Audience - May 2019 - Louisville Orchestra by Audience502

MAY 2019 FEBRUARY 2019

Audience® is the official program guide for:

MUSICIAN HIGHLIGHT

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 Joseph Grove Creative Director Jeff Tull Design Kay & Jeff Tull Sales & Marketing G. Douglas Dreisbach Account Executive Michelle Bair Printing V. G. Reed & Sons

Jon Gustely Principal Horn ...............................................9

PROGRAM BEETHOVEN’S NINTH Coffee Concert, May 10, 2019.......................11 Classics Concert, May 11, 2019.....................13

Support and Staff.............................................................29 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). ETThe Kentucky IGITAL Tickets: Center WITH Box Office, 502.584.7777 or 1.800.775.7777.

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A U D I E N C E

MEET OUR NEW CEO! Dear Friends, I am so excited to have joined the Louisville Orchestra as its Chief Executive Officer and I look forward to meeting all of you in the months ahead. Having managed symphonies in the District of Columbia, Iowa and Florida, I have followed this orchestra’s renaissance over the past five years and look forward to continuing its positive momentum. We close the 2018-2019 season with one of the most impactful performances imagined. First is a song cycle composed by our own Music Director Teddy Abrams featuring the incredible Morgan James as the soloist. The second work needs no introduction—Beethoven’s Ninth Symphony. My first exposure to Beethoven’s grand oeuvre came through Stanley Kubrick’s iconic film A Clockwork Orange. Alex knew that the end to a perfect evening was – “a little Ludwig.” So many of us were introduced to symphonic music through the movies, which is why we continue this tradition by featuring popular films with live symphonic accompaniment. In July, we’ll present Harry Potter and the Goblet of Fire as a part of our Film Series. Our Pops Series features Hollywood Hits, the music of Motown, ABBA, Michael Cavanaugh playing Elton John’s hits, and of course, our always-popular Holiday Pops concert, which promises to offer a few new surprises this year. The Coffee Series expands to eight concerts, ensuring that the greatest symphonic programs are accessible to our day-time audiences. The Classics Series includes the masterworks of the symphonic canon including Dvořák’s New World Symphony, Debussy’s La Mer, Strauss’ Don Quixote, Mahler’s Fifth Symphony, Brahms’ Third Symphony, the “Festival of American Music,” Rachmaninoff’s Second Symphony, and a thrilling season finale featuring Bartók’s Concerto for Orchestra. Your Louisville Orchestra is here to help you find the subscription package that best suits your needs. As a subscriber, you are guaranteed the best seats, lowest prices and exclusive subscriber-only benefits throughout the year. For more information, visit us at www.LouisvilleOrchestra.org or call 502.587.8681. My family and I are proud to call Louisville our new home. Here’s to a great season finale, summer, and many more musical memories to come. Sincerely,

Robert Massey Chief Executive Officer A U D I E N C E

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 celebrated 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 recently conducted the Indianapolis Symphony Orchestra 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 concert with Joshua Bell as soloist. An accomplished pianist and clarinetist, 6

Abrams has appeared as a soloist with a number of orchestras—including playconducting 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 has 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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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 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 † ENGLISH HORN Trevor Johnson 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

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* Stacy Simpson, Interim

TROMBONE Donna Parkes, Principal PNC Bank, Kentucky, Inc. Chair Brett Shuster † BASS TROMBONE J. Bryan Heath TUBA Andrew Doub, Principal TIMPANI James Rago, Principal Mr. and Mrs. Warwick Dudley Musson Principal Timpani Chair PERCUSSION John Pedroja, Principal Mark Tate † HARP Mary Julian Rapier, Principal The Humana Foundation Chair KEYBOARD Grace Baugh-Bennett † Margaret S. Comstock Piano Chair †Auxiliary musician *On leave

JON GUSTELY, p r i n c i p a l

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MUSICIAN HIGHLIGHT Beethoven’s Ninth—A Hornist’s Tale Powerful, iconic, groundbreaking, transcendent; to the orchestral musician Beethoven’s Ninth is all of these things. Though I’ve played the Ninth with many orchestras and conductors, there were two transformative performances where I was not in fact on stage, but in the audience. The renowned Austrian conductor Josef Krips’ farewell performance of Beethoven’s Ninth with the San Francisco Symphony was the very first classical music concert I ever attended. At that time in the 1970’s, I went to a public school in the East Bay that like so many others had an excellent music program. My parents brought me along to the symphony hoping that I might be inspired to choose an instrument and begin to study classical music. The minute I heard the golden sound of the horn echoing through the old War Memorial Auditorium my decision was made. The next day I went to the band room at Camino Pablo Elementary School and picked out a battered old horn and instruction book. I lugged them the half mile home and began playing along with my mom’s old recordings of Luciano Pavarotti, Frank Sinatra and Nat King Cole. On Sunday, November 12, 1989, in my apartment in Brussels (where I was solo horn with the National Opera), I watched on live television as Daniel Barenboim and the Berlin Philharmonic gave an impromptu performance of Beethoven’s 7th Symphony in Philharmonic Hall. The Berlin Wall had officially fallen on November 9 and all East German citizens showing a GDR ID card were admitted for free. For most, it was the first time in 25 years that they were allowed to

enter West Berlin. Imagine after 25 years finally seeing friends and family, a cherished park or church, a particular place full of memories. “Freude” indeed! Barenboim’s concert served as a prelude to two transformative performances of the Ninth conducted by Leonard Bernstein celebrating the fall of the Berlin Wall on December 23 in West Berlin and December 25 in East Berlin. Bernstein assembled an international orchestra made up of musicians from London, Paris, New York, Leningrad, and East and West Germany. To mark the festive occasion in the Ode to Joy, he famously changed the word “Freude” (Joy) to “Freiheit” (Freedom). After first hearing Josef Krips conduct the Ninth, I was inspired to dedicate my life to making music. Bernstein’s historic performances in Berlin helped to restore a divided nation and an infinitely rich culture that for a quarter of a century had been separated by a wall. As Louisville strives to be a compassionate and diverse city, it is fitting that we close the Louisville Orchestra’s 2018-2019 season with Beethoven’s Ninth Symphony. It is the great composer’s supreme achievement celebrating art, love, brotherhood and sisterhood, joy and freedom. I hope these concerts will inspire you to celebrate our remarkable orchestra, our city and our Commonwealth. In a world so often divided, music still has the power to unite.

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Teddy Abrams, Music Director Bob Bernhardt, Principal Pops Conductor

COFFEE SERIES Friday, May 10, 2019 • 11 a.m. The Kentucky Center • Whitney Hall

COFFEE SERIES SEASON SPONSOR

BEETHOVEN’S NINTH TEDDY ABRAMS, conductor • MORGAN JAMES, soprano KENT HATTEBERG, chorus master • HAYLEY LIPKE, soprano LIZ CULPEPPER, alto • SPENCER LAWRENCE BOYD, tenor SONJIN KIM, bass • Chloe Tula, harp

Program no intermission

TEDDY ABRAMS

The Song of the River (World Premiere)

Introduction Canto I: Those Who Came Before Canto II: Species Canto III: Consumption Canto IV: Surrender Canto V: Song of the Builders Canto VI: Pleasures

Canto VII: The Powerful Canto VIII: The People Canto IX: Song of the Stars Canto X: Nostalgia Canto XI: Balance Canto XII: Song of the Golden Age Epilogue: Song of the River Morgan James, soprano

LUDWIG VAN BEETHOVEN Symphony No. 9 in D Minor, Op. 125 I. Allegro ma non troppo, un poco maestoso IV. Finale Hayley Lipke, soprano • Liz Culpepper, alto Spencer Lawrence Boyd, tenor • SonJin Kim, bass

Supporting Sponsor for this concert is the Lawrence Family Foundation. The Song of the River is commissioned by Nana Lampton + Hardscuffle, Inc. Additional support provided by Mrs. Edith S. Bingham, Mr. Neville Blakemore and Mrs. Gray Henry, Joan and Dennis Brennan, Mr. Stephen Campbell, Bert and Jane Emke, Frank and Paula Harshaw, Mr. and Mrs. James E. Haynes, Henry V. Heuser, Jr. and Donald H. Whitfield, Dr. Ted and Sarah Steinbock, Mr. and Mrs. James R. Voyles, Mrs. Jane Feltus Welch, and two anonymous donors. 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, May 11, 2019 • 8 p.m. The Kentucky Center • Whitney Hall

CLASSICS SERIES SEASON SPONSOR

Program TEDDY ABRAMS

The Song of the River (World Premiere)

Introduction Canto I: Those Who Came Before Canto II: Species Canto III: Consumption Canto IV: Surrender Canto V: Song of the Builders Canto VI: Pleasures

Canto VII: The Powerful Canto VIII: The People Canto IX: Song of the Stars Canto X: Nostalgia Canto XI: Balance Canto XII: Song of the Golden Age Epilogue: Song of the River Morgan James, soprano

intermission

LUDWIG VAN BEETHOVEN Symphony No. 9 in D Minor, Op. 125 I. Allegro ma non troppo, un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Finale Hayley Lipke, soprano • Liz Culpepper, alto Spencer Lawrence Boyd, tenor • SonJin Kim, bass Supporting Sponsor for this concert is the Lerman Charitable Fund. The Song of the River is commissioned by Nana Lampton + Hardscuffle, Inc. Additional support provided by Mrs. Edith S. Bingham, Mr. Neville Blakemore and Mrs. Gray Henry, Joan and Dennis Brennan, Mr. Stephen Campbell, Bert and Jane Emke, Frank and Paula Harshaw, Mr. and Mrs. James E. Haynes, Henry V. Heuser, Jr. and Donald H. Whitfield, Dr. Ted and Sarah Steinbock, Mr. and Mrs. James R. Voyles, Mrs. Jane Feltus Welch, and two anonymous donors. 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

M OR G AN J A M E S , Throughout her spectacular career, singer, songwriter, and Broadway actress Morgan James has taken on beloved roles and songs to give them her unique perspective and make them her own. She rocked the stage as Christ herself in an all-female version of Jesus Christ Superstar, took on a fullalbum acoustic cover of D’Angelo’s Black Messiah, and brought the critics to their feet with her cover of Joni Mitchell’s classic Blue album. James has also recorded and toured with Scott Bradlee’s Postmodern Jukebox, a musical collective that covers modern songs with a vintage twist – turning today’s pop hits into swing and jazz classics. Most recently, she released a video in which she put her signature spin on the Nirvana grunge rock classic “Lithium.” Now James has set her sights on one of the world’s most iconic records: the Beatles’ White Album. While each song is performed in its original key, James provides a soulful vibe and feminine flair to songs originally penned and recorded by the four lads from Liverpool. Listeners find the classic ballads “Blackbird” and “I Will” presented a cappella with James showcasing artfullyconstructed harmonies. The wistfully mournful lyrics of “Julia” are borne beautifully by her heavenly vocals, while the early heavy metal sound of “Helter 14

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Skelter” infuses the album with James’s signature funky soul treatment. The album was produced by her longtime collaborator Doug Wamble, who played the instruments in every song as well as providing additional vocals. Released on October 26, the White Album cover is perfectly timed to celebrate the 50th anniversary of the original release (which happened on November 22, 1968). Meanwhile, fans will be able to see James perform live on her White to Blue tour across Europe, Canada, and the U.S. “We wanted to pay homage to this incredible double album by stepping into their shoes, and diving deep,” James said of the White Album project. “I think it’s a side of me that fans haven’t seen before, which is exciting!” Whether she’s writing and exploring new material or experimenting and putting her own spin on time-honored classics, James is guaranteed to delight both her fans and fans of the original material alike. 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, songwriter, and Broadway actress Morgan James. In addition to her studio albums “Reckless Abandon” and “Hunter,” James has released a live tribute to her idol,

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Nina Simone, “Morgan James Live,” as well as an EP featuring some of her fan’s favorite covers, “YouTube Sessions” (she can also be heard on countless theatre and concept soundtracks). She is proud to note that no vocal tuning of any kind has been used on any of her albums.

James’s videos on YouTube have accumulated more than 150 million views (and climbing). With viral sensation Scott Bradlee’s Postmodern Jukebox, James toured the US, Europe, Australia and New Zealand.

D R . K E N T HA T T E B E R G , 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, Texas, Washington High School in Cedar Rapids, Iowa, and Solon Junior-Senior High School in Solon, Iowa.

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Dr. Hatteberg is active nationally and internationally as a guest conductor, clinician, and adjudicator, most recently in Poland, Korea, 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. 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.

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HA Y L E Y LIP K E , Hayley Lipke, soprano, is a native of Racine, Wisconsin, and pursuing a Performance Diploma under the tutelage of Jane Dutton and Gary Arvin at Indiana University Jacobs School of Music. Ms. Lipke is thrilled to be making her debut with the Louisville Orchestra as the soprano soloist for Beethoven’s Ninth Symphony. Previously, Lipke performed as the soprano soloist in Benjamin Britten’s War Requiem, Donna Anna (Don Giovanni), Gertrud Mutter (Hänsel und Gretel), Rosalba Montealban (Florencia en el Amazonas), Alma Hix (The Music Man), and Gertie Cummins (Oklahoma!). With a passion for making opera accessible by extending it out of the opera house, she was showcased

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in Out of the Box Opera’s first innovative Diva Cage Match. She also enjoyed performing in the choruses of Falstaff, Le Nozze di Figaro, Werther, La Traviata, South Pacific, Dead Man Walking, Così fan tutte, It’s a Wonderful Life, Lucia di Lammermoor, and Bernstein’s Mass. Lipke is honored to be a recipient of the Bel Canto Foundation’s Bella Voce award (2015), The Georgina Joshi International Fellowship (2018), and a graduate assistantship at Indiana University (2017, 2018). Lipke is equally as excited to be named a winner of the Indianapolis Matinee Musicale at the graduate level (2017), National Society of Arts and Letters Voice Competition (2018), and the Metropolitan Opera National Council Auditions for the Indiana District (2017, 2018).

LI Z CULP E PP E R , Liz Culpepper, mezzo-soprano, is originally from Austin, Texas. She graduated from the University of Texas in 2015 with a Bachelor of Arts in Voice and graduated from Indiana University in 2017 with her Master’s degree in Voice. She will be making her debut with the Louisville Orchestra in May of this year as a soloist in Beethoven’s Ninth Symphony. She is also thrilled to be making her professional operatic debut with the 16

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Princeton Festival this summer as Nancy Tang, First Secretary, in Nixon in China. Her past opera roles include Madame de Croissy in Dialogues of the Carmelites (IU Opera Theatre), Suzuki in Madama Butterfly (Brevard Music Center, IU Opera Theatre), Mrs. Sedley in Peter Grimes (IU Opera Theatre), and Mercédès in Carmen (Bay View Music Festival). In 2017, she was named a District Winner at the Metropolitan Opera National Council’s auditions in Indianapolis. She is currently undertaking coursework towards a Doctorate in Voice at Indiana University.

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S P E NC E R LA W R E NC E B O Y D, Spencer Lawrence Boyd, a 25-year-old tenor from Canal Fulton, Ohio, has enjoyed an exciting start to his singing career. He has just come off a run of performances as Nemorino (L’elisir d’amore) with Indiana University Opera Theater. Recent engagements also include soloist in Haydn’s The Creation with Winona State University Orchestra, Eisenstein (Die Fledermaus), Tamino (Die Zauberflöte) and Arlecchino (Pagliacci) with Kent State Opera (OH), Vincent (Gounod’s Mireille) in Périgeuex, France, Don Curzio (Le Nozze di Figaro) and Prince Yamadori (Madama

S ON J I M K I M , SonJin “John” Kim, a South Korean bass, is currently pursuing a Performer Diploma in Solo Performance at Indiana University’s Jacobs School of Music under the tutelage of the renowned Carol Vaness. Mr. Kim is a graduate of Korea’s distinguished Seoul National University, where he was granted full scholarship under the instruction of Yonghoon Lee. During his time at Seoul National University, Kim was highly celebrated for his roles as Il Commendatore in Don Giovanni and

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Butterfly) with Cleveland Opera Theater, and Nika Magadoff (The Consul) with Nightingale Opera Theater (OH). This summer, Mr. Boyd will be singing the role of Henrik Egerman (A Little Night Music) with Aspen Opera Center (CO). He holds a Master of Music degree from Kent State University as well as a Bachelor of Music degree from Chapman University. He is currently working on his Doctor of Music Degree at Indiana University— studying with acclaimed American Soprano, Carol Vaness. Mr. Boyd has taught voice and music at two public school districts in addition to a number of private music organizations across the country and continues to teach privately.

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Sarastro in Die Zauberflöte in productions at Seoul National University and Seoul Metropolitan Opera House. In addition, Mr. Kim has experience in choral singing, having performed the works such as Mahler’s Symphony No. 2 and Bernstein’s Mass. This summer, he will be attending Aspen Music Festival 2019 on full scholarship.

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BEETHOVEN Symphony No. 9 Chorus Kent Hatteberg, Chorus Master University of Louisville Collegiate Chorale Kent Hatteberg, director

Soprano I Sarah Byrd Brittany Carwile Mea Graham Nala Kathleen Savannah Knapp Hannah Moon Sylvia Santoso Soprano II Lorin Bridges Seungah Kwon Reagan Shourds Alto I Rachel Barber Kaitlyn Beard Emily Brumley Callie Cowart Sydney Davenport Jill Felkins Riley Ferretti Adelaide Hincks Seunggyeong Seo Alto II Reagan Bunce Amelia Hurt Katie Jordan Hannelore Mehler Madison Offenberger Emily Spradling Tenor I John Hynes Andrew Miller JT Roy Connor Wilkerson Tenor II Tyler Carnes Seon Hwan Chu Nicholas Claussen Adrian Lopez Ethan Murphey Baritone Cameron Carnes Jonah Carter Andrew Durham Lattie Neely Isaac Pendley Liam Resener Luke Wilkins Bass II Connor Bland Jimmy Cluxton 18

Phill Hatton Zach Willman Louisville Chamber Choir Kent Hatteberg, director

Soprano Danielle Curtsinger Erin Shina Alto I Amy Parker Cuenca Jill Felkins Lauren Montgomery Amy Powell Amber Whittaker Tenor Seon Hwan Chu Sam Soto Geoffrey Wallace Bass Austin Echols Phill Hatton Alex Kapp Phillip Morgan Ben Powell Daniel Reid Matt Wetmore Ballard High School Noel Weaver, Director Soprano Anya Ravis Lindsay McGaughey Dori Huffman Alto Lila Render Avery Tomes Demya Toogood Maya Fleck Samantha Hughes Tenor Lorenzo Rowan Sam Kalbfleisch Tyler Sellers Seth Cobb Bass Davis Jones Trevor Tadatada Eastern High School Lori Knapke, Director Soprano Lizzi Guyer Sloane Williams Samantha Metzgar

Taylor Drane Embry Curtis Alto Jaelee Collins Clara Mullins Annette Garcia Gabrielle Farrell Abby Guest Imani Smith Meghan Gilmore Tenor Dylan Fawbush Ben Wilga Chris Jacobi Noah Weathers Bass Chris Vera Adam Bellis Henry Davidson Louisville Male High SchoolAlexis Paxton, director

Soprano Jaden Adams Isabelle Gray Raegan Frye Sara-Kate Wiseman Hayley Anderson Kalli Jordan Courtney Baucom Taylor Griffith Lana Finley Anisa Bobzien Alto Ivana Colรณn Talia Scruggs Emily Guerrero Brooke Gipson Tenor Keith Bogans Kristian Beckley Elliott Davis Beau Parkey Bass Ryan Sims Noah VanRude Youth Performing Arts School (YPAS) Jacob Cook, Director Soprano Lizbeth Aguirre Miriam Bird Alyssa Bunnell Lily Carpenter

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Emily Grace Gudgel Emily Jaggers Briana Johnson Brooklyn Rankin Reagan Schatz Anna Sprau Kiara Ward Alto Sophia Baete Ashanti Groves Maisah Johnson Nikiah Kidwell Natalie Monell Amarriah Russell Meredith Thomas Tenor Daniel Cissell Jackson Hiegel James Layton Calvin Ramirez Andrew Tran Bass Jacob Cook (Director) Tommy Farmer Davis Stone Christ Church United Methodist Church Dan Blosser, Director Soprano Cathy Fyock Jody McCaffery Sue Minks Alice Wells Marsha Wells Alto Hope Hatteberg Tenor John Anderson Bass Nick Peak David Rummler Brian Steward Additional Community Members Alto Lina Barrett Bass Robert Dixon Elliott Eckel Voces Novae Deborah Dierks, Interim Director

T E D D Y A B RA M S The Song of the River Teddy Abrams was born in 1987 in Berkley, California and currently resides in Louisville, Kentucky. He wrote the lyrics and composed The Song of the River in 2018 and this performance is its world premiere. The Song of the River is scored for soprano, flute, piccolo, oboe, two clarinets, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, two trombones, timpani, percussion, harp, piano, celeste, electric organ, acoustic guitar, electric guitar and strings. The Song of the River is a 35-minute song cycle for soprano and full orchestra inspired by several intersecting contemporary and historical themes, primarily the symmetry between the future of our global environment and the Norse mythological concept of “Ragnarök” (also known as the “Götterdämmerung”), the long-foretold end of days in which the

world is submerged in water. Abrams states, “I imagined a final, futuristic day when our beautiful Ohio River has risen to such an extent that the totality of human creation and expression is reflected in its waters and, just before that last day ends, the River itself offers a song that honors the legacy of humanity. Many of the poems celebrate our greatest achievements and aspirations, while some of the songs question our choices and actions. In an age of incessant digital iconography and truncated discourse, I found myself (and most of my generation) in an exhausted, anxious loop from bearing the heaviness of our daily dose of information, much of it negative and a great deal of it inconsequential. The creation of my work was both a cathartic self-therapy and an exploration, zoomed as far out as possible, of the confusion and awe that I continue to feel in equal measure at the state of our species.”

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INTRODUCTION The last light of the long day Casts dark shadows marking the Peaks of our ambition and the Final breaths of monuments The shadows ripple on the Unhurried rising waters Consuming and growing with The certainty of great forces Not in anger nor in judgement Do the tides turn upon the Impermanent remnants of Our stories, now just reflections And in that moment, a last Reflection, both infinite And bound by the finality Of the closing verses.

I will consume the very body that holds you I will consume the unknowable forces that make you Is this need, or want? Or Love?

CANTO I: THOSE WHO CAME BEFORE The awakening was not recorded. It must have been terrible Great and also terrible An awakening of the dark and of the light Which before meant nothing It must have been beautiful Terrible and also beautiful An awakening of the land and of the water Which before meant nothing It must have been unfathomable Beautiful and also unfathomable An awakening of matter, living and not Which before meant nothing It must have been powerful Unfathomable and also powerful An awakening of bodies and of minds Which before meant nothing The wrenching from nothing to something Must have been great and also terrible. But the awakening was not recorded. CANTO II: SPECIES No one knows why people grow And none remain the same; The gods grow old but do not age They’re dead now but in name. Do you want to be like them? You think them man’s ideal? They seem to take small pleasure making Life a long ordeal. We lent them out or killed them off Whichever served us best For history is told by not The strongest but the blest. Do succeeding generations Of our species yet evolve? If so the immortals’ tragic fate Was a riddle that we solved. CANTO III: CONSUMPTION I will consume you I will consume the air around you 20

CANTO IV: SURRENDER We are strong and we are weak At the same time We will bend and we will break At the same time I’ll surrender up myself In this life time You’ll know the power to subsume In this life time Unable to move or breathe At the end time My surrender is submission At the end time Is this need, or want? Or Love? CANTO V: SONG OF THE BUILDERS Something from nothing The incomplete form of our kind The weak body and the strong mind Something from nothing The long unbroken expanse The terrain for man to enhance Something from nothing Which offers answers to questions Driving manifest expansions Something from nothing The meeting of necessity And burning creativity Most are unremembered Bodies and sometimes minds given In sacrifice or at least in service So that we may find peace Or at least comfort In a world that seems unsuited To the incomplete form of our kind. A song for the builders Who gave us Something from nothing CANTO VI: PLEASURES There seems no end To the delights of the senses Offered freely and without a reason If you think about it Sometimes the sights or sounds The tastes or smells Are overwhelming and it hurts To endure this secret knowledge All forms of expression Falling short of the truth And leading to worn paths To seek an equally secret art Which might offer a taste Of that taste, a vision of that sight,

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An echo of that sound That haunts your memory Maybe it will touch something ancient and true And we will not be apart. CANTO VII: THE POWERFUL Have you ever felt powerful? Even just a little? Has someone needed you? Enough that you could Wrap yourself around them like a great snake And know that the future depended on you alone? Imagine the multitudes Huddled together both in fear and in brotherhood The far greater serpent wraps around them all And the fate of the many depends on it alone. Will you get what you want? The instinct to constrict and feel close. Or is it better to offer them all A choice, and watch the world unfold? CANTO VIII: THE PEOPLE Looking down from the sky (A marvel that a man can fly) You see the tiny moving dots Each person made of dreams and thoughts From here it’s quite impossible Their lives to truly chronicle They look no different, act the same From this airy window pane You wonder why they make a fuss With facts and figures tenuous To “prove” their rights from blood derived Based on knowledge much contrived Rising higher every second The darker heavens call and beckon Now there’s no one left to see So maybe man should let man be CANTO IX: SONG OF THE STARS There is a faith in looking up At the night sky Knowing that countless generations Have seen these same lights There is little else that we can share So perfectly with The great many people whose time On earth has left no evidence. The violence of the universe Unfolds as a calming presence. The destruction of distant forms A nightly affirmation of creativity. CANTO X: NOSTALGIA Every song and every poem Could just be a seed Bearing fruit in later years Our memories to feed That tugging feeling in your chest We both know it so well The use for it is dubious

As far as we can tell Neither sad nor joyful The sensation does defy A worthy definition we Can simply quantify A reminder of things in the past That we cannot relive Deep memories that make us “us” Nostalgia’s gift to give. A fleeting sense that we are one A timeless, seamless unit A chord, a phrase that can recall The universal spirit. CANTO XI: BALANCE He dreamed of things that had not come to pass He dreamed of places that had not yet been made He dreamed of people that hadn’t been born Made in the image of nature boundless Roads modeled on streams passing through forests Buildings modeled on mountains piercing skies She dreamed of things that had once come to pass She dreamed of places that been unmade She dreamed of people long since departed The future reflecting man’s destiny The past refracting possibilities The awakening lies in the balance. CANTO XII: SONG OF THE GOLDEN AGE We had once been great Wielding unknowable powers Magic, perhaps, or some secret knowledge Stories and legends Captivate imaginations Even today, though no magic remains A dangerous world For exploring and conquering To make your own legend while there was room We had once been great Though we don’t know exactly when The Golden Age ended. We are what we are. EPILOGUE: SONG OF THE RIVER The last light of the long day Casts dark shadows marking the Peaks of our ambition and the Final breaths of monuments The waters rise to swallow Everything that was or would be The realness of cities and Diaphanous thoughts alike I am the last one to look Down upon the waters vast And know the infinitude Not below but reflected And in that moment, a last Reflection, both infinite And bound by the finality Of the closing verses.

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LU D W I G VAN B E E T HOV E N S ym p h o n y N o . 9 i n D M i n o r , O p . 1 2 5 Ludwig van Beethoven was born in Bonn in 1770 and died in Vienna in 1827. Sketches for the Ninth Symphony exist from the year 1817; Beethoven started composing in earnest in 1822 and completed the work in 1824. It was first performed in Vienna in the same year, conducted by Michael Umlauf. The Ninth is scored for soprano, alto, tenor, and bass soloists, mixed chorus, two flutes, piccolo, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, percussion and strings. Beethoven’s letters and effects reveal frustratingly little about what he believed about politics, philosophy, or religion; those who knew him said that his ideas were simple, perhaps even naive. Many cite the call to universal brotherhood in Schiller’s ode “To Joy,” the text of the Ninth Symphony, as the central theme of those beliefs, and maybe that is so. Yet how incongruous: Beethoven, in his deafness and isolation, was separated from his brothers by a gulf of intellect, phenomenal egotism, and—finally—silence. He came to personify the triumph of individuality, not brotherhood. In despair Beethoven once wrote, “O Providence, grant me at least but one day of pure joy. It is so long since real joy echoed in my heart.” By the end of his life there had been precious little joy. Still, he had been thinking for thirty years about how he might set Schiller’s poem to music;

ultimately, it spurred him to compose the most powerful piece of music ever written. The ode really isn’t a philosophy—many say it’s not even good poetry. But it makes a connection Beethoven believed in: from Art comes Joy; from Joy comes Brotherhood. It is the music of the Ninth, not its text, that makes it monumental. Beethoven had single-handedly wrenched the symphony into the 19th century, and now he was taking it—where? It was unprecedented, explainable only in reference to itself. It became the gateway through which all later music had to pass, no matter how far it might subsequently travel. It has been said that the opening of the first movement does not break the silence—the silence is gradually replaced by sound. Flashes of motive are heard against a static, almost primeval backdrop. These lightning bolts multiply, grow stronger, and finally coalesce into a thunderous unison statement of the theme. This opening device has been imitated many times since, but it must have astonished those who heard the symphony’s premiere—a good reason to allow ourselves to be astonished once again. From these primordial beginnings Beethoven creates an entire musical world of almost relentless intensity. The final pages are electrifying, from the ominous, winding bass-line to the apocalyptic final statement of the theme. A surprising turn on the timpani underlines the Scherzo’s focal point: its dazzling use of rhythm. Could any other composer make rhythm swagger like this? The Trio

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section has quite the opposite effect: here the rhythm lets the music flow, almost weightless in the air. At the end Beethoven relieves the pent-up rhythmic tension with a wry musical joke. When the winds begin to reprise their Trio music—as expected— Beethoven abruptly dismisses them with five sharp chords. The Adagio molto is a series of variations built upon two themes, but that kind of detail will be far from your mind as you listen. This movement is an island unto itself, suffused with tenderness, nobility and, above all, humanity. Beethoven labored mightily over how he might make the transition from the three instrumental movements to the choral Finale. His solution bears the mark of genius, and must have left his listeners astounded. The movement begins with a crashing noise and a prominent “wrong” note. This is halted by the cellos and basses, playing in unison with a purposeful voice, in what sounds very much like an operatic recitative. Their melody sounds like a rejection of the cacophony just passed, and they reject it again when it returns. The orchestra then suggests a few bars of the first movement, but the cellos and basses interrupt it. The second movement is recalled, and then the third, but again these are brushed aside by the low strings. When the woodwinds tentatively suggest a new theme, the low

strings finally accept it, and after a bit of fanfare they begin the simple hymn that has uplifted the hearts of millions. What follows is the most amazing musical structure ever attempted, a synthesis of sonata, variation, and double fugue of staggering proportion and musical ingenuity. Yet all that is required to understand it fully is to listen and be carried away. That’s because the music of the Ninth has a depth of meaning that reaches far beyond its words. The journey from darkness into light, from chaos to brotherhood, is absolutely clear. And so, too, is the meaning of joy. Beethoven never heard a note of his Ninth Symphony, for by this time he was utterly and tragically deaf. At the first performance he sat among the orchestra, facing away from the audience, hunched over the score. He indicated the initial tempo for each movement, whereupon the “real” conductor took over. When the performance concluded, Beethoven was still buried in his score, turning pages and imagining the performance in the only way he could. With the audience applauding madly and waving handkerchiefs, the alto soloist went to him and turned him around. Then he was able to see the enthusiastic response he could not hear. Perhaps it was, at last, a rare moment of joy for Beethoven.

Did You Know ... ? The real reason for Beethoven’s loss of hearing is unknown, but two of the many theories put forward by scholars tie it to his habit of immersing his head in cold water to stay awake or to lead poisoning from additives in wine and medication.

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German Original

English translation

O Freunde, nicht diese Töne! Sondern lasst uns angenehmere anstimmen und freudenvollere. Freude! Freude!

Oh friends, not these tones! Rather let us sing more cheerful and more joyful ones. Joy! Joy!

Freude, schöner Götterfunken Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder, (Schillers Original: Was der Mode Schwert geteilt; Bettler werden Fürstenbrüder,) Wo dein sanfter Flügel weilt.

Joy, beautiful spark of the gods, Daughter of Elysium, We approach fire-drunk, Heavenly One, your shrine. Your magic reunites What custom sternly divides; All people become brothers (Schiller’s original: What custom’s sword separates; Beggars become princes’ brothers) Where your gentle wing alights.

Wem der große Wurf gelungen, Eines Freundes Freund zu sein; Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund!

Whoever succeeds in the great attempt To be a friend of a friend, Whoever has won a lovely woman, Let him add his jubilation! Yes, whoever calls even one soul His own on the earth’s globe! And who never has, let him steal, Weeping, away from this group.

Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.

All creatures drink joy At the breasts of nature; All the good, all the evil Follow her roses’ trail. Kisses gave she us, and wine, A friend, proven unto death; Pleasure was to the worm granted, And the cherub stands before God.

Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.

Glad, as his suns fly Through the Heavens’ glorious plan, Run, brothers, your race, Joyful, as a hero to victory.

Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über’m Sternenzelt Muss ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn über’m Sternenzelt! Über Sternen muss er wohnen.

Be embraced, you millions! This kiss for the whole world! Brothers, beyond the star-canopy Must a loving Father dwell. Do you bow down, you millions? Do you sense the Creator, world? Seek Him beyond the star-canopy! Beyond the stars must He dwell.

Finale repeats the words:

Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über’m Sternenzelt Muss ein lieber Vater wohnen. Seid umschlungen, Diesen Kuss der ganzen Welt! Freude, schöner Götterfunken Tochter aus Elysium, Freude, schöner Götterfunken.

Be embraced, ye millions! This kiss for the whole world! Brothers, beyond the star-canopy Must a loving Father dwell. Be embraced, This kiss for the whole world! Joy, beautiful spark of the gods, Daughter of Elysium, Joy, beautiful spark of the gods. A U D I E N C E

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L o u i s v i l l e O r c h est 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 January 1, 2018 through February 28, 2019. For further information on how you can support the Louisville Orchestra, please contact Edward W. Schadt, Interim Director of Development, at 502-585-9413 or eschadt@louisvilleorchestra.org. Conductors Society (Founder) $250,000+ Mrs. Christina L. Brown Anonymous (1) 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.

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David and Regina Fry Mr. and Mrs. Joost Grubben Mr. and Mrs. Colin McNaughton Mr. David E. Mueller Dr. and Mrs. David H. Neustadt Mr. Stephen Reily and Ms. Emily Bingham Mr. Steve Robinson Lee W. and Barbara Robinson Mr. Ryan Rogers Mr. Clifford Rompf Ms. Marianne Rowe Rev. Edward W. Schadt Mr. and Mrs. Julian Shapero Dr. Gordon Strauss and Dr. Catherine Newton Dr. and Mrs. James Sublett Mrs. Carolyn Marlowe Waddell Ms. Maud Welch Ms. Mary Ellen Weiderwohl and Mr. Joel Morris Anonymous (1) Prelude $1,500 - $2,999 Agan Development Mr. Campbell Brown Mr. and Mrs. Hewett Brown Mrs. and Mr. Wendell Berry Dr. Stephen and Jeannie Bodney Mr. and Mrs. Gary Buhrow Mr. William F. Burbank Mr. and Mrs†. William P. Carrell Mrs. Evelyn T. Cohn Mr. Thomas A Conley Mr. John B. Corso Mr. and Mrs. John F. Cunningham Ms. Marguerite Davis Ms. Gayle A. DeMersseman Dr. and Mrs. Christopher Doane Mr. Daniel L. Dues Rev. John G. Eifler Mr. and Mrs. William L. Ellison, Jr. Dr. Vilma Fabre Dr. and Mrs. Eugene Fletcher Randall L. and Virginia †Fox Mr. and Mrs. Vincenzo Gabriele Dr. Karen Abrams and Dr. Jeffrey Glazer Mrs. Toni Goldman Ms. Mary Louise Gorman Mr. Bert Greenwell Ms. June Hampe Mr. and Mrs. Ken Handmaker Mrs. Carol Hartlage Mr. John Huber David Sickbert and Thomas Hurd Jean M. and Kenneth S. Johnson Mr. and Mrs. Kim Mr. and Mrs. Louis F. Korb Mr. and Mrs. Allan Latts Thomas and Judith Lawson Mr. Thomas Lewis Mr. and Mrs. John P. Malloy Drs. Eugene and Lynn Gant March

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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 Matching Gifts Mr. and Mrs. Charles W. Hebel, Jr. Hardscuffle, Inc. for Dr. Carl E. Langenhop Hon. Jerry Abrams Mrs. Philip Lanier Hardscuffle, Inc. for Mr. and Mrs.† Warwick Dudley Ms. Nana Lampton Musson Kindred Healthcare for Dr. Naomi Oliphant Mr. William Altman Mr. Paul R. Paletti, Jr. ExxonMobil Foundation for Mr. and Mrs. Gary M. Russell Mr. David E. Mueller Rev. Edward W. Schadt The Humana Foundation for Mr. Thomas Turley Noland, Jr. Rev. Gordon A. and and Vivian Ruth Sawyer Carolyn Seiffertt Dr. Peter Tanguay and Foundation Partners Margaret Fife Tanguay Adolf and Sarah van der Walde Rose Mary Rommell Toebbe and Isreal Rosenbloum Fund Dr. and Mrs. Richard S. Wolf Arthur K. Smith Family Anonymous Foundation Caroline Christian Foundation †Denotes deceased Community Foundation of Louisville Cralle Foundation, Inc. Forecastle Foundation, Inc. Gardner Foundation, Inc. General Dillman Rash Fund Gheens Foundation Gilbert Foundation Habdank Foundation Hearst Foundation Horseshoe Foundation of Floyd County Irvin F. and Alice S. Estcorn Foundation Jefferson County Public Education Foundation Klein Family Foundation Lawrence Family Foundation Louis T. Roth Foundation, Inc. Lyndon and Helen Schmid Charitable Foundation Maxine and Stuart Frankel Foundation for Art Mildred V Horn Foundation

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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. Andrew Fleischman † Dr. Steven Epstein Mrs. Kendra Foster † Mrs. Ritu Furlan † Mr. Bert Griffin Mrs. Paula Harshaw

Mrs. Carol Hebel †∞ Ms. Wendy Hyland Mrs. Ingrid Johnson Mr. Scott Justice Mr. Brian Kane Dr. Virginia Keeney ∞ Mrs. Beth Keyes Mr. Lee Kirkwood Mr. Don Kohler, Jr. Mrs. Bella Portaro-Kueber Mrs. Karen Lawrence Ms. Clara Markham † Mr. Guy Montgomery Mrs. Mona Newell † Ms. Donna Parkes Mr. Timothy L. Peace † Mr. R. Ryan Rogers

Mr. Alex Rorke Mr. Bruce J. Roth † Mr. Michael D. Rudd 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. Mona Newell, President Marguerite Rowland, Vice President Membership Liz Rorke, Vice President Education

Executive Officers Carolyn Marlowe, Recording Winona Shiprek, Anne Tipton, Paula Secretary Harshaw, co-chairs—Vice President Hospitality Sue Bench, Corresponding Secretary Randi Austin, Vice President Ann Decker, Treasurer Communications Rita Bell, Parliamentarian Michele Oberst, Vice-President Carol Hebel, President’s Appointment Ways & Means

Board of Deanna Heleringer Sara Huggins Peg Irvin Jeanne James Marcia Murphy

Markie Baxter June Allen Creek Helen Davis Janet Falk Margie Harbst

Directors Nancy Naxera Dottie Nix Roycelea Scott Ruth Scully Mollie Smith

Suzanne Spencer Harriet Treitz Carol Whayne Suzanne Whayne

UpTempo STEERING COMMITTEE Staci Campton, President Colin Blake, Past-President Derek Miles, Treasurer Frank Austin, Secretary Neil Curtis Kathleen Elliot

Brian Goodwin Nathaniel Gravely Ben Moore Jonathan Mueller Thomas Neirynck Khoa Nguyan

Michael Oldiges Colin Triplett Lauren Songer Evan Vicic

LOUISVILLE ORCHESTRA STAFF Robert Massey, Chief Executive Officer Carla Givan Motes, Director of Patron Services & Ticket Operations Claire Friday, Interim General Manager Tonya McSorley, Chief Financial Officer Edward W. Schadt, Interim Director of Development 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 Adrienne Hinkebein, Personnel Manager Nathaniel Koch, Executive Assistant Taylor Morgan, Development Associate

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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T h e a t r e S e r v i c es 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. 30

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