Verdi Requiem Digital Program Book

Verdi Requiem

Morton H. Meyerson Symphony Center

A Musical Gift

INSPIRING Russian-born cellist Yuri Anshelevich made his recital debut at the age of nine, and five years later earned acceptance at the famed Moscow State Conservatory, graduating with highest honors in 1960. The same year, he won First Prize in the Cello Division of the All-Russian Competition, which led to studies with world-famous cellist Mstislav Rostropovich.

In 1977, Yuri Anshelevich joined the Dallas Symphony Orchestra as Associate Principal Cello and performed for 38 years, retiring in 2015. Anshelevich was part of the DSO’s growth, performing with many musicians and three Music Directors from 1977 to 2015. He went on to serve on the faculty of Southern Methodist University and as artist-in-residence at the University of Dallas. Now, still active as a soloist and chamber musician, he honors his decades in the orchestra with a generous gift, a number of cellos and bows straight from the cellist’s personal collection.

The five cellos and eight bows, valued at $1.7 million in total, hail from London and Italy. These instruments were created from 1717 to 1975. These high-quality instruments can improve tonality and sound, revealing depth and resonance, and, thanks to skillful craftmanship, look beautiful on stage!

The cellist has continued to attend concerts at the DSO since his retirement, but Anshelevich returned to his home on the Meyerson stage for a special performance on one of his instruments on Saturday, November 5, 2022, in honor of this precious gift and his remarkable tenure at the DSO. World-renowned Music Director Fabio Luisi conducted Anshelevich and the DSO in a performance of Kol Nidrei (All Vows) by Max Bruch. The piece, Bruch’s second most frequently performed work, features a beautiful, harrowing cello solo accompanied by strong, sweeping orchestral melodies. This performance opened the November 5 Texas Instruments Classical concert. Longtime DSO patrons enjoyed seeing a familiar, and brilliant, face on stage when Anshelevich returned.

Fabio Luisi claimed, “The addition of this collection to the ensemble will enrich the sound of the cello section. We are thankful for his generosity and for his many years of performance and friendship.”

Along with his generous gift, the DSO named the Manager of Orchestra Personnel in his and his late wife Olga’s honor. Nishi Badhwar currently holds the Olga and Yuri Anshelevich Manager of Orchestra Personnel position.

The Dallas Symphony Orchestra is incredibly grateful to Yuri Anshelevich, for entrusting us with a gift that will have lasting effects. Soon enough, you can return to the symphony to see and hear Mr. Anshelevich’s gifts in action in their new permanent home!

WOMEN in Classical Music Symposium

NOVEMBER 6-9, 2022

Central to the event is the Award of Excellence and the choosing of a Career Advancement Award by the honoree. This year, the DSO honored classical singer Julia Bullock with the annual Award of Excellence.

THE DALLAS Symphony Orchestra’s fourth annual Women in Classical Music Symposium was held November 6-9, 2022, at the Morton H. Meyerson Symphony Center in Dallas, Texas. Administrators, educators, musicians and conductors from all over the world gathered in conversation, panels and discussions. Support for the symposium is provided by Texas Commission on the Arts, The Kaleta A. Doolin Foundation, the Texas Women’s Foundation, Nancy Bierman, Joanne Bober, Yon Jorden, Betty Regard, Wei Ling Wang and Martha Wells. Details on programming and registration are available at womeninclassicalmusic.com.

Combining versatile artistry with a probing intellect and commanding stage presence, she has headlined productions and concerts at preeminent arts institutions around the world. An innovative curator in high demand from a diverse group of arts presenters, museums and schools, her notable positions have included collaborative partner of Esa-Pekka Salonen with the San Francisco Symphony, 2020–22 Artist-inResidence of London’s Guildhall School of Music and Drama,

2019-20 Artist-in-Residence of the San Francisco Symphony and 2018-19 Artist-in-Residence at New York’s Metropolitan Museum of Art. Bullock is also a prominent voice of social consciousness and activism.

Julia chose vocalist Katherine Goforth to receive this year’s Career Advancement Award. Katherine Goforth is a vocalist known for sharing her “noble, colorful and iridescent vocal sound” (Magazin Klassik) in strong and heartfelt performances. “Goforth... does not hold back,” (The New York Times) offering vivid character portraits sung with the utmost commitment and skill. A transgender woman, Goforth excels in a wide-range of roles across the gender spectrum.

She is a proud representative of LGBTQ community and advocates for the inclusion of all voices in the performing arts. Her recent appearances have included Portland Opera, Seattle Opera’s Creation Lab, and Opera Theater Oregon.Katherine is an Instructor of Voice at Clark College in Vancouver, Washington, and teaches at Lydian Music Studios in Portland, Oregon. She has served on the board of Opera Theater Oregon and the Aquilon Music Festival, and consulted for a variety of new operatic projects and arts organizations. Her writing has been published in Opera Canada Magazine and she has been presented as a speaker by Renegade Opera.

This year’s panels focused on topics for all phases of careers as well as roles in the industry. Performers, administrators and patrons took key points away from the discussion. In addition, historical and contemporary topics were included.

SELECTED SESSIONS:

The State of the Industry Martha Gilmer, CEO, San Diego Symphony; Fabio Luisi, Music Director, Dallas Symphony; Kim Noltemy, Ross Perot President & CEO, Dallas Symphony; and Matias Tarnopolsky, President & CEO, Philadelphia Orchestra & Kimmel Center spoke in a session looking at progress in terms of racial and gender equity, mid-career dropoff and retention, and progress on artistic appointments through the lens of equity and inclusion.

History and Leadership of Black Women in U.S. Orchestras Katie McGuinness, Wildenthal Families Vice President of Artistic Operations, Dallas Symphony, moderated a panel with Julia Bullock, Soprano; Nicole Jordan, Principal Librarian, Philadelphia Orchestra and Demarre McGill, Principal Flute, Seattle Symphony discussed the unseen work and deep impact of Black women in U.S. orchestras both on-stage and behind the scenes.

Putting it all Together: Work-Life Integration Work and life no longer exist as separate fields of play. Work-life “balance” has been replaced with “integration”, a way to fold activities of both into short days and achieve success in both areas.

Camille Delaney-McNeil, Director, Beckmen YOLA Center, Los Angeles Philharmonic; Min Kwon, Professor, Rutgers University and Founder and Director, Center for Musical Excellence; Shana Mathur, Chief Strategy & External Relations Officer, Natural History Museums of Los Angeles County; Kit Sawers, President, Klyde Warren Park and Maia Jasper White, Executive and Co-Artistic Director of Salastina discussed ways to achieve this integration, advances we still need to make and how economics, race and status change the equation.

Rescuing Zohra, Afghanistan’s All-Women’s Orchestra, from the Taliban: A Case Study Lesley Rosenthal and Jessica Lustig, founding board members of “Friends of Afghanistan National Institute of Music (ANIM)”, spoke about how the worldwide musical community, including Yo-Yo Ma, Renée Fleming, Marin Alsop, Daniel Barenboim and Spotify, as well as US politicians from both sides of the aisle, came together to evacuate the imperiled Afghanistan National Institute of Music when the Taliban retook power in Afghanistan in August 2021. ANIM faculty and students were in mortal peril when the Haqqani Taliban moved into the ANIM campus and made it a center of operations. ANIM galvanized the support of the world musical

community 273 ANIM community members, eventually securing their safe passage to Portugal, where they were offered group asylum by the government.

The symposium also featured four chamber music performances. Goforth presented a recital on Monday, November 7, 2022 at 6:00PM. The program included works by Respighi, Mahler and Schubert along with selections by Margaret Bonds, Florence Price and David Lang. Bullock was included virtually in the recital with prerecorded works for vocals and piano performed with her husband Christian Reif.

DSO Principal Second Violin Angela Fuller Heyde (Barbara K. & Seymour R. Thum Chair) and Principal Harp Emily Levin (Elsa von Seggern Chair) performed a recital on Sunday, November 6 at 7:30PM on the Meyerson Stage. The two principals programmed a concert of duets and solos by Amy Beach, Sebastian Currier, Florence Price, Henriette Renié, Camille Saint-Saëns and Nicolai von Wilm. The program was dedicated to Jorja Fleezanis, long-time Minnesota Orchestra concertmaster and a dedicated and devoted teacher.

During the lunchtime break on Tuesday, November 8, DSO musicians Giyeon Yoon, violin;

Hyorim Han, violin; Matthew Sinno, viola and Minji Kim, cello; performed works for string quartet: Jessie Montgomery’s Break Away and selections from Alexander Borodin’s String Quartet No. 2 in D Major and Beethoven’s String Quartet No. 9 in C Major.

DSO Composer-in-Residence Angélica Negrón curated a chamber program with a diverse selection of contemporary composers. Many of the composers she programmed are friends and colleagues in the field, and the ensembles featured orchestral instruments with additional elements such as toy piano, audio playback and electronics. Negron contributed a work of her own to the program, and it also featured pieces by inti figgisvizueta, Allison Loggins Hull, Sophia Jani, Mary Kouyoumdjian, Tania León, Shruthi Rajasekar and Julia Wolfe. This concert was performed in the Meyerson lobby at 7:30PM on Tuesday, November 8.

Complete schedule and panels are available at womeninclassicalmusic.com

What's New at the DSO

Brahms Symphony 1 and 2 Recordings Now Available

The DSO has released performance recordings of Brahms Symphonies No. 1 and 2 and they are available digitally via Amazon and Spotify, or in CD format at the Symphony Shop in the Morton H. Meyerson lobby. These recordings are from performances last season and mark the start of Fabio Luisi’s complete Brahms Symphony Cycle with the DSO.

Next Stage Digital Concert Series, Presented by PNC Bank

This year marks the third season of the DSO’s Next Stage Digital Concert Series, Presented by PNC Bank. Video performances of concerts will be available at watch.dallassymphony.org. We hope you enjoy the first group of videos including performances of Holst’s The Planets conducted by Principal Guest Conductor Gemma New (Dolores G. & Lawrence S. Barzune, M.D. Chair), Rachmaninoff’s Symphonic Dances conducted by Stéphane Denève and Tchaikovsky Symphony No. 5 conducted by Music Director Fabio Luisi (Louise W. & Edmund J. Kahn Music Directorship).

Yoga at the Meyerson

We began our weekly yoga practices at the Meyerson this summer. We invite everyone to join us Tuesdays & Thursdays at 8 AM in the lower lobby.

North Texas Giving Day

We had a record breaking North Texas Giving Day this year! The DSO raised over $180,000 with the help of our wonderful patrons and our friends from Pulse Supply Chain Solutions, who matched all NTxDG gifts dollar-for-dollar up to $15,000. Thank you to all that made this possible!

Chris Botti and the Dallas Symphony Orchestra on PBS

The Chris Botti and DSO concert taped in October 2021 aired nationally on PBS stations in August. We were delighted to have the opportunity to share this incredible performance around the U.S.

Wine & Food Festival (Save the Date)

Thank you all for joining us for the second annual DSO Wine & Food Festival this past August. We saw terrific attendance at all the events –including the new BBQ, Beer and Bourbon and chocolate pairing events. Save the date for August 2023 for the next Festival!

Verdi Requiem

In gratitude, these performances are dedicated to:

Robert E. and Jean Ann Titus Family Weekend of Concerts

Saturday The Marcella Fund

Sunday Nancy A. Nasher and David J. Haemisegger

FABIO LUISI Conducts

Music Director

Louise W. & Edmund J. Kahn

Music Directorship

ADRIANA GONZÁLEZ Soprano

TAMARA MUMFORD Mezzo-Soprano

PIERO PRETTI Tenor JOSHUA BLOOM Bass DALLAS SYMPHONY CHORUS FERDINANDO SULLA Guest Chorus Director

VERDI Messa da Requiem

(Approximate duration 84 minutes)

Requiem and Kyrie (chorus, soloists)

Dies irae

Dies irae (chorus)

Tuba mirum (chorus)

Mors stupebit (bass)

Liber scriptus (mezzo-soprano, chorus)

Quid sum miser (soprano, mezzo-soprano, tenor)

Rex tremendae (soloists, chorus)

Recordare (soprano, mezzo-soprano)

Ingemisco (tenor)

Confutatis (bass, chorus)

Lacrymosa (soloists, chorus)

Program continued on following page

Offertorio

Domine Jesu Christe (soloists)

Hostias (soloists)

Sanctus (double chorus)

Agnus Dei (soprano, mezzo-soprano, chorus)

Lux aeterna (mezzo-soprano, tenor, bass)

Libera me (soprano, chorus)

Libera me

Dies irae

Requiem aeternam

Libera me

Supertitle System courtesy of DIGITAL TECH SERVICE, LLC, Portsmouth, VA

Supertitles translated & cued by Jason Smith

Performed without intermission. This concert will conclude at approximately 9:00PM; 4:30PM Sunday

Fabio Luisi

Music Director

Louise W. & Edmund J. Kahn Music Directorship

GRAMMY® AWARD WINNER

Fabio Luisi launched his tenure as Louise W. & Edmund J. Kahn Music Director of the Dallas Symphony Orchestra (DSO) at the start of the 2020/21 season. In January 2021, the DSO and Luisi announced an extension of the Music Director’s contract through the 2028/29 season. A maestro of major international standing, the Italian conductor is also set to embark on his sixth season as Principal Conductor of the Danish National Symphony Orchestra, and in September 2022 he assumed the role of Principal Conductor of the NHK Symphony Orchestra in Tokyo. He previously served for six seasons as Principal Conductor of the Metropolitan Opera and nine seasons as General Music Director of the Zurich Opera. In September 2022, Luisi and the Dallas Symphony released their first recording project together. Brahms’s First and Second Symphonies will be available through the DSO’s in-house DSO Live label. Fabio Luisi’s 2022/23 programs in Dallas and for the DSO’s Next Stage Digital Concert Series will feature performances of the music of beloved classical composers, a continued examination of American music, and large-scale choral and orchestral works. A world-renowned interpreter of the music of Richard Strauss, Luisi will conduct the composer’s tone poem Don Quixote for his first concert weekend, along with Tchaikovsky’s Symphony No. 5. Hélène Grimaud will return to the DSO for Luisi’s second series of concerts, joining him in Brahms’s Piano Concerto No. 1. He will continue the program with César Franck’s Symphony in D minor, the composer’s best-known orchestral work.

As a prelude to the fourth annual Women in Classical Music Symposium in November, Luisi will present music by three female composers – Julia Perry, Clara Schumann and Louise Farrenc. The following week, the full Dallas Symphony Chorus will make its season debut in Verdi’s monumental Requiem, featuring Adriana González (soprano), Tamara Mumford (mezzo-soprano), Piero Pretti (tenor) and Wenwei Zhang (bass) as soloists. Acclaimed violinist Nicola Benedetti will return to the DSO to join Luisi for the U.S. premiere of James MacMillan’s Violin Concerto No. 2, and Luisi will conduct Bruckner’s Symphony No. 4, the cinematic “Romantic.” This will mark the first time during his tenure that Luisi has presented Bruckner. In his three final concerts of the season, Luisi mixes the familiar with the unique. Continuing his recording project of the complete Brahms symphonies, Luisi will perform both Brahms’s Third and Fourth Symphonies with the DSO. He also welcomes composer-in-residence Angélica Negrón for the world premiere of her new work, Arquitecta. Luisi closes his season with the orchestra with two works by Carl Orff, the iconic Carmina Burana and the rarely heard Catulli Carmina. Other highlights of the 2022/23 season include several concerts with the NHK Symphony Orchestra (Tokyo) in Luisi’s first season as Principal Conductor; a new production of Verdi’s I vespri siciliani at La Scala (Milan); and the continuation, with the Danish National Symphony Orchestra, of his recording series of Carl Nielsen’s symphonies for the renowned Deutsche Grammophon label.

The conductor received his first GRAMMY® Award in March 2013 for his leadership of the last two operas of Wagner’s Der Ring des Nibelungen, when Deutsche Grammophon’s DVD release of the full cycle, recorded live at the Met, was named Best Opera Recording of 2012. In February 2015, the Philharmonia

Zurich launched its Philharmonia Records label with three Luisi recordings: Berlioz’s Symphonie fantastique, a double album surveying Wagner’s Preludes and Interludes, and a DVD of Verdi’s Rigoletto. Subsequent releases have included a survey of Rachmaninov’s Four Piano Concertos and Rhapsody on a Theme of Paganini with soloist Lise de la Salle, and a rare recording of the original version of Bruckner’s monumental Symphony No. 8. Luisi’s extensive discography also includes rare Verdi operas (Jérusalem, Alzira and Aroldo), Salieri’s La locandiera, Bellini’s I puritani and I Capuleti e i Montecchi with Anna Netrebko and Elīna Garanča for Deutsche Grammophon, and the symphonic repertoire of Honegger, Respighi and Liszt. He has recorded all the symphonies and the oratorio Das Buch mit sieben Siegeln by neglected Austrian composer Franz Schmidt, several works by Richard Strauss for Sony Classical, and an award-winning account of Bruckner’s Ninth Symphony with the Staatskapelle Dresden.

Born in Genoa in 1959, Luisi began piano studies at the age of four and received his diploma from the Conservatorio Niccolò Paganini in 1978. He later studied conducting with Milan Horvat at the University for Music and Performing Arts in Graz. Named both Cavaliere della Repubblica Italiana and Commendatore della Stella d’Italia for his role in promoting Italian culture abroad, in 2014 he was awarded the Grifo d’Oro, the highest honor given by the city of Genoa, for his contributions to the city’s cultural legacy. Off the podium, Luisi is an accomplished composer whose Saint Bonaventure Mass received its world premiere at St. Bonaventure University, followed by its New York City premiere in the MetLiveArts series, with the Buffalo Philharmonic and Chorus. As reported by the New York Times, CBS Sunday Morning and elsewhere, he is also a passionate maker of perfumes, which he produces in a one-person operation, flparfums.com.

Adriana González Soprano

DSO Debut

GUATEMALAN SOPRANO, acclaimed for her beautiful lyric voice and outstanding musicality, was a member of the Atelier Lyrique de l’Opéra national de Paris from 2015-17 before joining the International Opera Studio (IOS) at Oper Zürich for one year.

Adriana has won: First Prize « Otto Edelmann Competition », Second Prize and Public Choice Prize « Francisco Viñas” competition, “Teatro Real Prize” in Madrid, First Prize and Zarzuela Prize of the Operalia Competition 2019.

She has sung Pamina (Die Zauberflöte) in Gars, Corinna (Il viaggio a Reims) in Barcelona, Diane and Première Prêtresse (Iphigénie en Tauride), Sapho and Iphise (Les fêtes d’Hébé) in Paris and London, Berta (Il Barbiere di Siviglia) in Zürich and Beaune, Alice (Le Comte Ory), Serpetta (La Finta Giardiniera), Annina (La Traviata) in Zürich, Lia (L’Enfant Prodigue) in Nancy, Micaela (Carmen) in Geneva, Liù (Turandot) in Toulon, Brigitta (Iolanta) in Paris, Countess (Le Nozze di Figaro) in Nancy, Mimi (La Bohème) in Barcelone, Countess in Frankfurt.

Her first recording devoted to Robert Dussaut & Hélène Covatti melodies released in the Spring 2020 by Audax Records, together with pianist Iñaki Oyon is warmly welcomed by the critics. A second album by the same label is released in autumn 2021, the complete melodies of Isaac Albéniz, also accompanied by Oyon.

Forthcoming projects : Countess in Luxembourg and Frankfurt, Juliette (Roméo et Juliette) in Houston, Mimi in Toulon, Micaela in Paris-Bastille, in Amsterdam and in Barcelona, Verdi’s Requiem in Lisbon (cond. Lorenzo Viotti), Liù in Strasbourg and in Paris-Bastille.

Tamara Mumford Mezzo-Soprano

Last DSO Performance | October 9 - 11, 2020

AMERICAN MEZZO-SOPRANO Tamara Mumford has gained a reputation as an exciting and in -demand singer appearing with many of the finest orchestras and opera house in the US and Europe.

A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Mumford has appeared in over 150 performances with the company including productions of Kaija Saariaho’s L’Amour de loin, Anna Bolena, Rigoletto, Cavalleria Rusticana, Nixon in China, The Queen of Spades, and The Magic Flute. Other recent opera engagements have included the premiere of The Thirteenth Child at the Santa Fe Opera, Tancredi with Teatro Nuovo, Aureliano in Palmira and Lucrezia Borgia at the Caramoor Festival, Henze’s Phaedra, The Rape of Lucretia, and the world premiere of Daniel Schnyder’s Yardbird at Opera Philadelphia; and L’incoronazione di Poppea at the Glyndebourne Opera Festival and the BBC Proms.

Also an active concert performer and recitalist, Ms . Mumford appeared with Gustavo Dudamel and the Los Angeles Philharmonic Orchestra in multiple US and European tours. Other concert engagements have included appearances with the New York Philharmonic, Cleveland Orchestra, Chicago Symphony Orchestra, San Francisco Symphony, Berlin Philharmonic, Netherland Radio Philharmonic, and at the Hollywood Bowl and the Ravinia and Tanglewood festivals. Her recordings include Handel’s Messiah with the Mormon Tabernacle Choir (Momon Tabernacle Choir), Beethoven’s Cantata on the Death of Emperor Joseph II with Michael Tilson Thomas and the San Francisco Symphony (Avie), and both Mahler Symphony No 8 and John Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic (Deutsche Grammophon).

Piero Pretti Tenor

DSO Debut

PIERO PRETTI had his first professional engagements as Rodolfo in La Bohème. In subsequent seasons, he appeared in Ifigenia in Aulide in Rome conducted by Riccardo Muti, he made his debut in I Vesprisiciliani at the Teatro Regio where he returned with Lucia di Lammermoor conducted by Gianandrea Noseda and appeared in a concert of arias by Verdi conducted by Riccardo Muti at the Ravenna Festival.

Other engagements included Rigoletto and La Traviata at the Teatro Regio in Turin, Luisa Miller, Rigoletto, Un ballo in maschera and Lucia di Lammermoor at La Scala, I due Foscari at the Teatro Massimo in Palermo, Madama Butterfly in Auckland, Rigoletto and La Traviata at Wiener Staatsoper, Rigoletto at the Bayerische Staatsoper in Munchen, at Royal Opera House in London and at Teatro dell’Opera in Rome, Nabucco at Les Choregies d’Orange and again Lucia di Lammermoor at Teatro Filarmonico in Verona for Arena Foundation.

Among his recent engagements Madama Butterfly in Bilbao, at Opéra de Paris, Wiener Staatsoper, Berlin, Zurich and at the MET in New York, Lucia di Lammermoor at Hamburgische Staatsoper, Muscat, Turin, La Traviata at Teatro La Fenice in Venice and in Torino, Nabucco at Arena in Verona, Rigoletto at Teatro Real in Madrid and at Teatro alla Scala, La Bohème at Wiener Staatsoper, Il Trovatore in Macerata, Lucia di Lammermoor in Paris, Rigoletto in Rome and Naples, Anna Bolena and Il Pirata at Teatro alla Scala, Macbeth in Turin and Edinburgh, Il Trovatore in Frankfurt, Un ballo in maschera in Wien and Paris, La Bohème in Madrid, Il Trovatore in Florence and Seville, Rigoletto and Nabucco in Munich; Don Carlo in Venice.

Among future engagements Cavalleria rusticana with Chicago Symphony conducted by Riccardo Muti, Il Trovatore in Venice, Nabucco in Parma, Aida in Paris, Tosca in Moscow, La traviata in Naples, Il trovatore and La bohème in Rome, Cavalleria Rusticana in Arena di Verona, again Il trovatore in Palermo etc.

Joshua Bloom Bass

DSO Debut

AUSTRALIAN-AMERICAN BASS Joshua Bloom is frequently praised for his “resplendent bass” and “huge vocal capacity” alongside an “outstanding dramatic precision and power”, (New York Times, Independent) across a remarkable variety of repertoire from Mozart, to Wagner and Strauss, to world premiere works by Gerald Barry and Richard Ayres. He has sung principal roles with Oper Köln, English National Opera, Garsington Opera, the Royal Opera House, San Francisco Opera, Wiener Staatsoper, LA Opera, Opera Australia, New York’s Metropolitan Opera, Washington National Opera, Santa Fe Opera, Badisches Staatstheater, Irish National Opera, and New Israeli Opera, among others.

Bloom has also appeared on the concert stage with the Berlin Philharmonic, New York Philharmonic, all of the major London orchestras, the Los Angeles Philharmonic, the City of Birmingham Symphony Orchestra, Britten Sinfonia, the Auckland Philharmonia and the Birmingham Contemporary Music Group as well as the Melbourne, Queensland, Adelaide and Western Australian Symphonies.

In the 2022/23 season, Bloom will make multiple house debuts as Cadmus Semele for Opera de Lille, Bottom A Midsummer Night’s Dream for Opéra de Rouen Normandie and Kissinger Nixon in China for Opéra nationalde Paris. On the concert platform, he will perform Handel Messiah with the Philharmonia Baroque Orchestra and Rambo The Death of Klinghoffer at The Concertgebouw.

Bloom was born in Australia to musician parents and studied cello and double-bass as well as being a chorister at St Paul’s Cathedral, Melbourne. He went on to study History at the University of Melbourne and graduated with a Bachelor of Arts. His professional debut in opera was in an OzOpera touring production of The Barber of Seville, after which he joined the Young Artist Programme of Opera Australia in Sydney, and later the Merola and Adler Fellowship Programmes at the San Francisco Opera.

Ferdinando Sulla

Guest Chorus Conductor

DSO Debut

FERDINANDO SULLA studied organ and composition at the Conservatorio di Musica “Stanislao Giacomantonio” Cosenza and continued his composition and orchestration studies in Milan with composer Giampaolo Testoni. He graduated with full marks and honors in choral music and choral conducting at the conservatory and in orchestral conducting at the Civica Scuola di Musica Claudio Abbado in Milan.

Afterwards, he expanded his conducting studies with Gilberto Serembe at the Italian Conducting Academy. As chorus director, he collaborated with Fabio Luisi and Diego Fasolis for important operatic and symphonic productions. In the operatic field, Sulla has conducted L’italiana in Algeri, Don Pasquale, La Cenerentola, Le donne vendicate, Paisiello’s Il barbiere di Siviglia and Nozze di Figaro Sulla conducted “Miserere” and Rossini’s Messa di Milano at the Rossini Opera Festival, and edited the critical version of Messa di Milano for the G. Rossini Foundation of Pesaro. Sulla has also conducted at the Festival della Valle d’Itria in Martina Franca, Festival Verdi in Parma, and Festival Ressurexit in Siauliai on special invitation from the Lithuanian National Philharmonic Society of Vilnius. He has also conducted at the Teatro del Maggio Musicale Fiorentino in Florence, Teatro Regio in Parma, Auditorium of Milan, Fondazione Rete Lirica delle Marche, Teatro Rossini in Pesaro, Teatro Verdi in Padua, Teatro della Fortuna in Fano, Teatro dell’Aquila in Fermo, Teatro Ventidio Basso in Ascoli Piceno, Teatro A. Rendano in Cosenza, and the Auditorium Maximum in Cluj. Sulla has also conducted the Orchestra and Choir of the Teatro del Maggio Musical Fiorentino, Orchestra Sinfonica G. Verdi in Milan, Filarmonica Arturo Toscanini Orchestra in Parma, I Filarmonici Friulani Orchestra, Filarmonia Veneta Orchestra, Filarmonica Gioacchino Rossini Orchestra, Orchestra Sinfonica G. Rossini in Pesaro, Orchestra di Padova e del Veneto, Orchestra and Choir of the State Philharmonic Transilvanjia in Cluj, Orchestra I Pomeriggi musicali in Mulan, Orchestra Magna Græcia, Klaipeda Chamber Orchestra, Orchestra I Musici di Parma, Roma 3 Orchestra. He has also conducted world premieres of works by Giampaolo Testoni and Paolo Furlani.

DALLAS SYMPHONY CHORUS 2022/23 SEASON

SOPRANO

Lauren Abee

Alma Alvarez

Chris Archbold

Julie Barnett Diana Benoit

Karvi Bhatnagar

Ashly Blake

Susan Burroughs

Tricia Carroll

Emma Chumchal

Madeline Clothier Stephanie Collao Courtney Crosby Shannon Davidson Lavanda Davis Delilah Delgado

Julie Duncan Amelita Facchiano Ashley Grether Jacqueline Hernandez Johyné Hill Nicolle Ho Julie Ihrig Amy Kelley

Brionne Kelly Monica Koch Leslie Lenser

Pauline Yue Man Leung

Olivia Li

JoNell Lindh

Olivia Mancini

Jane McKee

Lucy Meyers-Lambert Anita Moore

Laura Morgan

Caye-An Muldowney Abigail Muñoz

Noel Nelms

Janet Noonan

Hilary O’Hara

Arian Orlando Carol Ozlowski

Sarah Pelosi Michaela Robinson Jennifer Rodney Laura Seale

Alicia Shewmaker Dana Sosebee Julie Thompson Sarah Tichenor Anne Tracy Katherine Tribble Elizabeth Varhaug Rhea Yalamanchili

Jessica Zeller

ALTO Rebecca Baker Meredith Ball Judith Becker Christin Brown Maria Brown Christi Burkle

Francesca Cacal Martine Chambers Rebecca Cloud Mary Jane Cooper Sandi Dillon

Susan Ellingburg Emily Fallis

Pilar Fisher Sarah Frazier Liz Friend Brittney Fulgham

Rebecca Germany

Melanie Gilmore Sarah Gothard

Stephanie Hardin Taylor Havins Rosemary Hoogerwerf

Jillian Hughes Megan Jackson Sierra Johnson Abigail Johnson Tracy Juarez Susan Lawson Rica Lelina Melania MacDonald Debbie Maxwell Kyra McGuirk Victoria Medrano Margo Moore Siena Morgan Julie Navar Rachel Oney Frances Ramirez Claire Redlaczyk Kimberly Ritchie Marie Rogers Callie Shaia Cynthia Smiley Sara Spock Beverly Storey Mayra Tejada Arriola

Megan Tidwell Hannah Trippe Karen Trost Ruth Vera Jennifer Weaver Emily Williams Cecilia Yip Susanne Zoch

Roster continued on following page

This roster is subject to change.

TENOR

Silas Allen

Michael Bentley Trey Bourland Piero Centurion Beau Dream Bradley Gaulden Christian Jensen Kenneth Lambert Scott Loudder Chris Martin Will McLean Daniel Norwood Kevin Patrick Carsten Pedersen

John Rasbury Brad Rountree John Skinner Richard Snelling Chuck Tackett Mat Thekkil Terry Thompkins Clint Turner James Worley

BASS

Miguel Amado Nick Badger

Clint Bailey Mason Barlow Jonathan Cao Ken Carroll Adam Christa Zane Crownover Dennis Decker Joel Duarte Matt Garner Luis Gonzalez Glyne Griffith William Herndon Michael Kramer Elijah Lopez Michael Lysinger Jason Mahan Tim Mohel Zachary Myatt Jack Oros

Garrett Reinhardt Scott Ruck Dave Senter Alex Stack Theodore Walker David Ward Paul Westgate Daniel Wohlberg Addison Yates

This roster is subject to change.

Program Notes

Verdi Requiem

Program Notes by René Spencer Saller

GIUSEPPE VERDI (1813–1901) Messa da Requiem

FIRST PERFORMANCE: May 22, 1874 – Milan; Teresa Stolz, soprano; Maria Waldmann, mezzo-soprano; Giuseppe Capponi, tenor; Ormondo Maini, bass; Giuseppe Verdi, conductor

LAST DSO PERFORMANCE: February 23, 2014; Jaap van Zweden, conductor

I asked a friend, Patty Kofron, a versatile mezzo-soprano who has sung Giuseppe Verdi’s Requiem several times, to describe the experience from the performer’s perspective. “I don’t know if I can express how much more it is than the complexity of the double choruses, or the beauty and terror of the music,” she said. “When I sing the ‘Libera me,’ I feel like I am personally begging God to spare me from eternal damnation... and I’m not even religious. It’s the most powerful thing I’ve ever sung or will ever sing. As much as I love the Brahms, Fauré, Mozart, and other requiems, the Verdi puts my own mortality and my maker right in my face.”

You don’t need to be singing to feel a similar rush. You don’t even need to believe in God. Despite its obvious Judeo-Christian framework, its churchy fugues, and its incense-steeped Latin trappings, this Requiem deals more with the secular than the sacred. For long, delectable stretches, if you tune out the Latin text and simply let the melodies wash over you unmediated, you might convince yourself that you’re listening to a love duet or an arietta, perhaps a quartet backed by large chorus or some showstopper from one of his recent operas. Indeed, Verdi finished Aida, a commission to honor the Suez Canal, in 1871, a few years before the first performance of the Requiem; the two scores share a similar intensity, a dark grandeur bleeding into raw emotion.

Program Notes

No wonder the Requiem appeals to the nonreligious: Verdi himself was often accused of agnosticism. His second wife, Giuseppina Strepponi, described the composer’s spiritual outlook as a matter of temperament: “Everyone agrees that ...he’s the soul of honesty, he understands and feels every noble and delicate sentiment; yet for all that, [he] allows himself to be, I won’t say an atheist, but certainly not much of a believer, and all with a calm obstinance that makes you want to thrash him.”

Everyone who loves Verdi’s Requiem has a favorite part. The concluding “Libera me” gets most of the attention, and deservedly so, but highlights abound. Sometimes it’s the glittering majesty of the “Sanctus” that satiates my brain’s pleasure centers; sometimes it’s the intimate, chamber-music bliss of the “Lux aeterna.” But the Requiem is more than the sum of its parts, and most of its power is cumulative. When the unstoppable “Dies irae” theme returns, it hits us like a sucker punch: we can’t escape our certain deaths. All we can do, awaiting judgment, is express our all too human selves.

Verdi does more than resurrect the Requiem form: he rehumanizes it, bringing the drama back to individual sinners with enormous needs: for grace, for redemption, for eternal peace, or at least an escape from hellish torment. The singers are relatable in the same way that opera heroes and heroines are relatable: larger than life but fatally flawed.

“ But the Requiem is more than the sum of its parts, and most of its power is cumulative. ”

Late-Life Superachiever

Over a six-decade career, Verdi wrote 28 operas, easily half of them masterpieces. He produced many of his greatest works when he was in his 70s, at a time when 60 was considered old. He was still at the peak of his powers when he died, on January 27, 1901, a few days after suffering a massive stroke. To this day his funeral ranks as the largest public assembly ever recorded in Italy.

Beyond his genius for indelible melodies, Verdi was a master dramatist. A devotee of Shakespeare, Schiller, Byron, and Voltaire, he read widely and deeply, always on the hunt for the next opera plot. He worked closely with his librettists to ensure minimal flab and maximal feeling. In the world according to Verdi, rage and terror rule, desire redeems and destroys, and the tenor loves bravely forever.

He was born in Le Roncole (now known as Roncole Verdi), in a rural area then under the control of France. Although he liked to call himself a peasant, his parents were innkeepers, with enough disposable income to pay for his private organ lessons at age four. During his adolescence he lived in Busseto with a patron’s family, growing close to the patron’s daughter, his music pupil. After he failed the entrance examination for the Milan Conservatory, his wealthy future father-in-law paid for three years of private composition lessons.

In 1836, two months after Verdi was appointed director of Busseto’s Philharmonic Society, he married Margherita Barezzi, his patron’s daughter. They had two children, both of whom died as babies. In 1840, a year after the successful premiere of his first opera, Oberto, Verdi’s 26-year-old wife suddenly died, probably from encephalitis. His next effort, a comedy, was a flop, and he considered giving up. But in 1842, Nabucco, his

Program Notes

third opera, became the first in a long series of overlapping hits, launching the 29-year-old composer’s international career and securing his fame.

It was during rehearsals for Nabucco that Verdi met his second wife: the soprano Giuseppina Strepponi, who stepped into the role of Abigaille at the last minute and saved the production. Verdi and Strepponi invited scandal by living together “in sin” (technically, in Paris, Busseto, and finally an estate in Sant’Agata, in his ancestral Parmesan countryside). They married in secret in 1859, and the union lasted until her death, in 1897; Verdi died a few years later.

At his funeral, thousands of mourners lined the streets while Arturo Toscanini conducted a 900-voice choir in the “Va, pensiero” chorus from Nabucco. Although Verdi was first buried in the Cimitero Monumentale, in Milan, his remains were relocated to the crypt of the Casa di Riposo per Musicisti, a retirement home for musicians that Verdi had founded.

Roots of the Requiem

In 1868, soon after the death of Gioachino Rossini, whom he revered, Verdi pitched a kind of compilation Requiem in honor of the late composer to his publisher, Tito Ricordi, with the various parts supplied by himself and a dozen of Italy’s other leading composers. Verdi composed the final “Libera me.” The memorial mass was not performed in 1869, as originally scheduled, the first anniversary of Rossini’s death. The complete compilation version of the work wasn’t debuted until 1988.

In 1873, at Verdi’s request, Ricordi returned the “Libera me” score, around the same time that the Italian novelist and poet Allesandro Manzoni died. Verdi’s grief over the loss of Manzoni, a hero of the Risorgimento (the 19th-century Italian unification movement), likely compounded the grief he felt for Rossini.

Whatever the source of these strong emotions, Verdi sought expression in the elegiac: he decided to complete the remaining movements of the Requiem—everything save “Libera me,” which he revised significantly. He spent the summer of 1873 composing, or reverse-engineering, a complete Requiem. He believed in the project so strongly that he spent his own money printing the sheet music for the first performance, which he conducted, at the Church of San Marco, in Milan, on May 22, 1874.

Verdi’s Requiem translates the ancient Latin mass for the dead into the vernacular of Italian opera. Ferocious and crude as a gut punch, tender and transcendent as a kiss, Verdi’s Requiem revels in the dramatic, or at least doesn’t refute the charge lobbed by the conductor Hans von Bülow, who dismissed Verdi’s Requiem as “his latest opera, in ecclesiastical vestments.”

Johannes Brahms, Bülow’s close ally and associate, disagreed. “Bülow has made an almighty fool of himself,” Brahms said after taking in Verdi’s Requiem. “Only a genius could have written such a work.”

Verdi, for his part, tried to distinguish his Requiem from his previous works for the stage. “One mustn’t sing this Mass in the way one sings an opera,” he explained, “and therefore phrasing and dynamics that may be fine in the theater won’t satisfy me at all, not at all.”

Theatricality aside, Verdi taps into the divine by way of the carnal.

All the best evangelists understand the link between the loins and the great hereafter. As for theological matters, he was an

“ Ferocious and crude as a gut punch, tender and transcendent as a kiss ”

Program Notes

agnostic and loath to get too preachy. Maybe that’s why his lead quartet often sounds like pairs of lovers singing to other lovers. He understood divine mercy through his art, those melodies that sear our souls like sudden truths.

In Memory of Two Great Men

Verdi’s “Libera me” was originally written to honor Gioachino Rossini (1792–1868), the composer Verdi once called “a glory of Italy.” Verdi called Manzoni’s 1827 novel I promessi sposi (The Betrothed) “not only the greatest book of our epoch, but one of the greatest ever to emerge from a human brain.”

He called Manzoni himself a “saint.”

Later, when Manzoni died at age 88—coincidentally, the same age at which Verdi himself would die almost 30 years later—he remembered his contribution to the compilation Requiem and realized that he could build upon this promising foundation.

On June 3, 1873, Verdi wrote to Ricordi of his plans: “I too would like to demonstrate what affection and veneration I bore and bear to that Great Man who is no more, and whom Milan has so worthily honored. I would like to set to music a Mass for the Dead to be performed next year on the anniversary of his death. The Mass would have rather vast dimensions, and besides a large orchestra and a large chorus, it would also require... four or five principal singers... I would have the copying of the music done at my expense, and I myself would conduct the performance both at the rehearsals and in church.”

“

Verdi’s Libera me was originally written to honor Gioachino Rossini, the composer Verdi once called a glory of Italy ”

Verdi asked Ricordi to obtain permission from the mayor of Milan. After the project was approved, Verdi got to work. By using the music that he had written for the earlier compilation Requiem, he would need only about an hour’s worth of additional music to frame and complete it. He composed the settings for a multipart “Dies irae” and other sacred texts, and finished it on April 10, 1874. He printed the score at his own expense, as promised, and conducted the first performance in Milan on May 22, one year after Manzoni’s death. Verdi’s original title: “Requiem Mass for the anniversary of the death of Manzoni, 22 May 1874.”

Varieties of Requiem

Technically speaking, a Requiem refers to a musical setting of the Latin Mass for the Dead. Sometime after 1450 and possibly as late as 1470, the Franco-Flemish composer-turned-priest Johannes Ockeghem wrote an early, incomplete polyphonic rendition, minus the Sanctus, Agnus Dei, and Communion. Many significant Requiem settings followed, from the 15th century onward, including Mozart’s iconic unfinished composition from the months, indeed hours, leading up to his death in 1791. Closer to Verdi’s time, Luigi Cherubini composed a stellar pair (1816 and 1836), and Hector Berlioz contributed another even more famous one, sometimes called the Grande Messe des morts (Great Mass of the Dead; 1837). Verdi would have been familiar with all those composers’ works, although his own Requiem was less rooted in the liturgical.

Verdi responded to the Latin text by locating its emotional core, the dramatic significance of each singer’s moral confession. He offers no comforting lies, no confident speculation. Let other composers traffic in the theological; Verdi’s heart is with the human: the soprano, pleading in terror for her salvation, sinful but shining, shining. The tenor, the mezzo, the bass-baritone: all kissed by the holy, implicated and yet innocent.

Program Notes

A Closer Listen

I. In the opening movement, an appeal on the behalf of the recently departed for a peaceful rest, the chorus sings from the perspective of the mourners. Prefaced by austere low strings, the singers begin with the standard lines “Requiem aeternam dona eis, Domine” (Grant them eternal rest, O Lord), which the chorus and orchestra intone with a hushed gravitas. Verdi translates the Lord’s promise of endless light into the luminous language of late Romanticism, turning a grief-laden hymn into an operatic anthem. The four solo singers join the chorus and orchestra for a jubilant “Kyrie eleison” (Lord have mercy).

II. The doomy and demonic second movement, the nine-part “Dies irae” (Day of Wrath), slashes and burns through a terrifying series of scenarios wherein the sinners individually confront their wretched souls. What awaits us after death? Eternal perdition or a joy so perfect that the most celestial fugue can only approximate it? The singers roar, wail, whisper, shriek, and hiss; the orchestra invests each scene with the appropriate mood and color.

The “Dies irae” is based on a poem about Judgment Day commonly attributed to Thomas of Celano, a 13th-century Franciscan monk. In his setting of the ancient text, Verdi squires us through all the stages of grief. Against punishing bass drum and shrieking piccolo, and preceded by apocalyptic brass fanfares, the choristers describe the day that fire consumes the world. Verdi’s melodies do 90 percent of the persuasion, and his Technicolor scoring does the rest. Only a robot could resist the “Recordare,” in which the soprano and the mezzo-soprano sing a lustrous Mozartian rhapsody. Other

“ In his setting of the ancient text, Verdi squires us through all the stages of grief. ”

highlights include the godlike trumpet fanfare of the chorusdriven “Tuba mirum”; the sensuous grip of “Liber scriptus”; the delicate, wind-driven pastorale of “Quid sum miser”; and the pathos-drenched “Lacrymoso,” for solo quartet and chorus, the sinner’s tearful plea for salvation.

III. The solo quartet sings the “Offertorium,” a light-rinsed, lullaby-like testament to the creator’s tender mercies. Here the four singers describe the holy radiance that God promises to bestow on Abraham and his descendants.

IV. The “Sanctus,” a resplendent double fugue for two choruses, is sung from the angelic perspective: divinity casting a fond downward glance at the suffering humans. The angels’ joy seems almost explosive, in contrast to the anguish of the human characters: “Holy, holy, holy, Lord of Hosts! Heaven and earth are filled with your glory!”

V. Against spare orchestral accompaniment, the chorus, the soprano, and then the mezzo-soprano sing the “Agnus Dei”: “Lamb of God, who takes away the sins of the world, grant them rest.”

VI. Sometimes a cappella and sometimes accompanied by shimmering strings and delicate winds, the mezzo-soprano, tenor, and bass deliver the luminous prayer “Lux aeterna” (Light eternal). The violins are divided into six parts to enhance the celestial effect.

VII. The soprano returns, with chorus, for the transcendent “Libera me,” which redirects our attention to the singular terrified sinner. On one level, you can appreciate the final movement as an aria, a gracefully emotive outpouring of bel canto splendor. At its climactic midpoint, the soprano’s high C rips through the chorus to remind us of her individual suffering. The chorus responds, a soothing balm made of light. A wild fugue develops, jagged with accidentals, propelled past terror into panic. Is the

sinner consoled or even redeemed by this onslaught of beauty, or simply distracted from the potential terrors of the afterlife? Did she do enough—will we have done enough?—to atone?

Verdi respects us too much to speak for a God he wasn’t entirely sure even existed. He puts his faith our collective capacity to figure it out for ourselves. The Requiem ends with the soprano and chorus crooning so softly that they might as well be whispering, “Libera me”: Deliver me.

Into what, who can say?

Musical Glossary

ADAGIO – At a slow tempo

ALLEGRO – A fast and lively tempo

ANDANTE – Moderately slow time

ARPEGGIO – A musical chord played one note at a time in quick succession

ARRANGEMENT – An adaptation of an original piece of music, many times for a unique configuration of players

CADENCE – The end of a phrase

CODA – (Italian: tail) The ending of a piece of music

CONCERTMASTER –The leader of the string section; he or she sits to the conductor’s left, closest to the audience; you will see this person enter the stage to tune the orchestra at the beginning of the performance

CONCERTO – A musical composition for one or more solo instruments and an orchestra

CRESCENDO – A build in the volume or dynamic of the music

CHROMATIC – Using notes not part of the home key or scale; a chromatic scale is made up of all half steps (using all the black and white keys on the piano)

DECRESCENDO – Gradually playing music softer

FORTE – To play strongly and loudly

KEY – The main group of pitches, or notes, that form the harmonic foundation of a piece of

music; for example, A Major or C minor

LARGO – To play in slow time and a dignified style

LEITMOTIF – A recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation

MINUET – An elegant dance in triple time; often the third movement of a work

MOVEMENT – Distinct sections of a larger work; these often have contrasting moods and are indicated with different tempo markings

OPUS – A musical composition numbered as one of a composer’s works (usually in order of publication); noted at “Op.” in a composition’s name

ORCHESTRATION – The art of writing for the orchestra and deciding what instruments should play which parts of the music

OSTINATO – A part that repeats the same rhythm or melodic element

OVERTURE – An orchestral composition forming the beginning of an opera or ballet

PHRASE – A small section of a composition comprising a musical thought; comparable to a sentence in language

PIANO – To play softly

PIZZICATO – (Italian: plucked) A direction to performers on string instruments to pluck the strings

POLYPHONIC – Two or more simultaneous lines of independent melody

PRESTO – A very fast tempo

PRINCIPAL – The leader of each instrumental group, such as Principal Oboe, is generally responsible for leading the group and playing orchestral solos

RHYTHM – The arrangement of notes according to their relative length and relative emphasis (beat)

RONDO – A musical form that involves the use of a recurrent theme between a series of varied episodes; the final movement of a Classical concerto or symphony is often in rondo form

SCHERZO – A light-hearted movement found from the early 17th century in various forms but used by Beethoven as an alternative to the minuet in symphonies, sonatas and other instrumental works

SYNCOPATION – In rhythm, the shifting of the expected accent

TEMPO – The speed of the music

THEME – A short musical passage that states an idea

TONE POEM – A piece of descriptive orchestral music, many times in one movement

TUTTI – A section where “all” play together as one

VIVACE – Spirited, bright, rapid, equaling or exceeding allegro

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^

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Cindy and Howard Rachofsky *§º Jennifer and Peter Roberts Ruth Robinson *

Jeffrey Robinson and Stefanie Schneidler Anita and Merlyn D. Sampels *§ Myrna and Bob Schlegel *§ Enika and Richard Schulze * Elsa von Seggern Foundation * Norma and Don Stone *§º Barbara C. and Robert P. Sypult *§ Mrs. Robert E. Titus * Ms. Sarah Titus

Martha McCarty Wells Karen and Jim Wiley *§ Jerry and Susie Wilson Mrs. Charles J. Wyly, Jr. *

The Dallas Symphony is honored to recognize the individuals and foundations whose extraordinary annual support contributes significantly to its artistic programs and community engagement initiatives.

Honoring Founding Members of the Maestro Society in support of Music Director Fabio Luisi

STRADIVARIUS PATRONS

PLATINUM STRADIVARIUS PATRONS

ANNUAL FUND $25,000-49,999

Mr. Justin Bailey and Mrs. Sara Crittenden Adenilda and Kevin Bryant

James F. Carey

John and Barbara Cohn § Don and Barbara Daseke John W. Dayton * Peggy Dear * The Decherd Foundation

Durham Family Foundation * Cindy and Charlie Feld * Ben Fischer and Laree Hulshoff Ron and Rebecca Gafford

Susan and Mark Geyer Kathryn H. Gilman in memory of Alfred G. Gilman *§ Jean M. and Marc A. Gineris Doug Haloftis and Fernando Gonzalez

Tim Headington §

Mr. and Mrs. Joseph V. Hughes, Jr.

Robert S. Kaplan

Mr. and Mrs. Atlee Kohl/ Kohl Foundation *§ Holly and Tom Mayer Courtney and Andrew Nall

GOLD STRADIVARIUS PATRONS

ANNUAL FUND $12,500-24,999

Anonymous

Nicholas Adamson Steve and Cindy Aughinbaugh Pamela Barrett Sherry S. Bartholow * Dolores G. and Lawrence S. Barzune, M.D. *§ Frances Blatt * Patricia and Paul Bonavia Brett and Allison Brodnax Carole Ann and Dick Brown Mrs. Thomas R. Corbett * Mr. and Mrs. William A. Custard § Denise and Steve Do Laura and Walter Elcock Bonnie Floyd, M.D. Angela Fontana and Andre Szuwalski Susan and Woodrow Gandy Rita Sue and Alan Gold * Kathleen A. Messina and Gary W. Goodwin Elisabeth W. Grant Dr. and Mrs. Joseph M. Grant

Lucy and Richard Gussoni * Michael and Marsha Halloran Mr. and Mrs. Scott Hancock Mr. and Mrs. Robert Hewes Mr. and Mrs. Gregory W. Hext Mr. and Mrs. Laurence E. Hirsch Nancy Ann and Ray L. Hunt § Jane and Pat Jenevein *§ Beverly and Ken Jinkerson Joan and Jack Kickham * Debra and Steve Leven Sue L. Maclay * Linda and John McFarland Joyce and Harvey Mitchell *§ Nesha and George Morey William and Linda Nelson David and Michele Pahl Paulos Foundation * Mary Catherine and Trevor K. Person

Charles H. Phipps Mrs. Lev Prichard Vin and Caren Prothro Foundation *§

Kim Noltemy

Stephen B. L. Penrose

Betty S. Regard

Jeff Rich and Jan Miller

Adrienne and Tom Rosen

Arthur F. Selander

Joanna and Peter Townsend *

Fred Tuomi and Erin Hannigan

Mr. and Mrs. Herbert D. Weitzman

Mr. and Mrs. Robert E. Woolley §

Marilyn Roark

Quincy Roberts Bridget Silverthorne Russell § Stephen and Marcy Sands Diana and Sam Self Peggy and Carl Sewell § Nancy Shutt *

Mr. and Mrs. Lawrence D. Stuart Barbara C. and Robert P. Sypult *§

Becky and Brad Todd * Ms. Merle K. Turner and Mr. Bill Condon

Mark and Ellen Ulrich Timothy R. Wallace David and Harianne Wallenstein Dr. and Mrs. Howard J. Weiner * Adele Wildenthal

Marnie and Kern Wildenthal * Mr. and Mrs. Dan Wright Sanjiv and Mohua Yajnik

SILVER STRADIVARIUS PATRONS

ANNUAL FUND $7,500-12,499

Anonymous (2)

Anne and David Allred

Dr. and Mrs. James M. Atkins * Mrs. Richard D. Bass * Mr. and Mrs. Spence Beal James Bildner

Mr. Mark R. Blaquiere and Ms. CatheyAnn Fears Kalita and Ed Blessing § Linda Brookshire Susan Brown and William McCoy Mr. and Mrs. Andrew D. Clugston

Mary McDermott Cook * Mr. and Mrs. William Cornog Mrs. Patricia M. Craig Mr. and Mrs. Robert P. Doffing Marion T. Flores § Dr. and Mrs. James Forman Katherine Freiberger and Lawrence Althouse

Mr. and Mrs. James A. Gibbs * Rosann and Richard Gutman *

Susan and T. Hardie Mrs. Deborah Heaton Elissa Sabel and Stan Hirschman Sue and Phil John Hon. Julie Johnson and Dr. Susan Moster Mr. and Mrs. Rod Cain Jones * Kristi and Michael Kennedy Drs. Susan and Gregory Kozielec Drs. John and Deirdre LaNoue

Kathleen and Frank Lauinger * Dr. and Mrs. Michael Lindsey Mr. and Mrs. Jay W. Lorch Morgan and Chad MacDonald Tom and Charlene Marsh Family Foundation * Richard and Bobbi Massman Navias Family Foundation * Kathy and Greg Nelson Dr. Aharon and Shula Netzer Krunali Patel and Umesh Iyer

In Memory of Bob and Ginnie Payne §

Nancy and Wilfred Roberts

Deedie Rose

Marion Rothstein * Ginger Sager

William L. Schilling *§º

Mr. and Mrs. Robert E. Segert Sandy and Mark Singer * Nancy and John Solana * Charlotte Test

Sandra Tucker

Jutta and Arie Van Selm

Marcia Joy Varel * Joe and Ellen Walker Sharon and Bob Walker Don E. Welsh

James C. Williams Mr. and Mrs. Ward W. Wueste Aaron Bertram Zeman and Dane Ruccio

BRONZE STRADIVARIUS PATRONS

ANNUAL FUND $5,000-7,499

Anonymous (2)

Susie and John Adams * Suzanne Azoulay

Julie and Craig Beale § Jill C. Bee and Loren Glasser Selly and Joyce Belofsky § Mr. and Mrs. John K. Blake Mr. and Mrs. Larry E. Boerder Mr. Bill Bond

Denise and Greg Boydston Mel and Candi Brekhus Mr. and Mrs. Barry Buford Mrs. Alicia Burkman

Jo Ann B. Caruth

Kay and Elliot Cattarulla Mary Christian Mr. and Mrs. Harris W. Clark

Bonnie E. Cobb Gary and Alice Coder Donna and Dan Coletti

Sandra Cook Mr. Matthew Copeland Carol Crowe

Hannah Cutshall Clifton and Sherry Daniel *§

Sandra L. Carlson DeBusk *

Robert Miller Dickson and Carolyn Bacon Dickson * Mr. and Mrs. Robert M. Dix Dede Duson

Jason and Lucy Edling Marion P. Exall Billie and Mack Forrester * Stephen Geoffray and Cindy Walker

Mr. and Mrs. Charles R. Gibbs

Mr. David Gibson and Mrs. Chikako Terada

Jessie D. and E. B. Godsey Family

Wade and Margaret Goodrich

Dr. and Mrs. William L. Green * (Col. Rt.) Bill and. Mrs Barbara Gross

Tim Hanley

Rob and Robin Haseltine

John A. Henry III

Kathy and Richard Holt Gerald L. and Frankie L. Horn * Ms. Nina C. Hutton

Christopher and Allison Ireland Kathleen Irvin and Dennis Walo Jo Jagoda *§

BRONZE STRADIVARIUS PATRONS

ANNUAL FUND $5,000-7,499

Amy Jones

Kim Jordan *

Mr. and Mrs. Steven Keirstead Dr. Karen K. King John and Gina Knight

Nancy and Mark Knudsen

Mr. and Mrs. Rudolph C. Koch III *

Dr. and Mrs. John R. Krause

Charles and Diana Lace Paula S. Lambert

Liza and Will Lee * Craig and Joy Lentzsch

Frank and Dianne Maio March Family Foundation

Nancy Cain Marcus and Sanford R. Robertson § Mrs. Clovis A. Mathews

Patricia and David May Erika and Mike McFadden

Victoria and Hunter McGrath Anne McNamara

Libby Meyers § Dr. and Mrs. Robert E. Morgan *

STRADIVARIUS PATRONS

ANNUAL FUND $3,000-4,999

Anonymous (17)

Kelsey and Matt Acosta Mr. Dustin Anthamatten Matamba and Regina Austin Mr. and Mrs. James L. Baldwin Jr.

Lisa and Gregg Ballew Pete and Julie Bell

Mr. and Mrs. Charles M. Best * Nancy Bierman

Georgia Sue Black * Elaine Bohlin

Dr. Arthur P. Bollon and Dr. Rhonda R. Porterfield * Tab Boyles

Linda and Gilbert Brown Lori H. Burk §

Ron and Jane Morrill Dhruv Narayanan Jeannie and David Nethery Mr. and Mrs. David Nurenberg * Danna L. Orr

Lucilo Peña and Lee Cobb Dr. and Mrs. Melvin R. Platt * Michelle and Al Rabalais W. Paul Radman, DDS and Jane Vandecar * Dr. Karen L. Rainville

Patrick and Joy Ramsier

Katherine and Eric Reeves Mrs. Janet K. Richter

Hon. and Mrs. Wm. F. Sanderson, Jr.

Jane Sandlin

Mr. and Mrs. Michael T. Scimo Linda and Richard Shaffer Mr. and Mrs. William T. Solomon

Jo and Andre Staffelbach Jim and Elaine Stedman Anthony and Itske Stern

Dr. Marvin and Kathy Stone

Mrs. Rosalie E. Stone Dr. Laurie Sutor Seymour R. Thum * Inge and Sam Vastola * Charles and Barbara Vaughan Ann Penson Vreeland, Ph.D. § Larry and Marilyn Waisanen Ralph O. Weber Barbara and John Zrno

Nan-Elizabeth Byorum *

Mr. David Cain and Ms. Vanessa Burkman

Amy Carenza and Nathan Offerdahl

Mr. Arturo Carrillo

Lucinda and Lyne Carter

Dr. Angie Cayton

Richard A. Chesney

Mr. and Mrs. Sherman Chiu

Laura and Lawrence Ciavola

Mr. Frank Cinatl III

Robert and Donna Clancy Bev Coben *§

Mr. and Mrs. Robert M. Cohan Mr. Joseph Colangelo Richard H. Collins *

Mr. Jeremy Comstock

Dr. Martin and Michelle Conroy Lynn and Bruce Cope

Hannah Cope

Jess Corrigan and Lisa Hartman

Thomas and Catherine Crandell Stan and Kelly Crow

Christopher Crume

Cullen and Judy Cullers

Dr. Diana P. Cunningham

Dallas Symphony Players Association

Gretchen and Doug Davies

Lourdes and Tom Delimitros

Mary and Bob Dilworth § Dr. James Dixson

STRADIVARIUS PATRONS

ANNUAL FUND $3,000-4,999

Mr. and Mrs. Loften B. Dunlap Dr. and Mrs. Arlet R. Dunsworth Mr. and Mrs. Richard D. Eiseman, Jr. Andrew F. Ellis and Marie Corley

Julie and Robert England Dr. Phyllis Engles * Mr. Steven Engwall Pat and Al Enlow Paddy and Barry Epstein * Dr. Chip and Evey Fagadau Mr. and Mrs. Tad Fallows Anne and Alan Feld * Dr. Singyi Feng

Kevin and Michelle Finamore Paul Firey in memory of Mary Lou Firey

John L. Fish

Mr. and Mrs. Hollye C. Fisk Curt and Susie FitzGerald Roy and Laura Fleischmann * Susan G. Fleming, Ph.D. Mary Shelton Florence Estate Antony Francis

Dr. Rhoda Frenkel

Catherine Fritz Mr. and Mrs. Graham A. Gardner

Kathleen and Robert Gibson Lee Gibson in memory of Annie-Laurie Cooper Jason and Charlene Gladden W. John Glancy Mrs. Caitlin T. Glass and Mr. Anthony Patterson

Mr. and Mrs. Paul L. Gleiser Lilli Gober/GFT Ms. Haia Goldenberg

Stephen and Bette Goldmann Mr. Jacob Goodstein and Mrs. Reanna Wilborn

Dr. and Mrs. J. Kirkland Grant * Craig A. and Pamela H. Green Robin Green and Sandy Esserman

Mr. and Mrs. Charles V. Greene Dr. C. Fish Greenfield and Thom Maciula Ralph E. and Beverly Gretzinger Barbara Gunnin *

Brian Hackfeld and Joey Miertschin Paul Hale and Oscar Gomez Mr. and Mrs. Robert G. Hallam § Keith Hallock Hon. Deborah Hankinson Mr. Luke Hardin Allison and Steve Harding Steve and Alicia Harris Olivia and Charles Hasty Mr. Philip Henderson William L. Herrera James W. Hickey Lista and Rick Hightower Hines Heritage Foundation Revoc. Trust Ed Howard

Mr. and Mrs. Carroll Hughes, Jr. Sharon and Robert Hulsey Sandra and Rick Illes Mark E. Jacobs Jean Jaffre Mary M. Jalonick Jordan and John Jardine Emily Jefferson * Jann Scarlett Jerner Dr. and Mrs. Rohan Jeyarajah Dr. and Mrs. Juan M. Jimenez Mrs. N. Page Johnson * Dr. and Mrs. R. Ellwood Jones Dr. Ronald C. Jones M.D. * Toby and Will Jordan

Cynthia Karm

Miss Nancy Kelley

Kay and John Kelly

Mr. Kyle F. Kerr * Ms. Jerrie J. Kertz

Ellen Lindsey Key Mr. Matti Kiik Scott and Elizabeth Kimple Michael and Barbara Kimps Janie and Holman King Dr. and Mrs. Jerold Lancourt Michael and Kathleen LaValle Bucky Layton

George and Natalie Lee Dr. and Mrs. Moonhee Lee Ronna and Larry LeMaster

Jane Saginaw Lerer and Stephen Lerer Marsha Lev

Dr. S. David and Mrs. Jennifer Lloyd Philip and Janeva Longacre

Julie and Michael Lowenberg * Mrs. Jole Luehrs

Lloyd Lumpkins Ms. MaryAnn Lyons Nancy Wiener Marcus Ms. Tory Marpe David and Sara Martineau Gwyn and Wilson Mason * C. Thomas May, Jr. and Eleanor S. May * Sue Thompson McAdams

Mr. and Mrs. Clyde S. McCall, Jr. Sherry McCray Dr. James and Becky McCulley * Kari and Tim McDonald Barbara and Rai Mehta

Mr. and Mrs. Al Meitz * Carole and Michael Mendelson

* 25 or more consecutive years of Stradivarius Patron support

§ Stradivarius Patrons who are also Loge Box Seat Option holders

Charter Member

STRADIVARIUS PATRONS

ANNUAL FUND $3,000-4,999

Judy and Tom Mercer

Drs. Janet and Sonya Merrill Linda Wightman Meyer Don and Debbie Michel Harriet Miers

Mr. and Mrs. Brian K. Miller Dr. Linus Miller

Toni Miller and Jan Nealey

In memory of Marie A. Moore Carroll S. Moriarty

Kyle and Taylor Morrison Sally and James Nation § David and Jean Neisius

Charlene and Tom Norris

Mr. and Mrs. James Timothy Norwood

Mr. and Mrs. Van Oliver Ms. Hester Parker Jeff and Annette Patterson Hank and Becky Pearson § Mrs. Mary Dean Perry * Dr. Sidney Perutz Stanley M. Peskind Anthony Peterson

Danny Phillips

The Rev. Patricia Phillips Mr. Mark D. Pitts

Lucy Polter *§

Patsy and Bud Porter * Arlene and Bill Press Dr. James T. Pyron § Carolyn Raiser and Andy Streitfeld

Dr. and Mrs. Claudio Ramaciotti Kara and Todd Ranta Mr. Dick Rawlings

Ken and Mary Kay Reimer Helen and Frank Risch * Nicole Roberts

John H. Rodgers * Mr. and Mrs. Richard Rogoff

Taras and Diana Lynn Romanchuk

Mr. and Mrs. Allan D. Rosen Helen and Duke Rosenberg *§ Dr. Randall and Barbara Rosenblatt

Eileen and Harvey Rosenblum Deirdre and Bob Ruckman Mr. Wayne Ruhter Raymond and Nina Russo Debbie and Gavin Ryan Mr. and Mrs. Samuel Sanchez Drs. Jean and Herb Schaake * Sophia G. Schmidt John and Page Schreck Mr. and Mrs. Martin A. Schuepbach Dr. and Mrs. James C. Scott John L. Shaw Dana and James Shay Nancy Shelton and Caryl M. Keys

Joslyn and Greg Shirey Carole and Norm Silverman LKS Fund/Lisa K. Simmons Mrs. George Slover * Katherine and Steven Smethie Carol Leone and Regan Smith Martha M. Smither * Gloria and Juan Ernesto Snead Kim Snipes and Wayne Meyer Danny Snyder Karen and Martin Sosland Cindy and Stuart Spechler * William and Jacqueline Stavi-Raines

Mr. David Stecker Phillip W. and Ann Bridges Steely Miss Janie Stephens Mr. and Mrs. Thomas J. Stephens

Richard and Alice Stevenson Hilda H. Stinchcomb

Gayle Stoffel * Catherine Stone Dee Swope

Dr. Paul B. Taylor Mr. Jack Terrillion H.F. and Cindy Tibbals Dr. Martin and Judy Tobey Jim and Deborah Turner Mr. and Mrs. Jack Tutterrow Dr. and Mrs. Albert Vaiser § Michael van Enter Dr. Richard and Tina Wasserman Dennis Waters and Lyn Tharp Carol and Jon Weinstein Carl Weisbrod

Mr. and Mrs. John M. Weston Jane Wetzel *§ Jeanette and George Wharton *§

Mr. Paul Wharton and Ms. Silvia Tapia

Dr. and Mrs. Martin G. White *§

In Memory of David Whiting Sarah and Bryce Whitling

Katherine and Randall Wiele Mrs. Barbara Wiggins * Douglas and Donna Wolfe Terry and Judy Wolfe Linda and Michael Wolfson James Woodall Susan Yarad Z. and Shirley Zsohar

For more information about becoming a Stradivarius Patron, please contact Tanner Garrett, Manager of Individual Giving, at 214.871.4080 or t.garrett@dalsym.com.

The Dallas Symphony Orchestra gratefully recognizes the corporations and foundations whose annual investment in the DSO’s artistic, educational and community engagement initiatives enriches the North Texas community.

INSTITUTIONAL PARTNERS

The DSO is supported, in part, by funds from the Office of Arts and Culture, City of Dallas.

$100,000

AND ABOVE

Hillcrest Foundation

The Jeanne R. Johnson Foundation

The Eugene McDermott Foundation

O’Donnell Foundation

Michael L. Rosenberg Foundation

$50,000-99,999

Anonymous BDO USA, LLP

David M. Crowley Foundation The Dallas Morning News

Fichtenbaum Charitable Trust, Bank of America, N.A., Trustee

Gittings Portraiture Holland & Knight Foundation PNC Bank

Posey Family Foundation

The Brian J. Ratner Foundation

The Rea Charitable Trust Harold Simmons Foundation

$25,000-49,999

Anonymous

AT&T*

Bank of America*

Harry W. Bass, Jr. Foundation

Bloomberg Philanthropies

Chadwick-Loher Foundation

CIBC

The Kaleta A. Doolin Foundation

Dallas Tourism Public Improvement District

First Horizon

The Men and Women of Hunt Consolidated, Inc. Kohl Foundation

Ray H. Marr Foundation

The Heart of Neiman Marcus Foundation / Neiman Marcus Stemmons Foundation*

Summerlee Foundation

TACA*

Texas Capital Bank

The VanSickle Family Foundation Wiley Property, Ltd.

$15,000-24,999

Theodore and Beulah Beasley Foundation

Charles Schwab & Co., Inc. Frost Bank

Haynes and Boone, LLP Central Market / H-E-B Tournament of Champions JPMorgan Chase* Locke Lord LLP

Pulse Supply Chain Solutions, Inc. Quilling, Selander, Lownds, Winslett & Moser, P.C.

The Rosewood Foundation / The Rosewood Corporation*

Simmons Bank

Sturgis Charitable Trust

Texas Women’s Foundation West Monroe Partners Winstead PC Zerbina, Imports, LLC

$10,000-14,999

b1BANK

Ben E. Keith Company* Capital Title Cariloop

Communities Foundation of Texas

Crow Holdings

Feldman Family Foundation

Jones Day

Fannie and Stephen Kahn Charitable Foundation

Kirkland & Ellis LLP

La Stella Cucina Verace

Methodist Dallas Medical Center

Northern Trust*

Josephine Hughes Sterling Foundation Susser Bank

UT Southwestern Medical Center / Southwestern Medical Foundation Veritex Community Bank

$5,000-9,999

ActivePure Alto

Azimont Group Bell Nunnally Blue Cross and Blue Shield of Texas Diodes Inc. Louise W. Kahn Endowment Fund of The Dallas Foundation W. P. & Bulah Luse Foundation

Marsh & McLennan Agency LLC

Metroplex Civic and Business Association

Musume

Platt Cheema Richmond PLLC Roberts Group

Steinway Hall - Dallas Ussery Printing Company

World Affairs Council of Dallas / Fort Worth

* Giving for 20 or more consecutive years

For more information about partnership opportunities and benefits, please contact Sarah Whitling, Director of Institutional Giving, at 214.871.4062 or s.whitling@dalsym.com.

ENDOWMENT GIFTS

ORCHESTRA ENDOWMENTS

Gina Bachauer Fund for Young Artists

Lucile and Clarence Dragert Guest Artist Fund

Rita Sue and Alan Gold Fund for the Lynn Harrell Young Artist Competition

Cecil and Ida Green Guest Artist Fund

The Linda and Mitch Hart Domestic Touring Fund

The Linda and Mitch Hart International Touring Fund

The Linda and Mitch Hart Musicians Retirement Fund

Horchow Family Endowed Fund

Jeanne R. Johnson Fund for Artistic Excellence

Fannie and Stephen S. Kahn Orchestra Travel Fund

The Herman W. and Amelia H. Lay Family Concert Organ Soloists Fund

Eugene McDermott Orchestra Fund

Eugene McDermott Touring Fund

Meyerson Family Artistic Excellence Fund

Nancy P. and John G. Penson Dallas Symphony Orchestra Recording Fund

Pollock Family Fund for Music Library Contents

Robinson Family Fund

Anita and Merlyn D. Sampels Guest Artist Fund

The Charlie and Sadie Seay Endowment Fund for Artistic Excellence

Norma and Don Stone New Music Fund

Martha Wells Women in Music Fund

EXTRAORDINARY NAMED FUNDS

Constantin Foundation Fund

Gail B. and Dan W. Cook III Fund

Corbett Fund for Artistic Excellence

Leo F. and Clara R. Corrigan Foundation Fund for General Support

Alta Ewalt Evans Fund

Robert E. and Ruth Glaze Fund

Fanchon and Howard Hallam Fund

Winborne and Davis Hamlin Family Fund

Linda and Mitch Hart

Young Adult Education Fund

William Randolph Hearst Endowed Fund for Young Strings

Carol and Jeff Heller Guest Artist Fund

The Philip R. Jonsson Endowed Fund for Young Strings

Ben E. Keith Foundation Fund

Cece Smith Lacy and John Ford Lacy Fund

Linda and Stanley Marcus Fund

Juanita and Henry S. Miller, Jr. Fund for General Support

The Pollock Foundation Endowment for Audience Development

Frank K. Ribelin Young Strings Endowment

George A. and Nancy P. Shutt Endowment Fund

Barbara and Robert P. Sypult Family Artistic Fund

Barbara and Robert P. Sypult International Guest Artist and Guest Conductor’s Fund

Desmond A. Wilcox and Brents Davis Orchestra Fund Hazel Young Fund

SPECIAL NAMED FUNDS

African-American Festival Concert Fund

Frances and J.D. Blatt Family Fund for Violinists

Sherwood E. Blount, Jr. Family Fund

Lawrence R. and Joy Lipshy Burk Memorial Fund

Chautauqua Music Student Scholarship Fund

Dallas Symphony Chorus Fund

Jeanne and Sanford Fagadau Family Fund for Education

Emme Sue and Jerome J. Frank Fund for HeartStrings

Gertrude Munger Garrett and Melvin Miller Garrett Memorial Fund for Artistic Excellence

Jessie D. and E. B. Godsey Family Fund

Gould Family Fund in memory of Jim Gould and Katherine Warren Gould Elissa Sabel and Stan Hirschman Guest Artist Fund

Hispanic Festival Concert Fund

Holland & Knight Foundation Fund

Mrs. Lee Hudson Fund for General Support

Luther King Capital Management Fund

Adah Yale Marr Memorial Fund for the Classics

Music and Merit Program Fund

The Hitoshi Nikaidoh Memorial Fund for Education

The S.C. Ratliff, Nannie V. Ratliff, W.C. Ratliff and Lucille N. Ratliff Endowment Fund

Michael L. Rosenberg Foundation

Gertrude Simon HeartStrings Fund

Dr. James E. Skibo Fund

Itske and Anthony Stern Fund

Richard and Alice Stevenson Education Fund

Annette G. Strauss Fund for Artistic Excellence

Brenda J. Stubel Chorus Endowment

Becky and Brad Todd Fund

Worsham, Forsythe & Wooldridge, L.L.P. Fund

CONCERT ENDOWMENTS

Texas Instruments Classical Series

Max, Celia and Jerry Abramson Family Concert

American Airlines

AT&T

Bank of America

Dallas Symphony Orchestra League

ExxonMobil

D. Gordon Rupe Foundation Opening Concert

Sydney J. Steiner and David L. Florence

Arkady Fomin

Annual Endowed Concerts in memory of Irene H. and Ernest G. Wadel

Pops Series Presented by Capital One Mary Martin

The Meadows Foundation

Liener Temerlin

Cecil and Ida Green Youth Concerts Series

Cecil and Ida Green Foundation

The Meadows Foundation

The Morton H. Meyerson Family Foundation

Anne J. Stewart

CAPITAL GIFTS

BUILDING RECOGNITION

Bank of America

Renaissance Foyer

The Richard D. Bass Foundation Percussion Warm-up Room and Choral Music Library

Diane and Hal Brierley Artists’ Dressing Rooms

Diane and Hal Brierley B-flat Rotary Trumpets

Diane and Hal Brierley

The Brierley Suite

Capital One East Loge

Mary C. Crowley Dress Circle Balcony East

Dallas Bankers Association

Isaac Stern Loge Foyer

Dallas Symphony Orchestra Guild

Furnishings of Music Director’s Suite and Musician’s Lounge

Dallas Symphony Orchestra Guild in Memory of Stephen F. Black Harpsichord

Dallas Symphony Orchestra League, Junior Group and Innovators

Musician’s Lounge

Anne and Robert Dickson

Wagner Tubas (Wagnertuben)

Hila and Nat Ekelman Telephone Alcove

ENSERCH Corporation

Grand Tier Balcony East

Ginny and John Eulich

Driveway and Entrance Canopy Greer Garson Fogelson and E.E. “Buddy” Fogelson E.E. “Buddy” Fogelson Pavilion

Margaret and Robert Folsom Administrative

Reception Area

Emme Sue and Jerome J. Frank Celesta

Emme Sue and Jerome J. Frank

Restaurant Tree

Ida and Cecil Green Grand Stairway

Mr. and Mrs. Jack Greenberg Hamburg Steinway and Bosendorfer

Paul Guerrero

Dress Circle Stairway West

The Richard Gussoni Family Symphony Suites

The Haggar Foundation Concertmaster’s Dressing Room

Howard Hallam Choral Rehearsal Room

Hallam Family/Ben E. Keith Foundation Lobby Bars

Ebby Halliday and Maurice Acers Development Office

JoAnne and John Hamann Bosendorfer Grand Piano

Nancy Hamon Light Sculptures

Linda and Mitch Hart Hart Symphony Suites and Reception Atrium

Linda and Mitch Hart Linda and Mitch Hart Lobby

The Thomas O. Hicks Family Dress Circle Balcony West

Hoblitzelle Foundation Symphony Suites

The Horchow Family Horchow Hall

ICH Companies

Executive Director’s Office

Jeanne R. Johnson Choral Rehearsal Room

Margaret and Erik Jonsson

Grand Choral Terrace

JPMorgan Chase West Loge

Louise W. and Edmund J. Kahn Music Library / Archives Room

Clarice and Richard Kearley Heralding Trumpets

Dorothy and David Kennington Symphony Suites

Eunha Kim

Steinway & Sons Model D Grand Piano

Jerry and Connie Klemow Symphony Suites

KPMG LLP

Finance Office

Louis W. Kreditor Patron Service Center Extension

The Kresge Foundation Symphony Suites

Cece and Ford Lacy Guest Services Center

Amelia Lay Hodges

The Herman W. and Amelia H. Lay Family Concert Organ

Maxus Energy Corporation Box Office

The Eugene McDermott Family Eugene McDermott Concert Hall

The Meadows Foundation Concert Hall, Administrative Offices and Elevators

Juanita and Henry S. Miller, Jr. Board Room

The Harvey and Joyce Mitchell Family Foundation Broadcast Control Facility

Margot W. and Ben H. Mitchell Fund of the Communities Foundation of Texas C Rotary Trumpets and Electric Piano

Alexander H. Moore

Dress Circle Stairway East

On loan from Miss Laurel Ornish

George Gershwin by Andy Warhol

Oryx Energy Corporation Dress Circle

The Elizabeth H. Penn Family East Pavilion

Nancy and John G. Penson Green Room

The Ross Perot Family Morton H. Meyerson Symphony Center

Carol and George Poston Grand Tier Balcony West

Carol and George Poston Grand Tier Stairway West

Wendy Reves

Emery Reves Arch of Peace

The Rosewood Corporation Observation Rooms

Anita and Merlyn D. Sampels Anita Sampels Suite

Myrna and Bob Schlegel Schlegel Administrative Suites

Mary Liz and George R. Schrader Water Fountains

Margie and William H. Seay Boutique

Ruth C. and Charles S. Sharp Marquee

Barbara and Bob Sypult Volunteer Offices

Verizon Grand Tier Stairway East

On loan from Gwen Weiner Les Ondines by Henri Lauren Philip H. Weinkrantz Music Stands

In Honor of Mr. and Mrs. Peter N. Wiggins, Jr. Dress Circle Box

Many opportunities are available to establish new funds and name building components. For more information, please contact Toni Miller, CAP®, Director of Individual Giving, at 214.871.4078 or t.miller@dalsym.com.

The Dallas Symphony thanks the following donors who committed generous gifts in support of a $7.5 million fundraising Initiative to build the future of the DSO. Funds raised support the DSO’s ongoing pursuit of innovation and artistic excellence in music; and serves to name the Young Musicians program in honor of the DSO’s Ross Perot President & CEO, Kim Noltemy, who founded the program.

LEADERSHIP GIFTS

KIM NOLTEMY YOUNG MUSICIANS PROGRAM

Diane and Hal Brierley

Fanchon and Howard Hallam

The Jeanne R. Johnson Foundation Holly and Tom Mayer

The Eugene McDermott Foundation

Nancy A. Nasher and David J. Haemisegger O’Donnell Foundation

Margot Perot

Stan Rabin in Loving Memory of Barbara Rabin Martha McCarty Wells

PATRON GIFTS

Henry and Lucy Billingsley

Capital One Cece and Ford Lacy Robinson Family Norma and Don Stone

SUPPORTING GIFTS

Susan Garner Fleming

Ron and Rebecca Gafford

Marena and Roger Gault

Linda and Mitch Hart

Yon Yoon Jorden

Fabio Luisi and Yulia Levin

The Brian J. Ratner Foundation

Jeff Rich and Jan Miller

Diana and Sam Self

Barbara and Bob Sypult

Becky and Brad Todd Karen and Jim Wiley

The Dallas Symphony thanks the following patrons who have recently committed generous gifts to the DSO. Made in addition to ongoing annual support, these investments are part of a transformational effort to ensure a sustainable future for the Dallas Symphony.

YOUR DSO –

EXCITE, INSPIRE, ENGAGE CAMPAIGN

$10,000,000 AND ABOVE

Mrs. Eugene McDermott and The Eugene McDermott Foundation Margot and Ross* Perot

$2,500,000-$9,999,999

Anonymous

Diane and Hal Brierley Linda and Mitch Hart Maisie Heiken

Cece and Ford Lacy

The Marcella Fund Nancy A. Nasher and David J. Haemisegger Family

$1,000,000-$2,499,999

Anonymous (3)

Capital One Fanchon and Howard Hallam

Estate of Jeanne R. Johnson

The Jeanne R. Johnson Foundation O’Donnell Foundation

Pollock Family Foundation Barbara* and Stan Rabin Robinson Family Elsa von Seggern Foundation Linda VanSickle Smith Norma and Don Stone

In Memory of Irene H. and Ernest G. Wadel, Louis J. and Rose G. Hamel, and Beulah G. and Burnet Wadel

$250,000-$999,999

Estate of Arlene and James Booth Marena and Roger Gault Rita Sue and Alan Gold Gould Family Fund in memory of Jim Gould and Katherine Warren Gould

The Caroline Rose Hunt Family Katherine Glaze Lyle Joy and Ronald Mankoff Shirley and William S. McIntyre Foundation

Estate of Dr. William M. and Bettie Osborne Cindy and Howard Rachofsky Audrey and Albert Ratner, Michael and Deborah Ratner Salzberg and Brian J. Ratner Enika Schulze

John R. Sewell

Dr. James E. Skibo Fund Jean Ann Titus Sarah Titus Martha McCarty Wells Kern and Marnie Wildenthal Adele and Hobson* Wildenthal Karen and Jim Wiley

$100,000-$249,999

Anonymous

Estate of Rosalie C. and James R. Alexander Joanne L. Bober

Mrs. Thomas R. Corbett Ron and Rebecca Gafford Jessie D. and E.B. Godsey Family Kim and Greg Hext Yon Y. Jorden Debra and Steve Leven Holly and Tom Mayer Kim Noltemy

Michael L. Rosenberg Foundation Myrna and Bob Schlegel Mrs. George A. Shutt Mr. and Mrs. William T. Solomon Estate of Brenda J. Stubel

Symphony of Toys in Memory of Arkady Fomin Barbara and Bob Sypult Texas Instruments Foundation Becky and Brad Todd Donna and Herb Weitzman

OTHER GENEROUS GIFTS

Anonymous

Nicholas Adamson

Mr. and Mrs. Peter A. Altabef

Lisa and Gregg Ballew

Jennifer and Coley Clark

John and Barbara Cohn

Barbara and Steve Durham

Ebby Halliday, REALTORS

David and Melinda Emmons

Ben Fischer and Laree Hulshoff

W. Gary and Donna Fowler

Estate of Robert and Ruth Glaze

Samuel S. Holland

Kathy and Richard Holt

Estate of Louise K. Kane

KPMG LLP

Selena Loh LaCroix

Mr. and Mrs. Mark H. LaRoe

Craig and Joy Lentzsch

Catherine Z. and George T. Manning

Estate of Dorothy O. Matetich

Scott and Jennifer McDaniel

Linda B. and John S. McFarland

Estate of Kathryn Amsler Priddy in Memory of Nancy and Jack Penson

Nancy and John Solana

Estate of William A. Solemene

Barbara and Sheldon Stein

Estate of Freda Gail Stern

Melissa Ruman Stewart and Paul Stewart

Estate of Anne-Marie Genevieve Thames

*deceased

For more information, please contact James Leffler, Vice President of Development, at 214.871.4515 or j.leffler@dalsym.com.

EXECUTIVE OFFICE

Kim Noltemy

Ross Perot President & CEO

Nishi Badhwar

Olga and Yuri Anshelevich

Manager of Orchestra Personnel

Nicole Mendyka

Assistant Personnel Manager

Quin Phillips

Executive Assistant to President & CEO

EQUITY, DIVERSITY, INCLUSION + SOCIAL IMPACT

Glyne A. Griffith II, DBA, CDP, CSR

Vice President of Equity, Diversity, Inclusion + Social Impact

ARTISTIC OPERATIONS + EDUCATION

Katie McGuinness

Wildenthal Families Vice

President of Artistic Operations

Ashley Alarcon

Young Musicians Manager

Tom Brekhus

Senior Production + Pops Concerts Manager

Jen Guzmán

Thomas & Roberta Corbett

Director of Education

Sarah Hatler

Education Manager

Stephanie Izaguirre

Young Musicians Coordinator

Carolyn Jabr

Young Strings Manager

Emma Jensen

Dallas Symphony Children’s Chorus Site Coordinator

Todd Joiner

Senior Manager of Artistic Administration

Nathan Lutz

Director of Operations + Education Programs

Michael Lysinger

Chorus Administrator

Paula Olsen

Dallas Symphony Children’s Chorus Artistic Manager

Micah Ringham

Dallas Symphony Children’s Chorus Operations Manager

Ben Spagnuolo

Artistic Operations Coordinator

Roberto Zambrano

Artistic Director to the Young Musicians Program

COMMUNICATIONS + MEDIA

Denise McGovern

Vice President of Communications + Media

Sidney Hopkins

Communications + Media Manager

Analiese White Communications + Media Coordinator

DEVELOPMENT

James Leffler

Vice President of Development Tab Boyles

Director of Event Planning

Jon Ediger

Corporate Relations Coordinator

Tanner Garrett

Manager of Individual Giving

Lilian E. Godsey

Manager of Donor Stewardship

Kim Koenig

Events Coordinator

Whitney MacDonald

Major Gifts Officer

Toni Miller, CAP®

Director of Individual Giving

Alex Small

Individual Giving Coordinator

Alisa Stone

Development Operations Coordinator

Mark Valenzuela

Development + Board Coordinator

Alma Delia Vega, CAPM®

Director of Development Operations + Analytics

Sarah Whitling

Director of Institutional Giving

VOLUNTEER SERVICES

Allison Brodnax

Director of Volunteer Services

Maliska Haba

Manager of Volunteer Services

FINANCE

Drew Cameron

Chief Financial Officer

Cecilia Rauschuber

Accounts Payable Coordinator

Julie Ribeca

Accounting Administrator

Deanie Sewell Controller

Danesha Voss

Senior Staff Accountant

Heather Yeager

Senior Manager Budgeting + Financial Analysis

COMMUNITY RELATIONS, FACILITIES + HUMAN RESOURCES

Debi Peña

Chief Administrative Officer

Carl Baines

Desktop + Systems Administrator

Celia Barshop

Director of Meyerson Sales + Operations

Velyncia Caldwell

Senior Lighting Technician

Jaz Clayborne

Security Supervisor

Cameron Conyer

Audio Video Specialist

Amanda Cook

Payroll + Human Resources Manager

Suré Eloff

Human Resources + Community Liaison

Kimberly Koniecki

Senior Manager of Meyerson Sales + Operations

David Lane

Director of IT

Lamar Livingston Director of Technical Operations

Shawn Mahan Lead House Manager

Kyra McGuirk Recruiting & HR Specialist

Marissa Mediati Event Operations Manager

Andrew Polansky

Lighting Technician

Judith Washington Data Quality Associate

Roger Willis

Assistant House Manager

Adrian Zeigler Security Manager

MARKETING + GUEST SERVICES

Kim Burgan

Vice President of Sales + Marketing

Liz Akop

Group Sales Representative

Kathryn Barrett Shop Manager and Buyer

Jenna Buckley Marketing Associate

Eric Burleson

Concert Associate

Elisa Campos

Ticketing Operations Manager

Mallory Coulter Director of Digital Marketing

Carla Ewing

Guest Services Coordinator

Leigh Hopkins Senior Manager of Digital Marketing

Eric Landrum

Senior Manager of Partner + Experiential Marketing

Alex Moffitt

Guest Services Coordinator

Vanessa Nates Marketing Associate

Danielle Reeves Graphic Designer

Sabrina Siggers Group Sales Representative

Corri Greene Graphic Designer

Jena Tunnell

Director of Ticketing + Guest Services

Adam Wallman

Manager of Marketing Research + Analytics

Stephanie Watson Guest Services Coordinator

Visit dallassymphony.org for employment opportunities.