Audience - Louisville Orchestra - September 2018 by Audience502

September 2018

Audience® is the official program guide for: Actors Theatre of Louisville Kentucky Center Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville

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 Pops Concert: September 15, 2018 Film Favorites: The Music of John Williams.............................9 CLASSICS Series: September 29, 2018 Bernstein at 100............................................ 12

MUSICIAN HIGHLIGHT

Gabriel Lefkowitz, concertmaster...................23 Staff and Support............................................................ 26 Services............................................................................. 30 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.

Audience ® is published by

The Audience Group, Inc. 640 South Fourth Street, #300 Louisville, KY 40202 502.212.5177 Audience502.com Printed in USA

Get Digital with Audience502! Our digital footprint is stronger than ever with Audience502. We keep performing arts enthusiasts “in the know” with show previews, reviews, photo galleries, ticket offers and more on the web and with social media.

Phone: 502.212.5177 E-mail: info@theaudiencegroup.com Web site: Audience502.com

Scan the QR code to download a PDF of this Louisville Orchestra program guide.

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 Open 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.

A U D I E N C E

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

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.

A U D I E N C E

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

POPS SERIES Saturday, September 15, 2018 • 8pm The Kentucky Center • Whitney Hall

Film Favorites: The Music of John Williams Bob Bernhardt, conductor GABRIEL LEFKOWITZ, violin Program WILLIAMS Arr. Custer Jurassic Park WILLIAMS Harry Potter and the Chamber of Secrets I. Fawkes the Phoenix II. Dobby the House Elf III. Gilderoy Lockhart WILLIAMS Theme from Jaws WILLIAMS The Olympic Spirit WILLIAMS “With Malice Toward None” from Lincoln WILLIAMS “Devil’s Dance” from The Witches of Eastwick WILLIAMS “The Flight to Neverland” from Hook

Intermission WILLIAMS Suite from Far and Away WILLIAMS NBC News: Mission Theme WILLIAMS Theme from Schindler’s List Gabriel Lefkowitz, violin WILLIAMS Close Encounters of the Third Kind WILLIAMS “The Rebellion is Reborn” from Star Wars: The Last Jedi WILLIAMS E.T.: Adventures on Earth Additional support for this performance provided by Joe and Winona Shiprek.

See Bob Bernhardt’s

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

Gabriel Lefkowitz, A native of the Boston area, violinist Gabriel Lefkowitz is the Concertmaster of the Louisville Orchestra and an active soloist and chamber musician. A versatile musician of the 21st century, Lefkowitz is also a conductor and a composer for films and video games. During the 2017–2018 season, Gabriel made his solo debut with the Louisville Orchestra, performing the Tchaikovsky Violin Concerto at The Kentucky Center. During the 2018–2019 season, he makes his podium debut with the LO, leading an all-Italian program as both conductor and soloist as part of the Orchestra’s Neighborhood Series. In May of 2017, Lefkowitz concluded his tenure as Concertmaster of the Knoxville Symphony Orchestra (KSO), a position he had held since 2011 at the age of 23. Highlights of his final KSO season included performances of the Brahms Violin Concerto and three recitals at the Knoxville Museum of Art as part of the highly successful concert series he founded, Gabriel Lefkowitz & Friends. Recent guest engagements include performances of Mozart’s Violin Concerto No. 4 with the Cape Cod Chamber Orchestra, Mozart’s Violin Concerto No. 5 with the Oak Ridge Symphony, Philip Glass’ Violin Concerto No. 1 with the Ocala Symphony, and performing as guest concertmaster with the Britt Festival Orchestra and the Buffalo Philharmonic Orchestra. Lefkowitz holds a bachelor’s degree from Columbia University, where he graduated magna cum laude in three years, having studied music and economics. In May of 2010, he earned a master›s in violin performance at The Juilliard School, where he studied with Joel Smirnoff and Masao Kawasaki. 10

violinist

In July of 2004, at age 16, Lefkowitz was asked to give a solo performance at the Democratic National Convention’s opening night at the Fleet Center in Boston. His original rendition of “Amazing Grace” was seen live by millions around the world and led to an appearance on the CNN Morning Show, and a special performance for former Massachusetts Governor Mitt Romney at the State House in Boston. He has also performed with several popular rock and indie bands in New York, including Vampire Weekend, with whom he performed in February 2010 on Saturday Night Live. Gabriel was a violinist on the 2010 international Star Wars: In Concert! summer tour. An active symphonic conductor, Lefkowitz made his conducting debut with the Knoxville Symphony Orchestra during the 2015–2016 season in the form of several light classical and pops “runout” performances at venues throughout Knoxville and East Tennessee. He served as Music Director of the Oak Ridge Community Orchestra during the 2014– 2015 season, and has worked extensively with youth ensembles including the Knoxville Symphony Youth Orchestra, the Juilliard Pre-College Orchestra and the Boston Youth Symphony. He has studied conducting at the Miami Music Festival and the Pierre Monteux School. In the summer of 2010, he was one of only five composers invited to study composition at the Aspen Music Festival’s prestigious Film Scoring Program, where he composed electronic and orchestral pieces to picture. His current compositional focus is scoring video games, including the upcoming release Pop-Up Dungeon. His orchestral music has been performed by the Knoxville and Owensboro Symphony Orchestras as well as the Dubuque Festival Orchestra.

A U D I E N C E

Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

CLASSICS SERIES Saturday, September 29, 2018 • 8pm The Kentucky Center • Whitney Hall

Title Sponsor

Bernstein at 100 TEDDY ABRAMS, conductor Morgan James, vocalist Kent Hatteberg, chorusmaster UofL Collegiate Chorale Opening night is graciously sponsored by Mr. and Mrs. David Jones, Sr.

Program BERNSTEIN Overture to Candide BERNSTEIN Symphony No. 1, “Jeremiah” I. Prophecy II. Profanation III. Lamentation Morgan James

Intermission BERNSTEIN Hashkiveinu Morgan James + UofL Collegiate Chorale BERNSTEIN “Simple Song” from Mass Morgan James BERNSTEIN (Arr. Peress) Overture to West Side Story BERNSTEIN “Balcony Scene” from West Side Story Morgan James BERNSTEIN “Gee, Officer Krupke” from West Side Story UofL Collegiate Chorale BERNSTEIN “I Can Cook Too” from On the Town Morgan James BERNSTEIN “Ain’t Got No Tears” from On the Town Morgan James 12

A U D I E N C E

BERNSTEIN “Times Square 1944” from On the Town BERNSTEIN “My House” from Peter Pan Morgan James BERNSTEIN “Glitter and Be Gay” from Candide Morgan James Bernstein “Universal Good” from Candide UofL Collegiate Chorale Bernstein “Make Our Garden Grow” from Candide UofL Collegiate Chorale

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.

Program Notes

As we celebrate his 100th birthday— nearly thirty years after his death—it is an occasion to muse about how history will treat Leonard Bernstein. In an era of increasing specialization, he was an artist of many talents: a pianist, conductor, composer, writer, educator and musical ambassador-at-large. This is almost without parallel today—few artists become so highly skilled at so many disciplines of their craft. There are even fewer who could master so many genres within their purview, as Bernstein did with classical, jazz and popular music, sometimes combining them all at the same time.

Bernstein also had the uncanny ability to walk into a room full of non-musicians and in fifteen minutes have everyone around him excited about music.. As a composer, Bernstein will no doubt be remembered for bringing highclass music to the Broadway stage in West Side Story, a musical interpretation of Romeo and Juliet that is as tightly constructed as any opera by Mozart. And his film score to On the Waterfront is one of the greatest ever written. His symphonic music still awaits the judgment of history, but it amply repays our attention in the here-and-now. We were uncommonly lucky to have him; for many musicians who came of age in the Bernstein era, it’s still hard to believe he’s gone. His music will live on, of course. But what to make of that music, in its exuberant and flamboyant

A U D I E N C E

(Continued on page 16) 13

Morgan James, One voice is all it takes. The right vocalist can make you fall in love at first listen, elicit tears, or bring you back to a different era altogether. A microphone and a stage remain the only necessities. That holds true for New York-based soul singer and songwriter Morgan James. On her sophomore album, Reckless Abandon, Ms. James casts an unbreakable spell with a powerhouse voice and a soulful poise. Freedom and expansion are the threads that bind the collection of 12 original, co-penned tracks with writers from LA to NYC to Nashville and in between. The result is a fusion of pop, funk and R&B with a classic approach. James delivers an impassioned performance that showcases her virtuosic vocal range that spans from sultry to spontaneous and controlled, effortlessly. From The Juilliard School to Broadway, by way of a beaten soul-searching path, Ms. James made leading appearances in Berry Gordy’s Motown: The Musical, Godspell and more. Regardless of genre, she delivers passion and technical prowess that is rivaled by few.

vocalist

Reckless Abandon is the follow-up to James’ debut album, Hunter and Morgan James Live (Epic Records). She can also be heard on countless theatre and concept soundtracks. James shines in adopting a diverse range of musical ideas to recreate them with her own identity and flair. Her rendition of Prince’s “Call My Name” was the last cover to be personally approved by Prince before his death. The track garnered success as it reached the Top 15 on Billboard Magazine’s Urban AC chart, while The Wall Street Journal called Hunter “A superb new album.” Since Hunter’s release, James’ music videos have accumulated more than 75 million views (and climbing). Achieving viral acclaim while appearing in several videos with Scott Bradlee’s Postmodern

“A phenomenal talent whose feel for classic soul music is bone deep… This woman is on fire.” ~ The New York Times

Jukebox, she also joined the collective on globe spanning tours through the U.S., Europe, Australia and New Zealand. As a solo artist, Ms. James has performed at such notable venues as the Hollywood Bowl, Carnegie Hall and The Kennedy Center. She continues to wow audiences the world over through electric live performances with her touring band.

A U D I E N C E

(Program Notes, continued from page 13)

diversity? The scrutiny of any one piece by Leonard Bernstein is like viewing a fleeting snapshot from an expansive and eclectic career: it tells you little about the man himself, only what he looked like at the moment. To his colleagues, to his students, to those who knew him—both riff-raff and royalty—he was Lenny, almost as indefinable as his music. He was a man in full, and full of humanity. There were many threads that wove their way through this musician’s life and music, but perhaps the strongest was love. The love of his art, to be sure, but also his undying love for his fellow man. The last line of his Chichester Psalms said it all: “Behold how good and how pleasant it is, for brethren to dwell together in unity.” Overture to Candide Leonard Bernstein was born in Lawrence, Massachusetts, in 1918 and died in New York City in

1990. He composed his operetta Candide in 1955–56, and the first performance took place in New York in 1956 under the direction of Samuel Krachmalnick. Bernstein revised the work in 1988. The first performance of the Overture as a concert piece was with the New York Philharmonic under the direction of the composer in 1957. The score calls for 3 flutes, piccolo, 2 oboes, 4 clarinets, bass clarinet, E-flat clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings. Candide never found a large audience, but the Overture, laced with tunes from the show, was instantly popular and has become the most widely performed piece by Bernstein. It opens with a brash fanfare for the brass and percussion that leads right into an incredibly off-kilter theme from the wedding of Candide and Cunegonde— a frenetic ceremony interrupted by a war in Westphalia. The warm and lovely tune that follows in the low strings is “Oh, Happy We”—a love duet in seven beats to the bar. After a reprise and a full stop, we hear the music from the song “Glitter and Be Gay,” for which the term “perky” must

A U D I E N C E

have been invented. Those who are of A Certain Age will recall this as the theme music for Dick Cavett’s television show. If orchestral music can “glitter and be gay,” the Overture to Candide surely does. In a mere four minutes it is witty, tender, exhilarating, spectacularly colorful— and an orchestral tour de force that is devilishly hard to play. A better curtainraiser was never composed. Symphony No. 1, “Jeremiah” Bernstein began a work called Lamentation for soprano and orchestra in 1939; this became the final movement of his First Symphony, completed in 1942. Bernstein conducted the first performance with the Pittsburgh Symphony Orchestra in 1944. The score calls for mezzo-soprano, 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, E-flat clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano and strings.

Bernstein once said that all of his large works share a common theme: “The struggle that is born of the crisis of our century, the crisis of faith.” And not just religious faith, but faith in the individual, faith in mankind, faith in the future. All three of his symphonies deal with this question, and each comes to a different conclusion. The First is the “tragic” symphony of the set, for it is a lamentation on the loss of faith, and how that loss is self-inflicted. In the first movement, Prophecy, the prophet Jeremiah warns the people of the destruction of Jerusalem and its temple. It begins darkly, builds to an intense climax, and then dies away, for the prophecy goes unheeded. The second movement Profanation is the work’s scherzo; the people and the corrupt priests mock the prophet and carry on their noisy and sometimes violent desecrations. As the third movement begins, Jerusalem has been destroyed, and the mezzo soprano sings (in Hebrew) from the Book of Lamentations: “How doth the city sit solitary…how is she become as a widow?” And, finally, “Wherefore dost thou forget us forever, and forsake us so long a time?”

A U D I E N C E

“The work I have been writing all my life is about the struggle that is born of the crisis of our century, the crisis of our faith.” ~ Leonard Bernstein It is possible to see the work as a large sonata form, with the three movements representing an exposition, development and recapitulation. This is all the more true because Bernstein, with this work, began the practice of deriving his new themes out of preceding ones. He said that the symphony “does not make use to any great extent of actual Hebrew thematic material,” though it is there to

be found if one looks for it. As to its programmatic meaning, he said, “The intention is not one of literalness, but of emotional quality,” especially in the first two movements. The finale, he said, “is the cry of Jeremiah, as he mourns his beloved Jerusalem, ruined, pillaged and dishonored after his desperate efforts to save it.”

PRESENTS

OCTOBER 19TH - 31ST THE KENTUCKY CENTER FOR THE ARTS VISIT STAGEONE.ORG 18

A U D I E N C E

From “The Lamentations of Jeremiah” PEREQ 1.1-3 Echa yashva vadad ha-ir Rabati am Hay’ta k’almana, Rabati vagoyim Sarati bam’dinot Hay’ta lamas.

CHAPTER 1.1-3 How doth the city sit solitary, That was full of people! How is she become as a widow! She that was great among the nations. And princess among the provinces. How is she become tributary!

Bacho tivkeh balaila, V’dim’ata al lech.eya; En la m’nach.em Mikol ohaveha; Kol reeha bag’du va, Hayu ah l’oy’vim.

She weepeth sore in the night, And her tears are on her cheeks; She hath none to comfort her Among all her lovers; All her friends have dealt treacherously with her, They are become her enemies.

Galta Y’huda meoni, Umerov avoda; Hi yashva vagoyim, Lo matsa mano-ach.; Kol rod’feha hisiguha Ben hamitsarim.

Judah is gone into exile because of affliction. And because of great servitude; She dwelleth among the nations, She findeth no rest. All her pursuers overtook her Within the narrow passes.

PEREQ 1.8 Chet ch.ata Y’rushalayim (Eicha yashva vadad ha-ir ...k’almana.)

CHAPTER 1.8 Jerusalem hath grievously sinned... How doth the city sit solitary ...a widow.

PEREQ 4.14-15 Na-u ivrim bah.utsot, N’go-alu badam, B’lo yuchlu Yig’u bilvushehem.

CHAPTER 4.14-15 They wander as blind men in the streets, They are polluted with blood, o that men cannot touch their garments.

Suru tame kar’u lamo, Suru, suru, al tiga-u...

Depart, ye unclean! they cried unto them, Depart, depart! touch us not...

PEREQ 5.20-21 Lama lanetsach. tishkach.enu... Lanetsach. taazvenu...

CHAPTER 5.20-21 Wherefore dost thou forget us forever, and forsake us so long time?...

Hashivenu Adonai elech.a…

Turn thou us unto thee, o lord...

A U D I E N C E

Hashkiveinu (Babylonian Talmud, B’ rachot 9) Hashkiveinu, Adonai Eloheinu, I’ -shalom v’ -ha-amideinu, Malkeinu, /’-chayim. Uf-ros aleinu sukat sh’ -lomecha, v’ -tak’ -neihu·h’ -eitsa tova mil’ -fanecha, v’ -hoshi-einu /’-ma-an sh’ -mecha, v’ -hagein ba-adeinu. V’ -haseir mei-aleinu oyeiv, dever, v’ cherev, v’ -ra-av, v’ -yaion, V’ -haseir saran milfaneinu u’ -mei-achareinu. U’ -v’ -tseil k’ -nafecha tastireinu. Ki Ei/, sham’ -reinu u’-matsileinu, Ki Eil, Melech chanun v’ -rachum Atah, U’ -sh’ -mor tseiteinu u’ -voeinu /’-chayim u’ -/’-shalom, mei-atah v’ -ad olam. Uf-ros aleinu sukat sh’ -lomecha.

Cause us to lie down, 0 Lord our God, in peace, and raise us up, Our King, to life (renewed). And spread over us the shelter of Your peace, and guide us with Your good counsel, and save us for Your name’s sake, and protect us. And remove from us emnity, pestilence, and war and hunger and anguish, And remove the evil inclination from before us and from behind us. And hide us in the shadow of Your wings. For God, You are our Watchman and Deliverer, For God, a gracious King and merciful are You, And guard our going out and coming in to life and to peace, From this time forth and forever more. And spread over us Your tabernacle of peace.

Baruch Atah Adonai, hapores sukat shalom aleinu v’ -al kol amo Yisrael, ,,’-al Y’ -rushalayi’:’.

Blessed are You, O Lord, who spreads the tabernacle of peace over us and over all His people, and over Jerusalem.

A U D I E N C E

Mass Leonard Bernstein’s Mass: A Theater Piece for Singers, Players, and Dancers is a glorious mess of a mass. Scored for as many as 200 performers, it includes a symphony orchestra, a marching band, a rock band, a chorus, a boys’ chorus, street singers, actors and dancers. The work follows the liturgy of the Catholic mass in order, but with interruptions and commentaries in a wild diversity of styles. Mass was commissioned by Jackie Kennedy for the opening of the Kennedy Center for the Performing Arts in Washington, D.C. Bernstein had carte blanche and an essentially unlimited budget, and he threw everything at it but the kitchen sink. Bernstein, a Jew, had always been fascinated by the Roman Catholic mass in Latin, finding it mysterious, moving and theatrical. He was also a man of the theater who was impressed with the then-new rock musicals such as Jesus Christ Superstar and Godspell. It made sense to him, in 1971, to somehow combine the two. Today, a good deal of Mass sounds hopelessly dated, but as always with Bernstein there are ample signs of a genius at work.

West Side Story When friends suggested to Bernstein that he compose a “serious” musical, he was absolutely the right man for the job, for jazz and popular music ran as deeply in his blood as any other kind. Many classical composers (such as Copland,

Milhaud and Stravinsky) had used elements of jazz in their works, and some popular composers (such as Gershwin) up-sized their music to fit the concert hall. None were as at home in both worlds as Bernstein, and West Side Story is his masterpiece. The musical updates the Romeo and Juliet story to the warfare of the 1950s New York street gangs. Its mastery over popular melodic, harmonic and rhythmic styles is total: here is swing, bop, cool jazz, Latin music, ballads and up-tempo jive. All are seamlessly integrated by a man who knew his classical procedures and who used them to give the work the kind of musical cohesion you don’t expect from a Broadway show. Note how both the dangerous music of the gangs and the love song “Maria,” as different as they are, spring from the same melodic interval, the tritone. This kind of thematic unity is what separates West Side Story from the musicals of the past, and the reason why it is so effective even today. (It’s worth noting that the tritone, otherwise known as the augmented fourth or diminished fifth, is considered to be a wildly dissonant interval. It was actually referred to as Diabolus in musica—“the Devil in music”—and forbidden in church music for centuries. That Bernstein could use it as the first two notes of a love song—and a brilliant one at that—is another testament to the man’s musical genius and certainly to his audacity. If you listen for them, you’ll hear tritones all over the place in the music of West Side Story.) It was highly unusual for a Broadway show to tackle such a dark—even depressing—story. Many potential collaborators begged off as soon as they discovered what Bernstein was up to. It was also unusual for a show to rely on its

A U D I E N C E

dancing (rather than its dialog) to move the story forward. And a story like this, with its undercurrent of simmering rage, was unheard of in the musical theater. For all that, West Side Story was nonetheless a hit, with a long Broadway run, several tours, numerous revivals and a film version that is still one of the greatest translations from the Broadway stage to the cinema ever made. We are often daunted by the tension and the tragedy of West Side Story, but what lingers in our hearts are its wondrous, unforgettable songs: “Maria,” “Tonight,” “One Hand, One Heart,” “America,” “I Feel Pretty,” “Somewhere” and more. The right man for the job gave us a work of genius.

On the Town Fresh from the success of his ballet Fancy Free, Bernstein wrote On the Town, a musical with the same scenario: the adventures of three sailors on 24-hour liberty in Manhattan. It may come as no surprise that their “adventures” largely concern women. But in a larger sense the piece is also an homage to New York—as Bernstein called it “that monstrous city which its inhabitants take for granted.” The thing to know about On the Town is that almost all of the members of its production team were 20-somethings. Coproducers Oliver Smith and Feigay were both 25, as was the choreographer, Jerome Robbins. Betty Comden (26) and Adolph Green (29) wrote the book. Veteran director George Abbott was the elder statesman of the group; he signed on because he liked what “the kids” were doing. The show had the exuberance of youth, and the cheekiness, too; it ran successfully for fourteen months. Bernstein himself was 26. A year 22

before, he had made his famous conducting debut with the New York Philharmonic, standing in for an ailing Bruno Walter. And only a few months after that he conducted the premiere of his Symphony No. 1, Jeremiah, the work that established his bona fides as a symphonic composer. Bernstein was already being Bernstein, and there was no one like him.

Candide When Lillian Hellman asked Leonard Bernstein to compose incidental music for a new version of Voltaire’s “Candide,” Bernstein turned the tables on her: why not make Candide a comic operetta? Hellman agreed and supplied the libretto. Thus began the history of a show filled with almost as many comic and not-socomic misadventures as those suffered by the title character himself. The original production was a flop. The critics loved the music but hated the show, largely because they found Hellman’s libretto “too serious.” Without Bernstein— and without Hellman’s book, since she refused further permission to use it— several revivals took place over the course of the next three decades. The work passed through the hands of multiple directors, choreographers and stage designers, while an astonishing list of writers had a hand in the libretto at one time or another. Finally, in 1988 Bernstein himself revisited the work and created his “final, revised version,” restoring most of the original music and setting the tone he preferred. None of these revivals found anything like the success Bernstein enjoyed with West Side Story.

A U D I E N C E

~ Mark Rohr Questions or comments? markrohrprogramnotes@gmail.com

MUSICIAN HIGHLIGHT GABRIEL LEFKOWITZ Concertmaster

I was four years old when I started playing the violin and, like many kids, I hated practicing! The violin is a difficult, physically awkward instrument, and whereas on piano you might be able to learn Twinkle Twinkle on day one, a beginning violinist is doomed to an initial learning period of weeks and weeks before being able to produce a sound distinguishable from or more appealing

than, say, nails on a chalkboard. But here I am, 26 years later, getting to do something I absolutely love for a living, in a city I love, surrounded by my wonderful and inspiring Louisville Orchestra colleagues. Every week at the LO is a new and exciting musical adventure. We’re known for being a forward-thinking, boundarypushing institution, and for me that means I’m always on my toes and never bored. This job requires not just the technique and artistry every musician of the orchestra brings to the table, but also a formidable amount of discipline and time management skills. I’m often asked after a performance, “How many weeks have you been rehearsing that program?” to which I respond, “Weeks? Our first rehearsal was three days ago!” And that’s just the way it is in a professional orchestra—a new two-hour program virtually every week, and often multiple programs within the same week. To keep your head above water takes significant organization and planning, and an artistic

“Every week at the LO is a new and exciting musical adventure.” A U D I E N C E

hunger to wake up every morning, have your coffee, and get right back to practicing. And it’s not like you take the violin out of the case and start making beautiful music right off the bat. Instead, you go through the same series of warmups, fundamental drills and technical exercises every day before you even think about working on “concert music.” I don’t even want to know how many hours of my life have been spent playing scales and arpeggios (okay, I kind of do). But in the end, it’s all worth it for those moments when you finally go out on stage and join together with your fellow musicians to create something meaningful, emotional, entertaining, challenging, thoughtprovoking, healing, and, once in a while, life-changing. Of course, musicians are

also really good at celebrating after a concert, and that’s one of the highlights of this job, too. We musicians of the LO have been known to, shall we say, contribute to the city’s food and beverage industry, sometimes late into the night, which is perfectly fine, as long as you’re willing to get up the next morning, have your coffee, and get right back to practicing! Gabriel Lefkowitz Violinist, Composer, Conductor http://www.GabrielLefkowitz.com http://www.youtube.com/gabelefkowitz (Lefkowitz will be conducting and performing as soloist on the Music Without Borders, An Evening in Italy: February 28–March 2, 2019.)

A U D I E N C E

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. 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. Brian Kane Dr. Virginia Keeney ∞ Mr. Lee Kirkwood Mr. Don Kohler, Jr. Mrs. Karen Lawrence Ms. Clara Markham Mr. Guy Montgomery Ms. Donna Parkes Mr. Timothy L. Peace

Mr. Alex Rorke Mr. Bruce J. Roth † 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 Deanna Heleringer Sara Huggins Peg Irvin Jeanne James Madeline Ledbetter

Rita Bell June Allen Creek Janet Falk Margie Harbst Carol Hebel

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

Directors Marcia Murphy Nancy Naxera Ladonna Nicolas 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 Leslie Antoniel, Director of Development Carla Givan Motes, Director of Patron Services & Ticket Operations Adrienne Hinkebein, Interim General Manager Tonya McSorley, Chief Financial Officer Michelle Winters, Director of Marketing and Public Relations 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 Heather O’Mara, Marketing and PR Manager 26

Angela Pike, Receptionist Bill Polk, Stage Manager Cheri Reinbold, Staff Accountant Edward W. Schadt, Major Gifts Officer/ Director of Planned Giving Jenny Seigle Baughman, Education Coordinator Chris Skyles, Librarian Shane Wood, Patron Services Coordinator CaSandra Zabenco, Controller

A U D I E N C E

2018–2019 Corporate 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) ($10,000 – $24,999)

Conductors society (patron) ($5,000 – $9,999)

In-kind sponsors Axxis The Kentucky Center for the Performing Arts Bandy Carroll Hellige Louisville Public Media Colonial Designs of St. Matthews O’Neil Arnold Photography Gist Piano Center RSVP Services Heine Brothers Coffee The Piano Shop A U D I E N C E

Stephen Printing Strothman & Company PSC Vincenzo’s Vintage Printing 27

Louisville Orchestra Contributors 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 June 31, 2018. For further information on how you can support the Louisville Orchestra, please contact Leslie Antoniel, Director of Development, at 502-585-9419 or LAntoniel@LouisvilleOrchestra.org. Conductors Society (Founder) $250,000+ Mrs. Christina L. Brown Anonymous Conductors Society (Sustainer) $100,000 - $249,999 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

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 Conductors Society Mr. and Mrs. Steve Bailey $75,000 - $99,999 Dr. and Mrs. David P. Bell Mr. and Mrs. William C. Ballard Jr. Bob and Nora Bernhardt Dr. and Mrs. Paul Brink Conductors Society (Virtuoso) Mr. Garvin Brown $50,000 - $74,999 Mrs. Sally V. W. Campbell Mr. and Mrs. George S. Gibbs III The Cralle Foundation, Inc. Mr. and Mrs. Frank Harshaw Mr. and Mrs. Roger Cude Hearst Foundation Mr. and Mrs. David C. Daulton Mr. and Mrs. William Yarmuth Mrs. Elizabeth Davis Dr. and Mrs. Charles E. Dobbs Conductors Society (Benefactor) Mr. and Mrs. Thomas E. Dunham $25,000 - $49,999 Irvin F. and Alice S. Estcorn Foundation Ambassador Matthew Barzun and Brooke Mr. and Mrs. George E. Fischer Brown Barzun Mr. and Mrs. Andrew Fleischman Ms. Cary Brown and Dr. Steven Epstein Mr. Steven Wilson and Ms. Laura Lee Brown Mrs. Thelma Gault Mr. and Mrs. John S. Greenebaum Maxine and Stuart Frankel Foundation Mr. and Mrs. Matthew Hamel Gill and Augusta Holland The Wood and Marie Hannah Foundation Dr. and Mrs. John Johnson Horseshoe Foundation of Floyd County Mr. Brian Kane Ms. Wendy Hyland Mr. Warrick Dudley Musson Klein Family Foundation Mr. and Mrs. William M. Street Mr. and Mrs. Bill Lamb Kenneth and Kathleen Loomis Conductors Society (Sponsor) Mr. W. Bruce Lunsford $10,000 - $24,999 Ms. Mary Means Mrs. Edith S. Bingham Mr. David E. Mueller Mrs. Ina Brown Bond Mr. and Mrs. Ronald J. Murphy Mr. and Mrs. Paul Diaz Mr. and Mrs. Kent Oyler Jana and John Dowds Ms. Kendra D. Foster and Mr. Turney Berry Beulah and Kenneth Rogers Mr. and Mrs. Gary M. Russell Mrs. Ritu Furlan Ms. Helga Schutte Gheens Foundation Arthur K. Smith Family Foundation Mr. and Mrs. Joost Grubben M. and Florence G. Strickler Fund Mrs. Spencer E. Harper Jr Mr. and Mrs. Michael Von Hoven Jay and Louise Harris Mr. and Mrs. James E. Haynes Conductors Society Mr. and Mrs. Charles W. Hebel, Jr. $3,000 - $4,999 The Humana Foundation Mr. Stephen P. Campbell and Dr. Heather Mr. David A. Jones, Jr. and Ms. Mary Gwen McHold Wheeler Mr. Christopher Coffman Dr. Virginia Keeney Rev. John G. Eifler Mr. and Mrs. Lee Kirkwood Mr. and Mrs. Donald Finney Mr. and Mrs. Donald F. Kohler Jr. Mr. and Mrs. Clyde Foshee Ms. Nana Lampton Mr. and Mrs. Vincenzo Gabriele Mr. and Mrs. Lee Leet The Gilbert Foundation Mrs. Sheila G. Lynch Mr. and Mrs. Owen C. Hardy Mr. and Mrs. John P. Malloy Mildred V Horn Foundation Mr. and Mrs. Guy Montgomery Mr. and Mrs. Allan Latts Mr. and Mrs. John Moore Mr. and Mrs. Colin McNaughton National Endowment for the Arts Mr. and Mrs. Herbert S. Melton III Norton Foundation Dr. and Mrs. David H. Neustadt Mr. Joseph A. Paradis III Mr. and Mrs. Norman E. Pfau, Jr. Mr. and Mrs. Alexander Rorke Mr. Stephen Reily and Ms. Emily Bingham Mr. and Mrs. Bruce J. Roth

A U D I E N C E

Mr. and Mrs. Gary Sloboda Dr. Gordon Strauss and Dr. Catherine Newton Dr. and Mrs. James Sublett 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 Ms. Marianne Rowe Mr. and Mrs. Russell Saunders Rev. Edward W. Schadt Ms. Jan Scholtz Ms. Susan W. Smith Dr. Anna Staudt

Mr. Brandon Sutton Dr. and Mrs. Peter Tanguay Ms. Ann Thomas Dr. Juan Villafane Mr. Richard Wolf Dr. and Mrs. Nathan Zimmerman Mr. and Mrs. Rick Zoeller Sonata $500 - $1,499 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. 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. 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. 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 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 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 Mr. William Mitchell Mrs. Biljana N. Monsky Ms. June E. Morris Barry and Carla Givan Motes

A U D I E N C E

Michael B. Mountjoy Marti and Hubert Mountz Ms. Mary Margaret Mulvihill 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 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 Mr. 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, Major Gifts Officer and Director of Planned Giving 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 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. Stotz Dr. Peter Tanguay and Margaret Fife Tanguay Rose Mary Rommell Toebbe Dr. and Mrs. Richard S. Wolf Anonymous †Denotes deceased

Theatre Services

fpo ad

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.

A U D I E N C E

Supporting the performing arts for 25 years.

A U D I E N C E