January 2012: Mahler's Resurrection at the Atlanta Symphony Orchestra

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contents January 2012

encoreatlanta.com 46

Jeff Roffman

20

features

the music

20 Coming Home

25 This week’s concert and program notes

Principal Guest Conductor Donald Runnicles makes his season debut and reflects on making history with Robert Spano for more than a decade.

46 A Moment with Monica

Meet violinist Monica Caldwell, a sophomore at Shiloh High School in her third year as a member of the Atlanta Symphony Orchestra’s Talent Development Program.

8 Atlanta Symphony Orchestra/aso.org

departments 12 President’s Letter 14 Orchestra Leadership 16 Robert Spano 18 Musicians 35 Contributors 50 Calendar 54 Administration 56 General Info 58 Ticket Info 60 Gallery ASO

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Welcome to our first concerts of the new year! We’re delighted that you have chosen to begin your year with us. We step forward into the first month of 2012 with great music — Beethoven’s Violin Concerto and Eroica Symphony, Britten’s Violin Concerto, Dvorak’s Cello Concerto, Mahler’s Resurrection Symphony — all led by our very own Robert Spano and Donald Runnicles. Add the superb Atlanta Symphony Orchestra Chorus, the Morehouse and Spelman College glee clubs, and a host of internationally renowned soloists — cellist Yo-Yo Ma, mezzo-soprano Kelley O’Connor, soprano Nicole Cabell, violinist James Ehnes and pianist Dejan Lazic — and you have a month which brings our audiences some of the very best that the Atlanta Symphony Orchestra has to offer.

Often I’m asked how we create individual concerts and complete seasons. In many American orchestras, concert programs are created solely by the music director, in keeping with his or her artistic vision. In Atlanta, we have a long-standing tradition of bringing lots of voices to the table: Our Music Director Robert Spano plays a leading role, but we also hear from Donald Runnicles (Principal Guest Conductor), Norman Mackenzie (Director of Choruses), Evans Mirageas (Vice President, Artistic Planning) John Sparrow (Vice President, Orchestral Initiatives and General Manager), Charlie Wade (Vice President, Marketing and Symphony Pops), Sandy Smith (Vice President, Development), Mark Kent (Senior Director, Education and Community Engagement), Ken Meltzer (ASO Insider, Program Annotator), Russell Williamson (Orchestra Personnel Manager), Rebecca Beavers (Principal Librarian), Julie Fish (Orchestra Manager) and me. Lots of intelligent voices, lots of creative insights, lots of brilliant ideas. Our conversations are lengthy, always animated, sometimes contentious and always focused on one essential question: What great music and which accomplished artists will inspire, excite, move — and attract — the people of Atlanta?

The needs and desires of our audiences always come first with us, as they should — and we’re open to your ideas. I invite you to share them with me: stanley.romanstein@woodruffcenter.org.

I look forward to a new year filled with memorable performances of great music by great artists, designed just for you, our audience.

Thank you for supporting your Atlanta Symphony Orchestra!

Wishing you all the best,

Stanley E. Romanstein, Ph.D. President

12 Atlanta Symphony Orchestra/aso.org

leadership Atlanta Symphony Orchestra League 2011-2012 Board of Directors Officers Jim Abrahamson Meghan H. Magruder Joni Winston † Chair Vice Chair Secretary Karole F. Lloyd D. Kirk Jamieson Clayton F. Jackson Chair-Elect Vice Chair Treasurer Directors Jim Abrahamson Pinney L. Allen Joseph R. Bankoff* Neil H. Berman Paul Blackney Janine Brown C. Merrell Calhoun Donald P. Carson S. Wright Caughman, M.D. Ann W. Cramer † Carlos del Rio, M.D. Richard A. Dorfman David Edmiston Gary P. Fayard Dr. Robert M. Franklin, Jr. Paul R. Garcia

Carol Green Gellerstedt Thomas Hooten Tad Hutcheson † Mrs. Roya Irvani † Clayton F. Jackson D. Kirk Jamieson Ben F. Johnson III Mark Kistulinec Steve Koonin Carrie Kurlander James H. Landon Michael Lang Donna Lee Lucy Lee Karole F. Lloyd Kelly L. Loeffler Meghan H. Magruder Belinda Massafra*

Penny McPhee Victoria Palefsky Leslie Z. Petter Suzanne Tucker Plybon Patricia H. Reid Margaret Conant Reiser Martin Richenhagen † John D. Rogers Stanley E. Romanstein, Ph.D.* Dennis Sadlowski Lynn Schinazi William Schultz John Sibley H. Hamilton Smith Lucinda B. Smith Thurmond Smithgall Paul Snyder

Gail Ravin Starr Mary Rose Taylor Joseph M. Thompson Liz Troy Ray Uttenhove Chilton Davis Varner † S. Patrick Viguerie Rick Walker Thomas Wardell Mark D. Wasserman John B. White, Jr. † Richard S. White, Jr. † Joni Winston † Patrice Wright-Lewis Camille Yow

Board of counselors Mrs. Helen Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Arnoldo Fiedotin

Charles Ginden John T. Glover Frances B. Graves Dona Humphreys Aaron J. Johnson Herb Karp Jim Kelley George Lanier

Patricia Leake Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey Joyce Schwob Mrs. Charles A. Smithgall, Jr.

W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White Neil Williams

Life Directors Howell E. Adams, Jr. Bradley Currey, Jr.

Mrs. Drew Fuller Mary D. Gellerstedt

Azira G. Hill Dr. James M. Hund

Arthur L. Montgomery * ex officio † 2011-2012 sabbatical

14 Atlanta Symphony Orchestra/aso.org

Robert Spano music Director

M

usic Director Robert Spano, currently in his 11th season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Since 2001, he has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim.

Under Mr. Spano’s artistic leadership, the Orchestra and its audiences have together explored a creative mix of programming, including Theater of a Concert performances, which explore different formats, settings, and enhancements for the musical performance experience, such as the first concert-staged performances of John Adams’s Doctor Atomic in November 2008 and the production of Puccini’s Madama Butterfly in June 2011. The Atlanta School of Composers reflects Mr. Spano’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers, including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis, Michael Gandolfi and Adam Schoenberg. Since the beginning of his tenure (to date), Mr. Spano and the Orchestra have performed more than 100 concerts containing contemporary works (composed since 1950).

angela morris

Mr. Spano has a discography with the Atlanta Symphony Orchestra of 19 recordings, six of which have been honored with Grammy® awards. He has led the Orchestra’s performances at Carnegie Hall and Lincoln Center, as well as the Ravinia, Ojai, and Savannah Music Festivals. Mr. Spano has led the New York and Los Angeles philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. In addition, he has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles. Mr. Spano was Musical America’s 2008 Conductor of the Year.

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In March 2010, Mr. Spano began a three-year tenure as Emory University’s distinguished artist-in-residence, in which he leads intensive seminars, lectures, and presents programs on science, math, philosophy, literature and musicology.

In March 2011, Mr. Spano was announced as the incoming music director of the Aspen Music Festival. He was in residence in Aspen for the 2011 summer season as music director-designate and will assume the full role of music director in 2012.

Robert Spano

Donald Runnicles

Michael Krajewski

Music Director The Robert Reid Topping Chair *

Principal Guest Conductor The Neil and Sue Williams Chair *

Principal Pops Conductor

FIRST VIOLIN

SECOND VIOLIN

VIOLA

CELLO

David Coucheron Concertmaster William Pu Associate Concertmaster The Charles McKenzie Taylor Chair* Justin Bruns Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Carolyn Toll Hancock John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich

David Arenz Principal The Atlanta Symphony Associates Chair* Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair* Jay Christy Assistant Principal Sharon Berenson David Braitberg Noriko Konno Clift David Dillard Eleanor Kosek Ruth Ann Little Thomas O’Donnell Ronda Respess Frank Walton

Reid Harris Principal The Edus H. and Harriet H. Warren Chair* Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair * Catherine Lynn Assistant Principal Wesley Collins Marian Kent Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Ardath Weck

Christopher Rex Principal The Miriam and John Conant Chair* Daniel Laufer Associate Principal The Livingston Foundation Chair* Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus Joel Dallow Jere Flint Jennifer Humphreys Larry LeMaster Brad Ritchie Paul Warner

SECTION VIOLIN ‡

Judith Cox Raymond Leung Sanford Salzinger

18 Atlanta Symphony Orchestra/aso.org

BASS

Ralph Jones Principal The Marcia and John Donnell Chair * Gloria Jones Associate Principal Jane Little Assistant Principal Emeritus Michael Kenady Michael Kurth Joseph McFadden Douglas Sommer Thomas Thoreson

Jere Flint

Norman Mackenzie

Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair*

Director of Choruses The Frannie and Bill Graves Chair

FLUTE

BASS CLARINET

TROMBONE

HARP

Christina Smith Principal The Jill Hertz Chair* Robert Cronin Associate Principal Paul Brittan Carl David Hall

Alcides Rodriguez

Colin Williams Principal Stephen Wilson Associate Principal Nathan Zgonc George Curran

Elisabeth RemyJohnson Principal The Delta Air Lines Chair

PICCOLO

Carl David Hall OBOE

Elizabeth Koch Principal The George M. and Corrie Hoyt Brown Chair * Yvonne Powers Peterson Associate Principal Ann Lillya † CLARINET

Laura Ardan Principal The Robert Shaw Chair* Ted Gurch Associate Principal William Rappaport Alcides Rodriguez E-FLAT CLARINET

Ted Gurch

BASSOON

Carl Nitchie Principal Elizabeth Burkhardt Associate Principal Laura Najarian Juan de Gomar

BASS TROMBONE

George Curran

CONTRA-BASSOON

TUBA

Juan de Gomar

Michael Moore Principal

HORN

Brice Andrus Principal Susan Welty Associate Principal Thomas Witte Richard Deane Bruce Kenney

TIMPANI

TRUMPET

PERCUSSION

Thomas Hooten Principal The Madeline and Howell Adams Chair* The Mabel Dorn Reeder Honorary Chair* Karin Bliznik Associate Principal Michael Tiscione Joseph Walthall

Mark Yancich Principal The Walter H. Bunzl Chair* William Wilder Assistant Principal

Thomas Sherwood Principal The Julie and Arthur Montgomery Chair* William Wilder Assistant Principal The William A. Schwartz Chair* Charles Settle

KEYBOARD

The Hugh and Jessie Hodgson Memorial Chair* Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY

Rebecca Beavers Principal Nicole Jordan Assistant Principal Librarian John Wildermuth Assistant Librarian

‡ rotate between sections * Chair named in perpetuity † Regularly engaged musician Players in string sections are listed alphabetically

encoreatlanta.com/Atlanta’s Performing Arts Publication 19

Coming Home Jeff Roffman

Principal Guest Conductor Donald Runnicles makes his season debut and reflects on making history with Robert Spano for more than a decade

By Kimberly Nogi

T

iming is everything in music, and Donald Runnicles’s decision 12 years ago to become Principal Guest Conductor-designate of the Atlanta Symphony Orchestra and join Music Director-designate Robert Spano in a novel creative partnership has been serendipitous for all parties.

“I’m delighted and grateful to be part of what I consider to be a vital and groundbreaking collaboration,” Mr. Runnicles said at the time, and the creative partnership has certainly been a trailblazer, bringing dynamic programming and guests and today’s brightest young composers to Atlanta Symphony Hall and dramatically energizing the Orchestra’s presence in the community.

Throughout his tenure in Atlanta, the career trajectory of the acclaimed maestro has soared. Mr. Runnicles’s first Orchestra recording, Orff’s Carmina Burana, was released in 2003 and subsequent releases of Mozart’s Requiem, Beethoven’s Ninth Symphony, and a Brittania album were all well received. His visits with the Chorus to perform with the esteemed Berlin Philharmonic were acclaimed and led to the

20 Atlanta Symphony Orchestra/aso.org

Donald Runnicles leads the Orchestra Chorus and Berlin Philharmonic at the Berliner Philharmonie concert hall in 2004.

Chorus’s burgeoning global reputation as a major force in the operatic and symphonic arenas. Not to mention that his conducting appearances at Atlanta Symphony Hall have been increasingly popular with Orchestra patrons. Mr. Runnicles’s involvement with the Atlanta Symphony organization has been tremendous, and this year his relationship with Orchestra will extend even further, as he will lead a reading session with the Atlanta Symphony Youth Orchestra for the first time at the end of the month.

Over the past few years, Mr. Runnicles’s focus has shifted abroad as the music director of the Deutsche Oper Berlin and chief conductor of his homeland pride and joy, the BBC Scottish Symphony Orchestra.

The move to Berlin, where he now resides, “constituted a huge shift in my personal life,” recalled Mr. Runnicles. “Yet I relish being at the helm of one of the most storied opera houses in the world, which annually performs all of the major German romantic operas — Wagner and Strauss, not to mention Mozart, Berlioz, Debussy and Janacek. The orchestra also gives 22 Atlanta Symphony Orchestra/aso.org

symphonic concerts and has a chamber music series. Life is busy and diverse!”

Yet his importance to the players and singers here is unquestioned and his two appearances during the 2011-12 season are indispensable: conducting the Beethoven “Eroica” Symphony No. 3 and Britten’s Violin Concerto, featuring the fine Canadian virtuoso James Ehnes, January 19-22; and with the Chorus, Mahler’s “Resurrection” Symphony No. 2, January 26/28.

Mr. Runnicles is especially looking forward to reuniting with the Atlanta Symphony Orchestra Chorus, in his view “one of the finest in the world. There is a phenomenal discipline to their singing.

To listen to their warm-up routine is still awe-inspiring!” Throughout his Atlanta tenure, his relationship with the Chorus has blossomed. In his 11 years as Principal Guest Conductor, Mr. Runnicles and the Chorus have annually performed in Atlanta, as well as with the Berlin Philharmonic on three separate occasions.

Continued on page 44

program

Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta Classical Series Concerts Thursday and Saturday, January 26 and 28, 2012, at 8 p.m.

Donald Runnicles, Conductor Nicole Cabell, Soprano Kelley O’Connor, Mezzo-soprano Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses

Gustav Mahler (1860-1911)

Symphony No. 2 in C minor, “Resurrection” (1894)

I. Allegro maestoso

II. Andante moderato

III. In ruhig fliessender Bewegung (In calm, more flowing motion)

IV. Urlicht (Primal Light) (Sehr feierlich, aber schlicht)

(Very solemn, but simply)

V. Im Tempo des Scherzo (In Scherzo Tempo)

These Concerts Are Performed Without Intermission

English Surtitles by Ken Meltzer

“Inside the Music” preview of the concert, Thursday at 7 p.m., presented by Ken Meltzer, Atlanta Symphony Orchestra Insider and Program Annotator.

The use of cameras or recording devices during the concert is strictly prohibited.

encoreatlanta.com/Atlanta’s Performing Arts Publication 25

sponsors

is proud to sponsor this Delta Classical Concert of the Atlanta Symphony Orchestra.

Porsche Cars North America has enjoyed many successes throughout its 15 years of being headquartered in Atlanta. Among its many community achievements, Porsche supports the Atlanta Symphony Orchestra, the Ronald McDonald House, Kate's Club and The Ryan Cameron Foundation. Porsche recently solidified its commitment to Atlanta when the company announced plans to build a 26.4-acre complex in the new Aerotropolis redevelopment site near the International Terminal at Hartsfield-Jackson Atlanta International Airport. The complex will be comprised of modern office facilities for a workforce that will eventually number 400 employees, as well as a leading-edge Customer Experience Center that will feature a test track designed to show the capabilities of Porsche's industry-leading vehicles. For 62 years, Porsche technologies have revolutionized vehicle performance, improved safety and spurred environmental innovation, offering the most technically advanced high-performance vehicles in the world. Recent examples of these advancements include its two four-door hybrid vehicles — Cayenne S Hybrid and the Panamera S Hybrid and the forthcoming 918 Spyder plug-in hybrid sports car.

is proud to sponsor the Delta Classical Series of the Atlanta Symphony Orchestra.

Delta is proud to be celebrating our 70th anniversary as Atlanta’s hometown airline. Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships. Delta is an active, giving corporate citizen in the communities it serves.

Delta’s community engagement efforts are driven by our desire to build long-term partnerships in a way that enables nonprofits to utilize many aspects of Delta’s currency — our employees’ time and talent, our free and discounted air travel, as well as our surplus donations. Together, we believe we can take our worldwide communities to new heights!

The Atlanta Symphony Orchestra’s concert on November 5, 2011 at Carnegie Hall is made possible through the generous support of Delta Air Lines, Thurmond Smithgall and the Massey Charitable Trust.

Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin.

The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation.

This performance is being recorded for broadcast at a later time. Atlanta Symphony concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broadcasting’s statewide network.

The Atlanta Symphony records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels.

Media sponsors: WABE, WSB AM, and AJC. Trucks provided by Ryder Truck Rental Inc.

26 Atlanta Symphony Orchestra/aso.org

program Notes on the Program

By Ken Meltzer Symphony No. 2 in C minor, “Resurrection” (1894) Gustav Mahler was born in Kalište, Bohemia, on July 7, 1860, and died in Vienna, Austria, on May 18, 1911. The premiere of the complete “Resurrection” Symphony took place in Berlin, Germany, on December 13, 1895, with the composer conducting the Berlin Philharmonic. The “Resurrection” Symphony is scored for soprano and alto solos, mixed chorus, four piccolos, four flutes, four oboes, two English horns, two E-flat clarinets, five clarinets, bass clarinet, four bassoons, two contrabassoons, ten horns, eight trumpets, four trombones, tuba, timpani (two players), orchestra bells, snare drum, low chimes, triangle, rute, cymbals, suspended cymbals, high tam-tam, bass drum, low tam-tam, two harps, organ and strings. Approximate performance time is eighty-six minutes.

First ASO Classical Subscription Performance: April 6, 1966, Irene Callaway, Soprano, Mildred Miller, Mezzo-soprano, Choral Guild of Atlanta, Henry Sopkin, Conductor.

Most Recent ASO Classical Subscription Performances: September 15, 16 and 17, 2005, Twyla Robinson, Soprano, Nancy Maultsby, Mezzo-soprano, Atlanta Symphony Orchestra Chorus, Robert Spano, Conductor.

ASO Recording: Telarc CD-80548 (2 Discs), Barbara Bonney, Soprano, Mary Philips, Mezzo-soprano, Atlanta Symphony Orchestra Chorus, Yoel Levi, Conducting.

“Absolutely hopeless as a composer”

G

ustav Mahler’s epic “Resurrection” Symphony was the product of an extended and mighty struggle. Mahler composed the various movements in fits and starts over a seven-year period. Even after Mahler had completed four of the Symphony’s five movements, the composer despaired that he would never be able to fashion a suitable conclusion.

In January of 1888, Mahler began to sketch the massive opening movement he called Totenfeier (Funeral Rites). Mahler had just conducted the successful Leipzig premiere of Carl Maria von Weber’s opera, Die drei Pintos. Flowers from various well-wishers bedecked Mahler’s room. His friend, Natalie Bauer-Lechner, recalled that while composing Totenfeier, Mahler (who always harbored a morbid preoccupation with mortality) had a vision in which he was “dead, laid out in state, beneath wreaths and flowers.”

Mahler completed Totenfeier that August. It appears that the composer intended from the outset that Totenfeier would be the opening movement of a symphony. The original score bears the work’s title, as well as the designations “Symphony in C Minor” (crossed out) and “Movement I” (not crossed out). encoreatlanta.com/Atlanta’s Performing Arts Publication 27

In March of 1891, Mahler was appointed conductor of the Stadttheater in Hamburg.

That September, Mahler approached the eminent conductor and leader of the Hamburg Orchestra, Hans von Bülow. Mahler asked Bülow to hear Totenfeier, which had still not been performed.

The meeting was a disaster. Bülow had the utmost respect for Mahler as a conductor, but did not care for the young man’s compositions. Mahler played a piano reduction of the score for Bülow. Although Bülow repeatedly covered his ears, he still urged the increasingly agitated composer to continue. Finally, as Mahler related to his friend, composer Josef Foerster: When I had finished I awaited the verdict silently. But my only listener remained at the table silent and motionless. Suddenly, he made an energetic gesture of rejection and said: “If that is still music then I do not understand a single thing about music.”

We parted from each other in complete friendship, I, however, with the conviction that Bülow considers me an able conductor but absolutely hopeless as a composer.

Perhaps it should be noted that while Hans von Bülow was undoubtedly a great conductor and a frequent champion of contemporary music, his judgment of the artistic merits of new works was hardly infallible. The day before the May 22, 1874 premiere of Giuseppe Verdi’s Requiem Mass, Bülow described the composer as “the all-powerful corrupter of Italian artistic taste” and the composition itself as “his latest opera in ecclesiastical garb.” These comments prompted Bülow’s friend, Johannes Brahms, to remark: “Bülow has made a fool of himself for all time; only a genius could write such a work (as the Verdi Requiem).” Indeed, almost two decades later, Bülow wrote a profuse apology to Verdi and requested forgiveness.

Bülow’s harsh reaction did nothing to increase Mahler’s confidence about his new work.

Mahler seemed to abandon the idea of making Totenfeier part of a multi-movement symphony.

A month after the unhappy meeting with Bülow, Mahler sent a letter to his publisher, referring to Totenfeier as a “symphonic poem.”

A “stroke of lightning” Then in the summer of 1893, Mahler suddenly found new inspiration. He quickly completed the second-movement Andante and third-movement Scherzo. Mahler used an orchestration of the song, Urlicht, from Des Knaben Wunderhorn, as the Symphony’s fourth movement. But once again, Mahler became frustrated, this time with creating a finale that would properly answer the questions posed in the opening Totenfeier. Mahler drove himself almost to the point of a nervous breakdown attempting, without success, to complete the Symphony.

As it turned out, the source of inspiration for the finale of Mahler’s Second Symphony came from Hans von Bülow. The conductor died, at the age of 64, on February 12, 1894. Mahler attended the March 28 memorial service. In a February 17, 1897 letter to conductor Anton Seidl, Mahler recalled:

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program For a long time I had been pondering the idea of including a choir in the last movement. Only the fear that this might be considered an overt imitation of Beethoven made me hesitate again and again! When Bülow died, I attended his funeral. The mood in which I was in as I sat there thinking of the deceased was very much in the spirit of the work I had on my mind at the time. Then, from the organ loft, the choir sang (Friedrich G.) Klopstock’s chorale Resurrection! This hit me like lightning, and everything appeared clearly and distinctly before me! Every creative artist waits for that stroke of lightning; it is a kind of holy conception!

That very afternoon, Mahler resumed work on his “Resurrection” Symphony. Over the next few months, he penned revisions to the various movements and sketched the finale.

On June 29, 1894, Mahler announced the Symphony’s completion. In a July 19 letter to Richard Strauss, Mahler stated: In recent weeks I have completed the final movement of my Second Symphony. When you hear it you will understand why I had to do something other than correct my shed skin (i.e., the First Symphony). I have grown a new one — a better fit. In fact, my new work in relation to the one you know is like a man to a newborn baby.

Mahler conducted the premiere of the Symphony’s first three movements in Berlin on March 4, 1895. The first performance of the entire “Resurrection” Symphony took place on December 13 of that year, again with the composer conducting. Despite a severe migraine attack that incapacitated Mahler on the afternoon of the performance, the premiere was a great success with the public, although critical reaction was mixed.

Mahler Describes His “Resurrection” Symphony Although Mahler authored several programs for his “Resurrection” Symphony, they are essentially similar in terms of conveying the work’s meaning. The following musical synopsis quotes the program Mahler prepared for a 1901 Dresden performance. References to other programs by the composer are specifically designated.

I. Allegro maestoso — We are standing beside the coffin of a man beloved. (Note: In a letter of March 26, 1896, Mahler informs Max Marschalk: “I have called the first movement Totenfeier, and if you would like to know, I am interring the hero of my D Major Symphony [No. 1, “Titan”], whose life I capture in a pure reflection from a higher vantage point.”) For the last time, his life, his battles, his sufferings and his purpose pass before the mind’s eye. And now, at this solemn and deeply stirring moment, when we are released from the paltry distractions of everyday life, our hearts are gripped by a voice of aweinspiring solemnity, that we seldom or never hear above the deafening traffic of mundane affairs. What next? it says. What is life — and what is death? encoreatlanta.com/Atlanta’s Performing Arts Publication 29

Have we any continuing existence?

Is it all an empty dream, or has this life of ours, and our death, a meaning?

If we are to go on living, we must answer this question. (Note: In the 1896 letter to Marschalk, Mahler concludes: “this answer I give in the last movement.”)

The massive opening movement begins with string tremolos and a thundering motif played fff by the cellos and basses. The movement is cast as an epic funeral march, although there are frequent and often wildly divergent fluctuations of tempo and mood. Mahler introduces several themes that will return in the finale, including a lyrical ascending passage for strings that forms the basis of the resurrection chorale, “Mit Flügeln, die ich mir errungen.” The tempest of the opening movement seems to move toward a quiet resignation, ultimately shattered by a final orchestral outburst and two pizzicato chords.

The next three movements are conceived as intermezzi.

II. Andante moderato — You must have had the experience of attending the funeral of a person dear to you and then, perhaps, on the way back suddenly the picture of a happy hour long, long past, arises in your mind like a ray of sun undimmed by anything — and you can almost forget what has just happened. That is the second movement. (1896 letter to Marschalk) The change of mood from the preceding Allegro maestoso to this bucolic Andante is so profound that Mahler specified a pause of “at least five minutes” between the two movements.

The Andante is cast in rondo form and opens with the strings’ graceful presentation of the principal theme, in the spirit of the landler, a rustic cousin of the waltz. The movement is a superb example of the composer’s unerring dramatic genius — the contrasting sections are increasingly violent, while each reprise of the principal section (played first by muted, and then, pizzicato strings) seems to be a dying echo of its predecessor.

III. In ruhig fliessender Bewegung (In calm, more flowing motion) — A spirit of unbelief and negation has taken possession of him. Looking into the turmoil of appearances, he loses together with the clear eyes of childhood the sure foothold that love alone gives. (Note: In a discussion with Nathalie Bauer-Lechner, Mahler described this individual as “destitute and unlucky: To such a person, the world appears as in a concave mirror, distorted and mad.”) He despairs of himself and of God. The world and life become a witch’s brew; disgust of existence in every form strikes him with (an) iron fist and drives him to an outburst of despair.

Mahler bases this Scherzo on a song from his setting of a poem from Des Knaben Wunderhorn (The Youth’s Magic Horn), entitled “Des Antonius von Padua Fischpredigt”

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program (“St. Anthony of Padua Preaches to the Fishes”). In the satiric text, St. Anthony finds the churches empty. And so he goes to the rivers to deliver his sermon. The fish appear to be quite attentive and moved by St. Anthony’s words. But as soon as the sermon is concluded, they immediately forget its message and resume their flawed lives.

The Scherzo features a manic juxtaposition of mood, stunning in its cumulative effect. As in the opening movement, Mahler presents themes that will play important roles in the finale.

IV. Urlicht (Primal Light) (Sehr feierlich, aber schlicht) (Very solemn, but simply) — The moving voice of ingenuous belief sounds in our ears.

“I am from God and will return to God! God will give me a candle to light me to the bliss of eternal life.”

The penultimate movement is a setting for alto solo and orchestra of “Urlicht” (“Primal Light”) from Des Knaben Wunderhorn. Mahler described the text as an expression of “the questioning and agonized searching of the soul for God and its own eternal existence.” As such, this movement serves as a bridge between the despair of the previous movement and the transformation that will be attained in the finale — but only after a titanic struggle.

IV. Urlicht

IV. Primal Light

Alto solo O Röschen rot!

Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein!

Ja lieber möcht’ ich im Himmel sein!

Da kam ich auf einem breiten Weg; Da kam ein Engelein und wollt’ mich abweisen.

Ach nein! Ich liess mich nicht abweisen!

Ich bin von Gott und will wieder zu Gott!

Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!

Alto solo O red rose!

Man lies in greatest need!

Man lies in greatest pain!

Yes, I would rather be in heaven!

Then I came upon a broad road: There came an angel who wanted to refuse me.

Ah no! I would not be refused!

I am from God and will return to God! The dear God will give me a small light, Will light my way unto eternal blessed life!

V. Im Tempo des Scherzo (In Scherzo Tempo) — We are confronted once more by terrifying questions.

A voice is heard crying aloud: The end of all living things is come — the Last Judgment is at hand and the horror of the day of days has come.

The earth quakes, the graves burst open, the dead arise and stream on in endless procession. The great and the little ones of the earth — kings and beggars, righteous and godless — all press on — the cry for mercy and forgiveness strikes fearfully on our ears. The wailing rises higher — our

encoreatlanta.com/Atlanta’s Performing Arts Publication 31

senses desert us, consciousness dies at the approach of the eternal spirit.

The “Great Roll-Call” is heard — the trumpets of the Apocalypse ring out; in the eerie silence that follows we can just catch the distant, barely audible song of a nightingale, a last tremulous echo of earthly life! A chorus of saints and heavenly beings softly breaks forth: “Thou shalt arise, surely thou shalt arise.” Then appears the glory of God! A wondrous, soft light penetrates us to the heart — all is holy calm!

And behold — it is no judgment — there are no sinners, no just. None is great, none is small. There is no punishment and no reward.

An overwhelming love lightens our being. We know and are.

The finale opens with an orchestral explosion reminiscent of the third movement’s “outburst of despair.” Offstage horns represent the “voice crying aloud,” inspired by Isaiah 40:3: “A voice cries in the wilderness: Prepare the way of the Lord, make straight in the desert a highway for our God.” After Mahler’s stunning depiction of the Day of Judgment, a chorus softly intones the opening lines of Klopstock’s Resurrection. The first two stanzas of the final movement’s text are derived from Klopstock’s poem. The remaining stanzas (beginning with the alto solo, “O glaube”) are by the composer. An organ enters for the exultant, fff proclamation by the chorus of the final stanza, “Auferstehn, ja auferstehn wirst du, mein Herz in einum Nu!” (“Rise again, yes you will rise again my heart, in an instant!”)

V.

V.

Chorus and Soprano Solo Aufersteh’n, ja aufersteh’n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben wird, der dich rief dir geben!

Chorus and Soprano Solo Rise again, yes, you will rise again, My dust, after a short rest!

He who called you will give you Eternal Life.

Wieder aufzublüh’n, wirst du gesä’t!

Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben!

You are sown to bloom again!

The Lord of the Harvest goes forth And gathers the sheaves, Of us who have died!

Alto Solo O glaube, Mein Herz, O glaube: Es geht dir nichts verloren!

Dein ist, was du gesehnt!

Dein, was du geliebt, Was du gestritten!

Alto Solo Oh believe, my heart, oh believe: Nothing of you will be lost!

What you longed for is yours!

What you loved for, What you fought for!

Soprano Solo O glaube, Du wardst nicht umsonst geboren!

Hast nicht umsont gelebt, Gelitten!

Soprano Solo Oh believe, You were not born in vain!

Have not lived, suffered in vain!

32 Atlanta Symphony Orchestra/aso.org

program Chorus Was enstanden ist, Das muss vergehen!

Was vergangen, auferstehen!

Chorus What was created, Must perish!

What perished, must rise again!

Chorus and Alto Solo Hör’ auf zu beben!

Bereite dich zu leben!

Chorus and Alto Solos Stop trembling!

Prepare yourself to live!

Soprano and Alto Solos O Schmerz! Du Alldurchdringer!

Dir bin ich entrugen!

O Tod! Du Allbezwinger!

Nun bist du bezwungen!

Soprano and Alto Solos O pain, that pierces all!

I have been taken away from you!

O death! That overcomes all!

Now you are conquered!

Mit Flügeln, die ich mir errungen, In heissem Liebesstreben, Werd’ ich entschweben Zum Licht, zu dem kein Aug’gedrungen!

With wings that I have won for myself, In love’s fervent striving, I shall soar To the light no eye has reached!

Chorus Mit Flügeln, die ich mir errungen, Werd ich entschweben Sterben werd ich, um zu leben!

Chorus With wings that I have won for myself, I shall soar I shall die, in order to live!

Chorus, Soprano and Alto Solos Aufersteh’n, ja aufersteh’n Wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen!

Chorus, Soprano and Alto Solos Rise again, yes you will rise again My heart, in an instant!

What you have conquered, Will carry you to God!

encoreatlanta.com/Atlanta’s Performing Arts Publication 33

donald runnicles, Conductor

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rincipal Guest Conductor Donald Runnicles is currently in his 11th year of artistic partnership with Music Director Robert Spano. One of today’s most consistently acclaimed conductors of opera and symphonic repertoire, Mr. Runnicles is also General Music Director of the Deutsche Oper Berlin and Chief Conductor of the BBC Scottish Orchestra. Mr. Runnicles was previously the Music Director and Principal Conductor of the San Francisco Opera, and is currently the Music Director of the Grand Teton Music Festival.

Donald Runnicles

Mr. Runnicles’s acclaimed recordings with the Atlanta Symphony Orchestra include a recent concert disc with soprano Christine Brewer singing Strauss. With the Atlanta Symphony, Mr. Runnicles has also recorded the Mozart Requiem, Orff’s Carmina Burana, Beethoven’s Ninth Symphony, and a Brittania album. During the 2009-10 season, Mr. Runnicles and the Atlanta Symphony Orchestra Chorus returned to the Berlin Philharmonic to perform Brahms’s A German Requiem. The concerts marked their third collaboration with the German orchestra.

Mr. Runnicles has ongoing musical relationships with today’s finest orchestras and opera companies. Among the more than 60 productions he has conducted at San Francisco Opera was the 2005 world premiere of John Adams’s Doctor Atomic. Mr. Runnicles also enjoys accompanying singers at the piano and playing chamber music.

34A Atlanta Symphony Orchestra/aso.org

program nicole cabell, Soprano

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

Nicole Cabell

Ms. Cabell’s current season showcases her command of Mozart’s music, as she sings the Countess in Mozart’s Nozze di Figaro in Montreal, Pamina in Die Zauberflöte at the Lyric Opera of Chicago and Donna Elvira in Don Giovanni in Tokyo. She will also be heard in some of her favorite roles in the French repertoire: Juliette in Roméo et Juliette with the Palm Beach Opera and Leïla in Les Pêcheurs de Perles at the Santa Fe Opera. In concert, she will be heard in London, Chicago, Cincinnati, Toronto, Atlanta, San Diego and St. Petersburg.

Future engagements include a debut with the San Francisco Opera in a leading role.

Nicole Cabell returned last season to the Metropolitan Opera and the Lyric Opera of Chicago for Micaëla in Carmen; to the Royal Opera House, Covent Garden, for Leila in Les Pêcheurs de Perles; and made an exciting role debut as Donna Elvira in Don Giovanni with the Oper Köln and the Deutsche Oper, Berlin. She also returned to the Cincinnati Opera as Pamina in Die Zauberflöte. In concert, she appeared with the Edinburgh Festival as the Mater Gloriosa in Mahler’s Symphony No. 8, followed by gala opening concerts in Kuala Lumpur with the Malaysian Philharmonic Orchestra and its music director, Claus Peter Flor.

Nicole Cabell sang solo recitals in Toronto and Louisville, Ky. Other recent engagements include Musetta in La Bohème at the Metropolitan Opera and for her debut at the Teatro Colon in Buenos Aires, as well as Adina in L’Elisir d’Amore and the Countess in Le Nozze di Figaro at the Lyric Opera of Chicago. She also made debuts with the New Orleans Opera as Juliette in Romeo et Juliette and with the Atlanta Opera as Pamina. In concert, she debuted with three major orchestras: the New York Philharmonic in Opera Aria Concerts in New York and in Vail with Bramwell Tovey; the Boston Symphony in Beethoven’s Symphony No. 9 with Kurt Masur; and the Cleveland Orchestra with music director Franz Welser-Möst, in Brahms’ Ein deutsches Requiem. She returned to the Chicago Symphony Orchestra for performances of Mahler’s Symphony No. 4 with Markus Stenz, sang Mahler’s Symphony No. 2, first with the Singapore Symphony and John Nelson, then with the Accademia di Santa Cecilia and Antonio Pappano in Rome. In recital, she was heard in Urbana, Ill., and Savannah, Ga. Ms. Cabell’s previous season brought her to the Metropolitan Opera for her house debut in two of her most acclaimed roles: Pamina in The Magic Flute, followed by Adina in L’Elisir d’Amore. With her home company, the Lyric Opera of Chicago, she sang Leïla in Bizet’s Les encoreatlanta.com/Atlanta’s Performing Arts Publication 34B

Pêcheurs de Perles and an Opera Concert at Millenium Park conducted by the company’s music director, Sir Andrew Davis. Other opera engagements included two role debuts: the Countess in Mozart’s Le Nozze di Figaro with the Cincinnati Opera and Micaëla in Carmen with the Deutsche Oper, Berlin. In concert, she was heard in Copenhagen, Prague, Munich, Frankfurt, Dortmund, Ottawa, Indianapolis and Raleigh. Ms. Cabell appeared twice in recital at Carnegie Hall, first for Marilyn Horne’s 75th birthday gala concert, then as part of Jessye Norman’s Honor Festival, apart from solo dates in Toronto, Berkeley and Cincinnati.

A more unusual event in the soprano’s season was a series of cabaret concerts at the Orange County Performing Arts Center. Website: nicole-cabell.com.

kelley O'connor, Mezzo-soprano

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ossessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy Awardwinning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation.

During the 2011-12 season, the California native’s impressive calendar includes the world premiere of a new oratorio by John Adams, The Gospel According to the Other Mary, Kelley O'Connor commissioned and performed by the Los Angeles Philharmonic under Gustavo Dudamel. Ms. O’Connor brings “her smoky sound and riveting stage presence” (The New York Times) to performances as Ursule in Berlioz’s Béatrice et Bénédict with Opera Boston, and to her signature role as Federico García Lorca in a Peter Sellars staging of Golijov’s Ainadamar at Teatro Real in Madrid. She sings her first performances of Ravel’s Shéhérazade with Michael Christie at the Colorado Music Festival and with EsaPekka Salonen and the Philharmonia Orchestra at the Edinburgh Festival. Other highlights include a program of Bach cantatas with the Chamber Music Society of Lincoln Center, Beethoven’s Ninth Symphony with Jahja Ling and the Cleveland Orchestra, Stravinsky’s Les Noces with David Robertson and the St. Louis Symphony, Handel’s Messiah with the San Francisco Symphony, Mahler’s “Resurrection” Symphony with Donald Runnicles and the Atlanta Symphony, as well as with the Kansas City Symphony, and Mozart’s Requiem with Louis Langrée and the Mostly Mozart Festival Orchestra at Lincoln Center, Peter Oundjian and the Toronto Symphony, and Iván Fischer and the Orchestra of St. Luke’s at Carnegie Hall. She returns to Atlanta for Bach’s St. Matthew Passion led by Robert Spano, which she also sings with the Calgary Philharmonic.

In June 2011, the Atlanta Symphony Orchestra released a recording of Peter Lieberson’s Neruda Songs, featuring Ms. O’Connor. Neruda Songs has highlighted her prominence as one of the world’s leading concert artists in two significant European debuts: performances with David Zinman and the Berliner Philharmoniker as well as with the Tonhalle-Orchester Zürich. Additionally, the work served as her Carnegie Hall debut in a performance with the Chicago Symphony Orchestra conducted by Bernard Haitink.

34C Atlanta Symphony Orchestra/aso.org

program Highlights of the 2010-11 season included the artist’s return to the New York Philharmonic for staged performances of Janácˇek’s The Cunning Little Vixen under the baton of Alan Gilbert, and her Lyric Opera of Chicago debut as Hippolyta in A Midsummer Night’s Dream in the company’s new production by Neil Armfield, conducted by Rory Macdonald.

She joined Gustavo Dudamel and the Los Angeles Philharmonic on an international tour offering performances of Bernstein’s “Jeremiah” Symphony. Ms. O’Connor also performed Berio’s Folk Songs with Daniel Harding and the London Symphony Orchestra at the Berlin Festival, excerpts from Roussel’s Padmâvatî with Christoph Eschenbach and the National Symphony Orchestra, Bach’s Missa Brevis in F major with Franz Welser-Möst and the Cleveland Orchestra, Beethoven’s Ninth Symphony with Kurt Masur and the Shanghai Symphony Orchestra, Lieberson’s Neruda Songs with Stéphane Denève and the Seattle Symphony as well as with the Royal Scottish National Orchestra, Mahler’s “Resurrection” Symphony with Gustavo Dudamel and the Simón Bolívar Orchestra, David Robertson and the St. Louis Symphony Orchestra, and with Edo de Waart and the Milwaukee Symphony, and Britten’s “Spring” Symphony with Robert Spano and the Atlanta Symphony Orchestra.

Internationally in recent seasons Ms. O’Connor made her Proms Festival debut with Jirí Belohlávek and the BBC Symphony Orchestra in Mahler’s Eighth Symphony, and an Edinburgh International Festival debut with James Conlon and the BBC Scottish Symphony Orchestra in John Adams’ El Niño. She joined Edo de Waart for Mahler’s Third Symphony with the Hong Kong Philharmonic, toured with Iván Fischer and the Budapest Festival Orchestra in Beethoven’s Ninth Symphony, and sang Mendelssohn’s Elias with Ingo Metzmacher and the Deutsches Symphonie-Orchester Berlin.

Additional information is available on the artist’s website: kelleyoconnor.com.

encoreatlanta.com/Atlanta’s Performing Arts Publication 34D

atlanta symphony orchestra chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair Jeffrey Baxter, Choral Administrator Todd Skrabanek, Accompanist

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uring the 2011–12 season, the Atlanta Symphony Orchestra Choruses will be featured in nine concert programs including Beethoven’s Ninth Symphony, Bach’s St. Matthew Passion, Mahler’s Atlanta Symphony Symphony No. 2, Rachmaninov’s The Bells and Theater of a Orchestra Chorus Concert performances of the John Adams opera A Flowering Tree. Acclaimed for the beauty, precision and expressive qualities of its singing, the ASO Chorus has been an important part of the Orchestra’s programming since its founding by Robert Shaw on Sept. 24, 1970. It is composed entirely of volunteers who meet weekly for rehearsals and perform with the Orchestra several times each season. The 200-voice Chorus and 60-voice Chamber Chorus are featured on most ASO recordings, having earned 14 Grammy Awards (nine for Best Choral Performance, four for Best Classical Recording and one for Best Opera Recording). The Choruses made their Carnegie Hall debut in 1976 and have returned to perform there on several subsequent occasions, most recently in October 2010 with the ASO and Robert Spano for a performance of Janácˇek’s Glagolitic Mass.

Under the leadership of Music Directors Robert Shaw and Robert Spano, the ASO Chorus has been involved in the creation and shaping of 11 world-premiere commissioned choral works, eight of which have been recorded.

The Choruses have twice been a special guest at the Ravinia Festival in Chicago. They opened the festival in June 2003 with Robert Spano and the Atlanta Symphony Orchestra, with a critically acclaimed performance of John Adams’ El Niño, followed in 2006 by a Chamber Chorus visit for Golijov’s opera Ainadamar. The Chorus has traveled to Germany three times as a special guest of the Berlin Philharmonic at its home, the Berlin Philharmonie. In December 2003, the Chorus did three triumphant performances of Britten’s War Requiem. In May 2008, it performed three Berlioz Requiem concerts, and in December 2009, three Brahms Ein deutsches Requiem performances — all trips with Donald Runnicles, Atlanta Symphony Orchestra Principal Guest Conductor.

34E Atlanta Symphony Orchestra/aso.org

program Soprano 1 JoAnn Alexander Liz Dean Kelly Eggers Amber Greer Michelle Griffin Kristen Gwaltney Erin Jones Arietha Lockhart * Mindy Margolis Patricia Nealon Blair Oakley Joneen Padgett Lisa Rader Olivia Rutkowski Catherine Steen Elizabeth Stuk Brianne Turgeon Allegra Whitney Lori Beth Wiseman Kara Mia Wray Wanda Yang Temko Natalie York Soprano 2 June Abbott ** Sloan Atwood Pamela Barnette ** Barbara Brown Suzannah Carrington Claudia Corriere Martha Craft Ellen Dukes ** Mary Goodwin Abigail Halon Kathleen Kelly-George Natalie Lee Marie Little Eda Mathews * Rachel O’Dell Vickie Orme Lindsay Patten Chantae Pittman Sydney Smith-Rikard Paula Snelling Camilla Springfield * Tommie Storer Cheryl Thrash * Donna Weeks *

alto 1 Ana Baida Deborah Boland * Donna Carter-Wood * Laurie Cronin Patricia DinkinsMatthews Pamela Drummond Beth Freeman Beverly Hueter Shani Jefferson Janet Johnson * Virginia Little Staria Lovelady Allison Lowe Holly McCarren Frances McDowell * Linda Morgan ** Dominique PetiteChabukswar Norma Raybon * Cheri Snyder Anne Stillwagon Diana Reed Strommen Sharon Vrieland * Nancy York alto 2 Nancy Adams Sally Rose Bates Marcia Chandler Meaghan Curry Cynthia Goeltz DeBold * Michèle Diament Sally Kann Nicole Khoury Nancy Llamazales ** Katherine Johnson MacKenzie Lynda Martin Brenda Pruitt * Kristen Reisig Andrea Schmidt Sharon Simons Virginia Thompson Cheryl Vanture Sarah Ward Alexandra Willingham Kiki Wilson ** Diane Woodard *

tenor 1 Jeffrey Baxter * Daniel Bentley Christian Bigliani David Blalock ** John Brandt * Daniel Cameron Clifford Edge * Steven Farrow ** Wayne Gammon Leif Hansen James Jarrell Thomas LaBarge Sean Mayer Clinton Miller Christopher Patton Stephen Reed ‡ Carson Zajdel tenor 2 Randy Barker Curtis Bisges Justin Cornelius Charles Cottingham ‡ Phillip Crumbly Jeffrey Daniel Joseph Few * Hamilton Fong Earl Goodrich * John Goodson Keith Jeffords Steven Johnstone John Kenemer Michael Parker Marshall Peterson * Brent Runnels Clifton Russell Wesley Stoner Caleb Waters Robert Wilkinson

bass 1 Dock Anderson Mark Blankenship Robert Bolyard Richard Brock * Russell Cason * Trey Clegg Steven Darst * Leroy Fetters David Forbes Jon Gunnemann * David Hansen * Jonathan Havel Nick Jones ‡ Adam Kissel Peter MacKenzie Jason Maynard Charles McClellan * John Newsome Mark Russell Kendric Smith ‡ John Stallings Ike Van Meter Edward Watkins ** bass 2 Shaun Amos Charles Boone Brian Brown John Cooledge ‡ Rick Copeland * Joel Craft ** Paul Fletcher Andrew Gee Ben Howell Philip Jones Eric Litsey ** Sam Marley Evan Mauk Eckhart Richter * John Ruff John Smith Jonathan Smith Timothy Solomon * Benjamin Temko David Webster ** Gregory Whitmire * Keith Wyatt

* 20+ years of service ** 30+ years of service

‡

Charter member (1970)

encoreatlanta.com/Atlanta’s Performing Arts Publication 34F

norman mackenzie, Conductor Director of Choruses

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orman Mackenzie’s abilities as musical collaborator, conductor and concert organist have brought him international recognition. As Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, he was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music Norman Mackenzie lovers. At the ASO he prepares the Choruses for all concerts and recordings, conducts holiday concerts annually and works closely with ASO Music Director Robert Spano and commissioned-composers in the creation and premiere of new works. His leadership was rewarded in 2003 with Grammy awards for Best Classical Album and Best Choral Performance for the ASO and Chorus recording of A Sea Symphony by Vaughan Williams, in 2005 with another Best Choral Performance Grammy for the Berlioz Requiem and in 2007 for Best Opera Recording with Golijov’s Ainadamar. Mackenzie also serves as Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule.

Mr. Mackenzie has been hailed by The New York Times as Robert Shaw’s “designated successor.” In his 14-year association with Shaw (1985-1999), he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. In 1996 Mr. Mackenzie made his New York conducting debut in a concert sponsored by Carnegie Hall, leading the Robert Shaw Chamber Singers in a critically acclaimed performance at the Cathedral of St. John the Divine, substituting for Shaw on short notice. In 1999 he was chosen by Shaw to prepare the Carnegie Hall Festival Chorus for Charles Dutoit, and he was choral clinician for the first three annual workshops after Shaw’s passing. In 2011 he partnered with Robert Spano for the workshop featuring the Berlioz Requiem.

A native of suburban Philadelphia, Mr. Mackenzie made his debut as a pianist with the Philadelphia Orchestra at age 12, and as an organist at age 20. He made his New York recital debut at the Fifth Avenue Presbyterian Church. He holds degrees from the University of the Arts in Philadelphia and Westminster Choir College. He has prepared choruses for performance under Robert Spano, Donald Runnicles, John Adams, Roberto Abbado, Charles Dutoit, Bernard Labadie, Nicholas McGegan, John Nelson, Alan Gilbert, Yoel Levi, Robert King, James Conlon and Sir Neville Marriner. Mackenzie’s acclaimed Telarc recording of a cappella sacred music (featuring the Vaughan Williams Mass in G-Minor) represents the ASO Chamber Chorus’ first recording apart from the orchestra. Mackenzie also prepared the ASO Chorus for its acclaimed 2003 debut and successive 2008 and 2009 performances in Berlin with the Berlin Philharmonic (in Britten’s War Requiem, Berlioz’s Grande Messe des Morts and Brahms’ Ein deutsches Requiem, respectively), conducted by ASO Principal Guest Conductor Donald Runnicles.

34G Atlanta Symphony Orchestra/aso.org

community corner

OVERTURE TO THE SEASON Music Director Jere Flint conducted the Atlanta Symphony Youth Orchestra in its Overture concert of the season, with violist Jennifer Stumm, an Atlanta native and Youth Orchestra alumna, showcased in Gabriela Lena Frank’s La Llorona.

Robert Spano leads and narrates Copland’s Lincoln Portrait at the Youth Orchestra’s Crescendo concert, Sunday, March 25, at 3 pm in Atlanta Symphony Hall.

family concert

The Fabled

Cinderella

family concert

February 12 | Sun: 1:30 & 3:30pm | Atlanta Symphony Hall

Jere Flint, conductor | Enchantment Theatre Company You and your children know the story but you’ve never seen Cinderella like this before. Hilarious life-sized puppets, masks, magic and wonderful music assure this nationally acclaimed original production is fun for the whole family.

family time to treasure for as little as

$15

404.733.5000 | aso.org Woodruff Arts Center Box Office @ 15th & Peachtree Make it a group! 404.733.4848

support The Atlanta Symphony Orchestra gratefully acknowledges the generous gifts of individuals, corporations, foundations, government and other entities whose contributions help the Orchestra fulfill its mission to be a vigorous part of the cultural fabric of our community. The following list represents the cumulative total of philanthropy of $1,750 and above to the Orchestra’s fundraising campaigns, events and special initiatives from 2011.

(Please note that donor benefits are based solely on contributions to the annual fund.) $500,000+

Mrs. Thalia N. Carlos** Delta Air Lines

The Mabel Dorn Reeder Foundation The Zeist Foundation, Inc.

$250,000+

Madeline & Howell Adams, Jr. Mrs. Anne Cox Chambers

The Coca-Cola Company Mrs. William A. Schwartz

$100,000+

GE Asset Management Abraham J. & Phyllis Katz Foundation Mr. & Mrs. Charles H. McTier

Turner Broadcasting System The Vasser Woolley Foundation, Inc. Woodruff Arts Center

$75,000+

Fulton County Arts Council

National Endowment for the Arts

UPS

$50,000+

Anonymous AT&T Real Yellow Pages GE Energy The Graves Foundation InterContinental Hotels Group

The Charles Loridans Foundation, Inc. The Reiman Foundation Mr. Thurmond Smithgall Robert Spano Susan & Thomas Wardell

SunTrust Bank SunTrust Foundation SunTrust Bank Trusteed Foundation – Walter H. and Marjory M. Rich Memorial Fund

$35,000+

Georgia Natural Gas Massey Charitable Trust

Porsche Cars North America Publix Super Markets Charities

Patty & Doug Reid Sutherland Asbill & Brennan LLP

John H. & Wilhelmina D. Harland Charitable Foundation, Inc. Lucy R. & Gary Lee, Jr. MetLife Foundation The Sara Giles Moore Foundation Terence L. & Jeanne P. Neal* Victoria & Howard Palefsky Mr. & Mrs. Solon P. Patterson*

Printpack Inc. & The Gay & Erskine Love Foundation Ryder System, Inc. Mrs. Charles A. Smithgall, Jr. Mr. & Mrs. K. Morgan Varner, III Adair & Dick White Ann Marie & John B. White, Jr.* Sue & Neil Williams

$25,000+

Jim & Adele Abrahamson Susan & Richard Anderson Stephanie & Arthur Blank Mr. & Mrs. C. Merrell Calhoun Mr. & Mrs. Bradley Currey, Jr. Marcia & John Donnell Catherine Warren Dukehart Georgia Council for the Arts Ann & Gordon Getty Foundation

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.

encoreatlanta.com/Atlanta’s Performing Arts Publication 35

$17,500+

Anonymous (2) The Arnold Foundation, Inc. Kelley O. & Neil H. Berman Mr. & Mrs. Paul J. Blackney

Janine Brown & Alex J. Simmons, Jr. City of Atlanta Office of Cultural Affairs Gary & Nancy Fayard Mr. & Mrs. Paul R. Garcia

Jane & Clay Jackson Amy & Mark Kistulinec Karole & John Lloyd Kelly Loeffler & Jeffrey C. Sprecher Mr. Kenneth & Dr. Carolyn Meltzer

Loren & Gail Starr Alison M. & Joseph M. Thompson Patrick & Susie Viguerie Camille Yow

Mr. Donald F. Fox Charles & Mary Ginden D. Kirk Jamieson, Verizon Wireless Ann A. & Ben F. Johnson III* Sarah & Jim Kennedy Steve & Eydie Koonin

Carrie & Brian Kurlander Michael & Cindi Lang Donna Lee & Howard C. Ehni Meghan & Clarke Magruder Suzanne & Bill Plybon Dr. Stanley & Shannon Romanstein

Lynn Schinazi Joyce & Henry Schwob Irene & Howard Stein Mary Rose Taylor Mike & Liz Troy Ray & John Uttenhove Mr. & Mrs. Edus H. Warren, Jr.

Cynthia & Donald Carson Dr. John W. Cooledge Trisha & Doug Craft Cari Katrice Dawson Eleanor & Charles Edmondson Rosi & Arnoldo Fiedotin Mr. & Mrs. Lawrence L. Gellerstedt III Mary D. Gellerstedt GMT Capital Corporation Nancy D. Gould Joe Guthridge & David Ritter*

Jan & Tom Hough Mr. Tad Hutcheson Roya & Bahman Irvani Anne Morgan & Jim Kelley Mr. & Mrs. Donald R. Keough James H. Landon Mr. & Mrs. John M. Law The Livingston Foundation, Inc. Mike’s Hard Lemonade Morgens West Foundation Primerica

Margaret & Bob Reiser Bill & Rachel Schultz* Mr. John A. Sibley III Siemens Industry, Inc. John Sparrow Carol & Ramon Tome Family Fund* Trapp Family Turner Foundation, Inc. Mark & Rebekah Wasserman Neal & Virginia Williams Suzanne Bunzl Wilner

Atlanta Federation of Musicians Jeff & Ann Cramer*

Mr. & Mrs. Jesse Hill, Jr. JBS Foundation

The Hellen Plummer Charitable Foundation, Inc.

Mary Helen & Jim Dalton Richard A. & Lynne N. Dorfman Christopher & Sonnet Edmonds Dr. & Mrs. Carl D. Fackler David L. Forbes James F. Fraser The Fraser-Parker Foundation, Inc. Betty Sands Fuller Sally & Carl Gable Dick & Anne Goodsell The Robert Hall Gunn, Jr. Fund

The Jamieson Family Philip I. Kent George H. Lanier The Sartain Lanier Family Foundation, Inc. Pat & Nolan Leake Links Inc., Azalea City Chapter Belinda & Gino Massafra Linda & John Matthews John F. & Marilyn M. McMullan Penelope & Raymond McPhee*

Dr. & Mrs. Mark P. Pentecost, Jr. Margaret H. Petersen Hamilton & Mason Smith* Sandy & Paul Smith Peter James Stelling Mrs. C. Preston Stephens Triska Drake & G. Kimbrough Taylor, Jr. Charlie Wade & M.J. Conboy Russell Williamson & Shawn Pagliarini

Ellen & Howard Feinsand Four Seasons Hotel Atlanta Herbert & Marian Haley Foundation Steven & Caroline Harless

Sally W. Hawkins Mr. & Mrs. John E. Hellriegel Mr. & Mrs. Daniel H. Hollums

JoAnn Hall Hunsinger Paul & Rosthema Kastin Dr. & Mrs. James T. Laney* Mr. & Mrs. William C. Lester* Deborah & William Liss

$15,000+

Pinney L. Allen & Charles C. Miller III The Antinori Foundation Lisa & Joe Bankoff Mr. & Mrs. David Edmiston In memory of Polly Ellis

by Admiral James O. Ellis, Jr. $10,000+ Anonymous AGCO Corporation, Lucinda B. Smith Mark & Christine Armour The Balloun Family Mr. David Boatwright The Boston Consulting Group The Breman Foundation, Inc. The John & Rosemary Brown Family Foundation The Walter & Frances Bunzl Foundation $7,500+ The Aaron Copland Fund for Music, Inc.

$5,000+ Anonymous (2) John** & Helen Aderhold* Aadu & Kristi Allpere* Ms. Julie M. Altenbach The ASCAP Foundation Irving Caesar Fund Mrs. Suzanne Dansby Bollman & Mr. Brooks Bollman Bubba Brands, Inc. Dr. Robert L. & Lucinda W. Bunnen Charles Campbell & Ann Grovenstein-Campbell

$3,500+ Anonymous Mr. & Mrs. Dennis Chorba Mr. James L. Davis & Ms. Carol Comstock* Jere & Patsy Drummond

36 Atlanta Symphony Orchestra/aso.org

support

$3,500+ continued Dr. & Mrs. James T. Lowman Ruth & Paul Marston Mr. & Mrs. Harmon B. Miller III

Walter W. Mitchell Leslie & Skip Petter Mr. & Mrs. Joel F. Reeves

S.A. Robinson Nancy & Henry Shuford In memory of Willard Shull Elliott Sopkin

Ms. Kimberly Tribble & Mr. Mark S. Lange Burton Trimble H. & T. Yamashita*

Gregory & Debra Durden Ms. Diane Durgin The Robert S. Elster Foundation John & Michelle Fuller Mr. & Mrs. Edward T. Garland Dr. Mary G. George & Mr. Kenneth Molinelli Ben & Lynda Greer Dr. & Mrs. Alexander Gross Paul B., Paul H., & M. Harrison Hackett Darlene K. Henson Mr. Thomas Hooten & Ms. Jennifer Marotta Mr. & Mrs. Harry C. Howard Richard & Linda Hubert Dr. William M. Hudson Mr. & Mrs. William C. Humphreys, Jr. Dr. & Mrs. James M. Hund Dorothy Jackson** Ms. Cynthia Jeness Mr. & Mrs. Robert A. Johnson Mr. W. F. & Dr. Janice Johnston Dr. Maurice J. Jurkiewicz** Hazel & Herb Karp Mr. & Mrs. John H. Kauffman Mr. & Mrs. L. Michael Kelly Dick & Georgia Kimball*

Mr. & Mrs. Daniel J. King Dr. & Mrs. Scott I. Lampert Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney Mr. & Mrs. J. David Lifsey Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie The Devereaux F. & Dorothy McClatchey Foundation, Inc. Mr. & Mrs. Albert S. McGhee Birgit & David McQueen Gregory & Judy Moore Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable Mr. & Mrs. Robert Olive Ms. Rebecca Oppenheimer Mr. & Mrs. Andreas Penninger Susan Perdew Elise T. Phillips Mr. & Mrs. Rezin Pidgeon, Jr. Dr. & Mrs. W. Harrison Reeves, Sr. Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue John & Kyle Rogers Dr. Paul J. Seguin

Elizabeth S. Sharp Angela & Morton Sherzer Kay R. Shirley Beverly & Milton Shlapak Helga Hazelrig Siegel Lewis Silverboard Sydney Simons Baker & Debby Smith Amy & Paul Snyder Mr. & Mrs. Raymond F. Stainback, Jr. Lynne & Steven Steindel* John & Yee-Wan Stevens Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Annie York-Trujillo & Raul F. Trujillo Mr. William C. Voss Mr. & Mrs. Randolph O. Watson Dr. & Mrs. Roger P. Webb Dr. & Mrs. James O. Wells, Jr. David & Martha West Mr. & Mrs. Peter L. Whitcup Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates

Mary Frances Early Ree & Ralph Edwards Heike & Dieter Elsner George T. & Alecia H. Ethridge Bill & Susan Gibson Carol & Henry Grady Mary C. Gramling Mr. Lewis H. Hamner III Thomas High In memory of Carolyn B. Hochman Stephanie & Henry Howell Mary B. & Wayne James Aaron & Joyce Johnson Veronique & Baxter Jones Lana M. Jordan Mr. Thomas J. Jung Dr. Rose Mary Kolpatzki Mr. & Mrs. David Krischer Thomas C. Lawson Mr. & Mrs. Craig P. MacKenzie

Kay & John Marshall Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey Virginia K. McTague Angela & Jimmy Mitchell Mrs. Gene Morse** Barbara & Sanford Orkin Dr. & Mrs. Keith D. Osborn Dr. & Mrs. Bernard H. Palay Mr. & Mrs. Emory H. Palmer Mr. Robert Peterson Dr. & Mrs. Frank S. Pittman III The Reverend Neal P. Ponder, Jr. Provaré Technology, Inc. Mr. & Mrs. David M. Ratcliffe

Ms. Susan Robinson & Ms. Mary Roemer The Gary Rollins Foundation John T. Ruff Dr. & Mrs. Rein Saral Alida & Stuart Silverman Alex & Betty Smith Foundation, Inc. Johannah Smith Mr. & Mrs. Gabriel Steagall Kay & Alex Summers Elvira Tate Mr. & Mrs. William M. Tipping Drs. Jonne & Paul Walter Alan & Marcia Watt Drs. Julius & Nanette Wenger Mr. & Mrs. William White* Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Charlie & Dorothy Yates Family Fund Herbert & Grace Zwerner

$2,250+ Anonymous (3) Mrs. Kay Adams* & Mr. Ralph Paulk Mr. & Mrs. Phillip E. Alvelda* Paul & Marian Anderson Jack & Helga Beam Ms. Laura J. Bjorkholm & Mr. John C. Reece II Rita & Herschel Bloom Edith H. & James E. Bostic, Jr. Family Foundation Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Dr. & Mrs. Anton J. Bueschen Major General & Mrs. Robert M. Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush The Buss Family Charitable Fund Ms. Marnite B. Calder Mr. & Mrs. Beauchamp C. Carr Ralph & Rita Connell Chip & Darlene Conrad Mr. & Mrs. Thomas G. Cousins Mr. Robert Cronin & Ms. Christina Smith Sally & Larry Davis Drs. Carlos del Rio & Jeannette Guarner

$1,750+ Anonymous Mr. & Mrs. Stephen D. Ambo Dr. David & Julie Bakken Mr. & Mrs. Ron Bell Dr. & Mrs. Joel E. Berenson Leon & Linda Borchers Mr.** & Mrs. Eric L. Brooker Mr. & Mrs. Russell E. Butner Mr. & Mrs. Walter K. Canipe Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Dr. & Mrs. William T. Cook Jean & Jerry Cooper Mr. & Mrs. Brant Davis* Mrs. H. Frances Davis Peter & Vivian de Kok Elizabeth & John Donnelly Xavier Duralde & Mary Barrett Cree & Frazer Durrett Dr. Francine D. Dykes & Mr. Richard Delay

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.

encoreatlanta.com/Atlanta’s Performing Arts Publication 37

additional support Blonder Family Foundation

William McDaniel Charitable Foundation

Appassionato

William Randolph Hearst Endowed Fund

Meghan Magruder, Appassionato Chair

The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the Southeast. Appassionato was inaugurated in 2000 and welcomes annual givers of $10,000 and above. Appassionato members provide the Symphony with a continuous and strong financial base in support of our ambitionous aritistic and education initiatives.

Patron Partnership

Thomas J. Jung, Chair

The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $1,750 or more and comprise a vital extension of the Orchestra family through their institutional leadership and financial support.

Henry Sopkin Circle Honoring the Atlanta Symphony Orchestra’s first Music Director, the Henry Sopkin Circle recognizes our friends who have planned bequests and other gifts to benefit the Orchestra’s future. We remain grateful to all Henry Sopkin Circle members – past and present – for their generosity, trust, and vision.

Madeline & Howell E. Adams, Jr. Mr.* & Mrs. John E. Aderhold William & Marion Atkins Dr. & Mrs. William Bauer Neil H. Berman Fred & Bettye Betts Mr.* & Mrs. Sol Blaine W. Moses Bond Robert* & Sidney Boozer Elinor A. Breman William Breman* James C. Buggs, Sr. Mr. & Mrs. Richard H. Burgin Hugh W. Burke Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Margie & Pierce Cline Dr. & Mrs. Grady Clinkscales, Jr. Dr. John W. Cooledge John R. Donnell Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Elizabeth Etoll

Rosi & Arnoldo Fiedotin Dr. Emile T. Fisher A. D. Frazier, Jr. Betty & Drew* Fuller Carl & Sally Gable William H. Gaik Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr. Billie & Sig* Guthman Betty G.* & Joseph F.* Haas James & Virginia Hale Miss Alice Ann Hamilton* Dr. Charles H. Hamilton* John & Martha Head Ms. Jeannie Hearn Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr.* & Mrs. Fred A. Hoyt, Jr. Dr. & Mrs. James M. Hund Mary B. James Calvert Johnson Herb & Hazel Karp Anne Morgan & Jim Kelley Bob Kinsey

38 Atlanta Symphony Orchestra/aso.org

James W. & Mary Ellen* Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff Ouida Hayes Lanier Mr. & Mrs. William Lester Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay Bill Perkins Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram The Reiman Foundation Vicki J. & Joe A. Riedel Dr. Shirley E. Rivers Mr. & Mrs. Martin H. Sauser

Mr. Paul S. Scharff & Ms. Polly G. Fraser Edward G. Scruggs* Dr. & Mrs. George P. Sessions Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Peter James Stelling Barbara Dunbar Stewart* C. Mack* & Mary Rose Taylor Jennings Thompson IV Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Mr. & Mrs. John B. White, Jr. Adair & Dick White Hubert H. Whitlow, Jr. Sue & Neil Williams Mrs. Frank L. Wilson, Jr. Joni Winston George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12) *Deceased

corporate & government support

Classical Series Title Sponsor Classic Chastain Title Sponsor Family and SuperPOPS Presenting Sponsor

Holiday Title Sponsor Muhtar Kent Chairman of the Board and Chief Executive Officer

Richard Anderson Chief Executive Officer

Darryl Harmon Southeast Regional President

Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.

Atlanta School of Composers Presenting Sponsor

Supporter of the Atlanta Symphony Orchestra Chorus

Philip I. Kent Chairman and Chief Executive Officer

Jerry Karr Senior Managing Director

This program is supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts

Atlanta Symphony Orchestra programs are supported in part by an award from the National Endowment for the Arts.

Major support is provided by the City of Atlanta Office of Cultural Affairs.

encoreatlanta.com/Atlanta’s Performing Arts Publication 39

Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra

2011-2012 board Belinda Massafra President Sylvia Davidson President Elect Suzy Wasserman, Leslie Petter, Camille Yow Advisors Elba McCue Secretary

Sabine Sugarman Treasurer Camille Kesler VP Administration Dawn Mullican VP Public Relations Paula Ercolini VP Youth Education Ruth & Paul Marston VP Membership Gayle Lindsay Parliamentarian

Ann Levin & Gail Spurlock Historians Judy Schmidt Nominating Committee Chair Amy Mussara, Chair, Decorators’ Show House & Gardens Natalie Polk & Hillary Inglis Co-Chairs, Decorators’ Show House & Gardens

Janis Eckert, Nancy Fields & Gail Spurlock Chairs, ASA Fall Meeting Poppy Tanner Chair, ASA Night at the ASO Glee Lamb & Adele Abrahamson Chairs, ASA Spring Luncheon Pat King ASA Notes Newsletter Editor Jamie Moussa Chair, ASA Annual Directory

Nancy Levitt Ambassadors’ Desk Helen Marie Rutter Bravo Chair Elba McCue Concerto Chair Joan Abernathy Encore Chair Liz Cohn & Betty Jeter Ensemble Chairs Karen Bunn Intermezzo Chair Whitley Greene Vivace Chair

BRAVO! CRUISIN’ CASINO NIGHT. Members of Bravo!, the young professional volunteer group of the Orchestra, tried their luck at casino game tables while enjoying the smooth sounds of Yacht Rock DJ. From left to right, Ashley Jones, Andy Nickerson, Joe Fischer, and Jonathon Javetz. For more information on Bravo! and other events like these please contact Volunteer Project Manager, Sarah Levin at 404-733-4921

40 Atlanta Symphony Orchestra/aso.org

Patron Circle of Stars By investing $15,000 or more in The Woodruff Arts Center and its divisions — the Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences — these outstanding Annual Corporate Campaign donors helped us raise more than $8.9 million last year. Thank you!

Chairman’s Council ★★★★★★★★★★★★ $500,000+ The Coca-Cola Company Georgia Power Foundation, Inc. UPS

KPMG LLP, Partners & Employees The Rich Foundation, Inc. Wells Fargo

★★★★★★★ $100,000+ Alston & Bird LLP ★★★★★★★★★★★ Bank of America $450,000+ Kaiser Permanente Cox Interests Atlanta Journal-Constitution, King & Spalding Partners & Employees James M. Cox Foundation, Cox Radio Group Atlanta, The Klaus Family Foundation WSB-TV The Marcus Foundation, Inc. Hon. Anne Cox Chambers The Sara Giles Moore Foundation Novelis Inc. ★★★★★★★★★★ Wal-Mart Stores, Inc. $300,000+ The David, Helen & Marian Deloitte LLP, its Partners Woodward Fund & Employees ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Ernst & Young, Partners & Employees The Home Depot Foundation Jones Day Foundation & Employees PwC Partners & Employees Mabel Dorn Reeder Foundation SunTrust Bank Employees & Trusteed Foundations Florence C. & Harry L. English Memorial Fund Greene-Sawtell Foundation SunTrust Foundation Turner Broadcasting System, Inc. ★★★★★★★★ $150,000+ Delta Air Lines, Inc. Equifax Inc. & Employees

★★★★★★ $75,000+ AirTran Airways Holder Construction Company Kilpatrick Townsend The Sartain Lanier Family Foundation, Inc. Regions Financial Corporation ★★★★★ $50,000+ AGL Resources Inc. Lisa & Joe Bankoff Cisco Ann & Jay Davis Doosan Infracore International Federal Home Loan Bank of Atlanta Frank Jackson Sandy Springs Toyota and Scion Beth & Tommy Holder Newell Rubbermaid Primerica

42 Atlanta Symphony Orchestra/aso.org

Devyne Stephens Sutherland Asbill & Brennan LLP The Zeist Foundation, Inc. ★★★★ $35,000+ Katharine & Russell Bellman Foundation Bryan Cave LLP Mr. & Mrs. Bradley Currey, Jr. GE Energy Georgia-Pacific The Imlay Foundation, Inc. Invesco PLC Norfolk Southern, Employees & Foundation Siemens Industry, Inc. Alex & Betty Smith Foundation, Inc. Harris A. Smith Frances Wood Wilson Foundation, Inc ★★★ $25,000+ Accenture & Accenture Employees Air Serv Corporation Atlanta Foundation Julie & Jim Balloun BB&T Corporation Laura & Stan Blackburn CIGNA Foundation Cousins Properties Incorporated Crawford & Company Ford & Harrison LLP Jack & Anne Glenn Foundation, Inc. GMT Capital Corporation Infor Global Solutions ING Sarah & Jim Kennedy Philip I. Kent Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc.

LexisNexis Risk Solutions The Blanche Lipscomb Foundation Macy’s Foundation Katherine John Murphy Foundation Patty & Doug Reid Family Foundation RockTenn SCANA Energy Southwire Company Sprint Foundation Towers Watson Troutman Sanders LLP Waffle House, Inc. Gertrude & William C. Wardlaw Fund ★★ $15,000+ A. E. M. Family Foundation ACE Charitable Foundation AlixPartners Alvarez & Marsal Arnall Golden Gregory LLP The Partners & Employees of Atlanta Equity Investors Atlanta Marriott Marquis Beaulieu Group, LLC Susan R. Bell & Patrick M. Morris The Arthur M. Blank Family Foundation The Boston Consulting Group Catherine S. & J. Bradford Branch The Capital Group Companies Charitable Foundation Roxanne & Jeffrey Cashdan Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman

Chartis Chick-fil-A, Inc. CornerCap Investment Counsel Duke Realty Corporation Egon Zehnder International Eisner Family Foundation Feinberg Charitable Trust Fifth Third Bank First Data Corporation Gas South, LLC Genuine Parts Company Georgia Natural Gas Dolores & Javier C. Goizueta Grant Thornton LLP Harland Clarke HD Supply The Howell Fund, Inc. ICS Contract Services, LLC Mr. & Mrs. M. Douglas Ivester Jamestown Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation Ingrid Saunders Jones Jones Day Foundation, in honor of James H. Landon Mr. & Mrs. Muhtar Kent Kurt P. Kuehn & Cheryl Davis Lanier Parking Solutions The Latham Foundation Barbara W. & Bertram L. Levy Fund Livingston Foundation, Inc. Karole & John Lloyd Lockheed Martin Marsh-Mercer Mohawk Industries, Inc. & Frank H. Boykin Mueller Water Products, Inc. Gail & Bob O’Leary Vicki R. Palmer

Paul, Hastings, Janofsky & Walker LLP Piedmont Charitable Foundation, Inc. Printpack Inc./The Gay & Erskine Love Foundation Mary & Craig Ramsey Mr. & Mrs. David M. Ratcliffe Emily Winship Scott Foundation Skanska USA Building Inc. Spencer Stuart Karen & John Spiegel Superior Essex Inc. Sysco Atlanta United Distributors, Inc. WATL/WXIA/Gannett Foundation Sue & John Wieland Mr. & Mrs. James B. Williams Sue & Neil Williams Carla & Leonard Wood The Xerox Foundation Yancey Bros. Co. Mr. & Mrs. Robert A. Yellowlees *Annual Campaign Donors from June 1, 2010 May 31, 2011

encoreatlanta.com/Atlanta’s Performing Arts Publication 43

Continued from page 22

“We really enjoy working with Donald,” said Nick Jones, a longtime member of the Chorus and the Orchestra’s former Program Annotator. “[His] fluid conducting style, his songful interpretations, his idiosyncratic left-handed baton … we love

Robert and this Orchestra have gone by so quickly,” Mr. Runnicles said. “It’s been a unique, joyous, utterly inspiring synergy that Robert and I have enjoyed, and I’ve loved and treasured the partnership. The challenges and achievements over the years have been considerable. What a joy and privilege to belong to the Atlanta family.”

“ The excitement and fulfillment of working with Robert Spano and the Atlanta Symphony Orchestra deepens for me each year” his piercing Scottish gaze and his lilting brogue. We accompanied him to Germany three times, allowing us to build a terrific relationship with the Berlin Philharmonic.

And of course, we joyfully anticipate each time he works with us in Atlanta.”

Reminiscing about the Chorus’s performance of the Berlioz Requiem with the Berlin players in 2008, Mr. Runnicles said, “When the Chorus began to sing without accompaniment, the orchestra all turned around. The collective look on their faces was one of the most moving things I have ever seen.” Most recently, Mr. Runnicles and the Chorus performed Brahms’s A German Requiem with the German orchestra in 2009.

And the creative partnership? “It’s hard to believe 10 years of collaborating with 44 Atlanta Symphony Orchestra/aso.org

For more than a decade, Mr. Spano and Mr. Runnicles have helped shape musical perspective and programming within the Atlanta Symphony and throughout the country. Under their leadership, the Orchestra has been acknowledged as a hub of creativity through performances, presentations, and learning forums, all inspired by the work of this dynamic artistic team.

“The excitement and fulfillment of working with Robert and the Atlanta Symphony Orchestra deepens for me each year,” explained Mr. Runnicles.

And the feeling is mutual. Of the creative partnership, Mr. Spano said, “To have been able to have this journey here with Donald has been one of the joys of my life. We have a wonderful professional friendship and I’m very blessed.”

“With Robert and with Donald, it’s sometimes easy to forget — until we read about them in the New York Times or some other place — that these are two international superstars who are completely at home here in Atlanta,” said Atlanta Symphony Orchestra President Stanley E. Romanstein. “We’re incredibly fortunate to have him.”

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community corner a moment with

Monica…

Meet Monica Caldwell, a sophomore at Shiloh High School. The 15-year-old violist is in her third year as a member of the Atlanta Symphony Orchestra’s Talent Development Program and her second season with the Atlanta Symphony Youth Orchestra. Monica attributes her success as a musician to what she has gained through these student musician training programs.

When did you start playing the viola?

When I was in sixth grade, I joined my school orchestra and I had no idea what a viola was — or that it even existed! I actually had my mind set on playing the bass, but after trying it I decided I wanted to play the cello instead. I thought I had finally made up my mind, but as soon as the orchestra teacher played a few notes on the viola, I was intrigued and quickly changed my decision.

It was love at first sight!

What made you decide to become involved with the Orchestra’s student musician training programs?

In my seventh grade year, I was improving on my instrument much faster than my peers. I would spend hours practicing and the extra time I dedicated to my viola became evident very quickly through the 46 Atlanta Symphony Orchestra/aso.org

improved quality of my playing. At that point, my music teacher recommended me for the Talent Development Program (TDP). I was really excited about the opportunity, but I had no idea how significantly it would impact my life and what kind of musician I was yet to become.

So, how has it impacted you?

My whole perception of playing the viola is completely different than when I began in my small sixth-grade orchestra. After being accepted into the TDP program, I began studying privately with Atlanta Symphony violist Lachlan McBane. He has encouraged me to always be very thoughtful about what I’m playing. Nothing about playing an instrument is careless, and everything in music has meaning. I started incorporating that concept into my music, and my playing has never been the same since.

I’ve also been incredibly fortunate to have a wonderful mentor, harpist Angelic Hairston, who graduated from the Talent Development Program last spring. As an older member of the program, Angelica was one of the first students to reach out to me, and I was incredibly inspired by how much she had already accomplished at such a young age. I hope to accomplish just as much as she did in her five years in TDP! She’s now studying music in Canada, but I still make time to keep in touch with her. Even though she’s far away, she still encourages me to take my music to the next level.

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Do you hope to mentor younger students?

Yes! I aspire to be a performer, but I also hope to inspire someone the way I was first inspired to play the viola and pursue a career in music.

One of the “perks” of being a member of the TDP is the opportunity to study at prestigious summer music festivals.

What have your experiences been like?

During the past two summers, I have attended Interlochen Arts Academy and Credo Chamber Music Camp at Oberlin Conservatory. My quick musical progress simply would not have been possible without these summer programs. I had the opportunity to study with two of the best viola teachers in the world — David Holland and Peter Slowik — and they truly shaped my technique and helped me develop my mature sound. Sometimes I would get a little homesick, but I knew that being away from home, and away from so many distractions, was the best way for me to focus on my musical development.

And you’re also a member of the Atlanta Symphony Youth Orchestra?

Yep! Last year was my first season with the Youth Orchestra. It was a great experience and really pushed me musically and mentally because the music was so challenging! I remember sightreading through a piece of music at the first rehearsal and not being able to play any of it, and I realized that I

had a lot of work to do to keep up with such an amazing group of students!

What do you like most about the Youth Orchestra?

Viola sectionals are always the highlight of rehearsal for me. It’s always interesting having a room full of 14 violists! Our coach is Cathy Lynn, an Atlanta Symphony violist, and she always gives us “hot viola tips.” Her guidance helps us work through the hardest sections of the repertoire so we can be at our very best when we perform on the Atlanta Symphony Hall stage!

Additionally, I truly appreciate being able to play in a full orchestra on a regular basis — it’s an opportunity that I don’t have with my school music program. I also benefit from being around my Youth Orchestra colleagues because we share a love of music and a similar motivation and drive.

If your life could turn out just the way you wanted, what would you be doing in 10 or 15 years?

I would love to have graduated from a prestigious music school and be a professional musician with a nationallyrecognized orchestra. I haven’t really thought about the specifics because I still have three years to figure everything out!

But this is what I do know: My life without music would be a life without passion, and I can’t ever imagine not having music, or the viola, in my life. I’m incredibly grateful to the Atlanta Symphony Orchestra for making my career as a violist possible!

Edited and condensed

by Kimberly Nogi.

48

calendar

The Amazing Montero February 2/3/4 Delta Classical Thu/Fri/Sat: 8pm Ravel: Mother Goose Suite Beethoven: Piano Concerto No. 3 Dvo˘rák: Symphony No. 8 Thomas Wilkins, conductor Gabriela Montero, piano

Radiant Mozart, Passionate Elgar February 16/17/19 Delta Classical Thu/Fri: 8pm/Sun: 3pm Wagner: Prelude to Die Meistersinger Elgar: Cello Concerto Mozart: “Haffner” Symphony R. Strauss: Der Rosenkavalier Suite

PHISH PHANS! Roberto Minczuk, conductor February 9 Special Johannes Moser, cello Thu: 8pm sold out!

Trey Anastasio Symphony Gala February 18 and the Atlanta Symphony Orchestra Sat: 7:30pm Botti’s back!

Bernadette Peters February 10/11 SuperPOPS! Shimmering Josefowicz Fri/Sat: 8pm February 23/25 Delta Classical Chris Botti & band Thu/Sat: 8pm Cinderella Haydn: Overture to February 12 Family Concert L’Isola disabitata Sun: 1:30pm & 3:30pm Thomas AdÈs: Violin Concerto the fabled Cinderella Wagner: Lohengrin Jere Flint, conductor Prelude to Act One Enchantment Theatre Company Debussy: La mer James Gaffigan, conductor Leila Josefowicz, violin

404.733.5000 | aso.org Woodruff Arts Center Box Office @15th and Peachtree Make it a group! 404.733.4848 Presented by:

Supported by:

Media Sponsors:

Special Gala Concert! with members of the Orchestra February 18 Sat: 8pm | Atlanta Symphony Hall

Bernadette Peters

The dazzling superstar Bernadette Peters, winner of multi Tony (Follies, Gypsy, A Little Night Music) and Grammy awards, lights up the 2nd annual Symphony Gala benefitting the Orchestra’s education and community programs. Tickets starting at $35 on sale now!

“As an actress, singer, comedienne and winning presence, Bernadette Peters has no peer…”

aso.org | 404.733.5000 Woodruff Arts Center Box Office @15th and Peachtree

– Frank Rich, NY Times

staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President Brien Faucett Assistant to the President

EDUCATION & COMMUNITY ENGAGEMENT Mark B. Kent Senior Director of Education & Community Engagement Melanie Darby Director of Education Programming Ahmad Mayes Community Programs Coordinator Nicole Bird Education Program Coordinator Janice Crews Professional Learning Teaching Artist Tiffany I.M. Jones Education Sales Associate

ASO Presents (cont.)

MARKETING & CONCERT PROMOTIONS Charles Wade Vice President Verizon Wireless for Marketing Amphitheatre at & Symphony Pops ADMINISTRATION Encore Park Alesia Banks John Sparrow Katie Daniel Director of Customer Vice President VIP Sales Manager Service & Season Tickets for Orchestra Initiatives Jenny Pollock & General Manager Ted Caldwell Operations Manager Group & Corporate Mala Sharma Sales Assistant Rebecca Simmons Assistant to the Box Office Manager Vice President Meko Hector for Orchestra Initiatives Marketing Production Deborah Honan & General Manager Manager Customer Service Manager & Venue Rental Coordinator Jennifer Jefferson Julianne Fish Orchestra Manager Director of e-Business & Interactive Media Nancy Crowder DEVELOPMENT Operations/Rental Melanie Kite Sandy Smith Events Coordinator Subscription Vice President Office Manager Russell Williamson for Development Orchestra Personnel Shelby Moody FINANCE & Rebecca Abernathy Manager Group & Corporate ADMINISTRATION Development Services Sales Manager Susanne Watts Coordinator Donald F. Fox Assistant Orchestra Seth Newcom Executive Vice President Zachary Brown Personnel Manager Database Administrator for Business Operations Director of Paul Barrett & Chief Financial Officer Kimberly Nogi Volunteer Services Senior Production Publicist Shannon McCown Corey Cowart Stage Manager Assistant to the Robert Phipps Director of Richard Carvlin Executive Vice President Publications Director Corporate Relations Stage Manager for Business Operations Melissa A. E. Sanders Janina Edwards & Chief Financial Officer Lela Huff Senior Director, Grants Consultant Assistant Stage Manager Susan Ambo Communications Tegan Ketchie Vice President of Finance Christine Saunders Development Coordinator Artistic Kim Hielsberg Group & Corporate Ashley Krausen Evans Mirageas Director of Financial Sales Associate Special Events Coordinator Director of Artistic Planning Planning & Analysis Karl Schnittke Sarah Levin Carol Wyatt April Satterfield Publications Editor Volunteer Project Manager Executive Assistant Senior Accountant Robin Smith Stephanie Malhotra to the Music Director Peter Dickson Subscription Director of Development & Principal Guest Staff Accountant & Education Sales & Education Services Conductor Michael Richardson Bill Tarulli Melissa Muntz Jeffrey Baxter Venues Analyst Marketing Manager Development Coordinator Choral Administrator Stephen Jones Rachel Trignano Barbara Saunders Ken Meltzer Symphony Store Manager Manager of Director of ASO Insider Broad Based Giving Foundation Relations ASO Presents & Program Annotator Russell Wheeler Meredith Schnepp Clay Schell Director of Group Vice President, Programming Prospect Research Officer & Corporate Sales Tammie Taylor Trevor Ralph Christina Wood General Manager and Senior Assistant to the Director of Marketing Director of Operations VP for Development Holly Clausen Sarah Zabinski Director of Marketing Individual Giving Manager Keri Musgraves Promotions Manager Lisa Eng Graphic Artist

54 Atlanta Symphony Orchestra/aso.org

Chastain Park Amphitheater Tanner Smith Program Director

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Historic charm combined with artful hospitality.

After the show, Enjoy some of our award winning...

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1302 West Peachtree St., Atlanta artmorehotel.com • 800.548.5631

general info LATE SEATING Latecomers are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Latecomers may be initially seated in the back out of courtesy to the musicians and other patrons.

SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office (404.733.5000) to make advance arrangements.

SYMPHONY STORE The ASO’s gift shop is located in the galleria and offers a wide variety of items, ranging from ASO recordings and music-related merchandise to T-shirts and mugs. Proceeds benefit the Atlanta Symphony Orchestra.

THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $1,750 annually to become members of this private salon for cocktails and dining on concert evenings — private rentals available. Call 404.733.4860.

IMPORTANT PHONE NUMBERS Concert Hotline 404.733.4949 (Recorded information) Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345

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Located at 14th Street & Peachtree Street NE (404) 846-2000

... would like to invite you to enjoy 15% off.

PRESENT YOUR TICKET AND RECEIVE 15% OFF FOOD ONLY AT SHOUT* Offer valid with your Atlanta Symphony Orchestra or Fox Theatre ticket stub. Expires 1/31/11.

*

Hotel Indigo Atlanta Midtown 683 Bar and Bistro 683 Peachtree St. NE • Across from the Fox! BRAND NEW, FOX INSPIRED LOBBY, BAR AND BISTRO!

Call 1-866-851-7239 for the Fox Theatre rate or visit http://tinyurl.com/FoxRate

ticket info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

SINGLE TICKETS Call 404.733.5000 Mon.—Fri., 10 a.m.– 8 p.m.; Sat.–Sun., Noon–8 p.m. Service charge applies. Phone orders are filled on a best-available basis. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two

weeks prior to the concert, tickets will be held at the box office.

Woodruff Arts Center Box Office Mon.–Fri., 10 a.m. – 8 p.m.; Sat.–Sun., noon–8 p.m. The box office is open through intermission on concert dates. No service charge if tickets are purchased in person.

Please note: All single-ticket sales are final.

No refunds or exchanges. All artists and programs subject to change.

GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848.

GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000.

THE PERFECT GIFT! Birthdays • Mother’s Day • Father’s Day • Christmas Easter • Thanksgiving • and Halloween

A Whole Year of Coloring Fun!

FREE ART KIT!

with every “Ultimate” gift set purchase while supplies last.

CozmicFunLines.com

Share your art and stories with us at Facebook.com/ CozmicFunLines and @CozmicFunLines

Atlanta’s Performing Arts Publication

More than a program, it’s your ticket to the arts.

404.459.4128 encoreatlanta.com

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Giving voice & the gift of music

1 SHOUT, SISTER, SHOUT! Richardine Holmes feels it during the Orchestra’s annual Gospel Christmas performances in early December.

2 MUSICAL BALM Violinists Sandy Salzinger and Ruth Ann Little and bassist Gloria Jones and violist Yang-Yoon Kim (not pictured) perform holiday music at the Arbor Terrace assisted living community last month. Orchestra musicians share music with over 2000 senior citizens annually.

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Ahmad Mayes

3 SANTA’S LITTLE HELPERS “ASO Kid’s Christmas” joyfully lived up to its name.

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Erik Dixon

Jeff Roffman

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Discover places to shop, dine and play in 4 easy steps + Read show programs, find contests and deals on your phone!

1. Go to m.encoreatlanta.com 2. Click on this icon and 3. Add name 4. Enjoy the finer things in life!

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