CSO Handel's Messiah - program 12-2-22

Happy Holidays!

It truly is the most wonderful time of the year — especially at the Charlotte Symphony! Our programs are full of holiday cheer this season, and we’re so glad that you and your family are joining us for the festivities.

For so many, this is a time for family and togetherness, faith and generosity. As I look back on the past year, I’m humbled by the generous spirit of our patrons and supporters, and I’m proud of how much the CSO has accomplished! We celebrated the Symphony’s 90th birthday, launching new learning and community engagement initiatives including a third youth orchestra — the Charlotte Symphony Youth Ensemble — and performed for tens of thousands of friends and neighbors.

It’s always a joy to welcome Conductor Laureate & Music Adviser Christopher Warren-Green back to Charlotte, and I’m especially excited that we are presenting his world-renowned interpretation of Handel’s Messiah with the Charlotte Master Chorale. We’ll also welcome visitors from the North Pole to light up the stage at Holiday Pops, and experience aweinspiring acrobatics alongside musical holiday favorites at Cirque de Noël.

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Thank you for making the Charlotte Symphony part of your family tradition this year. We wish you and yours a wonderful holiday season.

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David

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Friday, December 2, 2022 at 7:30 p.m. Saturday, December 3, 2022 at 7:30 p.m. Sunday, December 4, 2022 at 3 p.m.

GEORGE FRIDERIC HANDEL (1685-1759)

Messiah, hwv 56 Part I: The Advent of the Messiah Part II: The Passion of the Christ Part III: His Resurrection

INTERMISSION

These performances present an abridged version of MESSIAH. You may find a detailed listing of the concert order on the following pages.

concert duration: approximately 2 hours. There will be one 20-minute intermission.

Organ courtesy of Dr. Murray Somerville.

Knight Theater at Levine Center for the Arts

Christopher Warren-Green, conductor Nicole Cabell, soprano Barbara Rearick, mezzo-soprano Aaron Crouch, tenor Daniel Okulitch, bass-baritone Charlotte Master Chorale Kenney Potter, director

Texts

Music

Part I:

The Advent

of the

Messiah

instrumental: Sinfony (Overture) tenor recit. & air: Comfort, ye my people Ev’ry valley shall be exalted chorus: And the Glory of the Lord bass recitative: Thus saith the Lord alto air: But who may abide the day of His coming? chorus: And He shall purify alto recitative: Behold, a Virgin shall conceive alto air & chorus: O thou, that tellest good tidings to Zion bass recit. & air: For behold, darkness shall cover the earth The people that walked in darkness chorus: For unto us a Child is born instrumental: Pifa (Pastorale) soprano recit: There were shepherds abiding in the field And lo, the angel of the Lord And the angel said unto them soprano & chorus: And suddenly there was with the angel chorus: Glory to God in the highest soprano air: Rejoice greatly, O daughter of Zion! alto recitative: Then shall the eyes of the blind be opened alto & soprano duet: He shall feed His flock like a shepherd Come unto Him, all ye that labor chorus: His yoke is easy

INTERMISSION

by George Frideric Handel (1685-1759)

selected from Scripture by Charles Jennens (1700-1773)

Part II: The Passion of the Christ

chorus: Behold the Lamb of God alto air: He was despised and rejected of men chorus: Surely He has borne our griefs chorus: And with His stripes we are healed chorus: All we like sheep have gone astray tenor recitative: All they that see Him, laugh Him to scorn chorus: He trusted in God tenor recit. & air: Thy rebuke hath broken His heart Behold, and see if there be any sorrow soprano recit: He was cut off out of the land of the living tenor air: But Thou didst not leave His soul in hell chorus: Lift up your heads, O ye gates chorus: The Lord gave the Word soprano air: How beautiful are the feet chorus: Their sound is gone out into all lands bass air: Why do the nations so furiously rage together? chorus: Let us break their bonds asunder tenor recit. & air: He that dwelleth in heaven Thou shalt break them with a rod of iron chorus: Hallelujah Part III: His Resurrection soprano air: I know that my Redeemer liveth chorus: Since by man came death bass recit. & air: Behold, I tell you a mystery The trumpet shall sound chorus: Worthy Is the Lamb that was slain chorus: Blessing and honor chorus: Amen

Following twelve years as Music Director of the Charlotte Symphony, Christopher Warren-Green now serves as Conductor Laureate and Artistic Adviser. Maestro WarrenGreen is also Music Director and Principal Conductor of London Chamber Orchestra in the UK and Chair of the Foundation for Young Musicians.

Over the last 50 years Maestro Warren-Green has conducted eminent orchestras around the world. In North America he has conducted the Philadelphia Orchestra, Minnesota Orchestra, Detroit, Houston, St Louis, Toronto, Milwaukee, Seattle and Vancouver symphony orchestras, and Washington’s National Symphony Orchestra. In the UK, he has worked with the Philharmonia, London Philharmonic, Royal Liverpool Philharmonic and Royal Scottish National orchestras.

During the 2022–23 season, Maestro Warren-Green returns to Charlotte to celebrate the 75th anniversary of the Charlotte Chapter of the American Guild of Organists with Saint-Saëns’s breathtaking Organ Symphony, featuring Paul Jacobs as soloist. In December Warren-Green leads the Charlotte Symphony in his world-renowned interpretation of Handel’s Messiah.

In addition to his international commitments, he has been invited to conduct at the wedding services of TRH The Prince of Wales and The Duchess of Cornwall at St. George’s Chapel, Windsor, in 2005, TRH The Duke and Duchess of Cambridge at Westminster Abbey in 2011 and the Duke and Duchess of Sussex at St George’s Chapel, Windsor, in 2018. He conducted the London Chamber Orchestra on the occasion of Queen Elizabeth II’s 80th birthday and the Philharmonia Orchestra for Her Majesty’s 90th birthday concert at Theatre Royal, Drury Lane, as well as King Charles III’s 60th birthday concert in Buckingham Palace.

Christopher Warren-Green conductor laureate & music adviser

A violinist by training, Warren-Green began his career at the age of 19 as concertmaster of the BBC National Orchestra of Wales, followed by the Philharmonia Orchestra and the Academy of St Martin in the Fields. He is a Fellow of the Royal Academy of Music, having been a Professor there for eight years, and has appeared and presented numerous times on television and radio, most notably for the BBC Proms. He has recorded extensively for Sony, Philips, Virgin EMI, Chandos, Decca and Deutsche Grammophon, and records with the London Chamber Orchestra for Signum Classics.

Nicole Cabell, the 2005 Winner of the BBC Singer of the World Competition in Cardiff and Decca recording artist, is one of the most sought-after lyric sopranos of today. Her solo debut album, Soprano was named “Editor’s Choice” by Gramophone and has received an incredible amount of critical acclaim and several prestigious awards, including the 2007 Georg Solti Orphée d’Or from the French Académie du Disque Lyrique.

This season Ms. Cabell returns the BBC Proms for a concert of George Walker’s Lilacs, before performing the Countess in Le nozze di Figaro with the Pittsburgh Opera. Further opera performances will include Bess in Porgy and Bess with Opera Carolina and North Carolina Opera and concerts of Clara in the same opera with the NDR and Alan Gilbert at the Elbphilharmonie in Hamburg. In concert, Ms. Cabell will sing Messiah with the Seattle Symphony, Vaughan-Williams’ Sea Symphony with the Atlanta Symphony and Mahler’s Symphony No. 2 with the Rochester Philharmonic. Future projects include a debut with the Royal Swedish Opera.

Nicole Cabell’s past season included a triumphant return to the San Francisco Opera in her role debut as Fiordiligi in Così fan tutte, performances in London and on tour in the United States with the London Symphony Orchestra and Simon Rattle performing George Walker’s Lilacs, a solo recital with Cincinnati’s Matinee Musicale and concerts of Barber’s Knoxville, Summer of 1915 and Mahler’s 4th Symphony with the Tucson Symphony, Handel’s Messiah with the Philadelphia Orchestra and with the Apollo Chorus of Chicago on the occasion of their 150th anniversary, Beethoven’s Symphony No. 9 with the Cincinnati May Festival and Brahms’ Ein Deutsches Requiem with the Buffalo Philharmonic. In the summer she joined the Boston Symphony Orchestra and Andris Nelsons for Barber’s Knoxville, Summer of 1915 and for Donna Elvira in Don Giovanni before going to the Grand Teton Music Festival for Mimi in La bohème with Donald Runnicles.

Nicole Cabell

soprano

American mezzo-soprano Barbara Rearick has been lauded by Opera News for her “tonal beauty” and Gramophone for her “charm and finesse.” Since her Carnegie Hall debut in Handel’s Messiah, she has performed internationally with such orchestras as the Houston, Indianapolis, Buffalo and Baltimore Symphonies, and City of Birmingham Symphony Orchestra. Recent successes include Handel’s Messiah with the Wichita Symphony; de Falla’s El amor brujo and Copland’s Old American Songs with the Southwest Florida Symphony; performances with the Chicago Symphony Orchestra in their MusicNow series; Verdi’s Requiem with the Fort Wayne Philharmonic and Huntsville Symphony; Beethoven’s Symphony No. 9 with the Bozeman, Colorado, Syracuse, and Wichita symphonies; Mahler’s Symphony No. 8 with the Canterbury Choral Society; Mozart’s Coronation Mass at the Spoleto Festival USA; Messiah with the symphonies of Baltimore, Buffalo, Indianapolis, Memphis, Nashville, Orange County and Syracuse; Mozart’s Requiem with Symphoria (Syracuse, NY); Mendelssohn’s Elijah with the South Dakota Symphony; Bach’s Magnificat and St. Matthew Passion with Voices of Ascension; Bach’s St. John Passion with the Bach Festival Society of Winter Park, and Orquesta Sinfónica Nacional de Costa Rica; and Mahler’s Rückert Lieder at Princeton University. She has performed in Bach’s St. John Passion, under Kent Tritle in Musica Sacra at Lincoln Center, and at London’s Wigmore Hall, singing three songs written for her by Sir Richard Rodney Bennett, with the composer accompanying her at the piano.

Barbara Rearick has appeared on BBC World Service Radio, New York City’s WQXR, and National Public Radio and has recorded for Naxos, Gateway Classics, and ASV. Born in Pennsylvania, she serves on the voice faculty at Princeton University and is a founding member of the Britten-Pears Ensemble, a chamber group specializing in rarely heard contemporary works.

Barbara Rearick

mezzo-soprano

tenor

An artist and activist, American tenor, Aaron Crouch has been described by the Huffington Post as “riveting vocally and as an actor.” Originally from Bowie, Maryland, he is a graduate of the prestigious Curtis Institute of Music in Philadelphia. During the 2022/23 season, Mr. Crouch will debut with Opera Philadelphia in the role of Gondolier in their new production of Otello. Additionally, he will reprise the role of The Son in Jeanine Tesori and Tazewell Thompson’s award-winning opera, Blue, for his long awaited debut at Washington National Opera. He will also appear as Lindoro in Tulsa Opera’s production of L’Italiana in Algeri as well as Conte Almaviva in Il barbiere di Siviglia with Florentine Opera. This season will also include performances with Opera America, Carnegie Hall, Parlando, & the Charlotte Symphony. Most recently, Mr. Crouch thrilled audiences with his performance as Candide with The May Festival. He was also seen as Don Ramiro in La Cenerentola with Tri-Cities Opera and The Son in Blue with Pittsburgh Opera. This year, Mr. Crouch received 2nd prize at The Cooper-Bing Vocal Competition in Ohio. In 2020, he was a winner in the Metropolitan Opera National Council Auditions at the Michigan District. He was also chosen as one of nine finalists for the Houston Grand Opera’s Concert of Arias, the 33rd Annual Eleanor McCollum Competition for Young Singers in February 2021. Mr. Crouch has been a soloist with the New World Symphony for their Ravel Journey Concert. He also performed in an all- Bernstein concert with the Philharmonic of Southern New Jersey for Bernstein’s centennial in 2019. In past summers, Mr. Crouch has attended the Glimmerglass Festival, performing the role of The Son in Blue, Giuseppe in La traviata, and Tamino in Kelly Rourke’s storybook adaptation of The Magic Flute.

Aaron Crouch

Daniel Okulitch

bass-baritone

Canadian bass-baritone Daniel Okulitch is a frequent interpreter of the principal Mozart roles of Don Giovanni, Count Almaviva, Figaro and Leporello, at companies including Los Angeles Opera, Santa Fe Opera and Dallas Opera. His current season features house debuts at the Bolshoi Theatre in Moscow as Don Giovanni, and with Opernhaus Zürich in Le nozze di Figaro. Other highlights of recent seasons include debuts at Teatro alla Scala in Britten’s A Midsummer Night’s Dream, at Washington National Opera in Peter Grimes and at Grand Théâtre de Genève in Charpentier’s Médée.

Showcasing an innate connection to the music of our time, Okulitch has created several principal characters, most notably Ennis del Mar in Charles Wuorinen’s Brokeback Mountain at Teatro Real Madrid, Seth Brundle in Howard Shore’s The Fly at Théâtre de Châtelet and Los Angeles Opera, Mark Rutland in Nico Muhly’s Marnie at English National Opera and LBJ in David T Little’s JFK at Fort Worth Opera and Opéra de Montréal. Further contemporary appearances include General Groves in John Adams’ Doctor Atomic, Joseph De Rocher in Jake Heggie’s Dead Man Walking and in Kevin Puts’ Silent Night. He recently made a role debut as The Protector in George Benjamin’s Written on Skin at Opéra de Montréal, Benjamin’s Lessons of Love and Violence at Gran Teatre del Liceu in Barcelona. Last season, Daniel joined the Houston Symphony Orchestra for Handel’s Messiah led by Bernard Labadie, Indianapolis Symphony Orchestra for Beethoven’s Symphony No. 9, Vaughan-Williams’ Dona Nobis Pacem with the Charlotte Symphony under Christopher Warren-Green, and South Dakota Symphony for Bach’s St. Matthew Passion. Okulitch’s career first garnered national attention as Schaunard in the original cast of Baz Luhrmann’s Tony Award-winning Broadway production of La bohème. His first solo recording, The New American Art Song, was released on GPR Records in 2011 and he can further be heard in Chausson’s Le Roi Arthus with the BBC Symphony Orchestra, Thomas Pasatieri’s Frau Margot, and David DiChiera’s Cyrano de Bergerac.

FIRST VIOLINS

SECOND VIOLINS

HORNS

TIMPANI

PERCUSSION

HARP

TRUMPETS

TROMBONES

ARTISTIC OPERATIONS

Byron Johns, Principal The Mr. & Mrs. William H. Van Every Chair Andrew Fierova Robert Rydel Richard Goldfaden Philip Brindise†

Alex Wilborn, Principal The Betty J. Livingstone Chair Jonathan Kaplan Gabriel Slesinger, Associate Principal The Marcus T. Hickman Chair

John Bartlett, Principal Thomas Burge

BASS TROMBONE Scott Hartman, Principal

TUBA Colin Benton, Principal The Governor James G. Martin Chair

Jacob Lipham, Principal The Robert Haywood Morrison Chair

Brice Burton, Principal

Andrea Mumm Trammell, Principal The Dr. Billy Graham Chair

roster lists the full-time members of the Charlotte Symphony. The number and seating of musicians onstage varies depending on the piece being performed.

Non-revolving position

Alternates between first and second violins

Acting member of the Charlotte Symphony

Funded by The Symphony Guild of Charlotte, Inc.

On leave

Carrie Graham, Director of Artistic Planning

Tim Pappas, Acting Director of Operations Nixon Bustos, Principal Music Librarian Bradley Geneser, Assistant Librarian Erin Eady, Interim Personnel Manager John Jarrell, Stage Manager

The Charlotte Symphony is a proud member of the League of American Ochestras.

VICTOR WANG

Principal Flute

Member of CSO since 2016 hometown: Rochester, NY

FUN FACTS

• I’m a sucker for a good board game.

• I have a Bachelor of Sciences in molecular, cellular, and developmental biology from Yale University.

• My Chinese name (Wang Yi Jie) was the inspiration for my legal American name (Victor), as the characters in my Chinese name relate to perseverance and success.

For more information about Charlotte Symphony musicians, visit charlottesymphony.org

One of the premier music organizations in the Southeastern United States and the oldest operating symphony orchestra in the Carolinas, the Charlotte Symphony Orchestra (CSO) connects with more than 100,000 music lovers each year through its lively season of concerts, broadcasts, community events, and robust educational programs. The CSO is committed to its mission of uplifting, entertaining, and educating the diverse communities of Charlotte-Mecklenburg and beyond through exceptional music experiences.

The Charlotte Symphony upholds the highest artistic integrity and takes bold steps to engage with its community through music. Its 62 professional, full-time time musicians perform throughout the region — from community parks and breweries, to places of worship and senior care centers — and offer significant educational support, aimed at serving the underresourced areas of our community.

The Charlotte Symphony is deeply committed to the notion that music, accessible to all and experienced in its many forms, enriches and unifies our community. The CSO believes in equity and inclusion and strives to be an industry leader in imaginative, relevant programming by intentionally seeking out women conductors, underrepresented in our industry, and conductors, composers, and guest artists of color.

Founded in 1932, the Charlotte Symphony plays a leading cultural role in the Charlotte area and aims to serve the community as a civic leader, reflecting and uniting our region through the transformative power of live music.

OUR MISSION

The Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

OUR

VISION

Reaching out through the transformative power of live music, the Charlotte Symphony will be a civic leader, reflecting and uniting our region.

For more information, visit us online at charlottesymphony.org

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PROGRAM NOTES by Ken Metzer

GEORGE FRIDERIC HANDEL

born: February 23, 1685 in Halle, Germany died: April 14, 1759 in London, UK

Messiah hwv 56 (1741)

premiere: April 13, 1742 in Dublin, Ireland

The creation of George Frideric Handel’s most beloved work, Messiah, took place during a challenging period in the composer’s life. The steady decline in London of the popularity of Italian opera had caused Handel tremendous financial hardship. In addition, Handel’s rigorous work schedule had taken a profound toll on the composer’s health. By the summer of 1741, a period of lethargy had set in. It was at this point that Handel received a libretto for a new work, an oratorio based upon the birth, life, crucifixion, and resurrection of Jesus Christ. The author of the libretto was Charles Jennens (1700-1773), who collaborated with Handel on several oratorios.

In July of 1741, Jennens wrote to a friend: Handel says he will do nothing next Winter, but I hope I shall persuade him to set another Scripture Collection I have made for him, & perform it for his own Benefit in Passion Week. I hope he will lay out his whole Genius & Skill upon it, that the Composition may excel all his former Compositions, as the Subject excels every other subject. The Subject is Messiah.

A portrait of Charles Jennens by Thomas Hudson from around 1740; now in the Handel House Museum.

PROGRAM NOTES

Handel began composition of Messiah on August 22, 1741. There seems to be no question that the libretto, based upon the Old and New Testaments, proved to be a source of majestic inspiration. Handel, working at a lightning pace, composed Messiah in just 24 days.

Once Handel completed Messiah, he focused his attention upon Samson, another oratorio inspired by the Bible. It was during this period that Handel accepted an invitation to travel to Dublin for a series of concerts in aid of charity.

In November, Handel set sail for Dublin, bringing with him several works for performance at the charity concerts. Among those works was Messiah.

The premiere of Messiah took place at Dublin’s New Music Hall in Fishamble Street on April 13, 1742. Three days prior to the performance, the Dublin Journal printed the following admonition:

Many Ladies and Gentlemen who are well-wishers to this Noble and Grand Charity for which this Oratorio was composed, request it as a Favour, that the Ladies who honour this Performance with their Presence would be pleased to come without Hoops, as it will greatly increase the Charity, by making room for more company.

Gentlemen were also requested to refrain from bringing their swords to the performance, again for the purpose of increasing the audience capacity.

The first page of the concluding chorus, "Worthy is the Lamb," from Handel’s original manuscript. (British Library, London)

PROGRAM NOTES

The performance was a tremendous success. As the Dublin Journal reported:

(T)he best Judges allowed (Messiah) to be the most finished piece of music. Words are wanting to express the exquisite Delight it afforded to the admiring crowded audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear. It is but justice to Mr. Handel, that the World should know, he generously gave the Money arising from this Grand Performance, to be equally shared by the Society for relieving Prisoners, the Charitable Infirmary, the Mercer’s Hospital, for which they will ever gratefully remember his Name…

The London premiere of Messiah, which took place at Covent Garden on March 23, 1743, was more problematic. It appears that the London public accorded Handel’s Messiah a mixed reception. However, at least according to one observer, those in attendance—including one very prominent member of the audience—were particularly moved by a portion of the oratorio. This resulted in the birth of a tradition that continues to this day: “When the chorus struck up ‘for the Lord God Omnipotent’ (in the ‘Hallelujah’ Chorus), they were so transported that they all together, with the King (who happened to be present), started up and remained standing till the chorus ended.”

In May of 1750, Handel agreed to present Messiah as a benefit for London’s Foundling Hospital. The performance venue of the Hospital’s Chapel, coupled with the worthy cause, removed any possible objections. Charity concerts of Messiah became a yearly tradition at the Foundling Hospital.

The chapel of London’s Foundling Hospital, the venue for regular charity performances of Messiah from 1750.

On April 6, 1759, Handel made his final public appearance, conducting a London performance of Messiah. On April 13, Handel died at the age of 74. The funeral, held in Westminster Abbey, attracted an estimated 3,000 mourners. Three years later, the great church unveiled a monument to Handel, created by the French sculptor, Louis François Roubiliac. The monument depicts Handel, holding the score of Messiah. Overhead, an angel plays a lyre. The score is opened to the soprano solo that serves to begin the oratorio’s Third Part: “I know that my redeemer liveth, and that He shall stand at the latter day upon the earth.”

Life-sized statue by Louis-François Roubiliac above Handel's grave at Poet’s Corner in the South Transept of Westminster Abbey, sculpted 1762. (Image © 2021 Dean & Chapter of Westminster)

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William R. Rollins

Mrs. Gail C. Salmon

Dr. Stephen P. Schultz & Donna Dutton

Jane Perry Shoemaker

Katy & Raleigh Shoemaker

Michael Silverman

Molly & Conrad Sloan

Scott Smith

Murray & Hazel Somerville

Ken Spielfogel & Richard Withem Al & Alice Sudduth

Adam & Sienne Taylor

Mr. & Mrs. James Traylor

Sarah S. Tull

Mrs. William K. Van Allen

Mr. & Mrs. Michael Van Glish

Bill & Rita Vandiver

Dr. & Mrs. Bill Chu & Jin Wang

Pam & Steve West

Peter White

David Wilcox

Ms. Judith Wood

Mrs. Anne Yudell $500

Anonymous

Michael & Lee Abbott

Doug & Lynda Abel

Mark Abrams & Iris Prandi

Mr. Lester Ackerman & Mr. Layton Campbell

Larry Anderson

Leigh & Rhonda Armistead

Mrs. Natascha A. Bechtler

Bob & Cathy Becker

Dr. John L. Bennett & Mr. Eric T. Johnson Mr. James Biddlecome Jeffrey Boghosian

David Bower & Ann Richardson

Ms. Marianne Bragg James Broadstone

Aram & Scott Bryan

Mr. Charles Budd Greg & Mary Lou Cagle Barbara F. Caine Ms. Lisa Callen

Maggie Callen

Hobart B. Cheyne

Ms. Michele T. Classe

Mr. Thomas E. Collins, Jr. Dr. & Mrs. Charles E. Cook Mr. Kilian Cooley

Mr. & Mrs. Alpo F. Crane Ellen M. Crowley Rufus Dalton

Dr. Roy E. DeMeo, Jr. & Ms. Linda A. Evanko Thomas & Kris Duffy

Virginia Dulaney Ms. Helen Edwards

Rebecca Elliott Martin Ericson, Jr. Dr. & Mrs. J. Murray Fadial Doug Faris Tom & Gail Fennimore

Lawrence W. Fetner, Jr. Trae & Kate Fletcher

Robert & Catherine Flynn Melisa & Frank Galasso

Dr. John & Eileen Gardella Stephen C. & Jean S. Geller Mr. & Mrs. Kodwo Ghartey-Tagoe Pete & Stacy Gherardi

Sarah Goad

Mr. Walter H. Goodwin, Esq. Dan & Linda Gordon Ms. Cynthia Greenlee

Mr. & Mrs. Raymond Groth Ms. Tara Harris Mr. & Mrs. Lowrance Harry Mr. Charles Haughey

Mr. & Mrs. Michael D. Heafner Mr. Stefan Heinzelmann

Logan & Jennifer Henderson

Mr. James Howell & Mrs. Deanna Kelly

Ben & Christy Hume

Pete & Phyllis Johnson

Michael & Priscilla Johnson

Tim & Kathryn Johnson E. Joann Jones

Joseph & Patty Kahle

Eugene & Alice Merrill Kavadlo Steven & Mary Kesselman

Nancy H. Kiser

Theodore & Dorothy Kramer

Jonathan Lamb

$500 $999 (continued)

Christopher James Lees

Mr. Michael Lewandowski

Mr. George Linfors

Lucinda Nisbet Lucas

Mr. Calin Lupanu

Dr. & Mrs. William W. MacDonald

Francis & Paula Martin

Tom & Sandy Meckley

Mr. & Mrs. Kiran H. Mehta

Roy H. Michaux

Eric Miller

Tim Black & Debbie Miller

Anne & Brad Mitchell

Sallie & Joe Moody

Tom & Sally Moore

Gary & Fran Morrison

In Memory of Patricia Nims

Sara & Tom Nolan

Nancy Olah & Bill Pace

Pamela Pearson & Charles Peach

Gwen Peterson & Tom Hodge

Janet & Rick Pfeiffer

Catherine Philpott

Mr. John H. Pickett

Dr. & Mrs. R. Pinkney Rankin, Jr. Haywood & Sabine Rankin

Jane & Milburn Ratteree

Casey Rentch

Robert & Christine Rydel

John Schroeder, in honor of Patty McArthur

Mr. Andrew Silliker

Dr. & Mrs. Henry L. Smith II

Rebecca & Eric Smith

John-Palmer Smith

Julia J. Souther

Mr. & Mrs. Larry Stern

Kathryn Stewart

Sam & Martha Stowe

Wesley & Claudia Sturges

George & Brenda Sweet

Ms. Sarah Teague

Nancy & Dick Thigpen

Ms. Catherine E. Thompson

& Mr. Martin Hunter

Tim Timson

Jenny & Ken Tolson

James & Melanie Twyne

Greg & Sandy Vlahos

Lyman Welton

Barnet & Harriet Weinstock

Dr. Thomas H. White

Mr. & Mrs. John A. Yakob

Ms. Barbara Yarbrough

Dan & Susan Yardley

Dr. & Mrs. T. Price Zimmermann

$250 – $499

Anonymous (2)

Andrew & Karen Antoszyk

Judi Bainbridge

Dr. & Mrs. Michael J. Bell

Mortimer & Josephine Cohen Fund

Mr. & Mrs. Alexander Bierce

Stuart Blackmon

Lawton & Janette Blandford

Megan Blankemeyer List Mr. Nicholas Bonevac Steve Bost

David H. & Barbara J. Burns

Robert & Jo Anne Caruso

Mary Case Rev. Janice Chalaron

Amanda & Kevin Chheda Ms. Catherine Choudary Ms. Dorothy Cole Ron & Shirley Coffman

Tom Covington

Mr. Todd Croy Leeda Currin

Mr. Michael Curtis Rennie Cuthbertson

Virginia A. Davis

Doug & Diane Doak Mike Dyer

John Alday & Rebecca Fant

James C. Fort

Chakana Fowler

Jerry Fox

Toni Freeman

Richard & Karen Fuentes

Harvey & Cindy Gantt

Donna Gibson Craig & Myra Green

Mr. & Mrs. William Griesmyer

Spencer Guthery

John & Mary Habit

Elizabeth Hage

Mr. Christopher Harris

Roger K. Hill

Barbara Holt

Ms. Kelli Hopp-Michlosky

Dr. & Mrs. Alexander Horowitz

James Horton & Kathy Reardon

Karin & Robert Hudson

Betty Hunter

Cynthia B. Irby

Margot Kaiser

Mr. H.G. Karn & Mrs. Sandra Washburn

Madhu Katta

Judy & Ron Kaufman

John J. Kelly, Jr. Carolyn Wells Kibler

John & Ardis Koch

Mrs. S. Lacy

Ms. Wendy Laxton

Steven Light

John J. Locke

Skip & Ginny Long

Dr. & Mrs. Thomas T. Long III

Bruce & Leigh Marsh

Ms. Rosemarie Marshall & Mr. Lee Wilkins

Theodore & Katherine Martinez

Ed & Wendy Matthews

Steve & Tammy Matula

Jill Maxwell

Kim & Alan Maxwell

Ms. Judy Mayo

James & Stephanie McGarvey

Kimberly Moore-Wright

Dr. & Mrs. Michael E. Norman

Dimitris & Jennifer Papageorgiou

Cookie & Jerry Parnell

Rose & Bailey Patrick

Bradley & Sharon Patterson

Mr. Conrad Puckett

Emily & Brian Reinicker

Dr. Livia Robicsek

Mr. & Mrs. Albert E. Rodgers

Nancy Rutledge & Jim Rutledge

Sarah E. Schoedinger

Eileen Scholl

Dr. & Mrs. Marvin Shapiro

Ginny Shaw

Carol Smith

James & Ellie Stephens

Larry Stratemeyer

Brenda Gail Summers

Carrie & Jeffrey Teixeira

Melissa M. Tolin

Patti Tracey & Chris Hudson

Ms. Nancy Tretsch

Sarah & Tim Turner

Minyan Wang

Jenny & Henry Ward

Ms. Leslie Webster

Mr. Erik Weghorst

Mr. & Mrs. Richard J. Wertheimer

Mrs. Carol Wilson

Allen & Clara Wolfe

Karen & Charles Wolff

GOVERNMENT

FOUNDATION

Anonymous (3) Geraldine I. Anderson† Richard & Ruth Ault Baldwin Family Trust Barnhardt Thomas Trust Larry & Joyce† Bennett Donald H. & Barbara K. Bernstein Mark & Louise Bernstein† Twig & Barbara Branch Saul Brenner Mike & Joan Brown† Mrs. Joan Bruns † Jan & Bob Busch Dr. Helen G. Cappleman, Ph.D.† Jim Cochran† Robin Cochran Charles & Peggy Dickerson Mr. Martin Ericson, Jr. Dr. & Mrs.† Jerry H. Greenhoot Peter & Ann Guild William G. & Marguerite K. Huey Fund† Dr. Nish Jamgotch, Jr.

Betty & Stanley Livingstone† Nellie McCrory † M. Marie Mitchell† Cricket Weston & David Molinaro Joan & Richard Morgan Don C. Niehus Eva Nove Richard J. Osborne Gwen Peterson & Tom Hodge James Y. Preston† Mrs. Clayton (Dusty) Pritchett Ann & Fritz Rehkopf Elizabeth Waring Reinhard Nancy W. Rutledge Mike Rutledge Harriet Seabrook Mr. & Mrs. William Seifert Morris & Patricia Spearman Bob & Maxine Stein Dr. Ben C. Taylor III Mr. & Mrs. Hans Teich Cordelia G. Thompson Tim Timson

Anthony Parnther, conductor Cirque de la Symphonie

BOARD OF TRUSTEES

Christopher James Lees, conductor Charlotte Master Chorale