Program Book - Civic & Ryan Opera Center

Page 1

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

by

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.

6

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

CSO.ORG 7 COMMENTS

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.

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

8
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.

CSO.ORG 9 COMMENTS

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.

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.

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.

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.

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

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.