The Chicago Symphony Orchestra Association gratefully acknowledges the Patrons Circle for the Civic Orchestra and Ryan Opera Center collaboration for its generous support:
Lori Julian for the Julian Family Foundation
Nancy Dehmlow
Fred and Phoebe Boelter
Mr. Philip Lumpkin
Liisa Thomas and Stephen Pratt
Dora J. and R. John Aalbregtse
Ms. Pamela Crutchfield
Charles and Carol Emmons
David and Janet Fox
Merle Jacob
Judy and Scott McCue
Susan Norvich
Julian Oettinger
Steve and Megan Shebik
Larry Simpson, in memory of Edward T. Zasadil
Ms. Cynthia Vahlkamp and Mr. Robert Kenyon
The Negaunee Music Institute Board
2
ONE HUNDRED FIFTH SEASON
CIVIC ORCHESTRA OF CHICAGO
KEN-DAVID MASUR Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor Chair
Monday, June 3, 2024, at 7:30
Roberto Kalb Conductor
Members of The Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago
Adia Evans Soprano
Gemma Nha Soprano
Emily Richter Soprano
Lucy Baker Mezzo-Soprano
Sophia Maekawa Mezzo-Soprano
Daniel Espinal Tenor
Travon D. Walker Tenor
Sankara Harouna Baritone
Ian Rucker Baritone
Christopher Humbert, Jr. Bass-Baritone
Finn Sagal Bass-Baritone
MOZART Overture to The Marriage of Figaro, K. 492
MOZART Selections from Act 2 of The Marriage of Figaro, K. 492
Countess Almaviva ...................................................................... Emily Richter
Cherubino ............................................................................. Sophia Maekawa
Susanna ........................................................................................ Gemma Nha
Count Almaviva ................................................................................ Ian Rucker
Figaro ........................................................................ Christopher Humbert, Jr.
Antonio ............................................................................................ Finn Sagal
Marcellina ........................................................................................Lucy Baker
Don Basilio ............................................................................. Travon D. Walker
Dr. Bartolo ............................................................................. Sankara Harouna
Narrators................................................................ Adia Evans, Daniel Espinal
INTERMISSION
CSO.ORG 3
The 2023–24 Civic Orchestra season is generously sponsored by
Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program.
4
WAGNER Prelude to Tristan and Isolde
PUCCINI Excerpt from Act 3 of La Bohème
Mimì ................................................................................................ Adia Evans
Sergeant .......................................................................................... Finn Sagal
Officer.............................................................................................. Ian Rucker
Marcello ................................................................................
Sankara Harouna
Rodolfo ......................................................................................
Daniel Espinal
Musetta ........................................................................................ Gemma Nha
VERDI Tarantella from The Lady and the Fool Suite (arr. Mackerras)
OFFENBACH Oui, Général . . . Dites-lui qu’on l’a remarqué distingué from La Grande-Duchesse de Gérolstein
Lucy Baker
Travon D. Walker
OFFENBACH En très bon ordre nous partîmes from La GrandeDuchesse de Gérolstein
Travon D. Walker
RODGERS It’s a Grand Night for Singing from State Fair (arr. Bennett)
Finn Sagal and Tutti Ensemble
Stage direction by Marinette Gomez, assisted by Gemma DeCetra
The 2023–24 Civic Orchestra season is generously sponsored by Lori Julian for the Julian Family Foundation, which also provides major funding for the Civic Fellowship program.
This performance is generously sponsored by Lori Julian for the Julian Family Foundation, Nancy Dehmlow, the Negaunee Music Institute Board, and the Patrons’ Circle for the Civic Orchestra and Ryan Opera Center collaboration.
This project is supported in part by the National Endowment for the Arts.
The Civic Orchestra of Chicago acknowledges support from the Illinois Arts Council.
CSO.ORG 5
COMMENTS
by
Phillip Huscher and Richard E. Rodda
WOLFGANG MOZART
Born January 27, 1756; Salzburg, Austria
Died December 5, 1791; Vienna, Austria
Overture to The Marriage of Figaro, K. 492
COMPOSED
manuscript dated April 29, 1786
On November 11, 1785, Leopold Mozart complained that he had scarcely heard from his son Wolfgang: “He is up to his eyes in work on his opera The Marriage of Figaro,” he wrote. Lorenzo Da Ponte, Wolfgang’s librettist, later recalled the whirlwind pace of their collaboration: “As fast as I wrote the words, Mozart set them to music. In six weeks, everything was in order.” That is no doubt sheer exaggeration—by a man often given to overstatement—but much of the four-act comic opera apparently was composed between October 16, when Mozart finished his great piano quartet in G minor, and December 1.
The overture to The Marriage of Figaro was left till the very last moment, as was Mozart’s custom. The manuscript is dated April 29, 1786, the same day he entered the work in his personal catalog of compositions. By then, the orchestral parts for the opera had been copied and rehearsals had started. Figaro opened on May 1 at the
Burgtheater in Vienna, with the composer conducting from the keyboard. It was well received there, and after it was given in Prague that December, Mozart enjoyed a popularity seldom known to composers during their lifetimes. “Here they talk about nothing but Figaro,” he wrote when he visited Prague in January. “Nothing is played, sung, or whistled but Figaro. No opera is drawing like Figaro. Nothing, nothing but Figaro.”
The overture is a perfect curtain raiser. It crackles with excitement and is full of promise. The combination of frantic music and a hushed tempo suggests intrigue and conspiracy from the start; the warm glow of horns and winds assures us that this is, above all, a comedy. The pace is unrelentingly fast (we now know that Mozart tore up a page of slower music he intended as a contrasting middle section), but there is, nevertheless, an undercurrent of complexity. Mozart knew only too well that the human heart is animated by complicated attachments and great expectations.
—Phillip Huscher
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WOLFGANG MOZART
Selections from Act 2 of The Marriage of Figaro, K. 492
The Marriage of Figaro continues the story of Beaumarchais told by Rossini in The Barber of Seville, in which the titular Figaro, the local jack-of-all-trades, helps to foil the plan of Doctor Bartolo to wed his own ward, Rosina, so the young Count Almaviva can have the girl as his bride. In appreciation, the count hires Figaro as his personal valet. The Marriage of Figaro takes place several years after the Almavivas’ marriage, by which time the count has tired of his wife and frequently exercised his droit de seigneur, the feudal right that allowed the lord of the manor to take his pleasure with any female tenant of his estate. Rosina, now Countess Almaviva, longs for her husband’s lost affection. The opera opens on the wedding day of Figaro and his fiancée, Susanna, the countess’s maid.
Act 2 is set in the countess’s boudoir. Alone, she grieves over her husband’s lost love. Susanna enters, followed soon by Figaro, who reveals a plan intended both to chastise the count for his unseemly behavior toward Susanna
and to distract him so that the marriage can proceed as planned. He has sent an anonymous note to the count claiming (falsely) that the countess is to meet a lover in the garden that evening. Further, the count has been led to believe (also falsely) that Susanna will keep an assignation with him. Cherubino, not yet departed for his military service, is to be disguised as Susanna. Figaro goes off, and Cherubino enters, eager to share his latest love song with the ladies. He agrees to Figaro’s charade, and Susanna starts to help him undress. When she goes to fetch a garment, the count is heard knocking loudly at the door. Cherubino dives into a dressing room, and the countess nervously admits her husband. A sound from the closet prompts him to accuse her of concealing a lover there. She tells him that it is only Susanna, but her refusal to unlock the dressing room further enflames his jealousy. He angrily departs to get tools to pry the door open, taking the countess with him.
Susanna has returned unnoticed to the boudoir during their exchange, and she immediately surmises what has happened. She releases Cherubino, who escapes by jumping from a window
opposite page: Wolfgang Mozart, silverpoint portrait by Dora Stock (1760–1832), taken during a visit to Dresden in 1789 | this page: Wolfgang Mozart, portrait by Joseph Lange (1751–1831), 1782, brotherin-law of the composer. Mozart Museum Salzburg | next page: Richard Wagner, portrait by Pierre Petit (1831–1909) and Antoine René Trinquart (1814–1871), Paris, 1860
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into the garden below, and she takes his place in the dressing room. When the count and countess return, the countess confesses that it is indeed Cherubino in the dressing room, and in a disheveled state, at that. The count advances with his sword drawn, and both he and his wife are astonished when Susanna demurely steps out of the inner chamber. The count, baffled, mumbles an apology to his wife, who uneasily passes the incident off as a test of his faith in her. Figaro arrives, announcing that it is time for the wedding to begin. The count questions him about the unsigned note that he has received, but the valet denies any knowledge of it. Suddenly, Antonio appears, furious that someone has vaulted into his prized carnations. Figaro claims that it was
RICHARD WAGNER
Born May 22, 1813; Leipzig, Germany
Died February 13, 1883; Venice, Italy
he who jumped from the room, saying that he was conferring with Susanna and became confused by the count’s clamorous entry. Antonio then hands over some papers that the man dropped upon landing, which the count grabs and discovers to be Cherubino’s commission. Figaro cleverly explains that he was taking the commission to have the required official seal affixed to it. The riotous confusion of act 2 reaches its peak when Marcellina, Bartolo, and Basilio storm in, boisterously claiming that Figaro must cancel his wedding to Susanna and instead marry Marcellina to settle her claim. The count says that he will judge the matter in due course.
—Richard Rodda
Prelude to Tristan and Isolde
COMPOSED 1857–59
On January 25, 1860, in Paris, Richard Wagner conducted a concert of his own music, including the prelude to Tristan and Isolde, for an audience that contained Berlioz, Meyerbeer, Gounod, and the poet Baudelaire, who often is said to have
launched modern literature just as his contemporary Richard Wagner set the stage for modern music with the first notes of Tristan and Isolde.
Baudelaire was captivated by Wagner’s music that evening and wrote to the composer “of being engulfed, overcome, [with] a really voluptuous sensual pleasure, like rising into the air or being rocked on the sea.” The press, on the other hand, had a field day ridiculing music that was obviously well
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COMMENTS
beyond their understanding, and even Berlioz, whose perception and brilliance as a critic nearly rivaled his vision and genius as a composer, had to admit that he could make no sense whatever of the prelude.
The Paris concert, like those in Zurich in 1853, and others still to come in Vienna, Munich, and London, was devised to raise money and consciousness—to further the Wagner cause. Wagner willingly played not only the overtures and preludes to his operas, but also salient excerpts (without voices) from the music dramas themselves in order to pay his bills. Even as late as 1877—Wagner was sixty-four years old and famous beyond measure for Tristan and his new Ring cycle—he agreed to conduct eight entire evenings of fragments from his operas, recognizing that even musical gods can be forced to file Chapter Eleven.
The performance history of the prelude to Tristan and Isolde in concert is older than the opera itself. The prelude was first performed in Prague in March 1859—more than six years before the premiere of the opera— under the baton of Hans von Bülow, who had already dedicated much of his talent and energy to Wagner and would soon donate his wife Cosima as well. Wagner also conducted the prelude, along with the music that would become its regular concert companion, the Liebestod—the final scene of the opera—before the Munich premiere. (Theodore Thomas conducted the first U.S. performance of the Prelude and Liebestod—or finale, as
it was called then—on February 10, 1866, in New York.)
Never before, and arguably not since, have so few pages of music had such impact. As a measure of their force, consider that even a fellow pioneer such as Berlioz, whose own Symphonie fantastique had unsettled the musical world thirty years earlier, could not come to terms with this daring and unconventional work. Berlioz wrote of “. . . a slow piece, beginning pianissimo, rising gradually to fortissimo, and then subsiding into the quiet of the opening, with no other theme than a sort of chromatic moan, but full of dissonances.”
His words are as unfeeling, cautious, and noncommittal as those of a critic writing today about tough and unusual new music. In 1860, Tristan and Isolde, of course, was tough and unusual new music, and although it has lost its shock appeal in the past one-hundredand-fifty-plus years, it still carries an emotional force virtually unmatched in music. Berlioz was right to point out the chromaticism and dissonance, for Wagner’s treatment of both was startlingly new. The now-famous “Tristan chord”—the first harmony in the prelude—with its heartrending unresolved dissonance, instantly opened new harmonic horizons for composers, not as an isolated event—similar chords can be found in Mozart, Liszt, and even in music by Bülow—but in the way it unlocks a web of harmonic tensions that will not, in the complete opera, be resolved for hours.
—Phillip Huscher
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COMMENTS GIACOMO PUCCINI
Born December 22, 1858; Lucca, Italy
Died November 29, 1924; Brussels, Belgium
Excerpt from Act 3 of La Bohème
COMPOSED 1893–96
Even before the successful premiere of Manon Lescaut in 1893 had rocketed Puccini to international operatic prominence, he had begun searching for his next libretto. He toyed with the curious notion of writing an opera on the life of the Buddha (Richard Wagner once entertained the same idea) and seriously considered a bloodthirsty and rather lascivious drama titled La lupa (The SheWolf) by Giovanni Verga (one of whose short stories had provided the subject for Mascagni’s Cavalleria Rusticana of 1890), but abandoned those plans in favor of a libretto based on Henri Mürger’s novel Scènes de la vie de Bohème, originally published in installments in the Parisian journal Le Corsair between 1847 and 1849 (Le Corsair printed Hector Berlioz’s first music criticisms), and Théodore Barrière’s 1849 stage adaptation of the book as La vie de Bohème. Puccini’s librettists, the learned Giuseppe Giacosa and the mercurial Luigi Illica (who had written the libretto for Manon Lescaut and would later do those for Tosca and Madama Butterfly),
above: Studio portrait of Puccini. Studio Bertieri, Turin
set to work, but they encountered stiff problems from the demanding composer (“To work for Puccini means to go through a living hell,” complained Illica) as well as from the varied and episodic construction of Mürger’s book—the first draft had twenty acts. Puccini’s working method required extensive and time-consuming alterations to the libretto before he was ready to set it to music, and Giacosa and Illica could not get final approval from him for their libretto until the summer of 1894. Puccini, busy traveling to oversee productions of his operas, took the next eighteen months to complete the music.
The premiere of La Bohème, conducted in Turin on February 1, 1896, by the twenty-nine-year-old Arturo Toscanini, was greeted with cool indifference by the audience and sharp disappointment by the press, but a performance in Palermo in April 1897 won unbridled approval. It was staged at Covent Garden, London, in July 1900 and at the Metropolitan Opera in New York seven months later and quickly thereafter became one of the most beloved of all operas.
La Bohème is set in the Latin Quarter in Paris in the 1830s. In Act 1, the four bohemian artists of the opera’s
10
title—poet Rodolfo, painter Marcello, musician Schaunard, and philosopher Colline—are living in cheerful poverty in a scantily furnished, unheated garret. It is Christmas Eve. Schaunard bursts in with the news that he has earned some money giving lessons and invites his companions to dine with him at Café Momus. When Rodolfo stays behind to finish a poem, he meets the seamstress Mimì from upstairs by chance. They are immediately attracted to each other, and Rodolfo invites Mimì to accompany him to Café Momus.
Act 2 is set in a bustling, brightly lit square in the Latin Quarter. Hawkers, soldiers, students, and merrymakers fill the scene. Schaunard is haggling with a man over a horn; Colline is buying a coat; Marcello is ogling the girls. The three take their table at the Café Momus, where they are joined by Rodolfo and Mimì, who is carrying a pink bonnet that the poet has bought for her. The toy vendor Parpignol enters, followed by a crowd of excited children. As the clamor dies down, Musetta, Marcello’s old flame, arrives at the Momus, followed by her current patron, the pompous Alcindoro. Failing to attract Marcello’s attention, she breaks into her famous waltz, “Quando me’n vo’ ” (When I walk out alone along the streets, all the people stop and stare). She sees that Marcello is unable to remain indifferent to her and pretends to Alcindoro that her shoe is hurting her, sending him off in search of a cobbler. Marcello and Musetta embrace and join the other bohemians. The waiter brings the check, which Musetta instructs be
added to Alcindoro’s bill. A military platoon passes by, and the bohemians join the parade. Alcindoro returns with a new pair of shoes only to find Musetta flown and two large bills awaiting payment.
Act 3 is set just inside the Porte d’Enfer, a toll gate in Paris, on a bleak February morning. Voices are heard from an adjacent tavern, where Marcello and his girlfriend, Musetta, have found work and rooms. Mimì enters, pale and agitated, and asks for Marcello to be brought to her. She tells him that Rodolfo is madly jealous and that she fears they must part—they quarreled the previous evening, and he fled. Marcello agrees that parting may be for the best, telling Mimì that her lover spent the night with him at the tavern. Rodolfo awakens and comes out to Marcello; Mimì hides behind a tree. Mimì overhears Rodolfo tell Marcello that she is heartless and a coquette, but he then confesses that his real anxiety is caused by Mimì’s illness, which he can do nothing to help in his squalid flat. He fears that she will die. At the height of his outburst, Mimì’s coughing and sobs reveal her presence, and the lovers fall into each other’s arms. Musetta’s laughter from the inn sends Marcello into a rage, and he runs inside, leaving Mimì and Rodolfo alone. They agree to stay together until spring in a tender duet punctuated by the quarrel between Marcello and Musetta. “We shall part when the flowers bloom again,” sing the lovers. “I wish winter would last forever,” says Mimì.
—Richard Rodda
CSO.ORG 11 COMMENTS
COMMENTS GIUSEPPE VERDI
Born October 10, 1813; Le Roncole, Italy
Died January 27, 1901; Milan, Italy
Tarantella from The Lady and the Fool Suite (Arranged by Sir Charles Mackerras)
ARRANGED 1954
One of the greatest successes of conductor Sir Charles Mackerras’s long association with Sadler’s Wells Opera and Ballet in England was his 1951 arrangement of a selection of movements from the comic operettas of Gilbert and Sullivan as the score for a ballet titled Pineapple Poll, created with choreographer John Cranko. Three years later, Mackerras and Cranko collaborated on a sequel for the Sadler’s Wells Ballet based on excerpts from some lesser-known operas of Giuseppe Verdi. The Lady and the Fool was premiered in
Oxford in March 1954, first performed in London on March 31, and revived occasionally in England and Europe; Mackerras recorded both Pineapple Poll and The Lady and the Fool with the London Philharmonic the following year. The plot of The Lady and the Fool, original with the choreographer, opens with the arrival of the elegant and beautifully attired La Capricciosa, who dances to the whirling strains of a tarantella from I Due Foscari (1844, Verdi’s sixth opera). The ballet’s unusual title refers to the clown who has entertained the guests and become the partner La Capricciosa favors for the evening over several more elegant suitors.
—Richard Rodda
12
JACQUES OFFENBACH
Born June 20, 1819; Cologne, Prussia (Germany)
Died October 5, 1880; Paris, France
Oui, Général . . . Dites-lui qu’on l’a remarqué distingué from La Grande-Duchesse de Gérolstein
En très bon ordre nous partîmes from La GrandeDuchesse de Gérolstein
After an irreverent skewering of the ancient gods in Orpheus in the Underworld in 1858, a farcical sendup of the legendary story of Helen of Troy in La belle Hélène in 1864, and a riotous contemporary tale of subterfuge, dalliance, gullibility, inebriation, and escapade in La vie parisienne (Parisian Life) in 1866, Jacques Offenbach furthered his reputation as the foremost farceur of the French musical stage with La Grande-Duchesse de Gérolstein in 1867, whose satire was directed at unthinking militarism and a charming but spoiled and impulsive young noblewoman. The operetta was introduced at the Théâtre des Variétés in Paris on April 12, 1867, to coincide with the opening of the Paris Exposition, a marketing strategy that drew large audiences from the throngs in town to attend the great international event,
including such luminaries as Emperor Napoleon III, the future King Edward VII of the United Kingdom, Tsar Alexander II of Russia, Emperor Franz Joseph of Austria-Hungary, and Prime Minister Otto von Bismarck of Prussia, who, tongue in cheek, pronounced Offenbach’s military satire, C’est tout-à-fait ça! (That’s exactly how it is!). The operetta is set in 1720 in the fictitious European kingdom of Gérolstein. The headstrong, twenty-year-old grand duchess is discontentedly betrothed to the dandyish Prince Paul and takes special interest in a particularly handsome and strapping young soldier named Fritz, whom she observes during her review of the royal troops. When he is brought to her, Fritz declares that his driving passions are his love for his sweetheart, Wanda, and his hatred of his commander, General Boum. The duchess, smitten with the rather simpleminded private, immediately promotes him to corporal, then rapidly to sergeant, lieutenant, and captain,
opposite page: Giuseppe Verdi, portrait by André Adolphe-Eugène Disdéri (1810–1890), 1855. Paris, France | this page: Jacques Offenbach, photographed by Nadar (Gaspard-Félix Tournachon, 1820–1910)
CSO.ORG 13 COMMENTS
and by the end of Act 1, makes him a general and the army’s commander-in-chief. During intermission, Fritz and his troops are sent off to battle, and the Act 2 curtain goes up on his triumphant return home. In the mock-march aria “En très bon ordre nous partîmes” (All in good order, banners high!), Fritz explains his novel strategy for victory— incapacitating the enemy by firing thousands of bottles of inebriating wine at them from the field pieces.
In appreciation and with growing affection, the duchess praises Fritz before the court and rewards him with a sumptuous apartment in the palace. After she has dismissed everyone but Fritz, the duchess sings suggestively of someone nearby who loves him, but the young soldier, typically slow on the
uptake, can only think of his sweetheart Wanda (“Oui, Général . . . Diteslui qu’on l’a remarqué distingué”—Yes, General . . . Say to Him). When she discovers that Fritz is planning to marry Wanda, the furious duchess plots to have him assassinated on his wedding day. She relents on her sanguinary plan, however, when she begins an affair with the courtier Baron Grog, but that liaison, too, is scuttled when she learns that he already has a wife and three children. With Fritz marrying Wanda and the Baron safely at home, the grand duchess figures that the best she can do for a spouse is Prince Paul (remember Prince Paul?), and all are properly paired by the final curtain.
—Richard Rodda
14 COMMENTS
RICHARD RODGERS
Born June 28, 1902; Hammels Station, Long Island, New York Died December 30, 1979; New York City
It’s a Grand Night for Singing from State Fair (Arranged by Robert Russell Bennett)
PREMIERED 1945
Rodgers and Hammerstein became indissolubly associated with the spirit of the American plains following the sensational opening of Oklahoma! at the St. James Theatre on March 31, 1943, and 20th Century Fox Director Walter Lang thought they would be the perfect team to bring Philip Stong’s 1932 novel State Fair to the screen as a film musical. Hammerstein wrote the screenplay (as he did the books for all of his collaborations with Rodgers except The Sound of Music) for an appealing cast headed by Jeanne Crain, Dana Andrews, Dick Haymes, and Vivian Blaine and provided the lyrics for the score’s six songs. The film, a heartwarming tale about the Frake family’s visit to the Iowa State Fair, opened on August 30, 1945, just two weeks after the Japanese surrender ended World War II, and matched well
the country’s buoyant mood—New York Daily News critic Kate Cameron reported that “the audience literally floats out of the theater on the strains of Rodgers’s music.”
“That’s for Me,” “It’s a Grand Night for Singing,” and “It Might As Well Be Spring” became hits, and “It Might As Well Be Spring” won an Oscar for Rodgers and Hammerstein in their only Hollywood venture together. The film was adapted as a Broadway musical in 1962, with additional music by Rodgers and Hammerstein and choreography by Tommy Tune, and received nominations for Tony and Drama Desk Awards.
—Richard Rodda
above: Richard Rodgers at the St. James Theatre, 1948
Phillip Huscher is the program annotator for the Chicago Symphony Orchestra.
Richard E. Rodda, a former faculty member at Case Western Reserve University and the Cleveland Institute of Music, provides program notes for many American orchestras, concert series, and festivals.
CSO.ORG 15 COMMENTS
Roberto Kalb Conductor
Mexican-born conductor Roberto Kalb is the recently appointed music director of Detroit Opera. He made multiple debuts in the 2022–23 season, including the San Francisco and San Diego operas, and Lyric Opera of Kansas City.
The 2023–24 season includes further debuts with the Santa Fe Opera conducting L’elisir d’amore, Atlanta Opera, where he conducts Rigoletto, and Kansas City Symphony. In Detroit, Kalb makes his inaugural debut as music director conducting The Cunning Little Vixen. He will also conduct an Arias and Overtures Gala in Detroit, returning to Lyric Opera of Kansas City to conduct Cavalleria Rusticana and Pagliacci. Another highlight from the 2022–23 season was leading a Ryan Opera Center performance at Lyric Opera of Chicago.
In 2019 Kalb concluded his fiveseason tenure as resident conductor and head of music at Opera Theatre of Saint Louis with a critically acclaimed run of Rigoletto in collaboration with the Saint Louis Symphony Orchestra.
Roberto Kalb has an impressive repertoire of performances with various renowned opera companies, including the Opéra Orchestre National Montpellier, Florida Grand Opera, Kentucky Opera, Opera Theatre of Saint Louis, Detroit Opera, Wolf Trap Opera, Opera Maine, and Tulsa
Opera. Additionally, he has conducted performances with the Orquesta Carlos Chavez in Mexico City and the Orquestra Sinfônica da USP in São Paulo. Kalb’s experience also extends to his previous work as a cover and assistant conductor for the Detroit Symphony Orchestra and the Canadian Opera Company in Toronto, as well as performances with the National Symphony, St. Louis Symphony, San Diego Symphony, and Louisville Orchestra.
In 2021 he was awarded the prestigious Solti Foundation U.S. Career Assistance Award. He holds degrees from the University of Michigan and the San Francisco Conservatory of Music. He is married to soprano Mané Galoyan.
About the Ryan Opera Center
The Patrick G. and Shirley W. Ryan Opera Center is Lyric Opera of Chicago’s preeminent artist-development program that nurtures the talents of some of the most promising operatic artists of each generation. The upcoming 2024–25 season marks the Ryan Opera Center’s fiftieth anniversary. The program’s Ensemble members earn their coveted spot by successfully auditioning among more than 500 artists worldwide, and its alumni are among the dominant names in opera today. Donor generosity ensures continued unparalleled training, performance experience, and professional readiness of Ensemble members. This highly competitive program, established in
16
PROFILES
PHOTO BY SIMON PAULY
1974, is honored to enjoy the support of acclaimed soprano Renée Fleming as Advisor at Large, along with full-time staff members Director Dan Novak, Music Director Craig Terry, and Director of Vocal Studies Julia Faulkner.
Civic Orchestra of Chicago
Founded in 1919 by Frederick Stock, second music director of the Chicago Symphony Orchestra (CSO), the Civic Orchestra of Chicago prepares emerging professional musicians for lives in music. Civic members participate in rigorous orchestral training, September through June each season, with the Robert Kohl and Clark Pellett Principal Conductor Ken-David Masur, musicians of the CSO, and some of today’s most luminary conductors, including Riccardo Muti, the CSO’s music director emeritus for life.
The importance of the Civic Orchestra’s role in Greater Chicago is underscored by its commitment to present concerts of the highest quality at no charge to the public. In addition to the critically acclaimed live concerts at Symphony Center, Civic Orchestra performances can be heard locally on WFMT (98.7 FM).
Civic musicians also expand their creative, professional, and artistic boundaries and reach diverse audiences through educational performances at Chicago Public Schools and a series of chamber concerts at various locations throughout the city, including Chicago Park District fieldhouses and the National Museum of Mexican Art.
To further expand its musician training, the Civic Orchestra launched the Civic Fellowship program in the 2013–14 season. Each year, ten to fifteen Civic members are designated as Civic Fellows and participate in intensive leadership training that is designed to build and diversify their creative and professional skills.
From 2010 to 2019, Yo-Yo Ma was a leading mentor to Civic musicians and staff in his role as CSO Judson and Joyce Green Creative Consultant, and the programs and initiatives he established are integral to the Civic Orchestra curriculum today. Civic Orchestra musicians develop as exceptional orchestral players and engaged artists, cultivating their ability to succeed in the rapidly evolving world of music in the twentyfirst century.
The Civic Orchestra’s long history of presenting full orchestra performances free to the public includes annual concerts at the South Shore Cultural Center (in partnership with the South Shore Advisory Council) as well as numerous Chicago Public Schools. The Civic Orchestra is a signature program of the Negaunee Music Institute at the Chicago Symphony Orchestra, which offers a wide range of education and community programs that engage more than 200,000 people of diverse ages, incomes, and backgrounds each year in Chicago and around the world.
For more on the Civic Orchestra of Chicago and its Principal Conductor Ken-David Masur, please visit cso.org/civic.
CSO.ORG 17 PROFILES
Ryan Opera Center 2024–25 Ensemble
18 PROFILES
Adia Evans Soprano
Gemma Nha Soprano
Emily Richter Soprano
Lucy Baker Mezzo-Soprano
Sophia Maekawa Mezzo-Soprano
Daniel Espinal Tenor
Travon D. Walker Tenor
Sankara Harouna Baritone
Christopher Humbert, Jr. Bass-Baritone
Finn Sagal Bass-Baritone
Michael Banwarth Pianist
Chi-Yuan Lin Conductor
Marinette Gomez Stage Director
Gemma DeCetra Stage Manager
Ian Rucker Baritone
Civic Orchestra of Chicago
Ken-David Masur Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor Chair
VIOLINS
Sheena Lan
Polina Borisova
Darren Carter
Marian Antonette Mayuga*
Jonah Kartman
Julianne Oh
Kristian Brusubardis
Subin Shin
Heewoo Seo
Alec Tonno
Annie Pham
Justine Teo
Hojung Christina Lee
Lina Yamin*
Isabelle Chin
Joyce Chen
Janani Sivakumar
Mona Munire Mierxiati
Sean Hsi
Elise Maas
Valentina Guillen Menesello
Matthew Musachio*
J. Andrés Robuschi
Matthew Weinberg
Nelson Mendoza
Joanna Nerius
Danira Rodríguez-Purcell
Spencer Day
Carlos Chacon
Megan Pollon
VIOLAS
Jason Butler
Michael Ayala
Siyang Calvin Dai
Elena Galentas
Justin Pou
Carlos Lozano
Kelly Bartek
Phoebe Hu
Megan Yeung
Derrick Ware
Sanford Whatley
Rebecca Miller
* Civic Orchestra Fellow
** Ryan Opera Center Ensemble
CELLOS
David Caplan
Cameron Slaugh
Miles Link
Francisco Lopez Malespin*
J Holzen*
Lindsey Sharpe
Buianto Lkhasaranov
Niraj Patil
Andrew Shinn
Lize Dreyer
BASSES
Broner McCoy
James O’Toole
Hannah Novak
Daniel W. Meyer
Alexander Wallack
Tiffany Kung
Zacherie Small
Walker Dean
FLUTES
Aalia Hanif*
Jungah Yoon
Katarina Ignatovich
PICCOLO
Katarina Ignatovich
OBOES
Jonathan Kronheimer
Guillermo Ulloa
Hannah Fusco
ENGLISH HORN
Hannah Fusco
CLARINET
Elizabeth Kapitaniuk
Tyler Baillie
BASS CLARINET
Amy Hur*
BASSOONS
Seo Young (Michelle) Min
Ian Arthur Schneiderman
Nina Laube*
CONTRABASSOON
Nina Laube*
HORNS
Loren Ho
Ryan Williamson
Jacob Medina
Asunción Martínez
Mark Morris
TRUMPETS
Sean-David Whitworth
Kai-Chun Chang
Abner Wong
TROMBONES
Hugo Saavedra*
Evelyn Proffit
BASS TROMBONES
Alexander Mullins
TUBA
Nick Collins*
TIMPANI
Tomas Leivestad
PERCUSSION
Alex Chao
Sehee Park
Charley Gillette
HARP
Emily Stone
KEYBOARD
Michael Banwarth**
LIBRARIAN
Benjimen Neal
CSO.ORG 19 PROFILES
NEGAUNEE MUSIC INSTITUTE AT THE CSO
the board of the negaunee music institute
Leslie Burns Chair
Steve Shebik Vice Chair
John Aalbregtse
David Arch
James Borkman
Jacqui Cheng
Ricardo Cifuentes
Richard Colburn
Dunni Cosey Gay
Charles Emmons
Judy Feldman
Lori Julian
Toni-Marie Montgomery
Rumi Morales
Mimi Murley
Margo Oberman
Gerald Pauling
Harper Reed
Veronica Reyes
Marlon Smith
Eugene Stark
Liisa Thomas
Ex-officio Members
Jeff Alexander
Jonathan McCormick
Vanessa Moss
civic orchestra artistic leadership
Ken-David Masur Principal Conductor
The Robert Kohl and Clark Pellett Principal Conductor Chair
Coaches from the Chicago Symphony Orchestra
Robert Chen Concertmaster
The Louis C. Sudler Chair, endowed by an anonymous benefactor
Baird Dodge Principal Second Violin
Danny Lai Viola
Max Raimi Viola
John Sharp Principal Cello
The Eloise W. Martin Chair
Kenneth Olsen Assistant Principal Cello
The Adele Gidwitz Chair
Richard Hirschl Cello
Daniel Katz Cello
Brant Taylor Cello
Alexander Hanna Principal Bass
The David and Mary Winton
Green Principal Bass Chair
Stefán Ragnar Höskuldsson Principal Flute
The Erika and Dietrich M. Gross Principal Flute Chair
Emma Gerstein Flute
Jennifer Gunn Flute and Piccolo
The Dora and John Aalbregtse Piccolo Chair
William Welter Principal Oboe
The Nancy and Larry Fuller Principal Oboe Chair
Stephen Williamson Principal Clarinet
John Bruce Yeh Assistant Principal Clarinet and E-flat Clarinet
Keith Buncke Principal Bassoon
William Buchman Assistant Principal Bassoon
Mark Almond Principal Horn
Daniel Gingrich Horn
Esteban Batallán
Principal Trumpet
The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor
Mark Ridenour Assistant
Principal Trumpet
John Hagstrom Trumpet
The Bleck Family Chair
Tage Larsen Trumpet
The Pritzker Military Museum & Library Chair
Michael Mulcahy Trombone
Charles Vernon Bass Trombone
Gene Pokorny Principal Tuba
The Arnold Jacobs Principal Tuba Chair, endowed by Christine Querfeld
David Herbert Principal Timpani
The Clinton Family Fund Chair
Vadim Karpinos Assistant
Principal Timpani, Percussion
Cynthia Yeh Principal Percussion
Sarah Bullen Former Principal Harp
Mary Sauer Former Principal Keyboard
Justin Vibbard Principal Librarian
negaunee music institute at the cso
Jonathan McCormick Director, Education & the Negaunee Music Institute
Katy Clusen Associate Director, CSO for Kids
Rachael Cohen Program Manager
Antonio Padilla Denis Manager, Civic Orchestra of Chicago
Katie Eaton Coordinator, School Partnerships
Mona Wu Operations Coordinator, Civic Orchestra of Chicago
Jackson Brown Program Assistant
Carol Kelleher Assistant, CSO for Kids
Frances Atkins Content Director
Kristin Tobin Designer & Print
Production Manager
Petya Kaltchev Editor
20
HONOR ROLL OF DONORS
Negaunee Music Institute at the Chicago Symphony Orchestra
The Negaunee Music Institute
connects individuals and communities to the extraordinary musical resources of the Chicago Symphony Orchestra. The following donors are gratefully acknowledged for making a gift in support of these educational and engagement programs. To make a gift or learn more, please contact Kevin Gupana, Associate Director of Giving, Educational and Engagement Programs, 312-294-3156.
$150,000 AND ABOVE
Lori Julian for The Julian Family Foundation
The Negaunee Foundation
$100,000–$149,999
Anonymous
Allstate Insurance Company
$75,000–$99,999
The Elizabeth F. Cheney Foundation
John Hart and Carol Prins
Barbara and Barre
Seid Foundation
Megan and Steve Shebik
$50,000–$74,999
Anonymous
BMO
Robert and Joanne Crown Income Charitable Fund
Lloyd A. Fry Foundation
Judy and Scott McCue
Polk Bros. Foundation
Michael and Linda Simon
Lisa and Paul Wiggin
$35,000–$49,999
Bowman C. Lingle Trust
National Endowment for the Arts
The George L. Shields Foundation, Inc.
$25,000–$34,999
Anonymous
Abbott Fund
Carey and Brett August
Crain-Maling Foundation
Nancy Dehmlow
Kinder Morgan
Margo and Michael Oberman
Shure Charitable Trust
Gene and Jean Stark
$20,000–$24,999
Anonymous
Mary and Lionel Go
Mary Winton Green
Halasyamani/Davis Family
Illinois Arts Council
Richard P. and Susan Kiphart Family
Mr. Philip Lumpkin
PNC
D. Elizabeth Price
Charles and M. R. Shapiro Foundation
$15,000–$19,999
Nancy A. Abshire
Robert & Isabelle Bass Foundation, Inc.
The Buchanan Family Foundation
John D. and Leslie Henner Burns
Bruce and Martha Clinton for The Clinton Family Fund
Sue and Jim Colletti
The Maval Foundation
Sandra and Earl Rusnak, Jr. †
Dr. Marylou Witz
$11,500–$14,999
Barker Welfare Foundation
Mr. † & Mrs. David A. Donovan
Mrs. Carol Evans, in memory of Henry Evans
Ksenia A. and Peter Turula
$7,500–$11,499
Anonymous
Robert H. Baum and MaryBeth Kretz
Fred and Phoebe Boelter
Mr. Lawrence Corry
Mr. & Mrs. † Allan Drebin
Nancy and Bernard Dunkel
Ellen and Paul Gignilliat
Mr. & Mrs. Joseph B. Glossberg
Chet Gougis and Shelley Ochab
JPMorgan Chase & Co.
The League of the Chicago Symphony Orchestra Association
Mr. Glen Madeja and Ms. Janet Steidl
Dr. Leo and Catherine Miserendino
Ms. Susan Norvich
Ms. Emilysue Pinnell
COL (IL) Jennifer N. Pritzker, IL ARNG (Retired)
Benjamin J. Rosenthal Foundation
Ms. Courtney Shea
Ms. Liisa M. Thomas and Mr. Stephen L. Pratt
Theodore and Elisabeth Wachs
Catherine M. and Frederick H. Waddell
$4,500–$7,499
Anonymous
Dora J. and R. John Aalbregtse
Joseph Bartush
Ann and Richard Carr
Harry F. and Elaine Chaddick Foundation
Constance M. Filling and Robert D. Hevey Jr.
Dr. June Koizumi
Dr. Lynda Lane
Francine R. Manilow
Leoni Zverow McVey and Bill McVey
Jim and Ginger Meyer
Stephen and Rumi Morales
Drs. Robert and Marsha Mrtek
The Osprey Foundation
Lee Ann and Savit Pirl
Dr. Scholl Foundation
Laura and Terrence Truax
Lisa and Paul Wiggin
$3,500–$4,499
Anonymous
Arts Midwest Gig Fund
Charles H. and Bertha L. Boothroyd Foundation
Mr. & Mrs. Dwight Decker
Mr. Clinton J. Ecker and Ms. Jacqui Cheng
Judith E. Feldman
Camillo and Arlene Ghiron
Ms. Dawn E. Helwig
Ms. Ethelle Katz
Ms. Mirjana Martich and Mr. Zoran Lazarevic
Robert J. Richards and Barbara A. Richards
Mr. Peter Vale
Ms. Mary Walsh
CSO.ORG 21
$2,500–$3,499
Anonymous
David and Suzanne Arch
Mr. James Borkman
Adam Bossov
Mr. Douglas Bragan †
Mr. Ray Capitanini
Lisa Chessare
Mr. Ricardo Cifuentes
Patricia A. Clickener
Charles and Carol Emmons
William B. Hinchliff
Michael and Leigh Huston
Dr. Victoria Ingram and Dr. Paul Navin
Italian Village Restaurants
Mrs. Frank Morrissey
David † and Dolores Nelson
Mr. & Mrs. Jeffery Piper
Mr. & Mrs. Stephen Racker
Erik and Nelleke Roffelsen
Mr. David Sandfort
Gerald and Barbara Schultz
Mr. & Mrs. Thomas Scorza
Jessie Shih and Johnson Ho
Dr. & Mrs. R. Solaro
Carol S. Sonnenschein
Mr. † & Mrs. Hugo Sonnenschein
Ms. Joanne C. Tremulis
Mr. Kenneth Witkowski
Ms. Camille Zientek
$1,500–$2,499
Mr. Edward Amrein, Jr. and Mrs. Sara Jones-Amrein
Ms. Marlene Bach
Ms. Barbara Barzansky
Mr. Lawrence Belles
Mr. & Mrs. William E. Bible
Cassandra L. Book
Mr. Donald Bouseman
Ms. Danolda Brennan
Mr. Lee M. Brown and Ms. Pixie Newman
Darren Cahr
Bradley Cohn
Dr. & Mrs. Sanford Finkel, in honor of the Civic horn section
Mr. Conrad Fischer
Ms. Lola Flamm
David and Janet Fox
Ronald and Diane Hamburger
Mr. † & Mrs. Robert Heidrick
Thomas and Reseda Kalowski
Mr. & Mrs. Norman Koglin
Dona Le Blanc
Adele Mayer
Mr. Aaron Mills
Dr. Toni-Marie Montgomery
Mr. & Mrs. Robert S. Murley
Susan Rabe
Mr. Alexander Ripley
Ms. Mary Sauer
Mrs. Rebecca Schewe
Jane A. Shapiro
Mr. Larry Simpson
Mrs. Julie Stagliano
Michael and Salme Steinberg
Walter and Caroline Sueske
Charitable Trust
Ayana Tomeka
Ms. Betty Vandenbosch
Abby and Glen Weisberg
M.L. Winburn
Irene Ziaya and Paul Chaitkin
Dr. & Mrs. Larry Zollinger
$1,000–$1,499
Anonymous (4)
Duffie Adelson, in memory of Martha and Bernie Adelson
John Albrecht
Ms. Rochelle Allen
Altair Advisers LLC
Ms. Margaret Amato
Allen and Laura Ashley
Howard and Donna Bass
Daniel and Michele Becker
Paul Becker and Nancy Becker
Ann Blickensderfer
Mr. Rowland Chang
David Colburn
Dr. Edward A. Cole and Dr. Christine A. Rydel
Mr. & Mrs. Bill Cottle
Alan R. Cravitz
Ms. Pamela Crutchfield
Mr. & Mrs. Barnaby Dinges
Tom Draski
DS&P Insurance Services, Inc.
Mr. Edward and Nancy Eichelberger
Ms. Sharon Eiseman
Neil Fackler
Richard Finegold, M.D. and Ms. Rita O’Laughlin
Foxman Family Foundation
Eunice and Perry Goldberg
Enid Goubeaux
Dr. Fred Halloran
Mrs. Susan Hammond
Dr. Robert A. Harris
Mr. David Helverson
Clifford Hollander and Sharon Flynn Hollander
Holy Trinity High School
Dr. Ronald L. Hullinger
Merle Jacob
Mr. Ray Jones
Charles Katzenmeyer
Cantor Aviva Katzman and Dr. Morris Mauer
Randolph T. Kohler and Scott Gordan
The Lee Family
Ms. Foo Choo Lee
Dr. & Mrs. Stuart Levin
Mr. † & Mrs. Gerald F. Loftus
Timothy Lubenow
Sharon L. Manuel
Rosa and Peter McCullagh
Mr. & Mrs. William McNally
Robert O. Middleton
Stephen W. and Kathleen J. Miller
Geoffrey R. Morgan
Mrs. MaryLouise Morrison
Catherine Mouly and LeRoy T. Carlson, Jr.
Lewis Nashner
Ms. Sylvette Nicolini
Edward and Gayla Nieminen
Julian Oettinger
Mr. Bruce Oltman
Ms. Joan Pantsios
Kirsten Bedway and Simon Peebler
Ms. Dona Perry
James † and Sharon Phillips
Christine and Michael Pope
Quinlan & Fabish
Mr. George Quinlan
Dr. Hilda Richards
Dr. Edward Riley
Mary K. Ring
Christina Romero and Rama Kumanduri
Mr. & Mrs. Richard Rosenberg
Mr. David Samson
Peter Schauer
Mr. David M. Schiffman
Barbara and Lewis Schneider
Mr. & Mrs. Steve Schuette
Stephen A. and Marilyn Scott
Mr. Rahul and Mrs. Shobha Shah
Mr. & Mrs. James Shapiro
Dr. Rebecca Sherrick
Dr. Sabine Sobek
Ms. Adena Staben
Ms. Denise Stauder
Mrs. Pamela Stepansky
22
ROLL
HONOR
OF DONORS
Mr. & Mrs. Ronald Stepansky
Donna Stroder
Sharon Swanson
Ms. Cynthia Vahlkamp and Mr. Robert Kenyon
Dr. Douglas Vaughan
Mr. & Mrs. Richard Waxman
Mr. & Mrs. Joel Weisman
Ms. Susan Whiting
Mr. Eric Wicks and Ms. Linda Baker
Joni Williams
Jane Stroud Wright
ENDOWED FUNDS
Anonymous (3)
Cyrus H. Adams Memorial Youth Concert Fund
Dr. & Mrs. Bernard H. Adelson Fund
Marjorie Blum-Kovler Youth Concert Fund
CNA
The Davee Foundation
Frank Family Fund
Kelli Gardner Youth Education Endowment Fund
Jennifer Amler Goldstein Fund, in memory of Thomas M. Goldstein
Mary Winton Green
William Randolph Hearst Foundation Fund for Community Engagement
Richard A. Heise
Peter Paul Herbert Endowment Fund
Julian Family Foundation Fund
The Kapnick Family
Lester B. Knight Charitable Trust
The Malott Family School Concerts Fund
The Eloise W. Martin Endowed Fund in support of the Negaunee Music Institute at the Chicago Symphony Orchestra
The Negaunee Foundation
Nancy Ranney and Family and Friends
Shebik Community Engagement Programs Fund
Toyota Endowed Fund
The Wallace Foundation
Zell Family Foundation
CIVIC ORCHESTRA OF CHICAGO SCHOLARSHIPS
Members of the Civic Orchestra receive an annual stipend to help offset some of their living expenses during their training in Civic. The following donors have generously underwritten a Civic musician(s) for the 2023–24 season.
Eleven Civic members participate in the Civic Fellowship program, a rigorous artistic and professional development curriculum that supplements their membership in the full orchestra. Major funding for this program is generously provided by Lori Julian for the Julian Family Foundation
Nancy A. Abshire
Amanda Kellman, viola
Dr. & Mrs. Bernard H. Adelson Fund
Megan Yeung, viola
Sue and Jim Colletti
Nina Laube,* bassoon
Lawrence Corry
Jonah Kartman, violin
Robert and Joanne Crown
Income Charitable Fund
Charley Gillette, percussion
James Kim, oboe
Buianto Lkhasaranov, cello
Daniel W. Meyer, bass
Subin Shin, violin
Abner Wong, trumpet
Mr. † & Mrs. David A. Donovan
Jacob Medina, horn
Mr. & Mrs. Paul C. Gignilliat
Janani Sivakumar, violin
Mr. & Mrs. Joseph B. Glossberg
Hannah Novak, bass
Richard and Alice Godfrey
Matthew Weinberg, violin
Jennifer Amler Goldstein
Fund, in memory of Thomas M. Goldstein
Alex Chao, percussion
Chet Gougis and Shelley Ochab
Tomas Leivestad, timpani
Mary Winton Green
Victor Stahoviak, bass
Jane Redmond Haliday Chair
Mona Munire Mierxiati, violin
Lori Julian for the Julian Family Foundation
Nelson Mendoza, violin
Lina Yamin, violin
Lester B. Knight Charitable Trust
Valentina Guillen Menesello, violin
Elizabeth Kapitaniuk, clarinet
Elise Maas, violin
Ryan Williamson, horn
Brandon Xu, cello
League of the Chicago Symphony Orchestra Association
Lindsey Sharpe, cello
Leslie Fund Inc.
Francisco Lopez Malespin,* cello
Phil Lumpkin
Matthew Musachio,* violin
Glenn Madeja and Janet Steidl
Abigail Monroe, cello
The Maval Foundation
Mark Morris, horn
Felix Regalado, trombone
Judy and Scott McCue and the Leslie Fund Inc.
Aalia Hanif,* flute
Dr. Leo and Catherine Miserendino
Sean-David Whitworth, trumpet
Ms. Susan Norvich
Nick Collins,* tuba
Ben Poirot, tuba
CSO.ORG 23 HONOR ROLL OF DONORS
Margo and Mike Oberman
Ben Foerster,* bass
Sandra and Earl J. Rusnak, Jr. †
Quincy Erickson, trumpet
Barbara and Barre Seid Foundation
Alexander Mullins, bass trombone
Hugo Saavedra,* trombone
The George L. Shields Foundation, Inc.
Hsuan Chen, violin
Carlos Lozano, viola
Cameron Slaugh, cello
† Deceased * Civic Orchestra Fellow
Gifts listed as of May 2024
David W. and Lucille G. Stotter Chair
Ran (Ryan) Huo, violin
Ruth Miner Swislow Charitable Fund
Kimberly Bill, violin
Dr. Marylou Witz
Marian Antonette Mayuga, violin
Anonymous
Jesús Linárez, violin
Anonymous
Gabriela Lara, violin
Anonymous
Hojung Christina Lee, violin
Anonymous
J Holzen,* cello
A gift to the Civic Orchestra of Chicago supports the rigorous training that members receive throughout the season, which includes coaching from musicians of the Chicago Symphony Orchestra and world-class conductors.
Your gift today ensures that the Chicago Symphony Orchestra Association will continue to enrich, inspire and transform lives through music.
A gift to the Civic Orchestra of Chicago supports the rigorous training that members receive throughout the season, which includes coaching from musicians of the Chicago Symphony Orchestra and world-class conductors. Your gift today ensures that the Chicago Symphony Orchestra Association will continue
HONOR ROLL OF DONORS
CSO.ORG/GIVETOCIVIC 312-294-3100
to enrich, inspire and transform lives through music.
CSO.ORG/GIVETOCIVIC 312 -294 - 3100 SCAN TO GIVE
