Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
March March 8/10 Bach: St. Matthew Passion Theater of a Concert
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contents March 2012
encoreatlanta.com 48
JD Scott
20
features
the music
20 The Table Is Set
25 This week’s concert and program notes
A 2012-13 invitation to comfort food, spicy surprises and some home cookin’.
48 Krajewski … Michael Krajewski
The Orchestra’s International Man of (Musical) Mystery on “Bond & Beyond.”
50 An Educator’s Heart
Great things happen when student musicians have the opportunity to work with the world’s top artists.
8 Atlanta Symphony Orchestra/aso.org
departments 12 President’s Letter 14 Orchestra Leadership 16 Robert Spano 18 Musicians 35 Contributors 52 Calendar 54 Administration 56 General Info 58 Ticket Info 60 Gallery ASO Cover watercolor by Anne Patterson, designer and director of the Theater of a Concert presentation of Bach’s St. Matthew Passion.
Create a Jewish Legacy and ensure their Jewish future is a bright one.
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Welcome An oft-quoted Nigerian proverb suggests that “it takes a village to raise a child.” In a similar vein, it takes enough people to populate a small village to create the kinds of memorable concert experiences that you and I enjoy week after week with the Atlanta Symphony Orchestra. Your concert experience rests, primarily, with Robert Spano, with our incredibly gifted musicians, and with the world-class guest soloists and conductors who join them on the Symphony Hall stage — people such as Andre Watts, Nicholas Phan, Wynton Marsalis, Heidi Grant Murphy, Kelly O’Connor, Thomas Cooley, Stephen Powell, Thomas Glenn, Dietrich Henschel, and Leonidas Kavakos. But others, less visible, perhaps, play vitally important roles in your experience, too: those who staff the box office, the parking garage attendants, food and beverage servers, and those wonderful volunteers who serve as ushers at each of our concerts. I recently received a letter about what a marked difference our ushers make in shaping your concert experience: “We had a wonderful ASO experience last Thursday, thanks in no small part to the kindness and consideration of one of the ASO ushers. We travel to ASO concerts by MARTA, and on that evening we arrived fifteen minutes late due to a delay at the MARTA Avondale Station. While we waited to be admitted to the concert, the usher overheard us mention we had caught MARTA at the Avondale Station. Without hesitation, the usher offered to drive us back to the Avondale Station after the concert since she, too, lives in that area. We were floored by her generosity, and we gratefully accepted her offer. We shared a very pleasant ride home together. She even gave us advice on where to park, should we decide to drive to the ASO. The music that evening was superb, but what made our ASO experience truly memorable was the usher’s kindness. We are now not only subscribers, we are ASO fans for life.” I’m grateful to our ushers for their dedication and commitment to the Atlanta Symphony Orchestra, to this community, and to creating memorable concert experiences each and every week. My thanks to you for supporting your Atlanta Symphony Orchestra! Wishing you all the best,
Stanley E. Romanstein, Ph.D. President 12 Atlanta Symphony Orchestra/aso.org
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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 Lynn Eden 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 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
thrill
where excellence comes to
Superior conservatory training at a world-class research university. Prestigious, resident faculty and exceptional student talent. It’s all here: www.music.umich.edu
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.
16
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.
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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
table
The is set
A 2012-13 invitation to comfort food, spicy surprises, and some home cookin’.
Creating a season is like planning a wonderful dinner party. The key is to balance things that are familiar with those that are completely unknown, in order to please and delight your guests,” says Stanley Romanstein, the Atlanta Symphony Orchestra’s President. He points to the 2012–13 season and the likes of Midori, Perlman, Lang Lang, and Ax alongside tantalizing “must-tries” with unfamiliar names such as Milos, Frang, Gluzman, and Sudbin.
JD Scott
Jeff Roffman
By Madeline Rogers
20 Atlanta Symphony Orchestra/aso.org
Itzhak Perlman
Midori
Romanstein and Vice President for Artistic Planning Evans Mirageas boast that serving up a great season is the work of many hands: Many orchestras, both men explain, tend to take a music directorcentric approach to programming: “In contrast, in Atlanta the process is richly collaborative,” says Mirageas. Music Director Robert Spano and Principal Guest Conductor Donald Runnicles, musicians, and representatives from every administrative department gather together to shape the season, “and when we leave, Mirageas says, “everyone has ownership of the program.” “We are always at pains to make sure that the people of Atlanta get to see the greatest stars in classical music, but it’s equally important to bring in new faces,” he adds. This season opens with one of the brightest lights in the classical firmament playing a beloved work: Midori and the Beethoven Violin Concerto in D Major (Oct. 4, 6 and 7). Other starry names include the pianists Lang Lang, who will appear for one night only, performing Beethoven’s Piano Concerto No. 5 (Nov. 17); and longtime audience favorite Emanuel Ax playing Brahms’s Piano Concerto No. 2 (Nov. 29-Dec. 1). Alisa Weilerstein, who 22 Atlanta Symphony Orchestra/aso.org
Emanuel Ax
Lang Lang
made headlines recently for winning a coveted MacArthur Fellowship, returns with one of the most challenging works in the repertoire, Shostakovich’s Cello Concerto No. 1 (April 11-13). When Itzhak Perlman takes the stage (April 25, 27 and 28), it will be to show off both his fiddling and his conducting prowess. He opens the program, violin in hand, for two movements of Vivaldi’s Four Seasons, and then takes up the baton to conduct a Mahler symphony — a first for this master musician. While it’s thrilling to be in the presence of such established greatness, there will also be plenty of novelty. “A combination of superstars and newcomers gives our audiences what we call bragging rights,” says Mirageas. “They don’t have to go to New York; they can turn to each other and say, ‘I saw Frang in Atlanta first.’” The Frang in question is the Norwegian violin virtuoso Vilde Frang. She makes her Atlanta debut with Korngold’s Violin Concerto (Jan. 31 and Feb. 2). Joining her is conductor Gilbert Varga, who will also lead Grieg’s Two Elegaic Melodies and Schumann’s beloved “Rhenish” Symphony. Continued on page 44
Dinner & a Concert with the Atlanta Symphony Looking for a great night out? Enjoy dinner prior to performances by the Atlanta Symphony Orchestra and save on concert tickets and dining! Make your plans now. Packages start at just $43! MARCH
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Dinner reservation times: 5:30 or 6 p.m.
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Dinner reservation times: 5:30 or 6 p.m.
Contact 404.733.4848 or asogroups@woodruffcenter.org For complete Dinner and a Concert details please visit www.atlantasymphony.org/dinnerandconcert
program Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Series Concerts Thursday and Saturday, March 8 and 10, 2012, at 8:00 p.m.
Robert Spano, Conductor Anne Patterson, Direction and Design Thomas Glenn, Tenor: Evangelist Dietrich Henschel, Bass-baritone: Jesus Heidi Grant Murphy, Soprano Kelley O’Connor, Mezzo-soprano Thomas Cooley, Tenor Stephen Powell, Baritone Stephen Ozcomert, Baritone: Pilate, Peter * Gregory Hucks, Baritone: Judas * Trey Clegg, Baritone: High Priest *
Anne-Marie Spalinger, Soprano: Maidservant, Pilate’s Wife * Arietha Lockhart, Soprano: Maidservant * Holly McCarren, Alto: False Witness * David Blalock, Tenor: False Witness * Mark Blankenship, Bass: High Priest *
Atlanta Symphony Orchestra Chamber Chorus, Norman Mackenzie, Director of Choruses Gwinnett Young Singers, Lynn Urda, Director Brent Wissick, Viola da gamba Christopher Rex, Continuo Cello Peter Marshall, Continuo Keyboard
Johann Sebastian Bach (1685-1750) Matthäuspassion (St. Matthew Passion), BWV 244 (1727) Act I Intermission Act II Intermission Act III English surtitles by Ken Meltzer *Assisting Artists from the Atlanta Symphony Orchestra Chamber Chorus
This weekend’s performances of the St. Matthew Passion are sponsored by a generous and deeply appreciated gift from Marcia and John Donnell. “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 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 was 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 Matthäuspassion (St. Matthew Passion), BWV 244 (1727) Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig, Germany, on July 28, 1750. The St. Matthew Passion is scored for soprano, alto, tenor, baritone and bass solos, double mixed chorus, boys chorus, double orchestra comprising four flutes, two recorders, four oboes, four oboe d’amore, two oboe da caccia, two bassoons (continuo), viola da gamba, organ and strings. Approximate performance time is two hours, forty-eight minutes. All Previous ASO Classical Subscription Performances with the Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor: April 1, 2 and 4, 1971; March 28, 29 and 30, 1985; March 27, 28 and 29, 1996.
Bach, Prince Leopold and Cöthen
F
rom 1717-1723, German composer Johann Sebastian Bach served as Kappellmeister to Prince Leopold, whose court was located in Cöthen, approximately sixty miles north of Weimar. Prince Leopold was an avid and talented musician. According to Bach, the Prince “loved music, he was well acquainted with it, he understood it.” Prince Leopold both sang and played several instruments. In addition, he hired some of Europe’s greatest instrumentalists to serve as court musicians.
As Prince Leopold’s court was Calvinist, Bach’s duties did not include the composition of liturgical music. Bach instead responded with an extraordinary outpouring of instrumental creations. Bach’s Cöthen works include such masterpieces as the first book of the WellTempered Clavier, the Sonatas and Partitas for Solo Violin and the Suites for Solo Cello, and the Brandenburg Concertos.
Bach in Leipzig In December of 1721, Prince Leopold wed his cousin, Friederica Henrietta, Princess of Anhalt-Bernburg. The Princess shared none of her husband’s passion for the arts. Over time, the Prince’s support for musical activities in Cöthen declined, placing a strain on his relationship with Bach. In 1723, Bach left Prince Leopold’s Court to begin his service as Music Director of Leipzig’s St. Thomas Church and School. During his initial five or six years in Leipzig, Bach created an incredible body of sacred choral works, including five Cantata cycles for every Sunday and feast day. The Magnificat (1723), and the St. John (1724) and St. Matthew (1727) Passions also date from this early Leipzig period. One might reasonably be tempted to assume that such a demanding schedule would generate routine, and music of lesser quality. Instead, Bach responded with an outpouring of sacred encoreatlanta.com/Atlanta’s Performing Arts Publication 27
vocal music that remains without equal, not only for its prolific numbers, but also for eloquence, variety and invention. Even among such exalted company, the St. Matthew Passion stands as the crowning masterpiece. The first performance probably took place at the Thomaskirche (St. Thomas Church) in 1727. For a 1736 revival, Bach used the chorale originally from the St. John Passion, “O Mensch, bewein dein Sünde gross” (“Oh man, lament your great sin”), to end Part I. A few other performances of the St. Matthew Passion took place during Bach’s lifetime, with the composer adding some minor changes to the score. One interesting side note: after Prince Leopold’s death in 1729, Bach composed a funeral cantata, Klagt, Kinder (“Lament, children”). The cantata, performed at the March 24, 1729 Cöthen memorial service for Prince Leopold, incorporated music from the St. Matthew Passion, accompanying new texts written for the occasion. After Bach’s passing in 1750, almost 80 years would elapse before the next public performance of his St. Matthew Passion.
Mendelssohn and the St. Matthew Passion German composer and pianist Felix Mendelssohn (1809-1847) first became acquainted with the St. Matthew Passion via a score given to him by his grandmother in 1823. Mendelssohn fell in love with the music. During the winter of 1827, he rehearsed a small choir in excerpts from the piece. Still, the possibility of a revival of such a complex and epic work as the St. Matthew Passion seemed beyond reach. Mendelssohn’s friend, the German writer, actor and baritone, Eduard Devrient (18011877), shared Felix’s love for the St. Matthew Passion. One of Devrient’s great ambitions was to sing the role of Jesus, with Mendelssohn conducting. Finally, the two young men summoned the courage to approach Carl Friedrich Zelter (1758-1832), Mendelssohn’s teacher and director of the Berlin Singakademie, one of Europe’s great choral organizations. Zelter, himself a fervent admirer of Bach’s music, finally agreed to the proposal. On March 11, 1829 at the Singakademie, Berlin, Mendelssohn conducted the legendary revival of Bach’s St. Matthew Passion. Devrient, who indeed sang the role of Jesus, wrote: “Never have I known a performance so consecrated by one united sympathy. Our concert made an extraordinary sensation in the educated circles of Berlin.” Two more performance followed in Leipzig, and, over the next few years, in Frankfurt am Main, Breslau, Königsberg, Kassel, Dresden and Hanover. And on April 4, 1841, the St. Matthew Passion was performed in Leipzig for the first time since Bach’s death. Mendelssohn, director of the Leipzig Gewandhaus Orchestra, led the Palm Sunday concert. During preparations for the concert, Mendelssohn confided to his brother, Paul, that “not a single note” of the St. Matthew Passion was known in the city where Bach’s masterpiece premiered. Mendelssohn’s efforts helped foster the revival and reassessment of Bach’s music and his singular genius. Mendelssohn was proud of what he accomplished. Typical of his dry sense of humor, Mendelssohn noted to Eduard Devrient: “And to think, that it should be an actor
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program and a Jew who gave back to the world the greatest of Christian works” (Mendelssohn, grandson of the famous Jewish philosopher, Moses Mendelssohn, was baptized into the Lutheran faith in 1816).
The St. Matthew Passion The original purpose of the St. John and St. Matthew Passions was twofold: (1) to relate the story of Christ’s betrayal, arrest, trial, and crucifixion, and (2) to study the meaning of those events. To that end, a sermon was delivered between the First and Second Parts of the Passions. The structures of the Passions were also designed to achieve its narrative and teaching goals. In the case of the St. Matthew Passion, the majority of the libretto is taken from Martin Luther’s German translation of the Gospel According to St. Matthew, Chapters 26 and 27. In order for the biblical narrative to be heard clearly as possible, Bach set the text as sparsely accompanied recitative. The Evangelist (tenor) serves as narrator, with other soloists and the chorus playing various roles in the Passion narrative. According to tradition, a bass sings the role of Jesus. The Passion libretto also includes arias and choruses, based upon texts authored by Bach’s friend, Christian Friedrich Henrici, who wrote under the pseudonym Piccander. There are also several chorales, most notably Bach’s favorite, “Oh sacred head, now wounded,” whose melody appears no fewer than five separate times in the work. These additional music numbers provide both reflection and commentary upon the biblical text, and offer a more richly-scored contrast to the ongoing recitative narrative. When the St. John Passion was first presented in Leipzig, many of the city’s authorities found the concise, dramatically super-charged work “too theatrical.” No such criticism has ever been leveled against the far more epic and deliberately paced St. Matthew Passion. Indeed, after attending an 1837 Berlin concert, pianist and composer Clara Schumann lamented: “One chorus from (The St. Matthew Passion) every day and I should be pleased, but all seventy-seven choruses in Lento and Adagio in one sitting: that I have not yet learned to endure. After the first part, I left.” But over time, the St. Matthew Passion has earned recognition as not only a work of surpassing depth, richness and beauty, but in its own way, as dramatically powerful as its predecessor. Bach employs a double chorus (and in the opening, a boys chorus as well) and double orchestra to provide a breathtaking variety of colors and textures. In measure upon measure, Bach crafts music that perfectly illuminates the text. Among the most well-known examples include the shattering dissonance when the chorus, at Pilate’s urging, clamors for him to spare the thief Barabbas, instead of Jesus. Then there is the absence, for the only time in the entire Passion, of the “halo” of strings surrounding Jesus’s recitative when He cries: “Eli, Eli, lama sabachtani” (My God, my God, why have You forsaken me?”). And the stunning orchestral accompaniment to the Evangelist’s description of the earthquake splitting open Jesus’s tomb would have been appropriate for any opera of the time. One could (and indeed, many do) spend a lifetime searching for further examples of Bach’s word-painting, as well as his use of numerical symbolism. For example, Bach authority Karl encoreatlanta.com/Atlanta’s Performing Arts Publication 29
Geiringer notes that the tenor recitative, “Mein Jesus schweigt zu falschen Lügen stille” (“My Jesus remains silent before the lying falsehoods”), is accompanied by 39 chords, a reference to Psalm 39: “I will keep my mouth with a bridle, while the wicked is before me.” But in the end, such details are secondary to the overwhelming musical and dramatic impact of this masterpiece, one that appeals to people of all backgrounds and faiths. As Malcolm Boyd observes (Bach, Oxford University Press, New York, 2000): “Bach’s supreme achievement is also a work of profound humanity, and one of the most monumental dramatic masterpieces before Wagner’s Ring.” And finally, this from Bach organist Helmut Walcha: “Bach opens a vista to the universe. After experiencing him, people feel there is meaning to life after all.” As previously mentioned, the original structure of the St. Matthew Passion was in two Parts. In these concerts, the work will be performed in three Acts, corresponding to the following narrative: Act I: The Last Supper, Betrayal by Judas, and Arrest (Nos. 1-29) Act II: The Hearing, Denial by Peter, and Trial (Nos. 30-52) Act III: Crucifixion, Death, and Burial (Nos. 53-Conclusion)
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program Anne patterson, Direction and Design
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nne Patterson is a visual artist, designer and director based in New York City. This is her 12th collaboration with Robert Spano. Through her direction and design for this production of the St. Matthew Passion, she continues a relationship with Maestro Spano which began at Brooklyn Philharmonic Orchestra 13 years ago. Her innovative strategy of integrating scenic, lighting and projection elements within the traditional symphonic hall is revolutionizing the concert experience.
Anne Patterson
Highlight productions include Bach’s St. John Passion for Atlanta Symphony Orchestra, Debussy’s Le Martyre de Saint Sebastien for San Francisco Symphony, Every Good Boy Deserves Favor by Previn/ Stoppard for the Philadelphia Orchestra, 14 operas at the Aspen Opera Theater Center, and The Women of Brewster Place at Arena Stage and the Alliance Theatre. She received a prestigious Creative Capital grant from the Warhol Foundation to create Mercury Soul. Most recently presented at New World Hall in Miami in January, Mercury Soul showcased Anne’s installation art within a performance of classical and electronic music. Anne has collaborated with some wonderful artists, including directors Chris Ashley, Edward Berkeley, Kate Saxon, Molly Smith, and Blanka and Jiri Zizka; playwrights Nilo Cruz, Terrence McNally, Wendy Wasserstein, and Doug Wright; composers Thomas Adès, Mason Bates, Philip Glass, and Michael Torke; and conductors Donald Runnicles, Beni Shwartz and Michael Tilson Thomas. Anne’s sculptures and paintings have been exhibited widely and are in public and private collections in the United States and London. She is represented by Cade Tompkins Projects in Providence, RI. Upcoming projects include direction and design for a project commemorating the 200th anniversary of the "The Star-Spangled Banner" and designs for Cross That River, a musical about black cowboys. Ms. Patterson received a BA in Architecture from Yale University and a M.F.A. in theater design from The Slade School of Art in London.
Thomas glenN, Tenor: Evangelist
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enor Thomas Glenn began his solo career singing the Evangelist roles in the St. Matthew and St. John passions of J.S. Bach and continues to sing concert engagements with institutions like the Cleveland Orchestra, Atlanta Symphony, the National Arts Centre Orchestra of Canada, Colorado Symphony, Berkeley Symphony and Marin Symphony. He is a graduate of the prestigious Adler Thomas Glenn Fellowship program at San Francisco Opera, where, on the Mainstage, he portrayed Maintop in Billy Budd, Trabuco in La forza del destino and the Steersman in Deriegende Holländer. encoreatlanta.com/Atlanta’s Performing Arts Publication 31
Also at San Francisco Opera, Thomas created the role of physicist Robert Wilson in the world premiere of John Adams’ Doctor Atomic. He reprised this role at the Netherlands Opera in 2007 and again at the Lyric Opera of Chicago in 2007-08, the Metropolitan Opera of New York in 2008 and the English National Opera in 2009. Thomas’ favorite operatic repertoire includes works of Mozart; Tamino in Die Zauberflöte and the title role in La clemenza di Tito, as well as Italian bel canto roles such as Nemorino in Donizetti’s l’Elisir d’amore and Tebaldo in Bellini’s I capuleti e i montecchi. Equally, he has a great love of 20th-century operas, particularly those of Britten, Stravinsky, Janáãek and Tchaikovsky. Thomas holds three degrees in music performance: a bachelor’s degree from Brigham Young University, a master's from the University of Michigan and a doctorate from Florida State University. He is also the 2007 winner of the Concours International de Chant Lyrique de Canari.
Dietrich Henschel, Bass-baritone: Jesus
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aritone Dietrich Henschel’s repertoire extends from the beginning of baroque opera to modern day avant-garde. He debuted at the Biennale für modernes Musiktheater in Munich with the title role in Michaels Reverdy’s opera Le Precepteur. In his first and only permanent engagement, at the opera in Kiel, he performed classics such as Papageno, the Count in Nozze de Figaro, Dietrich Henschel Pelleas in Debussy’s Pelleas et Melisande, Monteverdi’s Orfeo and Henze’s Prinz von Homburg. Mr. Henschel’s international career began with Busoni’s Doktor Faust in Lyon and Henze’s Prinz von Homburg at the Deutsche Oper Berlin. Invitations followed from most of the important opera houses in Europe to sing in (amongst others) Rossini’s Il Barbiere di Siviglia, Wagner’s Tannhäuser (Wolfram), Monteverdi’s Il ritorno d’Ulisse in Patria, Krenek’s Karl der V, Mozart's Don Giovanni, Wagner's Die Meistersinger von Nürnberg (Beckmesser), Berg’s Wozzeck, Debussy’s Pelleas et Melisande (Golaud), and Stravinsky's The Rake’s Progress (Nick Shadow). His most recent engagements were the title roles in Enescu’s Oedipe (La Monnaie) and Manfred Trojahn’s Orest (De Nationale Opera). In addition to opera, a wide range of acclaimed recordings testifies to Dietrich Henschel’s success as a lied interpreter and an oratorio singer (with a special focus on the music of Bach). Mr. Henschel has sung with the world’s most famous orchestras, and his collaboration with great conductors such as Gardiner, Harnoncourt and Herreweghe is documented on many CDs and DVDs. Mr. Henschel is extending his artistic profile beyond his original vocal calling. Being a trained pianist and conductor, he has led several ensembles and orchestras this last decade,
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program collaborating in particular with the Sinfonietta Leipzig. In a daring attempt to visualize the literary and emotional content of the lieder he sings, Mr. Henschel has also been exploring the intersection between art music, theatre and the visual media. Mr. Henschel will be starring in Irrsal-Forbidden Prayers, a movie (directed by Clara Pons) which envisages the ramifications of love, guilt and sacrifice in the symphonic songs Hugo Wolf set to the haunting poems by Eduard Mörike. The Irrsal project — in which the movie is combined with a live performance of the songs — will premiere in Düsseldorf and Rotterdam in September 2013.
Heidi Grant Murphy, Soprano
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shimmering soprano with enchanting stage presence, Heidi Grant Murphy is one of the outstanding vocal talents of her generation. A native of Bellingham, Wash., she began vocal studies while attending Western Washington and Indiana Universities. Her graduate studies were interrupted when she was named a winner of the Metropolitan Opera National Council Auditions and engaged by Maestro James Levine to participate in the Metropolitan Heidi Grant Murphy Opera’s Lindemann Young Artist Development Program. Today, Ms. Murphy has established a reputation not only for her radiant musicianship and impeccable vocal technique, but also for her warm personality and generosity of spirit. “Ms. Grant Murphy was beautifully, serenely and wonderfully consistent. And she, too, shone. She produced phrases that were finely sustained, and yet each note seemed to have a shape of its own, floating out from or into silence.” (The New York Times) Heidi Grant Murphy has appeared with many of the world’s finest opera companies and symphony orchestras, notably the Metropolitan Opera, Salzburg Festival, Frankfurt Opera, Netherlands Opera, Théâtre Royal de la Monnaie, Opera National de Paris and Santa Fe Opera. She has been engaged as soloist with the Vienna, New York and Los Angeles philharmonics; Cleveland, Philadelphia and Minnesota orchestras; and Chicago, Boston, Pittsburgh, San Francisco, Atlanta, St. Louis, Cincinnati, Houston, Montreal, National and Dallas symphonies. Ms. Murphy has worked with such esteemed conductors as Roberto Abbado, Herbert Blomstedt, Christoph Eschenbach, James Levine, Reinbert de Leeuw, Lorin Maazel, Kurt Masur, Kent Nagano, Seiji Ozawa, Sir Simon Rattle, David Robertson, Leonard Slatkin, Robert Spano, Jeffery Tate, Michael Tilson Thomas, Edo de Waart, Christoph Von Dohnányi, David Zinman, Bernard Haitink, Pinchas Zukerman and the late Robert Shaw. Heidi Grant Murphy began the 2011-12 season in Orff’s Carmina Burana with the Philadelphia Orchestra conducted by Giancarlo Guerrero at the Mann Center, a performance she reprised at Bravo! Vail Valley Music Festival. In late July she visited the Sun Valley Summer Symphony festival for a recital of Debussy, Boulanger and Chausson with her husband, pianist Kevin Murphy. Orchestral engagements see Ms. Murphy with the San Diego Symphony for Beethoven’s Symphony No. 9, the Iris Orchestra for Mozart, encoreatlanta.com/Atlanta’s Performing Arts Publication 33
Copland and Mahler, and with the Atlanta Symphony and Maestro Robert Spano for Bach’s St. Matthew Passion. Ms. Murphy will also participate in the 2012 Cincinnati May Festival, singing Carmina Burana, Poulenc’s Gloria and Carissimi’s Jephte in three separate performances. Heidi Grant Murphy’s latest recording, Lullabies & Nightsongs, based on the children’s book illustrated by Maurice Sendak, was released in September 2009 on Koch International. With Maestro Lorin Maazel and the New York Philharmonic, Ms. Murphy is soloist on a live recording of Mahler IV and a separate recording of Augusta Read Thomas’s Gathering Paradise on New World. In August 2011, she was appointed to the faculty of Indiana University’s Jacobs School of Music as an adjunct professor of practice. Ms. Murphy has recorded for Koch International, Deutsche Grammophon, Telarc, and Arabesque Recordings.
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 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
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program Zürich. Additionally, the work served as her Carnegie Hall debut in a performance with the Chicago Symphony Orchestra conducted by Bernard Haitink. 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’s 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. Additionally, Ms. O’Connor has performed Bernstein’s Jeremiah Symphony with Marin Alsop and the Baltimore Symphony Orchestra, Adams’s El Niño with David Robertson and the St. Louis Symphony Orchestra, Ravel’s L’enfant et les sortilèges with Lorin Maazel and the New York Philharmonic, Beethoven’s Ninth Symphony with Bernard Haitink and the Chicago Symphony Orchestra, Haydn’s Mass in the Time of War with Bernard Labadie and the San Francisco Symphony, Weill’s Die siebenTodsünden with the Saint Paul Chamber Orchestra, Stravinsky’s Les Noces with Esa-Pekka Salonen and the Los Angeles Philharmonic, Lieberson’s Neruda Songs in Los Angeles with Gustavo Dudamel, and a musical collaboration with Franz Welser-Möst and the Cleveland Orchestra with whom she has sung Beethoven’s Ninth Symphony, Bernstein’s Jeremiah Symphony, staged performances of Falstaff (in Cleveland and at the Lucerne Festival), and Stravinsky’s Requiem Canticles. Ms. O’Connor has received international critical acclaim for her numerous performances as Federico García Lorca in Osvaldo Golijov’s Ainadamar. She created the role for the world premiere at Tanglewood under the baton of Robert Spano and subsequently has joined Miguel Harth-Bedoya for performances with the Los Angeles Philharmonic at Walt Disney Concert Hall. She reprised her portrayal of Lorca in the world premiere of the revised edition of Ainadamar at the Santa Fe Opera in a new staging by Peter Sellars during the 2005 season, which also was presented at Lincoln Center. For her debut with the Atlanta Symphony, in Ainadamar, she joined Robert Spano for performances and a Grammy award-winning Deutsche Grammophon recording. She rejoined Spano and Atlanta in summer 2006 for further performances of Ainadamar, including her debuts at the Ojai and Ravinia festivals.
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Thomas Cooley, Tenor
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he American tenor Thomas Cooley is quickly establishing a reputation on both sides of the Atlantic — and beyond — as a singer of great versatility, expressiveness and virtuosity. Highlights of the 2011-12 season include Beethoven Symphony No. 9 at the Oregon Bach Festival/Rilling, with the Kansas City Symphony/Stern and with Eiji Oue in Osaka, Japan; Stravinsky Les Noces with the St. Louis Symphony/Robertson; Bach St. Matthew Passion Thomas Cooley with the Atlanta Symphony/Spano; Haydn Seasons with the St. Paul Chamber Orchestra/McGegan; Bach Mass in B Minor and Handel Messiah with Philharmonia Baroque Orchestra/McGegan; Mozart Coronation Mass with Handel and Haydn/Christophers (recorded for Coro Allegro); and Handel Solomon/Montgomery in the Netherlands. Recent seasons included the Berlioz Requiem at Carnegie Hall/Spano, Beethoven Missa Solemnis with the Atlanta Symphony/Runnicles; his debut with the Cleveland Orchestra; Mendelssohn’s Lobgesang with the National Arts Center Orchestra/Rizzi; Haydn Creation with the Indianapolis Symphony/Boyd and Philharmonia Baroque Orchestra/McGegan, Berlioz Le Nuits d’ete and L’Enfance du Christ with the St. Paul Chamber Orchestra, Acis in Handel’s Acis and Galatea with Music of the Baroque; concerts with the International Bach-Academie Stuttgart; Beethoven Symphony No. 9 in Singapore and Germany, as well as Handel’s Tamerlano “Bajazet” at the International Handel Festival Göttingen, and Mozart’s Kronungsmesse, Honneger’s Le Roi David and the Mozart Requiem in Amsterdam. Mr. Cooley was a member of the ensemble at the Staatstheater am Gärtnerplatz for four years, where he sang Ferrando in Così fan tutte, Tamino in Die Zauberflöte, Belmonte in Die Entführung aus dem Serail, the title role in Idomeneo, and Almaviva in Rossini’s Il Barbiere di Siviglia. Mr. Cooley’s recordings include Mathan in Handel’s Athalia with Peter Neumann and the Kölner Kammerchor (MDG) and the premiere recording of Vivaldi’s Dixit Dominus (Deutsche Grammophon) as well as Mozart’s Requiem with the Windsbacher Knabenchor (Sony) and Mozart’s Mass in C Minor with Handel and Haydn Society and Harry Christophers (Coro Allegro). Thomas was born in Minneapolis, lived in Munich, Germany, for 10 years, and recently moved to Connecticut. He loves to cook and collect antiques. Visit Thomas on his website: thomascooley.com.
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program Stephen Powell, Baritone
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he dynamic American baritone Stephen Powell brings his handsome voice, elegant musicianship and robust stage presence to a wide range of music, from Monteverdi and Handel through Verdi and Puccini to Sondheim and John Adams. Opera magazine has hailed him, writing “the big news was Stephen Powell’s gorgeously-sung Onegin: rock solid, with creamy legato from top to bottom and dynamics smoothly tapered but never exaggerated,” while The Wall Street Journal lauded his “rich, lyric baritone, commanding presence and thoughtful musicianship.”
Stephen Powell
On the concert stage, Mr. Powell’s 2011-12 season includes Beethoven’s Symphony No. 9 with the Phoenix and Fort Worth Symphonies; Händel’s Messiah with the Baltimore Symphony and Philadelphia Orchestra; Bach’s St. Matthew Passion with the Atlanta Symphony Orchestra, Robert Spano conducting; Bach’s B Minor Mass with Music of the Baroque, Jane Glover conducting, and the St. Louis Symphony, David Robertson conducting; and Orff’s Carmina Burana with the Cincinnati May Festival, James Conlon conducting, and the Nashville Symphony, Giancarlo Guerrero conducting. In the world of opera, he returns to Pittsburgh Opera to sing Germont in Verdi’s La Traviata, and debuted with the with Atlanta Opera singing Enrico in Donizetti’s Lucia di Lammermoor. Stephen Powell’s 2010-11 season included Germont in La Traviata with Minnesota Opera; De Guiche in Alfano’s Cyrano de Bergerac with San Francisco Opera; Scarpia in Tosca with Palm Beach Opera; and the title role in Rigoletto with Cincinnati Opera. He also appeared as soloist in Brahms Requiem with the St. Louis Symphony under David Robertson; in Messiah with the San Francisco Symphony and the Rochester Philharmonic Orchestra, under Christopher Seaman; Fauré’s Requiem with the Cincinnati Symphony, Paavo Järvi conducting; in Schoenberg’s Gurrelieder with Fondation de Septembre Musical, David Zinman conducting; Rachmaninoff’s Spring Cantata with Robert Spano conducting the Atlanta Symphony Orchestra; and Walton’s Belshazzar’s Feast with the Singapore Symphony Orchestra. Summer brought a return to the Mann Center to sing Carmina Burana with the Philadelphia Orchestra, Giancarlo Guerrero conducting, and a debut at the Boulder Music Festival singing Fauré’s Requiem.
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atlanta symphony orchestra chamber chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair Jeffrey Baxter, Choral Administrator Todd Skrabanek, Accompanist
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cclaimed for the beauty, precision and expressive qualities of its singing, the Atlanta Symphony Orchestra Chamber Chorus has been an important Atlanta Symphony Orchestra Chamber part of the orchestra’s programming since its founding by the Chorus late Robert Shaw. The Chamber Chorus, which debuted on Dec. 14, 1967, is composed of 40-60 volunteers selected by audition from the ranks of the 200voice ASO Chorus. They meet for extra rehearsals and perform with the ASO each season. The Chamber Chorus performs music of the Baroque and Classical eras, as well as works by modern masters such as Golijov, Tavener, Pärt, Paulus, Theofanidis and Britten. Highlights of the ASO Chamber Chorus’s history include a residency with Robert Spano and the ASO for California’s Ojai Festival, participation with the ASO in recordings of masterworks by Bach, Golijov, Handel, Haydn, Mozart, Schubert, Vivaldi and a 2005 a cappella recording that features the Vaughan Williams Mass in G-Minor under Norman Mackenzie. Their Carnegie Hall appearances include performances of the B-Minor Mass, the Matthew and John Passions of Bach, the Rachmaninoff Vespers, Stravinsky’s Nightingale and the Mozart/Levin Requiem. This Chorus returned to Carnegie Hall on Dec. 15, 2011 to perform the Bach Magnificat (and Messiaen’s Trois petites liturgies) with Robert Spano and the Orchestra of St. Luke’s. Soprano June Abbott ** JoAnn Alexander Deanna Campbell Amber Greer Kristen Gwaltney Kathleen Kelly-George Marie Little Arietha Lockhart * Joneen Padgett Lisa Rader Celia Shore Anne-Marie Spalinger Catherine Steen Rachel Stewart ** Allegra Whitney Kara Mia Wray Wanda Yang Temko
Alto Ana Baida Donna Carter-Wood * Marcia Chandler Laurie Cronin Patricia DinkinsMatthews Janet Johnson * Paige Mathis Holly McCarren Linda Morgan ** Katherine Murray Dominique PetiteChabukswar Kathleen Poe Ross Brenda Pruitt * Kristen Reisig Diana Strommen Sarah Ward Carol Wyatt
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Tenor Randy Barker Jeffrey Baxter * Christian Bigliani David Blalock ** John Brandt * Jack Caldwell * Phillip Crumbly Jeffrey Daniel Leif Hansen Thomas LaBarge Keith Langston Clinton Miller Nathan Osborne Christopher Patton Brent Runnels Wesley Stoner Timothy Swaim Mark Warden
Bass Shaun Amos Mark Blankenship Robert Bolyard Russell Cason * Trey Clegg John Cooledge ** Steven Darst * Timothy Gunter Gregory Hucks Adam Kissel Jason Maynard Stephen Ozcomert * Kendric Smith ** Edgie Wallace Edward Watkins **
program 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. encoreatlanta.com/Atlanta’s Performing Arts Publication 34F
Gwinnett young singers Lynn Urda, Conductor & Music Director Carol Wyatt, Associate Music Director Adrienne Gustafson, Assistant Director Amanda Dodd, Director - Treble Choir; Assistant Director Martha Clay, Accompanist
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ow in its 22nd season, Gwinnett Young Singers Gwinnett Young Singers provides an advanced and extraordinary choral experience for children in seven counties throughout the metro Atlanta area. Under the direction of Founder and Music Director Lynn Urda, and Associate Director Carol Wyatt, GYS is a nationally recognized children’s chorus, best noted for its mastery of challenging repertoire and exceptionally high musical standards. The faculty and staff are dedicated to professionalism in music education and strive to share the power and beauty of a wide variety of choral music.The Gwinnett Young Singers recently performed at the Fox Theatre with Celtic Woman, and are currently featured on their televised PBS special “Believe”. The choir won a Grammy Award for their performance in the highly acclaimed Telarc CD recording of John Adams’ On The Transmigration Of Souls with the ASO & Chorus. In 2004 they were nomined for a Grammy Award for their performance in the internationally acclaimed Telarc recording of Carl Orff’s Carmina Burana with the ASO and Chorus. Beginning with two seasons of Christmas With Robert Shaw in 1996 & 1997, they have performed for fourteen annual holiday seasons with the ASO. The Young Singers are also featured on the Telarc recording of Puccini’s La Boheme with the ASO and Chorus. The Young Singers have performed for thousands of Music Educators at the American Choral Directors Association (ACDA) conferences in South Carolina and Tennessee in 1998 and 2004, and two recent performances at the Georgia Music Educators conferences (GMEA) in Savannah, Georgia. GYS offers a program of beginning through advanced choirs for children in second through twelfth grades, including Treble Choir, Concert Choir, Chamber Choir and the Georgia Young Men’s Ensemble. Gwinnett Young Singers is sponsored in part by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. The Council is a partner agency of the National Endowment for the Arts. For more information, call 770-935-6657 or visit our web site: www.gwinnettyoungsingers.com. Anna Briley Emma Chakravarty Katie Collett Ryan Cox Katie Cuellar Colleen Curlee Mikayla Dorman Natalie Gambrell Katie Howard
Leigh Johnson Sierra Jones Lydia Kelley Jackie Lenz Kathy Li Paul Massey Liam McBane Anna McDaniel Anna McCarthy
Brittani Mullins Grace Orowski Amelia Pattillo Emma Pattillo Evan Peacock Amanda Pitts Emma Pitts Keri Pomeroy Cosetta Righi
34G Atlanta Symphony Orchestra/aso.org
Emma Riley Hannah Roselle Abbey Santulli Wren Shimoji Nina Siso Taylor Smith Serena Song Zachary Stancea Helene Treu
Kristen Washington Elizabeth Willet Gabrielle Willet Ruth Willet Hailey Williams Jacqueline Wytanis
Lynn urda, Conductor & Music Director
L
ynn Urda serves as full time Conductor & Music Director of the Gwinnett Young Singers. She maintains an active schedule as a guest clinician, conductor and adjudicator for All-State & Honors Choirs, choral festivals, and workshops for youth and their conductors. She has distinguished herself for her unique ways of achieving excellence in choral blend, intonation and sensitive singing. Mrs. Urda holds a degree in Music Education and Voice Lynn Urda from Florida State University School of Music. She is a former public school Music Specialist and has spent the majority of her professional life serving as a church musician, directing children's, youth and adult choirs. She holds membership in Chorister's Guild and the American Choral Directors Association (ACDA), for which ahe has previously served as Repertoire and Standards Chair for Children's Choirs for the Georgia division of ACDA. She currently serves as the Director of Youth and Children's Choirs at Tucker First United Methodist Church.
encoreatlanta.com/Atlanta’s Performing Arts Publication 34H
An ExpEriEncE UnlikE Any OthEr June 7/9 Thu/Sat: 8pm | Delta Classical
John AdAms: A Flowering Tree Robert Spano, conductor James Alexander, staging Jessica Rivera, soprano (Kumuhda) Russell Thomas, tenor (The Prince) Eric Owens, bass (The Storyteller) Atlanta Symphony Orchestra Chorus To be relished! The Theater of a Concert premiere of A Flowering Tree, an opera by John Adams, one of America’s most renowned composers and an Atlanta favorite (El Nino, Dr. Atomic). Purely ecstatic and brimming with the lyricism of The Magic Flute, this is music of today‌ and tomorrow.
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:
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 and 2012. (Please note that donor benefits are based solely on contributions to the annual fund.) $500,000+
Mrs. Thalia N. Carlos** The Mabel Dorn Reeder Foundation Delta Air Lines The Zeist Foundation, Inc. The Andrew W. Mellon Foundation $250,000+
Madeline & Howell Adams, Jr. Mrs. Anne Cox Chambers
The Coca-Cola Company Mrs. William A. Schwartz
$100,000+
Lynn Eden 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+
Thalia & Michael C. Carlos Foundation
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. King & Spalding 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. 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 Chilton & Morgan Varner Patrick & Susie Viguerie Camille Yow
Admiral James O. Ellis, Jr. in memory of Polly Ellis 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 Nordstrom, Inc. Suzanne & Bill Plybon
Dr. Stanley & Shannon Romanstein Joyce & Henry Schwob Irene & Howard Stein Mary Rose Taylor Mike & Liz Troy Ray & John Uttenhove Mr. & Mrs. Edus H. Warren, Jr.
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 Robert J. Jones Anne Morgan & Jim Kelley Mr. & Mrs. Donald R. Keough James H. Landon Mr. & Mrs. John M. Law Pat & Nolan Leake 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. Charlie Wade & M.J. Conboy Mark & Rebekah Wasserman Neal & Virginia Williams Suzanne Bunzl Wilner
Atlanta Federation of Musicians Jeff & Ann Cramer*
Jere & Patsy Drummond Mr. & Mrs. Jesse Hill, Jr. JBS Foundation
The Hellen Plummer Charitable Foundation, Inc.
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 Mr. & Mrs. David Gould The Robert Hall Gunn, Jr. Fund
The Jamieson Family Paul & Rosthema Kastin Philip I. Kent George H. Lanier The Sartain Lanier Family Foundation, Inc. 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. Ms. Kimberly Tribble & Mr. Mark S. Lange 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 Dr. & Mrs. James T. Laney*
$15,000+
Pinney L. Allen & Charles C. Miller III The Antinori Foundation Lisa & Joe Bankoff The Boston Consulting Group Mr. & Mrs. David Edmiston $10,000+ Anonymous AGCO Corporation, Lucinda B. Smith Mark & Christine Armour The Balloun Family Mr. David Boatwright The Breman Foundation, Inc. The John & Rosemary Brown Family Foundation The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Dr. & Mrs. S. Wright Caughman $7,500+ The Aaron Copland Fund for Music, Inc.
$5,000+ Anonymous (2) Aadu & Kristi Allpere* Ms. Julie M. Altenbach Arnall Golden Gregory LLP The ASCAP Foundation Irving Caesar Fund Mrs. Suzanne Dansby Bollman Bubba Brands, Inc. Dr. Robert L. & Lucinda W. Bunnen Charles Campbell & Ann Grovenstein-Campbell Mary Helen & Jim Dalton
$3,500+ Anonymous Mr. & Mrs. Dennis Chorba Mr. James L. Davis & Ms. Carol Comstock*
36 Atlanta Symphony Orchestra/aso.org
support
$3,500+ continued Mr. & Mrs. William C. Lester* Mr. & Mrs. Harmon B. Miller III Deborah & William Liss Dr. & Mrs. James T. Lowman Walter W. Mitchell Leslie & Skip Petter Ruth & Paul Marston
Mr. & Mrs. Joel F. Reeves S.A. Robinson Nancy & Henry Shuford In memory of Willard Shull
Elliott Sopkin Burton Trimble H. & T. Yamashita*
Sally & Larry Davis Drs. Carlos del Rio & Jeannette Guarner Gregory & Debra Durden Ms. Diane Durgin Francine D. Dykes & Richard H. Delay 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 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. Neal Rhoney 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
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 Mr. & Mrs. William C. Humphreys, Jr. Mary B. & Wayne James Aaron & Joyce Johnson Baxter P. 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 Dr. Elizabeth Glenn Stow Kay & Alex Summers Poppy Tanner Elvira Tate Mr. & Mrs. William M. Tipping Drs. Jonne & Paul Walter Alan & Marcia Watt Drs. Julius & Nanette Wenger William & Rebecca 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 John** & Helen Aderhold Mr. & Mrs. Phillip E. Alvelda* Mr. & Mrs. Stephen D. Ambo 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
$1,750+ Anonymous 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 Mary Frances Early Ree & Ralph Edwards Heike & Dieter Elsner
*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 ambitious 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 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. Nola Frink 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 James W. & Mary Ellen* Kitchell
38 Atlanta Symphony Orchestra/aso.org
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 Dan R. Payne 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 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 Musarra, Chair, Decorators’ Show House & Gardens Natalie Miller & 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
Terry Shivers
Belinda Massafra President Sylvia Davidson President Elect Suzy Wasserman, Leslie Petter, Camille Yow Advisors Elba McCue Secretary
Stanley Romanstein, Atlanta Symphony Orchestra President, and Amy Musarra, Decorators’ Show House and Gardens Chair. Celebrating its 42nd Anniversary, the Atlanta Symphony Orchestra Announces its Decorators’ Show House & Gardens at the magnificent Phillip Trammel Shutze’s Knollwood Estate from April 21 through May 13, 2012. Organized by the Atlanta Symphony Associates, proceeds will support the Atlanta Symphony Orchestra’s (ASO) Education and Community Engagement programs, including the Atlanta Symphony Youth Orchestra and the Talent Development Program. For more information visit decoratorsshowhouse.org .
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
Vilda Frang
Jean-Yves Thibaudet
Marcus Roberts
Alisa Weilerstein
Continued from page 22
tingling” routinely applied to Sudbin’s performances, audiences are in for some thrills. Shostakovich’s Symphony No. 6 precedes the concerto (March 28-30).
The week before (Jan. 24 and 26), audiences will get a first look at another rising star, Israeli violinist Vadim Gluzman. His rendition of the Bruch Violin Concerto in G minor — which he will perform here with Kazushi Ono on the podium — was delivered, wrote one reviewer, “with more light and heat than I’ve ever heard.” Audiences are sure to line up in droves in early February for the U.S. debut of guitarist, Milos Karadaglic. With more than 8,000 followers on Facebook, the smoldering good looks of a movie idol, and an intriguing back story that begins in the war-torn Balkans, it’s easy to overlook the fact that this 25-year-old has talent to burn. It will be fully on display in Rodrigo’s fiery Concierto de Aranjuez, on a program led by Xian Zhang that ncludes two works by Tchaikovsky: Romeo and Juliet Fantasy Overture and Symphony No. 2, “Little Russian” (Feb. 7, 8, 10). The following month, the young Russian pianist Yevgeny Sudbin joins guest conductor Michael Morgan for Tchaikovsky’s Piano Concerto No. 1. With adjectives like “blistering,” “angst-fuelled,” and “spine44 Atlanta Symphony Orchestra/aso.org
While the Orchestra prides itself on being a place where international stars love to strut their stuff, it also revels in showcasing its own formidable talent. Principal Clarinet Laura Ardan performs the world premiere of Michael Gandolfi’s Concerto for Clarinet and Strings (Jan. 10-12); Concertmaster David Coucheron plays the Mendelssohn Violin Concerto (March 7, 9 and 10); Principal Viola Reid Harris is featured in Schnittke’s Viola Concerto; and David Coucheron, Principal Cello Christopher Rex, and Robert Spano on piano join forces for Beethoven’s Triple Concerto, with Donald Runnicles conducting (May 9-11). The world-renowned Atlanta Symphony Orchestra Chorus will be in its glory for the holiday season (Christmas with the ASO, Dec. 6-8; Messiah, Part I, Dec. 13 and 15); and the Duruflé Requiem (May 16 and 18). In between, the Chamber Chorus, joined by a bevy of top-notch soloists, will perform a pinnacle of the choral literature: J. S. Bach’s Mass in B minor (Feb. 28 and March 1), led by Robert Spano.
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Laura ardan
Reid Harris
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Which brings us to another Atlanta signature: a deep commitment to nurturing the talents of today’s composers. “We are an orchestra that not only brilliantly plays the core repertoire, but has actually made the work of living composers a hot ticket,” says Mirageas. In addition to the Gandolfi world premiere, new works will include Mathias Pintscher’s towards Osiris, conducted by the composer (Nov. 8-10); jazz great Marcus Roberts with the world premiere of his own Piano Concerto, teamed with a piece by the Orchestra’s bassist Michael Kurth and Christopher Theofanidis’s Rainbow Body, both conducted by Robert Spano (April 4-5); and Piano Concerto No. 3 by the much-heralded Scottish composer James MacMillan, with the brilliant French pianist Jean-Yves Thibaudet at the keyboard (May 30, June 1-2). As he looks ahead to the new season, Evans Mirageas returns to the idea that the secret of the Orchestra’s success starts with inclusive, collaborative decisionmaking: “We do our work behind the scenes so that our players, audience, press, industry, all look to us and say, ‘I need to be in that theater.’ ” 46 Atlanta Symphony Orchestra/aso.org
Romanstein’s vision extends beyond the concert hall, to what the Atlanta Symphony Orchestra means to the city that has embraced it since 1945: “As our world becomes more virtual, and we spend more time interacting with screens, we have a growing thirst for the real, for the connective, for the human. There is nothing more connective or more human than having a live-music experience,” he declares. “Every once in a while an audience member leaves the hall angry. Does that bother me? No! It means the music caused the person to feel something. There’s nothing worse than having an audience member leave a hall feeling nothing. I hope when people come to us they leave feeling something.” Madeline Rogers, a freelance writer and editor, is the former Director of Publications at the New York Philharmonic.
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Krajewski… Michael Krajewski Michael Tammaro
The Orchestra’s International Man of (Musical) Mystery on 'Bond & Beyond' By Bret Love
W
hen Marvin Hamlisch canceled his March 16 and 17 SuperPOPS! concerts due to illness, the Orchestra called in the perfect agent for the mission of filling the void: Michael Krajewski. The Principal Pops Conductor had the perfect secret weapon up his sleeve — an evening of spy-themed music — so we rang him up for a covert chat. What is it about the music of the James Bond films that you love? The James Bond phenomenon is iconic. It’s been around for 50 years now, and we’re all familiar with the movies, the characters, and the music. It’s an extra treat to hear the music played live by a symphony. Who is your favorite 007?
What will (vocalist) Debbie Gravitte bring to the program? She’s a Broadway veteran, and I’ve worked with her quite a bit over the years. When I was conceiving this program, I immediately thought of her because she has a real fancy way on the stage and a big voice. She’s not trying to imitate Shirley Bassey, but certainly these songs have that brash kind of delivery. You’re known for a playful sense of humor. Might we see you as the next James Bond onstage?
What are your favorite Bond songs?
(Laughs) That isn’t going to happen! But there are moments of levity here and there, including a James Bond quiz that I administer from the stage. We have fun with that, and there will be a few other fun surprises as well.
We’ll be starting the concert with the “James Bond Theme,” which is the one that sticks with you the most. But I think the most famous title song is “Goldfinger,” and I like “Live and Let Die.”
Atlanta-based freelancer Bret Love is the Music Editor of Georgia Music Magazine, National Managing Editor for INsite Magazine, and founder of Green Global Travel, a website devoted to ecotourism and global culture.
Sean Connery is my favorite because I was around when those movies came out. None of the subsequent ones have ever matched him.
48 Atlanta Symphony Orchestra/aso.org
an educator’s heart By Ahmad Mayes
G
reat things happen when student musicians have the opportunity to work with the world’s top artists. This season the Atlanta Symphony Youth Orchestra has engaged in master classes, rehearsals, and reading sessions with violinists Gil Shaham and Leila Josefowicz (and Gil Shaham in April), and conductors Mei-Ann Chen and James Gaffigan, to name just a few. Now, Music Director Robert Spano leads Sibelius’s Symphony No. 1 and narrates Copland’s Lincoln Portrait with the Youth Orchestra, Sunday, March 25, at 2 p.m. in Atlanta Symphony Hall. “Each student is having his or her own personal experience,” confides Youth Orchestra Music Director Jere Flint, “some of which they probably couldn’t articulate at this point. With different conductors, the students always end up at the same point, realizing the discipline it takes to play and contribute in making a great orchestra. Most will gain even more insight [in the Sibelius] as they explore some different interpretations from Robert.” Concertmaster Micah Wallen is already sold. “Robert Spano’s level of musicianship and the intricacies that he notices in the music, even in rehearsal, inspire me to reach that level myself. I think our audience will see us playing things better than they thought we were capable of.” Spano has worked with the Youth Orchestra before, but “this is the first time that he will be conducting our musicians exclusively in a major symphonic work,” notes Flint. “Robert has led a couple of reading rehearsals in the past years, and three ‘side-by-sides’ with the Orchestra — the 9/11 memorial concert, the 60- and 3050 Atlanta Symphony Orchestra/aso.org
year anniversary celebration concert of the Orchestra and Youth Orchestra, and the grand opening of Verizon [Wireless Amphitheatre in Alpharetta]. Spano is a born mentor, at home in learning environments around the country, from Brooklyn and Tanglewood to Aspen and Ojai, and continues to thrive at Emory University, where he will wind up a threeyear residency this year.
“Robert is a genius in working with young students,” says Flint. “His great personality and charisma permeates the rehearsals, and he is nothing short of being very encouraging with each small progress. He demands excellence, and the students always rise to the occasion.” The Youth Orchestra has risen to international prominence under the guidance of Jere Flint, recording with Atlanta rockers Collective Soul, performing a home and away concert series with its Berlin counterpart, and sending graduates to leading schools of music. “We have always strived to the greatest performance level possible, and the standard of performance and commitment for Robert will be no different,” Flint emphasizes. “What distinguishes the Atlanta Symphony Youth Orchestra is the power and excitement that comes from the stage as these student artists play from the heart.” Ahmad Mayes is Community Programs Coordinator at the Atlanta Symphony Orchestra and a Youth Orchestra alumnus.
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calendar Virtuosic Shaham April 12/14/15 Delta Classical Thu/Sat: 8pm/Sun: 3pm Bach: Sinfonia to Cantata No. 29 Bach: Cantata No. 50 Bach: Violin Concerto No. 1 Stravinsky: Violin Concerto Poulenc: Gloria
loved and Banned April 26/27/28 Delta Classical Thu/Fri/Sat: 8pm Mieczyslaw Weinberg: Rhapsody on Moldavian Themes Mendelssohn: Piano Concerto No. 1 Schubert: Symphony No. 8
Robert Spano, conductor Gil Shaham, violin Ailyn PĂŠrez, soprano Atlanta Symphony Orchestra Chorus
Michael Christie, conductor Behzod Abduraimov, piano
Touching Schumann April 19/20/21 Delta Classical Thu/Fri/Sat: 8pm Kabalevsky: The Comedians Tchaikovsky: Serenade for Strings Rachmaninov: Piano Concerto No. 3 Roberto Abbado, conductor Yuja Wang, piano
Farkle Sparkles! April 29 Family Concert Sun: 1:30pm & 3:30pm The Remarkable Farkle McBride Jere Flint, conductor Motown May 4/5 SuperPOPS! Fri/Sat: 8pm The Music of Motown featuring Spectrum Michael Krajewski, conductor
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staff Administrative Staff Executive Stanley E. Romanstein, Ph.D. President Brien Faucett Assistant to the President ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Mala Sharma Assistant to the Vice President for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator Russell Williamson Orchestra Personnel Manager Susanne Watts Assistant Orchestra Personnel Manager Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Lela Huff Assistant Stage Manager Artistic Evans Mirageas Vice President for Artistic Planning Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator David Zaksheske Artist Assistant
EDUCATION & COMMUNITY ENGAGEMENT Mark B. Kent Senior Director of Education & Community Engagement Ahmad Mayes Community Programs Coordinator Nicole Bird Education Program Coordinator Janice Crews Professional Learning Teaching Artist Tiffany I.M. Jones Education Sales Associate
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MARKETING & CONCERT PROMOTIONS Charles Wade Vice President Verizon Wireless for Marketing Amphitheatre at & Symphony Pops Encore Park Alesia Banks Katie Daniel Director of Customer VIP Sales Manager Service & Season Tickets Jenny Pollock Ted Caldwell Operations Manager Group & Corporate Sales Assistant Rebecca Simmons Box Office Manager Meko Hector Marketing Production Deborah Honan Manager Customer Service Manager & Venue Rental Coordinator Jennifer Jefferson Director of e-Business & Interactive Media DEVELOPMENT Melanie Kite FINANCE & Sandy Smith Subscription ADMINISTRATION Vice President Office Manager for Development Donald F. Fox Shelby Moody Executive Vice President Rebecca Abernathy Group & Corporate for Business Operations Development Services Sales Manager & Chief Financial Officer Coordinator Seth Newcom Shannon McCown Zachary Brown Database Administrator Assistant to the Director of Executive Vice President Kimberly Nogi Volunteer Services for Business Operations Publicist Corey Cowart & Chief Financial Officer Robert Phipps Director of Susan Ambo Publications Director Corporate Relations Vice President of Finance Melissa A. E. Sanders Janina Edwards Kim Hielsberg Senior Director, Grants Consultant Director of Financial Communications Tegan Ketchie Planning & Analysis Christine Saunders Development Coordinator April Satterfield Group & Corporate Ashley Krausen Senior Accountant Sales Associate Special Events Coordinator Peter C. Dickson Karl Schnittke Sarah Levin Staff Accountant Publications Editor Volunteer Project Manager Michael Richardson Robin Smith Stephanie Malhotra Venues Analyst Subscription Director of Development & Education Sales Stephen Jones & Education Services Symphony Store Manager Bill Tarulli Melissa Muntz Marketing Manager Development Coordinator ASO Presents Rachel Trignano Meredith Schnepp Clay Schell Manager of Vice President, Programming Prospect Research Officer Broad Based Giving Tammie Taylor Trevor Ralph Russell Wheeler General Manager and Senior Assistant to the Director of Group Director of Operations VP for Development & Corporate Sales Holly Clausen Sarah Zabinski Christina Wood Director of Marketing Individual Giving Manager Director of Marketing Keri Musgraves Promotions Manager Lisa Eng Graphic Artist
54 Atlanta Symphony Orchestra/aso.org
Chastain Park Amphitheater Tanner Smith Program Director
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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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.
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JD Scott
Winning Medley
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1 NOTEWORTHY. Principal Guest Conductor Donald Runnicles, who led Mahler’s “Resurrection” Symphony in late January, extended his Orchestra contract for two years. 2 TREY TIME. Phish frontman Trey Anastasio launched his first-ever orchestral tour with a Feb. 9 date with the Orchestra in front of a sold-out Atlanta Symphony Hall. 3 BANDING TOGETHER. Artists from all genres gathered for “Georgia Music Day,” Jan. 24. From left to right: Johnny Colt (Black Crowes, Train); State Sen. Jeff Mullis; John Hopkins of the Zac Brown Band; Orchestra Music Director Robert Spano; Sugarland’s Brandon Bush; singer Anthony David; Mac Powell of Third Day; Georgia Music Partners co-president Simon Horrocks; and vocalist-guitarist Corey Smith.
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Samuel Stallings
Jeff Roffman
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Schwartz Center for Performing Arts
Dawn Upshaw, soprano Friday, April 6, 8 p.m.
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Australian Chamber Orchestra Thursday, april 12, 8 p.m.
3/31/12
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