CHICAGO. Since then, the band has toured North America steadily, dazzling audiences with flawless performances and spectacular attention to detail. Hits like “Saturday In The Park,” “25 or 6 To 4,” “If You Leave Me Now,” “Feelin’ Stronger Every Day” and “Beginnings” have left crowds in awe, evoking multiple standing ovations and comments like “Spine-Tingling!” “Brought me back to my youth!” and “Perfect in every detail!”

Brass Transit goes far beyond just imitating the songs; they embody the music. They recently produced their first (self-titled) album, taking songs by other top artists from the seventies and recording them with horns in the CHICAGO style. The result is a fresh approach to some of the greatest hits of the era. They also recently scored their show for full symphony orchestra with original arrangements that are truly spellbinding and have released a second CD of these hits. Brass Transit will bring you back to the most memorable times of your life. Get ready to sing along!

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LOUISVILLE ORCHESTRA 2018–19 BOARD OF DIRECTORS Mr. John P. Malloy, President Mr. James S. Welch, Jr., Immediate Past President † The Honorable Jerry Abramson Mrs. Carole Birkhead ∞ Mrs. Christina Brown Ms. Staci Campton Mr. Steve Causey Mr. Christopher Coffman Dr. Christopher Doane Mrs. Jana C. Dowds Mr. Steven Epstein Mr. Andrew Fleischman † Mrs. Kendra Foster † Mrs. Ritu Furlan Mr. Patrick Galla Mr. Bert Griffin

Mr. Joost Grubben † Mrs. Paula Harshaw Mrs. Carol Hebel † ∞ Ms. Wendy Hyland Mrs. Ingrid Johnson † Mr. Scott Justice Mr. Brian Kane Dr. Virginia Keeney ∞ Mr. Lee Kirkwood Mr. Don Kohler, Jr. Mrs. Bella Portaro-Kueber Mrs. Karen Lawrence Ms. Clara Markham Mr. Guy Montgomery Ms. Donna Parkes Mr. Timothy L. Peace Mr. Alex Rorke

Mr. R. Ryan Rogers Mr. Bruce J. Roth † Mrs. Medora Safai Mr. Kenneth Sales Mrs. Denise Schiller Mrs. Winona Shiprek † Mr. Gary Sloboda Mr. William Summers, V Mrs. Kim Tichenor Mrs. Susan Von Hoven † Mrs. Mary Ellen Wiederwohl † Mr. Robert H. Wimsatt * denotes Ex-Officio ∞denotes Life Member †denotes Executive Committee

ASSOCIATION OF THE LOUISVILLE ORCHESTRA, INC. Pat Galla, President Mona Newell, President-Elect Marguerite Rowland, Vice President Membership Liz Rorke, Vice President Education

Executive Officers Winona Shiprek, Anne Tipton, Paula Harshaw, co-chairs—Vice President Hospitality Randi Austin, Vice President Communications Michele Oberst, Vice-President Ways & Means

Board of Carol Hebel Deanna Heleringer Sara Huggins Peg Irvin Jeanne James

Rita Bell June Allen Creek Helen Davis Janet Falk Margie Harbst

Carolyn Marlowe, Recording Secretary Sue Bench, Corresponding Secretary Ann Decker, Treasurer Mollie Smith, Parliamentarian

Directors Madeline Ledbetter Marcia Murphy Nancy Naxera Dottie Nix Ruth Scully

Suzanne Spencer Harriet Treitz Carol Whayne Suzanne Whayne

UpTempo Steering Committee Staci Campton, President Colin Blake, Past-President Derek Miles, Treasurer Frank Austin, Secretary

Kathleen Elliot Brian Goodwin Nathaniel Gravely Ben Moore

Jonathan Mueller Michael Oldiges Colin Triplett Evan Vicic

LOUISVILLE ORCHESTRA STAFF Ken Johnson, Interim Executive Director Carla Givan Motes, Director of Patron Services & Ticket Operations Adrienne Hinkebein, Interim General Manager Tonya McSorley, Chief Financial Officer Edward W. Schadt, Interim Director of Development Michelle Winters, Director of Marketing and Public Relations Laura Atkinson, Assistant Personnel Manager Alissa Brody, Assistant to the Music Director McKayla Chandler, Development Coordinator Jake Cunningham, Operations Manager Kim Davidson, Receptionist/ Accounts Payable Clerk Nathaniel Koch, Executive Assistant Taylor Morgan, Development Associate Joshua Nicholson, Graphic Design Manager 30

Heather O’Mara, Marketing and PR Manager Angela Pike, Receptionist Bill Polk, Stage Manager Cheri Reinbold, Staff Accountant Jenny Seigle Baughman, Education Coordinator Chris Skyles, Librarian Shane Wood, Patron Services Coordinator CaSandra Zabenco, Controller

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supporting Sponsors Conductors society (Founder) ($250,000+)

Conductors society (sustainer) ($100,000–$249,999)

Conductors society (virtuoso) ($50,000–$74,999)

Conductors society (Benefactor) ($25,000–$49,999)

Conductors society (sponsor) ($5,000–$24,999) THE LEADER IN BUSINESS BANKING

In-kind sponsors Axxis Bandy Carroll Hellige Colonial Designs of St. Matthews Courier-Journal

Gist Piano Center The Piano Shop Heine Brothers Coffee Strothman & Company PSC The Kentucky Center for the Performing Arts Vincenzo’s Louisville Public Media Vintage Printing O’Neil Arnold Photography WHAS Phoenix Lighting A U D I E N C E

L o u i s v ill e O r c h e s t r a C o n t r i b u t o r s Annual gifts to the Louisville Orchestra provide funding that is critical to the success of our mission in bringing diverse programming and educational opportunities to our community. Your support of the Louisville Orchestra demonstrates a commitment to a tradition of live orchestral music with a passionate dedication to artistic excellence. The Louisville Orchestra gratefully acknowledges the following donors of record for the period June 1, 2017, through August 31, 2018. For further information on how you can support the Louisville Orchestra, please contact Ed Schadt, Interim Director of Development, at 502-648-4844 or eschadt@louisvilleorchestra.org Conductors Society (Founder) $250,000+ Mrs. Christina L. Brown Fund for the Arts Anonymous Conductors Society (Sustainer) $100,000 - $249,999 Association of the Louisville Orchestra Mr. Owsley Brown III Mr. and Mrs. David A. Jones, Sr. Mr. and Mrs. Brook Smith Mr. and Mrs. James S. Welch Jr. William M. Wood Foundation Conductors Society $75,000 - $99,999 Mr. and Mrs. William C. Ballard Jr. Conductors Society (Virtuoso) $50,000 - $74,999 Anonymous (1) Mr. and Mrs. George S. Gibbs III Mr. and Mrs. Frank Harshaw Hearst Foundation Jefferson County Public Schools Jefferson County Public Schools Foundation Mr. and Mrs. William Yarmuth Conductors Society (Benefactor) $25,000 - $49,999 Ambassador Matthew Barzun and Brooke Brown Barzun Ms. Cary Brown and Dr. Steven Epstein Mr. Steven Wilson and Ms. Laura Lee Brown Maxine and Stuart Frankel Foundation Gill and Augusta Holland Dr. and Mrs. John Johnson Mr. Brian Kane Kentucky Arts Council Mr. Warrick Dudley Musson Louisville Metro Government The Rawlings Foundation, Inc. Mr. and Mrs. William M. Street Conductors Society (Sponsor) $10,000 - $24,999 Mrs. Edith S. Bingham Mrs. Ina Brown Bond Mr. and Mrs. Paul Diaz Jana and John Dowds Ms. Kendra D. Foster and Mr. Turney Berry Mrs. Ritu Furlan Gheens Foundation Mr. and Mrs. Joost Grubben Mrs. Spencer E. Harper Jr Jay and Louise Harris Mr. and Mrs. James E. Haynes Mr. and Mrs. Charles W. Hebel, Jr. The Humana Foundation Mr. David A. Jones, Jr. and Ms. Mary Gwen Wheeler Jean M. and Kenneth S. Johnson Dr. Virginia Keeney Mr. and Mrs. Lee Kirkwood Mr. and Mrs. Donald F. Kohler Jr. Ms. Nana Lampton Mr. and Mrs. Lee Leet Mrs. Sheila G. Lynch Mr. and Mrs. John P. Malloy Mr. and Mrs. Guy Montgomery

Mr. and Mrs. John Moore National Endowment for the Arts Norton Foundation Mr. Joseph A. Paradis III Mr. and Mrs. Alexander Rorke Mr. and Mrs. Bruce J. Roth Mr. and Mrs. Robert W. Rounsavall III Mr. Kenneth L. Sales Mrs. Denise C. Schiller Rev. Alfred R. Shands III Mr. and Mrs. Joseph Shiprek Paul and Missy Varga Mr. and Mrs. Greg Weishar Mrs. Jane F. Welch Mr. and Mrs. Orme Wilson Mr. and Dr. Robert Wimsatt Dr. and Mrs. Richard Wolf Conductors Society (Patron) $5,000 - $9,999 Anonymous (2) Mr. and Mrs. Steve Bailey Mrs. Gladys Bass Dr. and Mrs. David P. Bell Bob and Nora Bernhardt Dr. and Mrs. Paul Brink Mr. Garvin Brown Mrs. Sally V. W. Campbell The Cralle Foundation, Inc. Mr. and Mrs. Roger Cude Mr. and Mrs. David C. Daulton Mrs. Elizabeth Davis Dr. and Mrs. Charles E. Dobbs Mr. and Mrs. Thomas E. Dunham Irvin F. and Alice S. Estcorn Foundation Mr. and Mrs. George E. Fischer Mr. and Mrs. Andrew Fleischman Mrs. Thelma Gault Mr. and Mrs. John S. Greenebaum Mr. and Mrs. Matthew Hamel The Wood and Marie Hannah Foundation Horseshoe Foundation of Floyd County Ms. Wendy Hyland Klein Family Foundation Mr. and Mrs. Bill Lamb Kenneth and Kathleen Loomis Mr. W. Bruce Lunsford Mr. and Mrs. Herbert S. Melton III Mr. David E. Mueller Mr. and Mrs. Ronald J. Murphy Mr. and Mrs. Kent Oyler Beulah and Kenneth Rogers Mr. and Mrs. Gary M. Russell Ms. Helga Schutte Arthur K. Smith Family Foundation M. and Florence G. Strickler Fund Mr. and Mrs. Michael Von Hoven Conductors Society $3,000 - $4,999 Mr. Stephen P. Campbell and Dr. Heather McHold Mr. Christopher Coffman Rev. John G. Eifler Mr. and Mrs. Donald Finney Mr. and Mrs. Clyde Foshee Mr. and Mrs. Vincenzo Gabriele The Gilbert Foundation Mr. and Mrs. Owen C. Hardy Mildred V Horn Foundation Mr. and Mrs. Allan Latts

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Mr. and Mrs. Colin McNaughton Dr. and Mrs. David H. Neustadt Mr. and Mrs. Norman E. Pfau, Jr. Mr. Stephen Reily and Ms. Emily Bingham Rev. Edward W. Schadt Mr. and Mrs. Gary Sloboda Dr. Gordon Strauss and Dr. Catherine Newton Dr. and Mrs. James Sublett Dr. and Mrs. Peter Tanguay Mr. and Mrs. James R. Voyles Mrs. Carolyn Marlowe Waddell Mr. and Mrs. Kevin Wardell Miss Maud Welch Ms. Mary Ellen Weiderwohl and Mr. Joel Morris Prelude $1,500 - $2,999 Mr. Teddy Abrams Hon. and Mrs. Jerry E. Abramson Mr. and Mrs. John F. Cunningham William E. Barth Foundation Ms. Lynne Bauer Mrs. and Mr. Wendell Berry Dr. Stephen and Jeannie Bodney Mr. William F. Burbank Mr. and Mrs.William P. Carrell Mrs. Evelyn T. Cohn Mr. John B. Corso Mr. and Mrs. John F. Cunningham Ms. Gayle A. DeMersseman Ms. Judy Dickson Dr. and Mrs. Christopher Doane Mr. Daniel L. Dues Mr. Edward and Mrs. Shirley Dumesnil Mr. and Mrs. William L. Ellison, Jr. Dr. Vilma Fabre The Jane Flener Fund Forecastle Foundation, Inc. Randall L. and Virginia I. Fox David and Regina Fry Ms. Mary Louise Gorman Mr. Bert Greenwell Habdank Foundation Ms. June Hampe Mr. and Mrs. Ken Handmaker Mr. John Huber David Sickbert and Thomas Hurd Doug and Jill Keeney Mr. and Mrs. Louis F. Korb Thomas and Judith Lawson Mr. Thomas Lewis Drs. Eugene and Lynn Gant March Mr. and Mrs. James B. McArthur Dr. and Mrs. Ronald Morton Dr. Alton E. Neurath, Jr. Mr. and Mrs. Dominick Pagano Mr. and Mrs. Tim Peace Mrs. William P. Peak Dr. Carmel Person Ms. Marla Pinaire Mr. and Mrs. Fred Pirman Dr. and Mrs. Timothy B. Popham Mr. and Mrs. John Potter Mr. and Mrs. Gordon J. Rademaker Mr. Clifford Rompf Mr. Karl P. Roth Louis T. Roth Foundation, Inc. Ms. Marianne Rowe Mr. and Mrs. Russell Saunders Ms. Jan Scholtz

Ms. Susan W. Smith Dr. Anna Staudt Mr. Brandon Sutton Ms. Ann Thomas Dr. Juan Villafane Mr. Richard Wolf Dr. and Mrs. Nathan Zimmerman Mr. and Mrs. Rick Zoeller Sonata $500 - $1,499 Anonymous (1) Mr. and Mrs. William M. Altman David and Madeleine Arnold Dr. Claire Badaracco Ms. Stephanie Barter Mr. and Mrs. Mike Bauer Mrs. Mary J. Beale Rev. and Mrs. Harlan Beckemeyer Mr. Hans Bensinger Eunice F. Blocker Mr. and Mrs. John T. Bondurant Dr. and Mrs. Lawrence H. Boram Mr. and Mrs. Erle B. Boyer Mr. and Mrs. Hewett Brown Mr. and Mrs. Gary Buhrow Mr. William Carroll Mr. and Mrs. George F. Coleman Mr. David and Mrs. Cynthia Collier Ms. Rhonda L. Collins Mr. and Mrs. Richard L. Conklin June Allen Creek Mrs. Janet R. Dakan Ms. Marguerite Davis Ms. Carol W. Dennes Dr. and Mrs. John W. Derr Mr. and Mrs. James Doyle Ms. Susan Ellison Ms. Nancy Fleischman The Gardner Foundation, Inc. Dr. Karen Abrams and Dr. Jeffrey Glazer Mr. Joseph Glerum Mr. and Mrs. Laman Gray Mr. and Mrs. John R. Gregory Mrs. Mary C. Hancock Michael R. and Martha Hardesty Mrs. Barbara B. Hardy Mrs. Maria Hardy-Webb Jacktivist Mark and Amy Johnson Mr. Alec Johnson Dr. and Mrs. David Karp Mr. and Mrs. William Kissel Mr. & Mrs. Gary Knupp Dr. and Mrs. Forrest Kuhn Mr. and Mrs. Karl D. Kuiper Ms. Lorna Larson Mr. and Mrs. David J. Leibson Dr. Leonard Leight Cantor David Lipp and Rabbi Laura Metzger Eileene J. MacFalls Ms. Stephanie Massler Dr. Roy Meckler and Mrs. Lynn C. Meckler Mr. Robert Michael Mr. and Mrs. Steve Miller Dr. Ian and Stephanie Mutchnick Ms. Linda B. Neely Mr. and Mrs. John Newell Dr. Charles R. Oberst Dr. and Mrs. Lynn L. Ogden Ms. Karen O’Leary Dr. Naomi J. Oliphant Mr. and Mrs. Edwin Olliges, Jr. Ms. Kathleen Pellegrino Mr. Charles F. Pye Mr. Douglas Rich Mr. Steve Robinson Mr. David C. Scott Mrs. Lesa Seibert Max and Ellen Shapira Mr. Ozair Shariff

Dr. and Mrs. Arthur J. Slavin Mr. Larry Sloan Mr. and Mrs. Richard E. Smith Mrs. Carole Snyder Mr. Sheryl G. Snyder Mr. and Mrs. David Sourwine Mr. and Mrs. Robert Steen Mr. Richard Stephan Mrs. Donna M. Stewart Dr. and Mrs. T. Bodley Stites Mrs. Mary Stites Mary and John Tierney Mrs. Rose Mary Rommell Toebbe Mr. and Mrs. Bryan and Ruth Trautwein Mr. and Mrs. James Valdes Mr. and Mrs. Robert W. Vaughan Mr. and Mrs. Stephen F. Wheeler Mr. and Mrs. James I. Wimsatt Mr. Jonathan Wolff Duet $250 - $499 Anonymous (2) Robert and Judith Ayotte Mr. and Mrs. James Baribeau Mr. David B. Baughman Mr. and Mrs. Donald Baxter Mr. and Mrs. William D. Beaven Mr. Bruce Blue John and JoElle Bollman Ms. Cornelia Bonnie Mrs. Elaine B. Bornstein Mr. Samuel G Bridge Mr. and Mrs. Jay Brodsky Ms. Carolyn S. Browning Dr. Bruce Burton Dr. and Mrs. Jeffrey P. Callen Will and Kathy Cary The Caroline Christian Foundation Mrs. Helen K. Cohen Mr. and Mrs. Arthur O. Cromer Ms. Betsey Daniel Ms. Micah Daniels Kate and Mark Davis Mrs. Pat Dereamer Mr. Leonidas D. Deters Mr. and Mrs. Robert Duffy Pat Durham Builder, Inc. Mr. and Mrs. Eric V. Esteran Dr. Walter Feibes Dr. Marjorie Fitzgerald Leslie and Greg Fowler Mr. and Mrs. Lawrence Gettleman Mrs. Gila Glattstein Mr. and Mrs. Edward Goldstein Dr. and Mrs. Richard L. Goldwin Dr. Muriel Handmaker Mr. John D. Harryman Mr. Carl Helmich Chris and Marcia Hermann Mr. Lawrence Herzog Dr. Frederick K. Hilton Dr. and Mrs. Jonathan Hodes Mr. Richard Humke Dr. and Mrs. Robert H. Hunter II Mr. Mike Kallay Mrs. Annora Karr Ms. Jan S. Karzen Mr. Warren Keller Ms. Stephanie Kelly Mr. and Mrs. William P. Kelly III Marjorie and Robert Kohn Ms. Laura Larcara Dr. and Mrs. Robert G. Lawrence Mr. and Mrs. Thad Luther Mr. Joseph Lyons Mr. Albert Lyons Ms. Anne Maple Joan McCombs Mr. William Mitchell Mrs. Biljana N. Monsky

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Ms. June E. Morris Barry and Carla Givan Motes Michael B. Mountjoy Marti and Hubert Mountz Ms. Mary Margaret Mulvihill Ms. Joan Musselman Betsy L. Owen-Nutt Ms. Joan Pike Dr. and Mr. Dwight Pridham Psi Iota Xi Sorority, Alpha Pi Chapter Mr. Mitchell Rapp Mr. John S. Reed II Dr. John Roberts and Dr. Janet Smith Mr. John Robinson Mrs. Vicki Romanko Rev. James Rucker Mrs. Barbara Sandford Mr. Kenichi Sato Susan G. Zepeda and Dr. Fred Seifer Ms. Louise B. Seiler Dr. and Mrs. Saleem Seyal Mr. Joseph Small Mr. and Mrs. John L. Smart Jr. Vernon M. and Peggy T. Smith Mr. William Smith Mr. Robert Steiner, M.D. Constance Story and Larry G. Pierce Ms. Anita and Ms. Rosalind Streeter Dr. and Mrs. Gerald F. Sturgeon Linda Shapiro and Bob Taylor Anna Laura and Thomas Trimbur Mr. and Mrs. William J. Walsh III Mr. Dennis Walsh Dr. Will W. Ward Mr. and Mrs. William W. Weber Anita and Shelton Weber Mr. Robert Weekly Mrs. Joan T. Whittenberg Mr. and Mrs. Raleigh K. Wilson Mr. George Wombwell Mr. and Mrs. Frank Wood Dr. John C. Wright and Dr. Kay Roberts Mr. JD York Mr. Gene Zipperle 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, Interim Director of Development at 502-585-9413 or ESchadt@ LouisvilleOrchestra.org Ms. Doris L. Anderson Mr. and Mrs. Gary Buhrow Mr. Douglas Butler and Ms. Jamey Jarboe Mr.† and Mrs. Stanley L. Crump Mrs. Janet R. Dakan Carol E. Davies† William J. Ehrig Anita Ades Goldin Jay and Louise Harris Mr. and Mrs. Charles W. Hebel, Jr. Dr. Carl E. Langenhop Mrs. Philip Lanier Mr. and Mrs.† Warwick Dudley Musson Dr. Naomi Oliphant Mr. Paul R. Paletti, Jr. Mr. and Mrs. Gary M. Russell Rev. Edward W. Schadt Rev. Gordon A. and Carolyn Seiffertt Mr.† Gene P. Stoze Dr. Peter Tanguay and Margaret Fife Tanguay Rose Mary Rommell Toebbe Dr. and Mrs. Richard S. Wolf Anonymous †Denotes deceased

Theatre Services

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Courtesy • As a courtesy to the performers and other audience members, please turn off all audible message systems. Those who expect emergency calls, please check your beepers at the main lobby coat check and report your seat location to the attendant. • 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.

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