Program Book - Civic Orchestra of Chicago: Civic & Ryan Opera Singers by Chicago Symphony Orchestra

CIVIC ORCHESTR A OF CHICAGO

& CIVIC

RYAN OPERA CENTER

JUNE 6 Johannes Debus conductor

Members of The Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago

guest artists

The 2021–22 Civic Orchestra of Chicago season is generously sponsored by

The Elizabeth F. Cheney Foundation.

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ONE HUNDRED THIRD SE ASON

CIVIC ORCHESTRA OF CHICAGO Ken-David Masur Principal Conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

Monday, June 6, 2022, at 8:00

Johannes Debus Conductor Members of The Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago Kathryn Henry Soprano Lindsey Reynolds Soprano Denis Vélez Soprano Katherine DeYoung Mezzo-Soprano Ryan Capozzo Tenor Martin Luther Clark Tenor Lunga Eric Hallam Tenor Laureano Quant Baritone Ian Rucker Baritone Ron Dukes Bass Wm. Clay Thompson Bass j. strauss, jr.

Overture to Die Fledermaus

j. strauss, jr.

Act 2 from Die Fledermaus

Rosalinda, Eisenstein’s wife (disguised as a Hungarian countess)........................ Kathryn Henry Adele, Rosalinda’s maid (disguised as an actress).................................................... Denis Vélez Ida, Adele’s sister............................................................................................ Lindsey Reynolds Orlofsky....................................................................................................... Katherine DeYoung Baron Gabriel von Eisenstein (disguised as Marquis Renard)..................................... Ian Rucker Frank, a prison governor (disguised as Chevalier Chagrin)......................... Wm. Clay Thompson Dr. Falke, a notary...............................................................................................Laureano Quant Party-goers at Orlofsky’s.................................................... Ryan Capozzo, Martin Luther Clark, Lunga Eric Hallam, Ron Dukes Stage Direction..................................................................................................... Julia Faulkner

(continued)

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kern Ol’ Man River from Show Boat (orch. Robert Russell Bennett) ron dukes romberg

Deep In My Heart from The Student Prince lindsey reynolds ryan capozzo

goldmark

Magische Töne from The Queen of Sheba lunga eric hall am

anderson

Bugler’s Holiday for Trumpet Trio and Orchestra

brodszky

Be My Love from The Toast of New Orleans (arr. Timofeev) martin luther cl ark with ensemble

j. strauss, jr.

Amid Thunder and Lightning, Polka Schnell, Op. 324

There will be no intermission.

The 2021–22 Civic Orchestra season is generously sponsored by The Elizabeth F. Cheney Foundation. The program is supported in part by awards from the National Endowment for the Arts and Illinois Arts Council Agency.

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comments by richard e. rodda johann strauss, jr.

Born October 25, 1825; Vienna, Austrian Empire Died June 3, 1899; Vienna, Austria-Hungary

Overture and Act 2 from Die Fledermaus composed 1874

Johann Strauss, Jr., was famed throughout the world for his waltzes for many years before he decided to write his first operetta. After much cajoling from his wife, Jetty, an ex-opera singer whose fortune allowed him to give up the drudgery of conducting that had worn out his father, Strauss composed Indigo und die vierzig Räuber (Indigo and the Forty Thieves) in 1871, a piece that appeared just as Jacques Offenbach’s popularity in Vienna was starting to wane. Strauss’s irresistible music made Indigo a success, as it did two years later with Der Carneval in Rom, but it was with Die Fledermaus (The Bat) that he created his first theatrical masterpiece. So taken was he with the libretto, an adaptation of a French farce by Meilhac and Halévy, Offenbach’s librettists (based in turn on a German comedy by Roderich Bendix), that he went into virtual seclusion to devote himself to the piece, often refusing food and going without sleep. Fortythree days after shutting himself into his room, he emerged with the finished score. Surprisingly, the Viennese public did not take kindly to Die Fledermaus when it was premiered on April 5, 1874. A stock-market crash the preceding year had temporarily soured the local taste for stage representations of rich, world-weary aristocrats, and it took a rousing success in Berlin for Vienna to accept the operetta, just as it had taken Parisian acclaim for the Blue Danube Waltz to achieve its fame. The story of Die Fledermaus is filled with mistaken and concealed identities, glittering balls, assignations, and an unquenchable joie de vivre, and the sparkling overture perfectly reflects this heady world of champagne, Schlag, and chambres séparées.

ct 2 is set at a masquerade ball given by Orlofsky. The guests sing of their delight at the gathering (“What a place! What a view!”), and Orlofsky welcomes them to his villa (“On Friday nights my house is packed”). Among the guests is Dr. Falke, who plans to use the party to get some revenge for a prank once played on him by his friend Baron von Eisenstein. The pair, it seems, had become inebriated at a party, Falke to the extent that he was unaware when Eisenstein dumped him from their carriage onto the side of the road on their way home. Falke slept through the night and had to walk, to the derision of all who observed the sight, to his villa in broad daylight in the costume of a bat (i.e., a Fledermaus). Unknown to Eisenstein, Falke has invited Rosalinda, the baron’s wife, and Adele, her maid, to Orlofsky’s ball. Both appear in costume, Rosalinda as a Hungarian countess, Adele as an aristocratic actress (in a gown borrowed, without permission, from the mistress’s wardrobe). Eisenstein, in the guise of “Marquis Renard,” arrives and spots the disguised Adele, whom he remarks bears a striking resemblance to his chambermaid. She laughs off his suggestion (“Marquis, my dear”). Next to arrive is Frank, the governor of the local jail, disguised as “Chevalier Chagrin,” who is unknown to Eisenstein and introduced to him as a compatriot. They try to conceal their identities by spouting nonsense French phrases to each other, a language neither speaks. The baron has unwittingly been placed in an awkward situation, it seems, since he has been sentenced to a short stay in Frank’s prison for insulting a public official, but postponed his sentence until the next morning to attend Orlofsky’s ball. Falke then introduces the mysterious “Hungarian countess”—the masked Rosalinda.

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COMMENTS

When Eisenstein, not recognizing his wife, flirts unashamedly with her, she manages to extract a prized watch from him, which she will later use as proof of his impropriety (“What a figure! So exciting”). When the guests plead with the “Countess” to unmask, she assuages their curiosity about her heritage by singing a fiery czardas (“Songs from my homeland”), a musical souvenir

of her supposed homeland. The ball reaches its high point when Orlofsky proposes a toast to “King Champagne.” Act 2 closes with an infectious waltz for the entire company, during which the clock strikes 6:00 and Eisenstein hurries off for his appointment at the jail, where he will be reunited with his new and still-unknown pal, “Chevalier Chagrin.”

johann strauss, jr.

Amid Thunder and Lightning, Polka Schnell, Op. 324 composed 1868

Amid Thunder and Lightning originated as a Schnell-Polka (fast polka) entitled Sternschnuppe (Shooting Star) written for the Hesperus Ball given by the Vienna Artists’ Association on February 16, 1868; Johann, Josef, and Eduard

Strauss took turns conducting the orchestra that evening. For the traditional “Carnival Revue” on March 1 of all the new pieces that the Strauss brothers had written for that year’s festivities (twenty in 1868), Johann revised Sternschnuppe and re-titled it Unter Donner und Blitz—Amid Thunder and Lightning.

jerome kern

Born January 27, 1885, New York City Died November 11, 1945, New York City

Ol’ Man River from Show Boat (Orchestrated by Robert Russell Bennett) composed 1927

Ever since it premiered at New York’s Ziegfeld Theatre on December 27, 1927, Show Boat, by Jerome Kern and Oscar Hammerstein II, has occupied the pinnacle of American musical theater. The story, based on Edna Ferber’s 1926 novel, takes as its principal protagonists two young women—Magnolia Hawks, daughter of Cap’t Andy Hawks, who runs the show boat Cotton Blossom, and Magnolia’s biracial friend, Julie LaVerne, in love with Steve Baker, the

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Cotton Blossom’s lead singer. When Magnolia falls in love with the riverboat gambler Gaylord Ravenal, she hurries off to ask Julie what she thinks of her new suitor. Joe, a Black laborer, enters carrying a sack of flour, sees Gaylord confronted by the local sheriff, and surmises the gambler’s shady past. Instead of seeking out Julie’s opinion, Joe mutters, she should ask “old man river what he thinks—he knows all ’bout dem boys,” and then sings of the mighty Mississippi, the timeless thread along which his life is spun, in the majestic “Ol’ Man River.”

COMMENTS

sigmund romberg

Born July 29, 1887; Nagykanizsa, Hungary Died November 9, 1951, New York City

Deep in My Heart from The Student Prince composed 1924

The Student Prince tells of Prince Karl Franz, who falls in love with a lovely barmaid, Kathie,

during his student days at Heidelberg, but must give her up to assume his duties as king. They sing of their love in the song “Deep in My Heart.”

karl goldmark

Born May 18, 1830; Veszprém, Hungary Died January 12, 1915; Vienna, Austria

Magische Töne from The Queen of Sheba composed 1866–75

The plot of Goldmark’s opera was loosely based around the visit of the Queen of Sheba to King Solomon’s court recorded in the Old Testament book of First Kings. Assad, an ambassador for Solomon, has fallen in love with a mysterious woman he met on a mission to Lebanon. Though Assad is to be married to Sulamith, daughter of the High Priest, his love for the unnamed woman is revived when he realizes that she is actually the Queen of Sheba when she arrives at

Solomon’s palace. She shares Assad’s feelings, but pretends not to recognize him at her public reception. That night, she sends her maid to lure him to her quarters with an exotic wordless vocalise. When Assad enters the queen’s chamber, he expresses his delight in the ethereal aria “Magische Töne”—magical tones. Things do not end well for him. He ruins the wedding ceremony with Sulamith the following day, and is banished by Solomon to the desert, where he meets his death.

leroy anderson

Born June 29, 1908; Cambridge, Massachusetts Died May 18, 1975; Woodbury, Connecticut

Bugler’s Holiday for Trumpet Trio and Orchestra composed 1954

Leroy Anderson was born in Cambridge, Massachusetts, on June 29, 1908, and received his undergraduate degree in music (magna cum laude, Phi Beta Kappa) from Harvard University,

where his teachers included Georges Enesco and Walter Piston. After earning his master’s degree from Harvard in 1930, Anderson taught briefly at Radcliffe College before becoming music director and arranger of the Harvard University Band in 1931. He took advantage of his university C SO.ORG/INSTITUTE

COMMENTS

affiliation to do graduate work in languages, a skill that he used during World War II, when he acted as an army translator and interpreter in Iceland. During the 1930s, Anderson was also active as an organist, conductor, composer, arranger, and double bass and tuba player in the Boston area. In 1936, George Judd, manager of the Boston Symphony, asked Anderson to make a symphonic setting of some traditional Harvard songs for the twenty-fifth reunion of Judd’s class and to conduct the number at a special performance of the Boston Pops. Arthur Fiedler, music director of the Pops, was impressed with Anderson’s work, and encouraged him to write some original compositions for the orchestra. The first of those pieces, Jazz Pizzicato, was an immediate hit when it was premiered in 1937, and Anderson was promptly appointed chief arranger and pianist for the Boston Pops, providing that

ensemble with a steady stream of delightful “concert music with a pop quality,” as he called it, for the next quarter-century. Anderson achieved wide fame for such ingenious and infectious works as Blue Tango (which sold more than a million copies in its original Fiedler/Boston Pops recording), Belle of the Ball, The Syncopated Clock, Bugler’s Holiday, Trumpeter’s Lullaby, Forgotten Dreams, Fiddle Faddle, The Typewriter, and several dozen other numbers that were instrumental in establishing the style and format of symphonic pops concerts across the country, and continue to be staples of the repertory. In addition to his orchestral works, Anderson created the score for the 1958 Broadway musical Goldilocks. Anderson composed Bugler’s Holiday in 1954 to show off the trumpet section of the Boston Pops, which premiered the piece at its Memorial Day concert that year.

nicholas brodszky

Born April 20, 1905; Odessa, Ukraine Died December 24, 1958; London, England

Be My Love from The Toast of New Orleans (Arranged by Alexander Timofeev)

composed 1950

Nicholas Brodszky, born in Odessa, Ukraine, in 1905, studied in Budapest, Rome, and Vienna, and scored his first success with the Hungarian operetta A Runaway Girl in 1929. Brodszky solidified his reputation by producing stage works for Budapest and Vienna, and in 1936, he was lured to London by impresario C.B. Cochran with the promise of writing a new musical. Plans for the musical foundered, but Brodszky did supply the music for Cochran’s 1937 revue Home and Beauty, which he followed with a busy period of scoring English films. In 1949, Brodszky moved to Hollywood, where he continued his film career by writing the music for The Toast of New Orleans (1950); Rich, Young, and Pretty (1951,

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including “Wonder Why”); Because You’re Mine (1952); Small Town Girl (1953); Latin Lovers (1953); The Flame and the Flesh (1954); Love Me or Leave Me (1955, “I’ll Never Stop Loving You”); Serenade (1956); and The Opposite Sex (1956). Brodszky died in London on Christmas Eve, 1958. The Toast of New Orleans, the story of a bayou villager who rises to stardom in the New Orleans opera, was a star vehicle created by MGM for the young Mario Lanza. The film’s soaring hit tune, “Be My Love,” with music by Brodszky and lyrics by Sammy Cahn, was nominated for an Academy Award and became Lanza’s theme song. 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.

texts and translations Act 2 from Die Fledermaus Music by Johann Strauss, Jr. English translation by Kristine McIntyre A great salon and garden in the Villa Orlofsky, brilliantly lit.

CHORUS What a place! What a view! You can see the city shining. With a band and fine dining There is just so much to do. Have you had a glass of pink champagne? It’s coming from that fountain there And you’ve gotta try the latest thing Let’s dance the Charleston Dance all night until it’s light Everyone Charleston so much fun, etc.! How time flies when you’re having fun The show has hardly just begun Orlofsky’s orders to the staff: Make me laugh, entertain me, etc.

They’ll tell you that it’s true. Orlofsky has a saying: chacun à son gout. Around the town, they often say Orlofsky’s the bee’s knees So come and drink the night away We always aim to please. The girls are hot The vodka’s cold The champagne is on ice. You like to have your fun I’m told But rarely pay the price.

How time flies when you’re having fun Time to dance, time to sing More champagne, the night is young, etc.

Yes, Riley’s life its own reward Right up until you fall But as for me, I’m always bored I’ve seen and done it all. And if you ask around you They’ll tell you that it’s true. Orlofsky has a saying: chacun à son gout.

***

ORLOFSKY

On Friday nights my house is packed This is the place to be. Orlofsky’s known for endless tact So be who you will be.

May I have your attention My friends you’ll want to see.

The gents come here to drink my wine And find some company. The gals come here to drink and dine Footloose and fancy free. Whatever happens here stays here I have no rules but one I absolutely insist That all my guests have fun. And if you ask around you (Please turn the page quietly.)

FALKE Such drama! Such invention!

CHORUS What’s up? What can it be?

ORLOFSKY Look at this lovely lady That Frenchman thought she was . . . No, it’s just too funny! Thought she was . . .

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TEXTS AND TRANSLATIONS

FALKE

ALL

Try to guess.

It’s so funny, ha ha ha! You’re amusing, ha ha ha, etc.

ADELE He thinks I look just like his maid. I bet she’s underpaid!

ADELE

ALL

Just take a look, surely I’m no cook But a woman of breeding and style From my button nose To my gorgeous toes And million dollar smile.

Ha ha ha ha! He says that you’re a maid. Ha ha ha ha, etc.

ORLOFSKY Monsieur, I thought that very rude. How much have you been drinking? Yes, that was rude!

FALKE Yes, very rude!

ALL How very rude!

How funny a marquis can be! Ah!

Could I be at home in this dress If my job was cleaning your mess, ah. You see he’s barely walking It’s just the champagne talking Or is it an affair? He sees her everywhere? He’s having an affair, he sees her everywhere! His housemaid’s set his heart on fire He’s burning up with his desire.

I wasn’t trying to be crude, Don’t know what I was thinking!

It’s so funny, ha ha ha! You’re amusing, ha ha ha! Got me laughing, ha ha ha! No excusing, ha ha ha!

ADELE

ALL

Marquis, my dear, it’s very clear You should apologize. Don’t you dare assume Nor should you presume But learn to use your eyes!

It’s so funny, ha ha ha! You’re amusing, ha ha ha, etc.

These hands don’t do dishes, you know These feet don’t run errands below, ah. My background isn’t shady I speak just like a lady. What housemaid have you seen Who could act like a queen? Instead of causing problems here Just say you’re sorry, Marquis, my dear.

EISENSTEIN

It’s so funny, ha ha ha! You’re amusing, ha ha ha! Got me laughing, ha ha ha! No excusing, ha ha ha!

10 ONE HUNDRED THIRD SEASON

***

What a figure! So exciting And her lips are so inviting. Nothing missing Made for kissing So I’ll see how far I can get Even though we have just met!

TEXTS AND TRANSLATIONS

ROSALINDA

EISENSTEIN

Oh he thinks he’s quite the lover Casanova under cover But he’ll be no Valentino I know how the game is played I’ll enjoy the masquerade.

At seduction I’m the master She’s in love, soon she’ll give in.

EISENSTEIN You’re so lovely, so entrancing As pretty as can be Cheek to cheek we could be dancing Take your mask off just for me.

ROSALINDA Oh my dear, Marquis, you schemer I’m ashamed you’d even ask! Don’t imagine it, you dreamer, I’d remove this little mask. Thinks he’s winning How he’s grinning But it’s only the beginning Soon he’ll blow it, doesn’t know it Can’t imagine I’m his wife Let him try it, he’ll deny it In the end no one will buy it I’ll make damn sure It’s the worst night of his life!

ROSALINDA Oh my heart is really racing All these feelings are so new. Use your watch to count my heartbeats Listen here you’ll see it’s true.

EISENSTEIN That’s the perfect thing to do!

ROSALINDA Count and hear it tick for you! Ah, just for you, yes, it’s true Yes, it’s the perfect thing to do.

EISENSTEIN I hope it’s true. Yes, it’s true. Yes, it’s the perfect thing to do. One, two, three, four . . .

ROSALINDA Five, six, seven, nine . . .

EISENSTEIN No, that isn’t right. It’s five, six, seven, then it’s eight.

EISENSTEIN

ROSALINDA

Now I’m winning Her head’s spinning She’s beginning to give in No one screams There’s not strife Here without my wife Yes, I’ll try it Hope she’ll buy it There won’t be strife Please just don’t tell my wife It’s the best night of my life!

What can I say, I couldn’t wait! Let’s switch positions.

ROSALINDA

EISENSTEIN

Now my heart is beating faster And the room’s started to spin.

And now we’ll see.

(Please turn the page quietly.)

EISENSTEIN Switch them how?

ROSALINDA We have to go back to the start. I’ll do the counting with your watch You count the beating of my heart. Come on let’s go, my dear Marquis!

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TEXTS AND TRANSLATIONS

ROSALINDA, EISENSTEIN One, two, three, etc.

EISENSTEIN Plop, plop, plop, plop Now it doesn’t stop! Six, seven, eight, twelve Clop, clop, clop, clop Make it stop Six hundred and nine!

ROSALINDA . . . Twenty, thirty, forty, etc. Six hundred nine Say it ain’t so!

EISENSTEIN I counted them too slow! Half a million, don’t you know! Yes, half a million in a row.

Oh what a mess She’s a sly fox in a dress Oh woe! Oh no! etc. Why me?

*** ROSALINDA Songs from my homeland how like a siren calling Haunting, enthralling, you fill my dreams And when your bittersweet melodies wake me Then they take me to Hungary it seems. Oh homeland so lovely to behold Where sunlight is shining with gold Green forests standing over the flowered fields of clover My home so majestic so bold!

No, no, no Your numbers need some explanation! A touch of over valuation?

Homeland beloved Your name alone sets my soul on fire Fills me with desire no matter where I travel So far, ah, as long as we’re apart Your name is always in my heart!

EISENSTEIN

Oh homeland so lovely to behold, etc.

ROSALINDA

Perhaps they suffer from inflation. I think she wants to keep my watch Oh my watch! I’d like it back.

ROSALINDA Why thank you sincerely I’ll treasure it dearly. Ah! Etc.

EISENSTEIN She’s a crafty one I’m learning And my watch she’s not returning Guess I’ve lost my watch forever Now I think I’m not so clever Ah, that’s my watch Please give it back Just give it back. She’s a crafty one I’m learning

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Fiery Hungarian pride come take a wild ride Hey! You come and sing Let the czardas ring Dark eyed gypsy girl, Now you see her turn and twirl Fire in her eyes Feel the passions rise Feet are tapping Hands are clapping Tokaji for everyone Pass the bottles hand to hand Dancing, drinking, sorrows sinking Drink a toast to our precious land! Ha!

TEXTS AND TRANSLATIONS

Ol’ Man River from Show Boat Music by Jerome Kern (Orchestration by Robert Russell Bennett) Lyrics Oscar Hammerstein Ol’ man river, that ol’ man river He mus’ know sumpin’, but don’t say nothin’ He just keeps rollin’, he keeps on rollin’ alon’. He don’t plant tatters, he don’t plant cotton An’ dem dat plants ’em, is soon forgotten But ol’ man river, jes’ keeps rollin’ alon’.

You and me, we sweat an’ strain Body all achin’ an’ racked with pain “Tote that barge!” “Lif’ dat bail!” Git a little drunk an’ you lan’ in jail. Ah gits weary, an’ sick of tryin’ I’m tired of livin’, an’ scared of dyin’ But ol’ man river, he jes’ keeps rolin’ alon’.

Deep In My Heart from The Student Prince Music by Sigmund Romberg Lyrics by Dorothy Donnelly KATHIE

PRINCE

Of love I’ve often heard and all its joy How every heart is stirred, Both girl and boy, But though in love alone Is tender bliss My lips have never known a lover’s kiss.

The magic of springtime is around us tonight Enchantment is borne on the breeze

PRINCE

Oh, tell me if within your heart You know a tender longing sweet as mine A spell that fills me full of joy And through my veins like wine, Runs joy divine!

As deep in the shadow your eyes look in mine, Within them a soft flame gently glows.

It is the spring That’s calling you and me. Joy is in the air, cast away all care, Every song that’s ung Tells us we are young! Hm hm, etc.

KATHIE Is this some spell of magic May?

KATHIE, PRINCE Magic of the May! Oh! Her call we must obey And follow her flower strewn way!

(Please turn the page quietly.)

KATHIE And clothed in the silver of tender moonlight The birds murmur soft in the trees

KATHIE, PRINCE The breath of the night wind With perfume divine Is filled with the scent of the rose! Oh Love! While I live, I will always enshrine Your love in the heart of a rose.

KATHIE Deep in my heart, dear, I have a dream of you Fashioned of starlight Perfume of roses and dew Our paths may sever But I’ll remember forever

KATHIE, PRINCE Deep in my heart, dear, Always I’ll dream of you. C SO.ORG/INSTITUTE

TEXTS AND TRANSLATIONS

Magische Töne from The Queen of Sheba Music by Karl Goldmark Libretto by Hermann Salomon Mosenthal Magische Töne, berauschender Duft! Küsse mich, milde Abendluft, Kühle die Stirne mir heilend und mild. Lindre die Qual, die das Herz mir erfüllt. Um mich schwebt ein zaubrischer Schein, Wie in Libanons dunklem Hain, Wo die Quelle sich lockend verlor. Magische Töne, berauschender Duft! Küsse mich, milde Abendluft, Kühle die Stirne mir heilend und mild.

Magical tones, ecstatic fragrance! Kiss me, mild evening breeze; Refresh my brow, soothingly and mildly. Assuage the pain that fills my heart. A magical glow shines around me, As in Lebanon’s dark grove, Where spring waters alluringly flowed. Magical tones, ecstatic fragrance! Kiss me, mild evening breeze; Refresh my brow, soothingly and mildly.

Be My Love from The Toast of New Orleans Music by Nicholas Brodszky (arranged by Alexander Timofeev) Lyrics by Sammy Cahn Be my love, for no one else can end this yearning This need that you and you alone create Just fill my arms the way you’ve filled my dreams, The dreams that you inspire with ev’ry sweet desire.

Be my love, and with your kisses set me burning; One kiss is all I need to seal my fate, And, hand in hand, we’ll find love’s promised land. There’ll be no one but you for me, eternally, If you will be my love.

Act 2 from Die Fledermaus, continued ORLOFSKY Some rich men like their treasure Tra la la la la la la la, But champagne gives me pleasure Tra la la la la la la la, Champagne makes men less boring And keeps their wives adoring It sends the spirits soaring And keeps the twenties roaring! We toast champagne! The king of all libation For every celebration Champagne should rule the nation A toast for his election I’ll campaign vote “champagne” Let him reign!

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He’s the president of drinks We toast champagne! Etc. For he’s a jolly good fellow!

EISENSTEIN Champagne just goes with marriage Tra la la la la la la la, Like a horse and carriage Tra la la la la la la la. It takes away ambitions And eases all suspicions As long as I have bubbles I’ll wash away my troubles We toast champagne! Etc.

TEXTS AND TRANSLATIONS

ADELE

ALL

I like champagne for dinner Tra la la la la la la la, Bubbles make the thinner Tra la la la la la la la. Champagne is so delicious I hope that it’s nutritious. I like it when its rosy It makes me warm and cozy We toast champagne! Etc.

We agree Let’s have a song to us!

EISENSTEIN

FALKE

Monsieur Chagrin, drink, mon ami.

Now raise your glass Turn and toast with pride The lovely lady who’s at your side.

FRANK Merci, merci, merci! Here’s one for you, my dear Marquis.

EISENSTEIN Merci, merci, merci!

FALKE That’s enough of this French tragedie.

EISENSTEIN & FRANK Merci, merci, merci!

ALL Ha, ha, ha! Merci, etc.

FALKE Ladies come here Gents gather near.

ALL We’re all here.

FALKE I see what happy couples your making And love tonight is just there for the taking But since these affairs never last very long To brief romance let’s sing a song

ORLOFSKY I’ll agree. I’ll go along A toast!

(Please turn the page quietly.)

EISENSTEIN And you, lovely lady, must join in!

ROSALINDA If they start kissing I won’t be missing.

Sing to love that sweet madness Doesn’t last like a fire It burns and then it’s passed Brief romance But it’s always worth the chance Only love makes life worth living No eternity Love from ten to three And let morning be forgiving First one kiss How about two You, you, and only you. First one kiss Now it’s two You, you, love so new Yes it’s true, only, only you.

ALL Sing to love that sweet madness Doesn’t last just like a fire It burns and then it’s passed Only love makes life worth living, etc. La la la la la, etc.

ORLOFSKY The poor Marquis Renard What a lady, what a show As long as I’m paying The band will keep playing So grab a partner Here we go. C SO.ORG/INSTITUTE

TEXTS AND TRANSLATIONS

ALL

Let’s have a waltz Some old fashioned schmaltz There’s nothing like a waltz.

She should be on the big screen! Take it off!

Oh how the night just goes on and on One endless party from dusk til dawn Hope with the sunrise and sleep ’til ten And then tomorrow of it again.

Oh be a man Ask her again!

EISENSTEIN Chagrin, you are my best friend.

FRANK

ADELE

IDA You have to be braver. You should be braver.

EISENSTEIN

Oh, I love you like a brother.

Oh, I’ll ask her as a favor. Dearest, let me see your face.

ROSALINDA, ORLOFSKY, FALKE

ROSALINDA

In the jail the next ten days How you’ll get to know each other.

There’s a pimple I can’t show you a “cosmetical” disgrace.

ALL

EISENSTEIN

Oh, how the night just goes on and on, etc.

Of pimples I see no trace.

FRANK

ALL

Brother, look my watch has stopped. Can you tell me, what’s the time?

He will not give up the race How he wants to see her face!

EISENSTEIN

Brother, you’ll have to find a clock Got no watch, can’t spare a dime. (To Rosalinda) I can’t help but ask you Won’t you please let me unmask you? Show me who before we part Stole my watch and stole my heart.

Please before we leave this place!

ROSALINDA It’s clear that you miss you little clock But I can’t unmask or you’d die of shock!

EISENSTEIN Hu hu hu hu! What do you mean?

ADELE, ORLOFSKY, IDA Ha ha ha ha, oh what a scene!

16 ONE HUNDRED THIRD SEASON

EISENSTEIN, FRANK One! Two! Three! Four! Five! Six!

EISENSTEIN Where’s my hat? Need my hat Should have left at four!

FRANK Where’s my hat? Need my hat Should have gone before!

ALL Get his hat, get his hat Can’t stay any more

TEXTS AND TRANSLATIONS

EISENSTEIN

FRANK

I’m afraid that I’m late . . .

Dear Marquis, I hope you’ll visit me.

FRANK

EISENSTEIN

For a most important date.

I’ll partake of your hospitality.

EISENSTEIN, FRANK

Get my hat, get my coat Just bring me my coat!

For now let’s go.

ALL

So à bientôt, ha ha, etc!

Get his hat, get his hat, get his coat Ha ha ha! Get his coat, the old billy goat, ha!

ROSALINDA, ADELE, IDA, ORLOFSKY, FALKE ALL Oh how the night just goes on and on, etc.

C SO.ORG/INSTITUTE

profiles Johannes Debus Conductor Johannes Debus has been music director of the Canadian Opera Company since 2009, having been appointed immediately following his debut. Outside of Toronto, Debus conducts regularly at the Metropolitan Opera, Bavarian State Opera in Munich, Staatsoper Unter den Linden in Berlin, Oper Frankfurt, and Santa Fe Opera. Equally at home on the symphonic stage, Debus’s recent engagements include performances with the Cleveland Orchestra; Houston, Baltimore, Seattle, Oregon, Milwaukee, San

About The Ryan Opera Center The Patrick G. and Shirley W. Ryan Opera Center is Lyric’s preeminent artist-development program that nurtures the talents of some of the most promising operatic artists of each generation. The program’s ensemble members earn their coveted spot by successfully auditioning among more than 400 artists worldwide. Its alumni are among the dominant names in opera today. Donor generosity ensures continued

18 ONE HUNDRED THIRD SEASON

Diego, and Kansas City symphonies; ORF Vienna and Frankfurt radio symphonies; the Hallé orchestra in Manchester; and the symphony orchestras of Bilbao, Spain, and Perth and Tasmania, Australia. Debus graduated from the Hamburg Conservatory before being engaged as répétiteur and, subsequently, kapellmeister by Oper Frankfurt, where he acquired an extensive repertoire, from Mozart to Thomas Adès. As an advocate for contemporary music, he has collaborated with internationally acclaimed groups such as Ensemble Intercontemporain, Ensemble Modern, Klangforum Wien, and Musikfabrik. He enjoys an ongoing relationship with the Royal Conservatory of Music in Toronto.

unparalleled training, performance experience, and professional readiness of ensemble members. This highly competitive program, established in 1974, is honored to enjoy the support of acclaimed soprano Renée Fleming as advisor, along with full-time staff Director Dan Novak, Music Director Craig Terry, and Director of Vocal Studies Julia Faulkner. For more information, visit lyricopera.org/ ryanoperacenter.

PHOTO BY V. TON Y HAU S ER

PROFILES

Ryan Opera Center 2022–23 Ensemble

Kathryn Henry Soprano

Lindsey Reynolds Soprano

Denis Vélez Soprano

Ryan Capozzo Tenor

Martin Luther Clark Tenor

Lunga Eric Hallam Tenor

Alejandro Luévanos Tenor

Laureano Quant Baritone

Ian Rucker Baritone

Ron Dukes Bass

Wm. Clay Thompson Bass

Donald Lee III Conductor/Piano

Chris Reynolds Piano

photo courtesy of the artist

photo by jaclyn simpson

photo courtesy of the artist

photo by jaclyn simpson

photo courtesy of the artist

photo by jaclyn simpson

photo courtesy of the artist

Luther H. Lewis III Director photo by daniel coleman

Katherine DeYoung Mezzo-Soprano photo by jaclyn simpson

photo courtesy of the artist

Tess Naval Stage Manager

photo by allison naval russell

C SO.ORG/INSTITUTE

PROFILES

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 the CSO’s Zell Music Director Riccardo Muti. 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 field houses 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

20 ONE HUNDRED THIRD SEASON

fifteen Civic members are designated as Civic Fellows and participate in intensive leadership training that is designed to build and diversity 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 twenty-first 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.

PROFILES

Civic Orchestra of Chicago

Ken-David Masur Principal Conductor

The Robert Kohl and Clark Pellett Principal Conductor Chair

violins Dylan Marshall Feldpausch* Concertmaster Luke Lentini* Diego Diaz Joshua Burca Joe DeAngelo Robbie Herbst Liya Ma Matthew Weinberg Diane Yang Grace Walker Kyoko Inagawa Holly Wagner Shinhye Dong Hsuan Chen Heewoo Seo Ran Huo Subin Shin Principal Nelson Mendoza Hernandez* Kristian Brusubardis Christopher Sungjoo Kang Kina Ono Valentina Guillen Menesello Kenichi Kiyama Emily Nardo Yu-Kun Hsiang Tabitha Oh Laura Schafer Naomi Schrank Jason Hurlbut Amanda Beaune viol as Ye Jin Goo Principal Bethany Pereboom* Teddy Schenkman Ben Wagner Taisiya Sokolova Larissa Mapua Pedro Mendez Kelly Bartek Amanda Kellman Yulong Han Megan Yeung Derrick Ware

cellos Abigail Monroe Principal Francisco Lopez Malespin* Lindsey Sharpe* Miles Link Haley Slaugh Charlotte Ullman Shannon Merciel J Holzen Philip Bergman Omkara Gil Guaraco basses Nate Beaver Principal Olivia Reyes Ben Foerster Caleb Edwards Isaac Polinsky Nicholas Daniel DeLaurentis Andrew French Jintao He flutes Katarina Ignatovich Min Ha Kim oboes James Kim Amelia Merriman*

horns Jacob Medina Abby Black* Scott Sanders Michael Stevens trombones Felix Regalado Hugo Saavedra Arciniegas* bass trombone Zhen Lei tuba Kevin Weng Lin timpani Joe Bricker* Principal percussion Thaddeus Chung Alex Chao Tomas Leivestad harp Eleanor Kirk librarian Anna Thompson

cl arinets Irina Chang Daniel Solowey bassoons Edin Agamenoni Mackenzie Brauns* trumpets John Wagner Ismael Cañizares Ortega David Nakazono**

* Civic Orchestra Fellow ** Civic Orchestra Alumni

C SO.ORG/INSTITUTE

negaunee music institute at the cso the board of the negaunee music institute

civic orchestra artistic leadership

Liisa Thomas Chair Leslie Burns Vice 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 Li-Kuo Chang Acting Principal Viola The Paul Hindemith Principal Viola Chair, endowed by an anonymous benefactor John Sharp Principal Cello The Eloise W. Martin 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 Scott Hostetler Oboe and English Horn Stephen Williamson Principal Clarinet Keith Buncke Principal Bassoon William Buchman Assistant Principal Bassoon David Cooper Principal Horn Daniel Gingrich Associate Principal Horn Esteban Batallán Principal Trumpet The Adolph Herseth Principal Trumpet Chair, endowed by an anonymous benefactor Mark Ridenour Assistant Principal Trumpet 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 Mary Sauer Former Principal Keyboard Peter Conover Principal Librarian

John Aalbregtse David Arch James Borkman Jacqui Cheng Ricardo Cifuentes Richard Colburn Charles Emmons Judy Feldman Lori Julian Rumi Morales Mimi Murley Margo Oberman Gerald Pauling Harper Reed Veronica Reyes Steve Shebik Marlon Smith Ex-officio Members Jeff Alexander Jonathan McCormick Vanessa Moss

negaunee music institute at the cso Jonathan McCormick Director, Education & the Negaunee Music Institute Katy Clusen Manager, School & Family Programs Sarah Vander Ploeg Coordinator, School & Community Partnerships Antonio Padilla Denis Interim Manager, Civic Orchestra of Chicago Rachael Cohen Programs Assistant Frances Atkins Content Director Kristin Tobin Designer & Print Production Manager

C SO.ORG/INSTITUTE

The Chicago Symphony Orchestra Association is grateful to

Abbott for its generous donation of BinaxNOW COVID-19 Rapid Tests.

24 ONE HUNDRED THIRD SEASON

honor roll of donors Negaunee Music Institute at the Chicago Symphony Orchestra

The Negaunee Music Institute connects people 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 Dakota Williams, Associate Director, Education and Community Engagement Giving, at williamsd@cso.org or 312-294-3156. $ 1 5 0,0 0 0 A N D A B O V E

Julian Family Foundation The Negaunee Foundation $ 1 0 0,0 0 0 – $ 1 4 9, 9 9 9

Allstate Insurance Company The Elizabeth F. Cheney Foundation $ 75 ,0 0 0 – $ 9 9, 9 9 9

John Hart and Carol Prins National Endowment for the Arts Megan and Steve Shebik $ 5 0,0 0 0 – $ 74 , 9 9 9

Anonymous Robert and Joanne Crown Income Charitable Fund Lloyd A. Fry Foundation Kinder Morgan Judy and Scott McCue Nancy Lauter McDougal and Alfred L. McDougal † Polk Bros. Foundation Barbara and Barre Seid Foundation Michael and Linda Simon Mr. Irving Stenn, Jr. $ 3 5 ,0 0 0 – $ 4 9, 9 9 9

John and Fran Edwardson Bowman C. Lingle Trust $ 2 5 ,0 0 0 – $ 3 4 , 9 9 9

Anonymous (2) Abbott Fund Barker Welfare Foundation Crain-Maling Foundation The James and Madeleine McMullan Family Foundation Shure Charitable Trust $ 2 0,0 0 0 – $ 2 4 , 9 9 9

Anonymous Illinois Arts Council Agency Richard P. and Susan Kiphart Family Leslie Fund, Inc.

PNC Charles and M. R. Shapiro Foundation The George L. Shields Foundation, Inc.

Dr. Scholl Foundation Segal Consulting

$ 1 5 ,0 0 0 – $ 1 9, 9 9 9

Ms. Patti Acurio Charles H. and Bertha L. Boothroyd Foundation Mr. & Ms. Keith Clayton Dr. Edward A. Cole and Dr. Christine A. Rydel Dr. Ronald L. Hullinger The Osprey Foundation Mary and Joseph Plauché

The Buchanan Family Foundation Bruce and Martha Clinton for The Clinton Family Fund Sue and Jim Colletti Ellen and Paul Gignilliat Mary Winton Green Robert Kohl and Clark Pellett Mr. Philip Lumpkin D. Elizabeth Price Sandra and Earl Rusnak, Jr. Lisa and Paul Wiggin Dr. Marylou Witz $ 1 1, 5 0 0 – $ 1 4 , 9 9 9

Nancy A. Abshire Robert & Isabelle Bass Foundation, Inc. Mr. † & Mrs. David A. Donovan Mrs. Carol Evans, in memory of Henry Evans Halasyamani/Davis Family Theodore and Elisabeth Wachs $ 7, 5 0 0 – $ 1 1, 4 9 9

Archer Daniels Midland Company Robert H. Baum and MaryBeth Kretz Mr. Lawrence Belles Mr. Lawrence Corry Mr. & Mrs. † Allan Drebin Mr. & Mrs. Bernard Dunkel Ms. Nancy Felton-Elkins and Larry Elkins Mr. & Mrs. Robert Geraghty Mr. & Mrs. Joseph B. Glossberg Richard and Alice Godfrey Chet Gougis and Shelley Ochab The League of the Chicago Symphony Orchestra Association Mr. Glen Madeja and Ms. Janet Steidl Ling Z. and Michael C. Markovitz Drs. Robert and Marsha Mrtek Ms. Susan Norvich Robert E. † and Cynthia M. Sargent Carol S. Sonnenschein Ms. Liisa M. Thomas and Mr. Stephen L. Pratt Penny and John Van Horn Dr. Nanajan Yakoub $ 4 , 5 0 0 – $ 7, 4 9 9

Ms. Marion A. Cameron-Gray Ann and Richard Carr Harry F. and Elaine Chaddick Foundation John D. and Leslie Henner Burns Mr. & Mrs. Stan Jakopin Dr. June Koizumi Anne E. Leibowitz Fund Jim and Ginger Meyer Mr. Robert Middleton

$ 3,500–$ 4,499

$2,500–$ 3,499

Anonymous (2) Ms. Sandra Bass Mr. James Borkman Mr. Douglas Bragan Mr. & Mrs. Dwight Decker Mrs. Roslyn K. Flegel William B. Hinchliff Italian Village Restaurants Mrs. Gabrielle Long Dr. Leo and Catherine Miserendino David † and Dolores Nelson Margo and Michael Oberman Mr. & Mrs. † Andrew Porte Benjamin J. Rosenthal Foundation Mr. David Sandfort David and Judith L. Sensibar Jessie Shih and Johnson Ho Margaret and Alan Silberman Mr. Larry Simpson Dr. & Mrs. R. Solaro Mr. & Mrs. Harvey J. Struthers, Jr. Abby and Glen Weisberg $ 1, 5 0 0 – $ 2 , 4 9 9

Anonymous Dora J. and R. John Aalbregtse Howard and Donna Bass Mr. & Mrs. William E. Bible Adam Bossov Mr. Donald Bouseman Patricia A. Clickener Edward and Nancy Eichelberger Ms. Paula Elliott Charles and Carol Emmons Judith E. Feldman Dr. & Mrs. Sanford Finkel, in honor of the Civic Horn Section Lee Francis and Michelle Gittler Jerry Freedman and Elizabeth Sacks James & Rebecca Gaebe Camillo and Arlene Ghiron Brooks and Wanza Grantier Gregory Grobarcik James and Megan Hinchsliff Dr. & Mrs. James Holland Michael and Leigh Huston Thomas and Reseda Kalowski

† Deceased Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. Gifts listed as of January 13, 2022

C SO.ORG/INSTITUTE

HONOR ROLL OF DONORS

Cantor Aviva Katzman and Dr. Morris Mauer Mr. John Lansing Sharon L. Manuel Mr. & Mrs. William McDowell, Jr. Mr. & Mrs. Dennis Moffat Mrs. Frank Morrissey Mr. & Mrs. Robert S. Murley Edward and Gayla Nieminen Dianne M. and Robert J. Patterson, Jr. Ms. Carol Rech Ruth Anne Rehfeldt Mary K. Ring Erik and Nelleke Roffelsen Ms. Cecelia Samans Walter and Caroline Sueske Charitable Trust Mrs. Florence and Ron Testa David E. and Kerstin Wellbery Jamie Wigglesworth AIA M.L. Winburn Mr. Robert Winn $ 1 ,0 0 0 – $ 1 , 4 9 9

Anonymous (5) John Albrecht Dr. Diane Altkorn Mr. Edward Amrein, Jr. and Mrs. Sara Jones-Amrein Dr. & Mrs. Robert Arensman Ms. Marlene Bach Jon W. and Diane Balke Mr. Peter Barrett Ms. Elaine Baumann Ann Blickensderfer Mr. Thomas Bookey Mr. & Mrs. Donald Bowey, Jr. Ms. Danolda Brennan Mr. Lee M. Brown and Ms. Pixie Newman Jack M. Bulmash Jacqui Cheng The Chicago Community Foundation Mr. Ricardo Cifuentes Mr. Howard Conant Matt and Carrie Cotter In memory of Ira G. Woll William and Janice Cutler Constance Cwiok Robert Allen Daugherty Mr. Adam Davis Mr. Robert Deoliveira Ms. Amy Dickinson and Mr. James Futransky Mrs. Susan F. Dickman Dr. Thomas Durica and Sue Jacob

Lori Eich Elk Grove Graphics Ms. Lola Flamm David and Janet Fox Arthur L. Frank, M.D. Ms. Elizabeth Friedgut Peter Gallanis Dr. & Mrs. Paul B. Glickman Goodman Law Group Chicago George F. and Catherine S. Haber Mrs. Zahraa Hajjiri Mr. & Mrs. John Hales Charlotte Hampton Dr. Robert A. Harris Ms. Dawn E. Helwig Mr. Felipe Hillard Ms. Sharon Flynn Hollander Ms. Kasey Jackson Egill and Ruth Jacobsen Mr. Matt James Dr. Jay and Georgianna Kleiman Mr. & Mrs. LeRoy Klemt Mr. & Mrs. Norman Koglin Mr. Steven Kukalis Dr. & Mrs. Stuart Levin Mr. Jerrold Levine Mr. † & Mrs. Gerald F. Loftus Robert Losik Mr. Daniel Macken and Mr. Merlyn Harbold Ms. Mirjana Martich and Mr. Zoran Lazarevic Marilyn and Myron Maurer Marilyn Mitchell Mrs. MaryLouise Morrison Catherine Mouly and LeRoy T. Carlson, Jr. Phyllis and Zane Muhl Mr. & Mrs. Delano O’Banion Mr. Bruce Oltman Ms. Joan Pantsios Ms. Audrey Paton Kirsten Bedway and Simon Peebler Mr. & Mrs. Jeffery Piper Susan Rabe Dorothy V. Ramm Dr. Hilda Richards Cristina Romero Mr. Nicholas Russell Mr. Laurence Saviers Mr. & Mrs. Eric Scheyer Gerald and Barbara Schultz Mr. & Mrs. Thomas Scorza Stephen A. and Marilyn Scott Xiaokui Katie Shan Jane A. Shapiro

Richard Sikes Dr. & Mrs. Richard Snow Dr. Sabine Sobek Mr. George Speck Joel and Beth Spenadel Mrs. Julie Stagliano Ms. Denise Stauder Mr. & Mrs. Ronald Stepansky Dr. & Mrs. Ralph Stoll Sharon Swanson Ms. Deborah Tate Terry Taylor Ayana Tomeka Ms. Joanne C. Tremulis Dr. Joyce Van Cura Henrietta Vepstas Dr. Pietro Veronesi Mrs. Hempstead Washburne Ms. Christine Wilson William Zeng Irene Ziaya and Paul Chaitkin 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 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

† Deceased Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. Gifts listed as of January 13, 2022

26 ONE HUNDRED THIRD SEASON

HONOR ROLL OF DONORS

CIVIC ORCHESTR A 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 2021–22 season. Thirteen 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 The Julian Family Foundation. The 2021–22 Civic season is sponsored by the Elizabeth F. Cheney Foundation. To learn more, please contact Dakota Williams, Associate Director, Education and Community Engagement Giving, at williamsd@cso.org or 312-294-3156. Nancy A. Abshire Shannon Merciel, cello Dr. & Mrs. Bernard H. Adelson Fund Josephine Stockwell, viola Mr. Lawrence Belles and The Elizabeth F. Cheney Foundation Michael Stevens, horn Sue and Jim Colletti Bethany Pereboom,** viola Lawrence Corry Wesley A. Jones, bass Robert and Joanne Crown Income Charitable Fund Edin Agamenoni, bassoon Irina Chang, clarinet James Jihyun Kim, oboe Jacob Medina, horn Sofia Nikas, viola Charlotte Ullman, cello Mr. † & Mrs. David A. Donovan Alyssa Primeau,** flute

Mr. & Mrs. † Allan Drebin and The Elizabeth F. Cheney Foundation Benjamin Foerster, bass

Judy and Scott McCue and The Elizabeth F. Cheney Foundation Luke Lentini,** violin

Mr. & Mrs. Robert Geraghty and The Elizabeth F. Cheney Foundation Haley Slaugh, cello

Nancy Lauter McDougal and Alfred L. McDougal † Diego Diaz, violin

Mr. & Mrs. Paul C. Gignilliat Ye Jin Goo, viola Benjamin Wagner, viola

Dr. Leo and Catherine Miserendino Olivia Reyes, bass

Mr. & Mrs. Joseph B. Glossberg Michael Leavens, trumpet Richard and Alice Godfrey Robert Herbst, violin Chet Gougis and Shelley Ochab Liam Jackson, bassoon Mary Winton Green Isaac Polinsky, bass Jane Redmond Haliday Chair Hana Takemoto, cello The Julian Family Foundation Taylor Hampton, percussion Nelson Mendoza,** violin Lester B. Knight Charitable Trust Miles Link, cello Crystal Qi, violin Daniel Solowey, clarinet Holly Wagner, violin John Wagner, trumpet Robert Kohl and Clark Pellett John Heffernan, violin League of the Chicago Symphony Orchestra Association Lindsey Sharpe,** cello Leslie Fund Inc. Joseph Bricker,** percussion Tabitha Oh, violin

Ms. Susan Norvich Eleanor Kirk, harp Sandra and Earl J. Rusnak Jr. Teddy Schenkman, viola Barbara and Barre Seid Foundation Jarrett Girard McCourt, tuba Nelson Ricardo Yovera Perez, horn The George L. Shields Foundation Inc. Philip Bergman, cello Laura Schafer, violin Seth Van Embden, viola The David W. and Lucille G. Stotter Chair Joshua Burca, violin Ruth Miner Swislow Charitable Fund Nicholas Daniel DeLaurentis, bass Lois and James Vrhel Endowment Fund Caleb Edwards, bass Theodore and Elisabeth Wachs Katarina Ignatovica, flute Dr. Marylou Witz Hee Yeon Kim,** violin Anonymous Hugo Saavedra,** trombone Anonymous Francisco Malespin,** cello Rannveig Marta Sarc, violin

Phillip G. Lumpkin Dylan Marshall Feldpausch,** violin Mr. Glen Madeja and Ms. Janet Steidl Abigail Monroe, cello

† Deceased ** Fellow § Partial sponsor Italics indicate individual or family involvement as part of the Trustees or Governing Members of the Chicago Symphony Orchestra Association. Gifts listed as of January 13, 2022

C SO.ORG/INSTITUTE

music ahead Double your impact Through June 30, all new and increased gifts made during the Music Ahead Matching Challenge will be matched, up to $100,000.

The music of the Chicago Symphony Orchestra is vital. Your support ensures a bright future for the Orchestra and its programs.

Make a gift and double your impact today.

cso.org/makeagift • 312-294-3100