Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
May 12/13/14 Beethoven: Violin Concerto Augustin Hadelich, violin May 15 Family Lemony Snicket’s The Composer is Dead May 19/21/22 Mendelssohn: Suite from A Midsummer Night’s Dream Robert Spano, conductor Jessica Rivera, soprano Atlanta Symphony Orchestra Chorus
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May 27/28 SuperPOPS! Patti LUpone
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contents May 2011
44
Ethan Hill
Nick Arroyo
18
features
the music
18 The Making of a DYNASTY
23 The concert’s program and notes
James Oliverio wrote DYNASTY: Double Timpani Concerto for Mark and Paul Yancich, who perform the world premiere at Symphony Hall.
44 A League of Her Own
Broadway Legend Patti LuPone Coulda, Woulda, Shoulda… and Does in a One-Woman SuperPOPS! show May 27-28.
6 EncoreAtlanta.COM
departments 10 President’s Letter 12 Orchestra Leadership 14 Robert Spano 16 Musicians 33 Contributors 50 Calendar 52 Administration 54 General Info 56 Ticket Info 58 Gallery ASO
publisher/sales Sherry Madigan White 404.459.4128 sherry.white@encoreatlanta.com account executive editorial director/chief storyteller
Kristi Casey Sanders kristi@encoreatlanta.com art director
Jenny Schisler jenny@encoreatlanta.com project manager/production artist Whitney Stubblefield whitney@encoreatlanta.com graphic designer Anna Harrell contributing editor Kathy Janich contributing writers
Bret Love and Margaret Shakespeare
atlanta symphony orchestra Rob Phipps Karl Schnittke program annotator Ken Meltzer
Thomas Pinckney 404.459.4127 thomas.pinckney@encoreatlanta.com senior national accounts manager
Sandra Ourusoff 212.260.4883 marketing administrator
Stephanie Smith ENCORE ATLANTA is published monthly by Atlanta Metropolitan Publishing Inc. president Tom Casey chairperson Diane Casey controller Suzzie Adams Gilham vice president, sales and marketing Evan Casey chief administrative officer Claudia Madigan director of marketing Lisa Kraus
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Welcome to May! I assumed responsibilities as president of the Atlanta Symphony Orchestra in May 2010, so this is something of an anniversary letter. Let me say, at the outset, how happy I am to be here. My family and I have been made to feel welcomed and loved and celebrated, and for that I am profoundly grateful. From my first days in Atlanta — a place I have grown to love quickly — I challenged my colleagues to focus less on talking about what we do and to think more about the difference we make by doing those things. The Atlanta Symphony Orchestra presents an exciting, well-balanced, 24-concert series each classical season. We invite world-renowned guest artists — Itzhak Perlman, Midori, Wynton Marsalis, Roberto Abbado, Jennifer Higdon, Dawn Upshaw and their peers — to share the stage with our own world-class, 27 Grammy Award-winning Orchestra. What difference does it make to the people of this community that we present memorable live performances of great art by great artists? Our Atlanta Symphony Orchestra Chorus, which this year celebrates its 40th anniversary, is the envy of choral music loving audiences across America and around the globe. Their artistry, which we will hear in two concert series this month alone, inspires us and transports us. What difference does it make to this community that we are home, to such a superb Chorus? Through nationally respected initiatives like our Talent Development Program and the Atlanta Symphony Youth Orchestra, we nurture the talents of young musicians. We position them to reach beyond themselves, to hone their abilities and realize their dreams. Does that make a difference? I’ve asked my colleagues to think about and to talk with me about the difference we make by the things we do, and now I’d like to ask you to do the same: What difference does the Atlanta Symphony Orchestra make in your life? How do you see our impact in this community? I hope you’ll let me hear from you: stanley.romanstein@woodruffcenter.org. Thank you so much for supporting your Atlanta Symphony Orchestra.
Stanley E. Romanstein, Ph.D. President
10 EncoreAtlanta.COM
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leadership Atlanta Symphony Orchestra League 2010-2011 Board of Directors Officers Ben F. Johnson, III Chair Vice Chairs Clayton F. Jackson Finance Chair/ Treasurer
Meghan H. Magruder Jeff Mango Belinda Massafra * ASA President Penny McPhee
Stanley E. Romanstein, Ph.D. * Chilton Davis Varner Joni Winston Secretary
Directors Jim R. Abrahamson Pinney L. Allen Joseph R. Bankoff * Jason A. Bernstein Paul Blackney Janine Brown Donald P. Carson Ann W. Cramer Cari K. Dawson Richard A. Dorfman David Edmiston Gary P. Fayard Dr. Robert Franklin Paul Garcia Carol Green Gellerstedt Jim Henry
Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson D. Kirk Jamieson Ben F. Johnson, III Steve Koonin Carrie Kurlander Mike Lang Donna Lee Lucy Lee Karole F. Lloyd Meghan H. Magruder Jeff Mango Belinda Massafra * Darrell J. Mays Penny McPhee
Galen Oelkers Victoria Palefsky Leslie Z. Petter Suzanne Tucker Plybon Patricia Reid Martin Richenhagen John D. Rogers Stanley E. Romanstein, Ph.D.* Dennis Sadlowski Ms. Lynn Schinazi William Schultz Tom Sherwood John Sibley Hamilton Smith Lucinda B. Smith
Thurmond Smithgall Gail R. Starr Mary Rose Taylor Joseph M. Thompson Liz Troy Chilton Davis Varner S. Patrick Viguerie Rick Walker Thomas Wardell Mark Wasserman John B. White, Jr. Richard S. (Dick) White, Jr. Joni Winston Patrice Wright-Lewis Camille Yow
Board of counselors Mrs. John Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Arnoldo Fiedotin
Ruth Gershon 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 Bertil D. Nordin Joyce Schwob
Mrs. Charles A. Smithgall, Jr. W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White Neil Williams
Azira G. Hill Dr. James M. Hund
Arthur L. Montgomery
Life Directors Howell E. Adams, Jr. Bradley Currey, Jr.
Mrs. Drew Fuller Mary D. Gellerstedt
* ex officio
12 EncoreAtlanta.COM
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Robert M Spano music Director
usic Director Robert Spano, beginning his 10th 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.
angela morris
The Orchestra and audiences together explore a creative programming mix, recordings and visual enhancements, such as Theater of a Concert — the Orchestra’s continuing exploration of different formats, settings, and enhancements for the musical performance experience — and the first concert-staged performances of John Adams’s Doctor Atomic in November 2008. The Atlanta School of Composers reflects Mr. Spano and the Orchestra’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 and Michael Gandolfi. Since the beginning of his tenure, Mr. Spano and the Orchestra have performed over 100 concerts featuring contemporary works (composed since 1950), including 13 Atlanta Symphony-commissioned world premieres and three additional world premieres.
14 EncoreAtlanta.COM
Mr. Spano has a discography with the Atlanta Symphony Orchestra of nine 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. He 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. In March 2010, Mr. Spano began a threeyear tenure as Emory University’s Distinguished Artist in Residence, for which he spends three weeks each year leading intensive seminars, lecturing, and presenting programs on science, math, philosophy, literature and musicology throughout the university’s campus.
Log onto EncoreAtlanta.com now and register to win tickets to these upcoming performances:
The Color Purple
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Read about Atlanta's performing arts every month in Encore Atlanta. More than a program, it's your ticket to the arts.
Robert Spano, Music Director, The Robert Reid Topping Chair * Donald Runnicles, Principal Guest Conductor, The Neil and Sue Williams Chair * FIRST VIOLIN
David Coucheron Concertmaster The Mr. and Mrs. Howard R. Peevy Chair*
William Pu Associate Concertmaster The Charles McKenzie Taylor Chair*
Justin Bruns Assistant Concertmaster The Mary and Cherry Emerson Chair
Jun-Ching Lin Assistant Concertmaster
Carolyn Toll Hancock The AGL Resources Chair
John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich
Sharon Berenson David Braitberg Noriko Konno Clift Judith Cox David Dillard Eleanor Kosek Raymond Leung Ruth Ann Little Thomas O’Donnell Ronda Respess Sanford Salzinger Frank Walton VIOLA
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
SECOND VIOLIN
David Arenz Principal The Atlanta Symphony Associates Chair*
Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair*
Jay Christy Assistant Principal
16 EncoreAtlanta.com
Lachlan McBane Jessica Oudin Ardath Weck
BASS
Ralph Jones
CELLO
Principal The Marcia and John Donnell Chair  *
Christopher Rex
Gloria Jones
Principal The Miriam and John Conant Chair*
Daniel Laufer Associate Principal The Livingston Foundation Chair
Associate Principal
Jane Little Assistant Principal Emeritus
Assistant Principal
Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson
Dona Vellek
FLUTE
Karen Freer
Assistant Principal Emeritus
Joel Dallow Jere Flint Jennifer Humphreys Larry LeMaster Brad Ritchie Paul Warner
Christina Smith Principal The Jill Hertz Chair*
Robert Cronin Associate Principal
Paul Brittan The Georgia Power Foundation Chair
Carl David Hall
michael Krajewski, Principal Pops Conductor Jere Flint, Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair * Norman Mackenzie, Director of Choruses, The Frannie and Bill Graves Chair PICCOLO
E-FLAT CLARINET
TRUMPET
PERCUSSION
Carl David Hall
Ted Gurch
Thomas Hooten
Thomas Sherwood
OBOE
BASS CLARINET
Elizabeth Koch
Alcides Rodriguez
Principal The Madeline and Howell Adams Chair*
Principal The Julie and Arthur Montgomery Chair*
Karin Bliznik
William Wilder
BASSOON
Associate Principal
Assistant Principal William A. Schwartz Chair*
rincipal P The George M. and Corrie Hoyt Brown Chair *
Yvonne Powers Peterson Associate Principal Ann Lillya † Patrick McFarland
Carl Nitchie Principal The Walter L. “Buz” Carr, III Chair
Elizabeth Burkhardt Associate Principal
Laura Najarian
Michael Myers Joseph Walthall TROMBONE
Colin Williams Principal The Wachovia Chair
Stephen Wilson
ENGLISH HORN
The Pricewaterhouse Coopers Chair
Patrick McFarland
Juan de Gomar
Associate Principal The Patsy and Jere Drummond Chair
CLARINET
CONTRABASSOON
George Curran Edmon Nicholson
Laura Ardan Principal The Robert Shaw Chair*
Juan de Gomar
Ted Gurch
HORN
BASS TROMBONE
Associate Principal
Brice Andrus
George Curran
William Rappaport
Principal The Sandra and John Glover Chair
TUBA
The Alcatel-Lucent Chair
Alcides Rodriguez
Susan Welty Associate Principal
Thomas Witte Richard Deane
Michael Moore Principal The Georgia-Pacific Chair
The UPS Community Service Chair
TIMPANI
Bruce Kenney
Principal The Walter H. Bunzl Chair*
Mark Yancich
William Wilder Assistant Principal
Charles Settle HARP
Elisabeth Remy Johnson Principal The Delta Air Lines Chair
KEYBOARD The Hugh and Jessie Hodgson Memorial Chair*
Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY
Rebecca Beavers Principal
Steven Sherrill Assistant Principal Librarian
John Wildermuth Assistant Librarian *C hair named in perpetuity † Regularly engaged musician Players in string sections are listed alphabetically.
Atlanta’s Performing Arts Publication 17
Nick Arroyo
The Making of a Dynasty “I am the luckiest guy in the world,” says Mark Yancich, Atlanta Symphony Orchestra principal timpanist since 1981. “I found a voice and followed it.” A fourth-generation musician, he grew up in a musical household brimming with instruments and a world of sound. He took french horn lessons and tried out classical guitar before discovering in high school that “playing timpani sent a shiver up and down my spine.”
18 EncoreAtlanta.COM
James Oliverio (above, left) wrote DYNASTY: Double Timpani Concerto for Mark and Paul Yancich (above, right) who perform the world premiere at Symphony Hall, June 2/4
By Margaret Shakespeare
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A few years earlier, older brother Paul Yancich, principal timpanist of the Cleveland Orchestra, had had his own percussion epiphany. Their father taught french horn at the Eastman School of Music. “I saw someone at Eastman with a pair of drumsticks in his back pocket. And that was it,” remembers Paul, who got a practice pad and percussion lessons for his ninth birthday. “Then in high school the band director said ‘Can you tune these two notes?’ I could. Then he said, ‘So you’re going to play timpani.’”
“I’ve known James forever,” says Paul Yancich of the prolific composer who got a start composing a timpani piece for Paul’s senior recital at the Cleveland Institute. Oliverio’s works include the virtuosic Timpani Concerto No. 1 (The Olympian), which Paul premiered in 1990 with the Cleveland Orchestra. Mark later performed with the ASO and in the opening work for Atlanta’s Cultural Olympiad in 1996.
Nick Arroyo
Timpani soloists have a slim repertory. And for two timpanists, the list is not much beyond a piece by Philip Glass. “James, Mark and I had been talking about doing something together,” Paul says. The talking continued for a few years, with ideas for a double concerto emerging and winning a nod from Maestro Spano. Oliverio actually started to sketch and shape the work, which is in five movements, two summers ago, at the Yancich family summer home in Lake Placid, N.Y. And he has — studying, as did Mark later, with the revered Cloyd Duff at the Cleveland Institute of Music, as a member of the Atlanta Symphony from 1976 to 1981 and, since then, the Cleveland Orchestra.
“In my book, these two guys are the best timpanists in the world,” Oliverio says. “And the notion that they come from a musical family that dates way back was one of the paths to Dynasty. I wanted to honor that.”
As far as anyone knows, Mark and Paul Yancich own the universal title and territory of timpanist-brothers who are members of major orchestras. At least it is a pretty nifty rarity. But for them — and for the Atlanta audience — there is more rarified distinction to come next month when the two world-premiere DYNASTY: Double Timpani Concerto composed for them and the Orchestra by James Oliverio. Music Director Robert Spano will conduct the June 2 and 4 concerts at Atlanta Symphony Hall.
How to execute the piece? “My quest was for melodic and harmonic timpani writing,” Oliverio says. “And that has become the hallmark of this piece — melodic and harmonic structure that grows organically. It was a challenge to feature two soloists, to allow both to shine equally. And, as with any composition, ideally I want to search out through sound vibration and take the listener to a different mental or psychological space where they want to stay or revisit.”
2020EncoreAtlanta.com EncoreAtlanta.COM
Continued on page 42
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Season supported in part by: Fulton County Arts Council, Georgia Council for the Arts, National Endowment for the Arts, City of Atlanta Office of Cultural Affairs
program Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Series Concerts Thursday and Saturday, May 19 and 21, 2011, at 8 p.m. and Sunday, May22, 2011, at 3 p.m.
Robert Spano, Conductor Jessica Rivera, Soprano Kelley O’Connor, Mezzo-soprano Anthony Dean Griffey, Tenor Stephen Powell, Baritone Gwinnett Young Singers, Lynn Urda, Music Director Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses Sergei Rachmaninov (1873-1943) Spring, Cantata for Baritone Solo, Chorus, and Orchestra, Opus 20 (1902) Stephen Powell, Baritone Atlanta Symphony Orchestra Chorus Felix Mendelssohn (1809-1847) A Midsummer Night’s Dream, Overture and Incidental Music, Opus Nos. 21 and 61 (1826, 1843) Overture, Scherzo, Nocturne,Wedding March INTERMISSION Benjamin Britten (1913-1976) Spring Symphony, Opus 44 (1949) Part I Introduction: Shine Out (Anon. 16th Century) The Merry Cuckoo (Edmund Spenser) Spring, the Sweet Spring (Thomas Nashe) The Driving Boy (George Peele; John Clare) The Morning Star (John Milton)
Welcome, Maids of Honor (Robert Herrick) Waters Above (Henry Vaughan) Out on the Lawn I lie in Bed (W.H. Auden)
When will my May come? (Richard Barnefield) Fair and Fair (George Peele) Sound the Flute (William Blake)
Part II
Part III
Atlanta’s Performing Arts Publication 23
Part IV Finale: London, to Thee I do Present (Beaumont and Fletcher; Anon. 13th Century)
Jessica Rivera, Soprano Kelley O’Connor, Mezzo-soprano Anthony Dean Griffey, Tenor Atlanta Symphony Orchestra Chorus Gwinnett Young Singers
“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.
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!
Major funding for the Atlanta Symphony Orchestra is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council. The performance of Benjamin Britten’s Spring Symphony is sponsored by the Dr. Charles Hamilton Fund for Choral Initiatives, made possible through the generosity of the late Dr. Charles Hamilton and his sister, the late Alice Ann Hamilton. 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: Atlanta Journal-Constitution and WSB 750 AM. Trucks provided by Ryder Truck Rental Inc.
24 EncoreAtlanta.com
program Notes on the Program By Ken Meltzer Spring, Cantata for Baritone Solo, Chorus and Orchestra, Opus 20 (1902) Sergei Rachmaninov was born in Semyonovo, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. The first performance of Spring took place in Moscow, Russia, on March 24, 1902, with Alexei Smirnov, baritone, as vocal soloist, and Alexander Siloti conducting the Moscow Philharmonic. Spring is scored for baritone solo, mixed chorus, piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, triangle, bass drum, cymbals, tam-tam and strings. Approximate performance time is sixteen minutes. These are the first ASO Classical Subscription Performances.
T
he premiere of Sergei Rachmaninov’s First Symphony took place in St. Petersburg on March 15, 1897, conducted by Alexander Glazunov. The performance was an unmitigated disaster. Afterwards, Rachmaninov “fled, horrified, into the street.” While Rachmaninov was able to escape the confines of the theater, he still had to face the wrath of the critics. Russian composer César Cui wrote in the St. Petersburg News: If there were a conservatory in Hell, if one of its many talented students were instructed to write a programme symphony on the “Seven Plagues of Egypt,” and if he were to compose a symphony like Mr. Rachmaninov’s, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell. It’s not surprising that Rachmaninov was devastated by this disastrous turn of events. He lapsed into a deep depression: Half my days were spent lying on a couch and sighing over my ruined life. My only occupation consisted of a few piano lessons which I was forced to give in order to keep myself alive. This condition, which was as tiresome for myself as for those about me, lasted more than a year. I did not live; I vegetated, idle and hopeless. The thought of spending my life as a pianoteacher gave me cold shudders. But what other activity was there left for me?
Rachmaninov, Chaliapin and Tolstoy Princess Alexandra Leiven attempted to lift Rachmaninov’s spirits by arranging for him to visit one of his idols, the author Leo Tolstoy. Rachmaninov met Tolstoy on two occasions in 1899, the second time accompanied by his friend, the Russian bass, Feodor Chaliapin. But the encounters with Tolstoy did little to buoy Rachmaninov’s confidence. As Chaliapin recalled: Rachmaninov was a little braver than I, and yet he too was excited, and his hands were quite cold. He whispered in my ear, “If they ask me to Atlanta’s Performing Arts Publication 25
play I don’t honestly know if I’ll be able to. My hands are like ice.” And Tolstoy did ask him to play. I can’t recall what he played, I only know of my own worrying thought. “Suppose he asks me to sing.” My heart went further into my boots, when Tolstoy looked Rachmaninov straight in the eye and asked, “Tell me, does anyone want this type of music?” Finally, Rachmaninov agreed to consult Dr. Nikolai Dahl, a doctor who had gained some prominence for his employment of hypnosis. Between January and April of 1900, Rachmaninov visited Dr. Dahl on a daily basis. Rachmaninov told Dahl that he had promised London’s Royal Philharmonic Society to compose a Piano Concerto. Dr. Dahl set about treating his patient: I heard the same hypnotic formula repeated day after day while I lay half asleep in the armchair in Dr. Dahl’s study. “You will begin to write your Concerto ... You will work with great facility ... The Concerto will be of an excellent quality...” It was always the same, without interruption. Although it may sound incredible, this cure really helped me. Already at the beginning of the summer I began again to compose. The material grew in bulk, and new musical ideas began to stir within me — far more than I needed for my Concerto. By the spring of 1901, Rachmaninov completed his Piano Concerto No. 2, Opus 18. Rachmaninov was also the soloist in the highly successful October 27, 1901, premiere in Moscow. Rachmaninov dedicated the Second Piano Concerto, one of his most beloved works, to Dr. Dahl. Other compositions following Rachmaninov’s consultations with Dr. Dahl included the Suite for Two Pianos, No. 2, Opus 17 (1900-01) and the Sonata for Piano and Cello, Opus 19 (1901). And in February of 1902, Rachmaninov completed his first work for chorus and orchestra, the Cantata, Spring, Opus 20. Rachmaninov intended that Chaliapin, one of the greatest singing actors in the history of opera, would sing the premiere. However, Chaliapin did not have sufficient time to learn the music for the first performance, scheduled for March 24, 1902, in Moscow. On that occasion, baritone Alexei Smirnov sang the solo part. Chaliapin did sing the St. Petersburg premiere on January 21, 1905, and also performed the Cantata in Paris and Moscow. In addition to the resurgence of Rachmaninov’s composing powers, the first few years of the 20th century marked a turning point in his personal life. On May 12, 1902, less than two months after the premiere of Spring, Rachmaninov wed pianist Natalia Satin. The two remained married until Rachmaninov’s death in 1943. Spring is Rachmaninov’s setting of a poem by the Russian poet, Nikolai Nekrasov (18211878). The poem relates the story of a peasant couple, confined to their hut during the harsh winter. The wife has confessed to an affair and the husband contemplates avenging the deed by killing her. But with the arrival of spring, the husband’s resolve weakens. He decides to forgive his wife, and allow God to be his judge. Although Spring is rarely performed, it is a powerful and heartfelt work, one that Rachmaninov maintained a special affection for throughout his life.
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program Vesna1
Spring
Chorus Idët-gudët Zelënyj Šum, Zelënyj Šum, vesennij šum!
Chorus It comes murmuring, the green noise, The green noise, the noise of spring!
Igrajucˇi, rasxoditsja Vdrug veter verxovoj: Kacˇnët kusty ol’xovye, Podnimet pyl’ cvetocˇnuju, Kak oblako; vsë zeleno, I vozdux, i voda!
Playfully, the wind from on high Suddenly quickens: It will sway the elderbushes, And raise the pollen of the flowers, Like a cloud; everything is green, Both the air and the water!
Idët-gudët Zelënyj Šum, Zelënyj Šum, vesennij šum!
It comes murmuring, the green noise, The green noise, the noise of spring!
Solo Skromna moja xozjajuška, Natal’ja Patrikeevna, Vody ne zamutit! Da s nej beda slucˇilasja, Kak leto žil ja v gorode... Sama skazala, glupaja!
Solo My sweet wife is modest, Natalya Patrikeevna, She wouldn’t cause any trouble! But something terrible happened with her, When I was living in town during the summer... She told me herself, the fool!
V izbe sam-drug s obmanšcˇicej Zima nas zaperla, V moi glaza surovye Gljadit, molcˇit žena. Molcˇu... a duma ljutaja Pokoja ne daët: Ubit’... tak žal’ serdecˇnuju! Sterpet’... tak sily net! A tut zima kosmataja Revët i den’, i nocˇ: “Ubej, ubej izmennicu! Zlodeja izvedi! Ne to ves’ vek promaeš’sja, Ni dnëm, ni dolgoj nocˇen’koj Pokoja ne najdëš’!” Pod pesnju-v’jugu zimnjuju Okrepla duma ljutaja – Pripas ja vostryj nož... Da vdrug – vesna podkralasja...
In our hut together with this faithless woman Winter has locked us in, Into my stern eyes My wife gazes, and is silent... I am silent, too, but a cruel thought Gives me no peace: To kill her... but I have such pity for my love! To bear it... but I don’t have the strength! And now the shaggy winter Howls both day and night: “Kill her, kill the traitorous woman! Destroy the evildoer! Or else you will regret it all your life, Neither by day nor during the long night Will you find any peace!” Under the song of the winter blizzard The cruel thought grew stronger; I set by a sharp knife... And then suddenly – spring stole up...
The original title of the poem is Zelënyj Šum (“The Green Noise”), which is a folk expression for the awakening of nature in the spring.
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Chorus Idët-gudët Zelënyj Šum, Idët-gudët vesennij šum!
Chorus It comes murmuring, the green noise, It comes murmuring, the noise of spring!
Kak molokom oblitye, Stojat sady višnëvye, Tixoxon’ko šumjat; Prigrety tëplym solnyškom, Šumjat poveselelye Sosnovye lesa; A rjadom novoj zelen’ju Lepecˇut pesnju novuju I lipa blednolistaja, I belaja berëzon’ka S zelënoju kosoj! Šumit trostinka malaja, Šumit vysokij klën... Šumjat oni po-novomu, Po-novomu, vesennemu...
As though bathed in milk, The cherry orchards stand, They rustle ever so quietly; Warmed by the balmy sun, Rustle the gladdened Forests of pine; And nearby with their new greenery Murmur a new song Both the pale-leafed linden tree And the pretty white birch With its green braid! The slender reed rustles, The tall maple rustles, They rustle in a new way, In a new way, in a springtime way...
Idët-gudët Zelënyj Šum, Zelënyj Šum, vesennij šum!
It comes murmuring, the green noise, The green noise, the noise of spring!
Solo Slabeet duma ljutaja, Nož valitsja iz ruk, I vsë mne pesnja slyšitsja Odna – v lesu, v lugu:
Solo The cruel thought becomes weaker, The knife falls from my hands, And always I can hear the song, The same song in the forest, in the meadow:
Solo and chorus “Ljubi, pokuda ljubitsja, Terpi, pokuda terpitsja, Prošcˇaj, poka prošcˇaetsja, I Bog tebe sud’ja!”
Solo and chorus “Love, while you still can love, Endure, while you still can endure, Forgive, while you still can forgive, And let God be your judge!”
Transliteration of the Russian Text and English Translation by Keith Langston.
A Midsummer Night’s Dream, Overture and Incidental Music, Opus Nos. 21 and 61 (1826, 1843) Felix Mendelssohn was born in Hamburg, Germany, on February 3, 1809, and died in Leipzig, Germany on November 4, 1847. The first performance of the Incidental Music to A Midsummer Night’s Dream took place at the Neues Palais in Potsdam, Germany, on October 14, 1843. The Incidental Music to A Midsummer Night’s Dream is scored for two soprano solos, women’s chorus, two flutes, two oboes, two clarinets, two bassoons, two horns, three trumpets, three trombones, tuba, timpani, triangle, cymbals and strings. Approximate performance time of excerpts is twenty-nine minutes. 28 EncoreAtlanta.com
program First ASO Classical Subscription Performances: December 18, 1948 (Overture), Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: October 22, 23 and 24, 2009 (Overture), Donald Runnicles, Conductor ASO Recording: Telarc CD: 80318, Yoel Levi, Conducting.
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n the span of less than one year, Felix Mendelssohn produced two remarkable monuments to his youthful genius. In October of 1825, Mendelssohn completed his Octet for Strings, Opus 20. Shakespeare provided the inspiration for the next masterpiece. In July of the following year, Mendelssohn informed his sister Fanny: “I have grown accustomed to composing in our garden; there I completed two piano pieces in A major and E minor. Today or tomorrow I am going to dream there the A Midsummer Night’s Dream. This is, however, an enormous audacity.” A few days later, after hearing the Berlin premiere of Carl Maria von Weber’s Overture to the opera, Oberon, Mendelssohn wrote to his sister: “Ever since you left, my love for you goes in E minor.”
By the time of these letters, Mendelssohn had begun the composition of his Overture to Shakespeare’s A Midsummer Night’s Dream, Opus 21. Aided by the guidance and constructive criticism of his friend, composer Adolph Bernhard Marx, the 17-year-old Mendelssohn completed his Overture on August 6, 1826. After a few private performances of the work, both in versions for piano duet and orchestra, the official premiere of the Overture to A Midsummer Night’s Dream took place at a concert in Stettin on February 20, 1827, led by composer and conductor Carl Loewe. From its very first performance, the Overture to A Midsummer Night’s Dream dazzled audiences with its elegance, wit and sheer élan. Robert Schumann rhapsodized: “The bloom of youth lies over it ... It is an inspired moment when the mature master took his first and loftiest flight.” It’s remarkable that Mendelssohn was able, several years later, to recapture the magical spirit of his early masterpiece when he composed numerous additional pieces to serve as incidental music for an October 14, 1843, production of A Midsummer Night’s Dream at the Neues Palais in Potsdam. Mendelssohn’s Incidental Music to A Midsummer Night’s Dream remains one of the finest works in this genre. As one British musicologist observed: “With A Midsummer Night’s Dream we cannot think of Shakespeare without Mendelssohn or Mendelssohn without Shakespeare.” Mendelssohn’s Incidental Music is scored for vocal soloists, women’s chorus and orchestra. This concert features four orchestral excerpts.
Musical Analysis Overture, Opus 21 — The Overture (Allegro di molto) begins with four hushed ascending chords. A gossamer string figure leads to a grand outburst by the orchestra. After a brief passage by the winds, the strings introduce a lovely descending melody. The exposition features other material relating to the action of Shakespeare’s play, including a rustic dance Atlanta’s Performing Arts Publication 29
and a braying figure associated with Bottom’s transformation into a donkey. The opening string figure serves as the basis for the quicksilver development section. The four ascending chords return to introduce the recapitulation of the principal thematic material. The coda offers its own magic. A cadence appears to mark the Overture’s conclusion, but is followed instead by the final reprise of the opening string figure. The four ascending chords cap the peaceful closing measures. As Mendelssohn described: “At the end, after everything has been satisfactorily settled and the principal players have joyfully left the stage, the elves follow them, bless the house and disappear with the dawn. So the play ends, and my Overture too.” Scherzo. Allegro vivace — The Scherzo serves as a prelude to the play’s second Act, and the arrival of Puck. The flutes immediately sing the quicksilver principal theme. The Bottom/ donkey music also makes an appearance. The Scherzo concludes with a tripping flute solo, capped by the hushed closing bars. Nocturne. Con moto tranquillo — The beautiful Nocturne appears between Acts III and IV. Puck has lulled four lovers — Hermia and Lysander, Helena and Demetrius — to sleep in the woods. A solo horn, joined by the bassoons, softly intones the dolce principal melody. A more agitated central episode yields to a reprise of the horn melody, and the Nocturne’s peaceful conclusion. Wedding March. Allegro vivace — The Wedding March introduces the play’s final Act, which takes place in the palace in Athens. The music celebrates the triple wedding celebrations for Hermia and Lysander, Helena and Demetrius, and Theseus and Hippolyta. Trumpet fanfares herald the orchestra’s introduction of the one of the most famous (and ubiquitous) melodies in all of concert music. The ceremonial mood of the opening is maintained throughout, leading to the grand concluding fanfares.
Spring Symphony, Opus 44 (1949) Benjamin Britten was born in Lowestoft, England, on November 22, 1913, and died in Aldeburgh, England, on December 4, 1976. The first performance of the Spring Symphony took place at the Holland Festival in Amsterdam, The Netherlands, on July 9, 1949, with Jo Vincent, soprano, Kathleen Ferrier, alto, Peter Pears, tenor, the Boys’ Choir of the St. Willibrorduskerk in Rotterdam, the Mixed Choir of the Dutch Radio, and the Concertgebouw Orchestra, Eduard van Beinum, conducting. The Spring Symphony is scored for soprano, alto and tenor solos, mixed chorus, boys’ choir, piccolo, three flutes, alto flute, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, cow horn, timpani, side drum, tenor drum, tambourine, cymbals, bass drum, gong, bells (C, A, B-flat), block, xylophone, castanets, vibraphone, two harps and strings. Approximate performance time is forty-five minutes. First ASO Classical Subscription Performances: May 24, 25 and 26, 1984, Robert Shaw, Conductor.
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enjamin Britten’s Spring Symphony was commissioned in 1946 by Serge Koussevitsky and the Boston Symphony Orchestra. Previously, Koussevitsky, through the Koussevitsky Music Foundation, had commissioned Britten’s opera, Peter Grimes (1945).
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program In January of 1947, Britten wrote to Koussevitsky: “By-the-way, I am planning it for chorus & soloists, as I think you wanted; but it is a real symphony (the emphasis is on the orchestra) & consequently I am using Latin words.” Britten didn’t specify which Latin texts he was considering. Later, Britten found that “the re-reading of much English lyric verse and a particularly lovely Spring day in East Suffolk, the Suffolk of Constable and Gainsborough, made me change my mind.” And so, Britten decided to set a number of poems by English authors relating to the subject of spring. For the most part, the texts are from the 16th and 17th centuries, a notable exception found in Part II; “When on the Lawn I lie in Bed,” by Britten’s friend, W.H. Auden. Britten began composition of the Spring Symphony in the summer of 1948. Britten wrote to his longtime partner, tenor Peter Pears: “I’d got it all neatly planned, but it’s coming out different, bigger (& I hope better!).” That winter, Britten suffered from what was diagnosed as “nervous exhaustion.” A trip to Italy with Pears seemed to improve Britten’s condition somewhat. In the spring of 1949, Britten wrote to his friend, Jean Maud: “I have at last completed the sketches of the Spring Symphony, and am most relieved & happy about it. I had a bad patch, when I thought I was quite recovered, & found I wasn’t. But that’s all finished now.” Britten completed the score of his Spring Symphony in June of 1949. Koussevitsky planned to conduct the world premiere of the Spring Symphony at Tanglewood that summer. But Britten confided to Koussevitsky that “doubts and miseries” he experienced while writing the work made the composer want “to hear the work as soon as possible.” And so, with Koussevitsky’s permission, the first performance took place at the Holland Festival on July 9, 1949. Koussevitsky and the Boston Symphony Orchestra performed the Spring Symphony’s American premiere at the Tanglewood Music Festival in Massachusetts on August 13, 1949. As previously noted, Britten promised Koussevitsky “a real symphony.” Although the Spring Symphony includes three vocal soloists, a mixed chorus and boys’ chorus (often sung by a children’s chorus), the work comprises the symphony’s traditional four movements. Britten employs the large performing forces in a remarkable variety of ways, often turning to delicate, chamber-like effects. Indeed, the intimacy found in much of the Spring Symphony’s first three Parts makes the impact of the Finale (complete with cow horn!) all the more overwhelming. Britten described the Spring Symphony as “dealing not only with the spring itself, but the progress of Winter to Spring and the reawakening of the earth and life which that means.” Part I opens with an extended slow introduction, finally resolving to the far more animated and cheerful remainder of the Symphony’s opening movement. Britten described this introduction (“Shine out”) as “such cold music, that it is depressing to write, & I yearn for the Spring to begin, & get to the 3 trumpets & Tenor Solo!” According to Britten, Part II, the Symphony’s slow movement, represents “the darker side of Spring — the fading violets, rain and night.” Part III is the Symphony’s vibrant scherzo. The Symphony’s finale, Part IV, is a setting of a portion of Beaumont and Fletcher’s 1607 play, The Knight of the Burning Pestle. The May celebration, described by Britten as “a kind of bank holiday,” culminates with a stunning marriage of the finale’s central 3/4 melody with the boys’ chorus’s 2/4 invocation of the 13th-century round, “Soomer is icoomen in.” Atlanta’s Performing Arts Publication 31
Part I Introduction (Chorus) Shine out, fair sun, with all your heat, Show all your thousand-coloured light! Black winter freezes to his seat; The grey wolf howls, he does so bite; Crookt age on three knees creeps the street; The boneless fish close quaking lies And eats for cold his aching feet; The stars in icicles arise: Shine out, and make this winter night Our beauty’s spring, Our Prince of Light! Anon. 16th Century The Merry Cuckoo (Tenor Solo) The merry cuckoo, messenger of Spring, His trumpet shrill hath thrice already sounded; That warns all lovers wait upon their king, Who now is coming forth with garlands crowned; With noise thereof the quire of birds resounded Their anthems sweet devised of love’s praise, That all the woods their echoes back rebounded. As if they knew the meaning of their lays. But ‘mongst them all, which did love’s honour raise, No word was heard of her that most it ought, But she his precept proudly disobeys, And doth this idle message set at nought. Therefore O love, unless she turn to thee, Ere Cuckoo end, Let her a rebel be! Edmund Spenser Spring, the Sweet Spring (Soprano, Alto and Tenor Solos and Chorus) Spring, the sweet spring, is the year’s pleasant king; Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing: Cuckoo, jug-jug, puwe, to-witta-woo! The palm and may make country houses gay, Lambs frisk and play, the shepherds pipe all day, And we hear aye birds tune this merry lay; Cuckoo, jug-jug, puwe, to-witta-woo!
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The fields breathe sweet, the daisies kiss our feet, Young lovers meet, old wives a-sunning sit; In every street these tunes our ears do greet; Cuckoo, jug-jug, puwe, to-witta-woo! Spring, the sweet spring! Thomas Nashe The Driving Boy (Soprano Solo, Boys’ Chorus) When as the rye reach to the chin, And chopcherry, chopcherry ripe within, Strawberries swimming in the cream, And schoolboys playing in the stream, Then oh, then my true love said, Till that time come again, She could not live a maid. George Peele The driving boy, beside his team, Of May-month’s beauty now will dream, And cock his hat, and turn his eye On flower, and tree, and deep’ning sky; And oft burst loud in fits of song, And whistle as he reels along, Cracking his whip in starts of joy— A happy, dirty, driving boy. John Clare The Morning Star (Chorus) Now the bright morning star, day’s harbinger, Comes dancing from the East, and leads with her The flowery May, who from her green lap throws The yellow cowslip, and the pale primrose. Hail bounteous May that doth inspire Mirth and youth, and warm desire; Woods and groves are of thy dressing, Hill and dale doth boast thy blessing. Thus we salute thee with our early song, And welcome thee and wish thee long. John Milton Part II Welcome Maids of Honor (Alto Solo) Welcome Maids of Honour, You doe bring
program In the Spring, And wait upon her. She has Virgins many, Fresh and fair; Yet you are More sweet than any. Y’are the maiden Posies, And so grac’d To be plac’d ‘Fore Damask Roses. Yet, though thus respected, By and by Ye do lie, Poore girls, neglected. Robert Herrick Waters Above (Tenor Solo) Waters above! eternal springs! The dew that silvers the Dove’s wings! O welcome, welcome to the sad: Give dry dust drink, drink that makes glad! Many fair ev’nings, many flowers Sweetened with rich and gentle showers, Have I enjoyed, and down have run Many a fine and shining sun; But never, till this happy hour, Was blest with such an evening shower! Henry Vaughan Out on the Lawn I lie in Bed (Alto Solo, Chorus) Out on the lawn I lie in bed, Vega conspicuous overhead In the windless nights of June; Forest of green have done complete The day’s activity; my feet Point to the rising moon. Now North and South and East and West Those I love lie down to rest; The moon looks on them all: The healers and the brilliant talkers, The eccentrics and the silent walkers, The dumpy and the tall.
To gravity attentive, she Can notice nothing here; though we Whom hunger cannot move, From gardens where we feel secure Look up, and with a sigh, endure The tyrannies of love: And, gentle, do not care to know, Where Poland draws her Eastern bow, What violence is done; Nor ask what doubtful act allows Our freedom in this English house, Our picnics in the sun. W.H. Auden Part III When will my May come (Tenor Solo) When will my May come, that I may embrace thee? When will the hower be of my soule’s joying? If thou wilt come and dwell with me at home, My sheepcote shall be strowed with new green rushes; We’ll haunt the trembling prickets as they roam, About the fields, along the hawthorn bushes; I have a piebald cur to hunt the hare; So we will live with dainty forest fare. And when it pleaseth thee to walk abroad (Abroad into the fields to take fresh aire.) The meads with Flora’s treasure should be strowed, (The mantled meadows and the fields so fair) And by a silver well (with golden sands) I’ll sit me down and wash thine iv’ry hands. But if thou wilt not pitie my complaint, My tears, nor vowes, nor oathes, made to thy Beautie: What shall I do? But languish, die, or faint, Since thou doth scorne my teares, and soule’s dutie; And tears contemned, vowes and oathes must fail: For where tears cannot, nothing can prevaile. Richard Barnefield Atlanta’s Performing Arts Publication 32B
Fair and Fair (Soprano and Tenor Solos) Fair and fair, and twice so fair, As fair as any may be; The fairest shepherd on our green, A love for any lady. Fair and fair, and twice so fair, As fair as any may be; Thy love is fair for thee alone, And for no other lady. My love is fair, my love is gay, As fresh as bin the flowers in May; And of my love the roundelay, My merry, merry, roundelay Concludes with Cupid’s curse: They that do change old love for new, Pray gods they change for worse. Fair and fair, and twice so fair, As fair as any may be; The fairest shepherd on our green, A love for any lady. Fair and fair, and twice so fair, As fair as any may be; Thy love is fair for Thee alone, And for no other lady. My love can pipe, my love can sing, My love can many a pretty thing, And of his lovely praises ring My merry, merry roundelays, Amen to Cupid’s curse: They that do change old love for new, Pray gods they change for worse. George Peele Sound the Flute! (Chorus, Boys’ Chorus) Sound the flute! Now it’s mute, Birds delight, Day and night, Nightingale In the dale, Lark in sky, Merrily, Merrily, merrily, to welcome in the Year.
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Little boy Full of joy. Little girl Sweet and small. Cock does crow So do you. Merry voice Infant noise Merrily, merrily, to welcome in the Year. Little lamb, Here I am. Come and lick My white neck. Let me pull Your soft wool. Let me kiss Your soft face, Merrily, merrily, we welcome in the Year! William Blake Part IV Finale (Soprano, Alto and Tenor Solos, Chorus, Boys’ Chorus) London, to thee I do present the merry month of May; Let each true subject be content to hear me what I say: With gilded staff and crossed scarf, the Maylord here I stand. Rejoice, O English hearts, rejoice! Rejoice, O lovers dear! Rejoice, O City, town, and country! Rejoice, eke ev’ry shire! For now the fragrant flowers do spring and sprout in seemly sort, The little birds do sit and sing, the lambs do make fine sport; And now the birchen tree doth bud, that makes the schoolboy cry; The morris rings, while hobby horse doth foot it feateously; The lords and ladies now abroad, for their disport and play, Do kiss sometimes upon the grass,
program and sometimes in the hay, Now butter with a leaf of sage is good to purge the blood; Fly Venus and phlebotomy, for they are neither good; Now little fish on tender stone begin to cast their bellies, And sluggish snails, that erst were mew’d, do creep out of their shellies, The rumbling rivers now do warm, for little boys to paddle, The sturdy steed now goes to grass, and up they hang his saddle, The heavy hart, the bellowing buck, the rascal, and the pricket, Are now among the yeoman’s peas, and leave the fearful thicket: And be like them, O you, I say, of this same noble town, And lift aloft your velvet heads, and slipping off your gown, With bells on legs, with napkins clean unto your shoulders tied, With scarfs and garters as you please, and “Hey for our town!” cried, March out, and show your willing minds, by twenty and by twenty, To Hogsdon or to Newington,
where ale and cakes are plenty; And let it ne’er be said for shame, that we the youths of London Lay thrumming of our caps at home; and left our custom undone. Up, then, I say, both young and old, both man and maid a-maying, With drums, and guns that bounce along, and merry tabor playing! Which to prolong, God save our king, and send his country peace, And root out treason from the land! and so, my friends, I cease. Beaumont and Fletcher Soomer is icoomen in, Loode sing cuckoo, Groweth sayd and bloweth mayd And springth the woodë new; Sing cuckoo; Awë bleyeth after lamb, Lowth after calvë coo; Bullock stairteth, bookë vairteth, Mirry sing cuckoo, Cuckoo, cuckoo, Well singës thoo, cuckoo, Nay sweek thoo nayver noo. Anon. 13th Century
JESSICA RIVERA, Soprano
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ossessing a voice praised by the San Francisco Chronicle for its “effortless precision and tonal luster,” Jessica Rivera has established herself as one of the most creatively inspired vocal artists. The intelligence, dimension and spirituality with which she infuses her performances on international concert and opera stages have earned her unique artistic collaborations with such celebrated composers as John Adams, Osvaldo Golijov and Nico Muhly, and such Jessica Rivera esteemed conductors as Bernard Haitink, Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano and Michael Tilson Thomas. Ms. Rivera was heralded in the world premiere of John Adams’s newest opera, A Flowering Tree, singing the role of Kumudha, in a production directed by Peter Sellars as part of the New Crowned Hope Festival in Vienna. Since then, she has performed A Flowering Tree for her debut with the Atlanta’s Performing Arts Publication 32D
Berliner Philharmoniker with Sir Simon Rattle and, under the composer’s baton, with the San Francisco Symphony, the Los Angeles Philharmonic, the Orchestra of St. Luke’s at Lincoln Center and the London Symphony Orchestra at the Barbican Centre. The London performances were recorded and are now available on Nonesuch Records.
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 Award-winning mezzo-soprano Kelley O’Connor has quickly emerged as one of the most compelling performers of her generation. During the 2010-11 season, the California native’s calendar has or will include performances of Berio’s Folk Songs with Daniel Harding and the London Symphony Orchestra at the Berlin Festival; Kelley O’Connor excerpts from Roussel’s Padmâvatî with Christoph Eschenbach and the National Symphony Orchestra; Bach’s Missa Brevis in F Major with Franz Welser-Möst and the Cleveland Orchestra; Beethoven’s Ninth Symphony with Kurt Masur and the Shanghai Symphony Orchestra; Lieberson’s Neruda Songs with Stéphane Denève and the Seattle Symphony and the Royal Scottish National Orchestra; Mahler’s Resurrection Symphony with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra, David Robertson and the Saint Louis Symphony Orchestra, and Edo de Waart and the Milwaukee Symphony; and Britten’s Spring Symphony with Robert Spano and the Atlanta Symphony Orchestra. Ms. O’Connor returns to the New York Philharmonic for staged performances of Janácˇek’s The Cunning Little Vixen with Mr. Gilbert and joins Maestro Dudamel and the Los Angeles Philharmonic on an international tour with performances of Bernstein’s Jeremiah Symphony. Ms. O’Connor makes her Lyric Opera of Chicago debut as Hippolyta in A Midsummer Night’s Dream in the company’s new production by Neil Armfield conducted by Rory Macdonald.
anthony dean griffey, Tenor
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our-time Grammy Award-winning tenor Anthony Dean Griffey has captured critical and popular acclaim on opera, concert and recital stages around the world. The combination of his beautiful and powerful lyric tenor voice, gift of dramatic interpretation and superb musicianship have earned him the highest praise from both critics and audiences. He has performed leading roles at such international opera houses as the Metropolitan Opera, Lyric Opera of Chicago, Anthony Dean Griffey San Francisco Opera, Houston Grand Opera, Glyndebourne, the Opera National de Paris and the Teatro Comunale di Firenze. He is a regular guest of the leading orchestras in New York, Boston, Philadelphia, San Francisco, Los Angeles, Montreal and Toronto, and abroad in London, Paris, Munich, Tokyo, Glasgow, Amsterdam and Melbourne. He has appeared at the Tanglewood, Ravinia, Mostly Mozart and Saito Kinen music festivals
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program and the Proms in London. Mr. Griffey has collaborated with such conductors as James Levine, Seiji Ozawa, André Previn, Michael Tilson Thomas, Sir Andrew Davis, Esa-Pekka Salonen, Alan Gilbert, Kurt Masur, Donald Runnicles, Sir Colin Davis, Christoph Eschenbach, Valery Gergiev, James Conlon and Charles Dutoit. The 2010-11 season includes appearances in the title role of Peter Grimes with the Houston Grand Opera and as Lennie in Of Mice and Men with Opera Australia. His symphonic appearances include Beethoven’s Ninth Symphony with the Nashville Symphony, Britten’s War Requiem at Carnegie Hall with Seiji Ozawa and the Saito Kinen Orchestra; the Atlanta Symphony and Robert Spano; and Mahler’s Eighth Symphony with Leonard Slatkin and the Detroit Symphony.
Stephen powell, Baritone
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merican baritone Stephen Powell brings his “rich, lyric baritone, commanding presence and thoughtful musicianship” (The Wall Street Journal) to a wide range of music, from Monteverdi and Handel, through Verdi and Puccini, to Stephen Sondheim and John Adams. In one review, Opera magazine wrote, “The big news was Stephen Powell’s gorgeously sung Onegin: rock solid, with creamy legato from top to bottom, and dynamics smoothly tapered Stephen Powell but never exaggerated.” Mr. Powell’s 2010-11 season has or will include re-engagements with the San Francisco Opera as De Guiche in Cyrano de Bergerac; Atlanta Symphony Orchestra (Robert Spano) in Rachmaninov’s Spring Cantata; and Cincinnati Symphony Orchestra (Paavo Järvi) in Fauré’s Requiem. He debuts with the Cincinnati Opera in the title role of Rigoletto; at the Montreux Festival (David Zinman) in Schoenberg’s Gurrelieder; with the Minnesota Opera as Germont in La traviata; Palm Beach Opera as Scarpia in Tosca; and Singapore Symphony Orchestra in Walton’s Belshazzar’s Feast. He solos in Brahms’ Requiem with the Saint Louis Symphony Orchestra and in Messiah with the Rochester Philharmonic Orchestra under Christopher Seaman. In the 2011-12 season, he returns to the Saint Louis Symphony Orchestra as a soloist in Bach’s Mass in B Minor.
GWINNETT Young Singers Lynn Urda, Conductor & Music Director Carol Wyatt, Associate Music Director Amanda Dodd, Assistant Director Martha Umphrey Clay, Accompanist
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ow in its 21st season, Gwinnett Young Singers provides an advanced and extraordinary choral experience for children in seven metro counties. Under the Gwinnett Young Singers direction of founder and music director Lynn Urda, and associate director Carol Wyatt, GYS is a nationally recognized children’s chorus, 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 Atlanta’s Performing Arts Publication 32F
the power and beauty of a wide variety of choral music. The choir won a Grammy Award for its performance on the highly acclaimed Telarc CD recording of John Adams’ On the Transmigration of Souls with the Atlanta Symphony Orchestra and Chorus. In 2004, it was nominated for a Grammy for its performance on the internationally acclaimed Telarc recording of Carl Orff’s Carmina Burana. Beginning in 1996-97 with two seasons of Christmas With Robert Shaw, they have performed for 13 annual holiday seasons with the Atlanta Symphony Orchestra. The Young Singers are also featured on the Telarc recording of Puccini’s La Boheme. On Jan. 27, 2011, the GYS Chamber Choir (a mixed, SATB ensemble) performed at the Georgia Music Educators Association conference in Savannah. The Young Singers have performed for thousands of music educators at American Choral Directors Association conferences in South Carolina and Tennessee (1998 and 2004), and two recent performances at the GMEA conference. GYS offers beginning through advanced choirs for children in second through 12th grades, including Treble Choir, Allegro 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 gwinnettyoungsingers.com. Kristen Blanda Viveka Chandrasekaran Natalie Gambrell Chris Honeychurch Julia Hufford Leigh Johnson Tatyana Keating
Lydia Kelley Jackie Lenz Anna McDaniel Paul Massey Grace Orowski Emma Pattillo Evan Peacock
Sarah Penkava Gunter Petit Keri Pomeroy Cosetta Righi Emma Riley Shaysee Sainte Crosse Wren Shimoji
Nina Siso Elizabeth Willet Gabrielle Willet Ruth Willet Hailey Williams
lynn urda, Conductor & Musical Director
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ynn Urda is the full-time conductor and music director of the Gwinnett Young Singers. She has an active schedule as a guest clinician, conductor and adjudicator for All-State and 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 from Lynn Urda the Florida State University School of Music. She is a former public school music specialist and has spent most of her professional life 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 she has served as Repertoire and Standards Chair for Children’s Choirs in the Georgia division of ACDA. She is the director of youth and children’s choirs at Tucker First United Methodist Church.
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program norman mackenzie, 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 lovers. At the Atlanta Symphony Orchestra, he prepares the Norman Mackenzie choruses for all concerts and recordings, conducts holiday concerts annually, and works closely with 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 orchestra 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 Mr. Shaw (1985-99), he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the ASO Choruses and, ultimately, assistant choral conductor.
atlanta symphony orchestra chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair Jeffrey Baxter, Choral Administrator Todd Skrabanek, Accompanist
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uring the 2010–11 season, the Atlanta Symphony Orchestra Chorus is featured in seven concert programs, including Beethoven’s Missa Solemnis, Janácˇek’s Glagolitic Mass, Britten’s Spring Symphony, Atlanta Symphony Orchestra Chorus Rachmaninov’s rarely performed Spring Cantata, and the ASO Theater of a Concert presentation of Puccini’s Madama Butterfly. Acclaimed for the beauty, precision and expressive qualities of its singing, the Atlanta Symphony Orchestra Chorus has been an important part of the Orchestra’s programming since its founding on Sept. 24, 1970 by Robert Shaw. Composed entirely of volunteers, the 200-voice ASO Chorus and 60-voice ASO Chamber Chorus also are featured on many of the ASO’s recordings, which have earned 14 Grammy awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording). The Chamber Chorus, which debuted on Dec. 14, 1967, is composed of volunteers selected by audition from the ranks of the ASO Chorus. Highlights of the ASO Chamber Chorus’s Atlanta’s Performing Arts Publication 32H
history include a residency with the ASO and Robert Spano for California’s Ojai Festival, participation in Telarc recordings of masterworks by Bach, Golijov, Handel, Haydn, Mozart, Schubert and Vivaldi; a 2005 a cappella recording that features the Vaughan Williams Mass under Norman Mackenzie, an appearance on national television in 1987 performing Handel’s Messiah with Robert Shaw, and several Carnegie Hall appearances. Soprano 1 JoAnn Alexander Liz Dean Kelly Eggers Amber Greer Erin Jones Colleen Kingston Victoria Kolterman Arietha Lockhart * Mindy Margolis Patricia Nealon Quyen Nguyen Joneen Padgett Kristi Pass Olivia Rutkowski Celia Shore Courtney Stanley Brianne Turgeon Allegra Whitney Kara Mia Wray Wanda Yang Temko Natalie York Soprano 2 June Abbott ** Sloan Atwood Pamela Barnette ** Barbara Brown Suzannah Carrington Claudia Corriere Martha Craft Ellen Dukes ** Kathleen Kelly-George Eda Mathews * Vickie Orme Linda Searles Sydney Smith-Rikard Paula Snelling Camilla Springfield * Tommie Storer Cheryl Thrash * Donna Weeks *
alto 1 Ana Baida Deborah Boland * Christa Joy Chase Pamela Drummond Beth Freeman Pamela Griffin Beverly Hueter Janet Johnson * Virginia Little Staria Lovelady Allison Lowe Paige Mathis * Holly McCarren Frances McDowell * Linda Morgan ** Dominique PetiteChabukswar Kathleen Poe Ross Norma Raybon Andrea Seeney Diana Reed Strommen Sharon Vrieland * Nancy York alto 2 Nancy Adams Marcia Chandler Meaghan Curry Cynthia Goeltz DeBold * Michèle Diament Janet Hubler ** Lindsey Huether Sally Kann Nicole Khoury Nancy Llamazales * Lynda Martin Julie Northup Brenda Pruitt * Andrea Schmidt Sharon Simons Patricia Sinback Virginia Thompson Cheryl Vanture Sarah Ward Alexandra Willingham Kiki Wilson * Diane Woodard * * 20+ years of service
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tenor 1 Jeffrey Baxter * Daniel Bentley David Blalock ** Jack Caldwell * Daniel Cameron Clifford Edge * Steven Farrow * Wayne Gammon Kirt Greenburg Leif Hansen James Jarrell Thomas LaBarge Keith Langston Jamie Mells Clinton Miller Christopher Patton Scott Poindexter Stephen Reed ‡ David Ritter Timothy Swaim Mark Warden
bass 1 Mark Blankenship Robert Bolyard Russell Cason * Trey Clegg Leroy Fetters David Forbes Chad Gough Jon Gunnemann Joseph Guthridge David Hansen * Nick Jones ‡ Adam Kissel Charles McClellan * Mark Russell Kendric Smith ‡ John Stallings Ike Van Meter Edgie Wallace Scott Walters Edward Watkins ** Andrew Westerhaus
tenor 2 Nicholas Cavaliere Charles Cottingham ‡ Phillip Crumbly Jeffrey Daniel Jonathan Edwards Joseph Few Hamilton Fong Earl Goodrich * John Goodson Keith Jeffords Steven Johnstone John Kenemer Mark Lester * Jason Locker Nathan Osborne Michael Parker Marshall Peterson * Richard Prouty Brent Runnels Clifton Russell Scott Stephens * Robert Wilkinson
bass 2 Shaun Amos Brian Brown Joseph Champion John Cooledge ‡ Rick Copeland * Joel Craft * Andrew Gee Timothy Gunter Ben Howell Philip Jones Eric Litsey ** Sam Marley Evan Mauk Eckhart Richter * Alexander Robinson John Ruff John Smith Jonathan Smith Timothy Solomon * Benjamin Temko David Webster ** Gregory Whitmire * Keith Wyatt
** 30+ years of service
‡
Charter member (1970)
support Appassionato
Meghan H. Magruder, Appassionato Chair
The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the southeast. Appassionato was inaugurated in 2000 & welcomes annual givers of $10,000 & above. Appassionato members provide the Symphony with a continuous & strong financial base in support of our ambitionous aritistic & education initiatives.
$50,000+
Mrs. Anne Cox Chambers
The Reiman Foundation
$35,000+
Robert Spano
Susan & Thomas Wardell
Mark & Rebekah Wasserman
$25,000+ Madeline & Howell E. Adams, Jr. Susan & Richard Anderson Stephanie & Arthur Blank Mr. & Mrs. Bradley Currey, Jr. Marcia & John Donnell Catherine Warren Dukehart
Lucy R. & Gary Lee, Jr. Terence L. & Jeanne P. Neal* Victoria & Howard Palefsky Printpack Inc. & The Gay & Erskine Love Foundation Mrs. Charles A. Smithgall, Jr.
Mr. Thurmond Smithgall Mr. & Mrs. K. Morgan Varner, III Adair & Dick White Ann Marie & John B. White, Jr.* Sue & Neil Williams*
Mr. Donald F. Fox Mr. & Mrs. Paul R. Garcia Charles & Mary Ginden Jim & Pam Henry InterContinental Hotels Group Clay & Jane Jackson Ann A. & Ben F. Johnson III Mr. & Mrs. James C. Kennedy Eydie & Steve Koonin Mr. & Mrs. Brian Kurlander Michael & Cindi Lang Donna Lee & Howard C. Ehni
Karole & John Lloyd Meghan & Clarke Magruder Jeff Mango-Verizon Wireless Mr. Kenneth & Dr. Carolyn Meltzer Mr. & Mrs. William T. Plybon Patty & Doug Reid Ms. Lynn Schinazi Gail & Loren Starr Irene & Howard Stein Alison M. & Joseph M. Thompson Ray & John Uttenhove Camille W. Yow
Carol & Larry Gellerstedt Mary D. Gellerstedt Nancy D. Gould Mr. & Mrs. Robert D. Grathwohl The Graves Foundation Robert Hall Gunn, Jr. Fund Joe Guthridge & David Ritter* Tom & Jan Hough Mr. Tad Hutcheson Roya & Bahman Irvani Robert J. Jones* Anne Morgan & Jim Kelley* Philip I. Kent Mr. & Mrs. Donald R. Keough Amy & Mark Kistulinec Mr. & Mrs. John M. Law Massey Charitable Trust
Morgens West Foundation Lynn & Galen Oelkers Mr. & Mrs. Solon P. Patterson* Bob & Margaret Reiser Stanley & Shannon Romanstein Dennis & JoAnne Sadlowski Bill & Rachel Schultz Joyce & Henry Schwob Mr. John A. Sibley III John Sparrow Mary Rose Taylor Carol & Ramon Tome* The Michael W. Trapp Family Mike & Liz Troy Turner Foundation, Inc. Mr. & Mrs. Edus H. Warren, Jr. Neal & Virginia Williams
$15,000+ AGCO Corporation, Martin Richenhagen Pinney L. Allen & Charles C. Miller Mr. & Mrs. Paul J. Blackney Janine Brown & Alex J. Simmons, Jr. Mr. & Mrs. C. Merrell Calhoun Mary Helen & Jim Dalton Mr. & Mrs. David Edmiston In memory of Polly Ellis by Admiral James O. Ellis, Jr. Gary & Nancy Fayard* $10,000+ Anonymous (2) Ron & Susan Antinori Mark & Christine Armour The Balloun Family* Lisa & Joe Bankoff Barnes & Thornburg LLP Kelley O. & Neil H. Berman The John & Rosemary Brown Family Foundation The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Shannon & Philip Cave Dr. John W. Cooledge Cari Katrice Dawson Eleanor & Charles Edmondson Rosi & Arnoldo Fiedotin
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
Atlanta’s Performing Arts Publication 33
Patron Partnership
Judy Hellriegel, 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.
$5,000+ John & Helen Aderhold* Aadu & Kristi Allpere* Anonymous (3) Mr. David Boatwright Mrs. Suzanne Dansby Bollman & Mr. Brooks Bollman Breman Foundation Dr. Robert L. & Lucinda W. Bunnen Ann & Jeff Cramer* Triska Drake & G. Kimbrough Taylor, Jr. Dr. & Mrs. Carl D. Fackler Mr. David L. Forbes
Mr. James F. Fraser Betty Sands Fuller Sally & Carl Gable Dick & Ann Goodsell C. Tycho & Marie Howle Foundation The Jamieson Family Family of Thomas B. Koch James H. Landon George H. Lanier Pat & Nolan Leake Linda & John Matthews Penelope & Raymond McPhee* Brenda & Charles Moseley
Dr. & Mrs. Mark P. Pentecost, Jr. Margaret H. Petersen John & Kyle Rogers Hamilton & Mason Smith Lynne & Steven Steindel* Peter James Stelling Charlie Wade & M.J. Conboy Gertrude & William C. Wardlaw Fund, Inc. Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner
Dr. & Mrs. James T. Laney* Mr. & Mrs. William C. Lester* Deborah & William Liss* Dr. & Mrs. James T. Lowman Gino & Belinda Massafra* Walter W. Mitchell Mr. & Mrs. Rezin Pidgeon, Jr. Mr. & Mrs. Joel F. Reeves
S. A. Robinson Nancy & Henry Shuford Sandy & Paul Smith Mrs. C. Preston Stephens Burton Trimble T & H Yamashita*
Sally & Larry Davis Gregory & Debra Durden Ms. Diane Durgin Mr. & Mrs. Christopher S. Edmonds Ellen & Howard Feinsand John & Michelle Fuller Mr. & Mrs. Edward T. Garland Peg Gary Dr. Mary G. George & Mr. Kenneth Molinelli Carol & Henry Grady Ben & Lynda Greer Dr. & Mrs. Alexander Gross Herbert & Marian Haley Foundation Mr. Lewis H. Hamner III Steven & Caroline Harless Sally W. Hawkins Mr. & Mrs. John E. Hellriegel
Darlene K. Henson Mr. & Mrs. Jesse Hill, Jr. In Memory of Carolyn B. Hochman Mr. & Mrs. Daniel H. Hollums Mr. & Mrs. Harry C. Howard Richard & Linda Hubert Dr. William M. Hudson Mr. & Mrs. William C. Humphreys, Jr. Dr. & Mrs. James M. Hund Dorothy Jackson Ms. Cynthia Jeness Mr. & Mrs. W. F. Johnston Dr. Maurice J. Jurkiewicz Hazel & Herb Karp Paul & Rosthema Kastin Mr. & Mrs. John H. Kauffman Mr. & Mrs. L. Michael Kelly Dick & Georgia Kimball*
$3,500+ Julie M. Altenbach Anonymous Mr. & Mrs. Dennis Chorba Ms. Carol F. Comstock & Mr. James L. Davis* Jere & Patsy Drummond Dr. & Mrs. C.R. Harper JoAnn Hall Hunsinger $2,250+ Mr. & Mrs. Phillip E. Alvelda* Marian & Paul Anderson Anonymous Jack & Helga Beam Ms. Laura J. Bjorkholm & Mr. John C. Reece II Rita & Herschel Bloom Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Maj. Gen. & Mrs. Robert Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush The Buss Family Charitable Fund Charles Campbell & Ann Grovenstein-Campbell Mrs. Thalia N. Carlos Mr. & Mrs. Beauchamp Carr Lucy & John Cook Robert Cronin & Christina Smith
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support $2,250+ (continued) Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney Mr. & Mrs. J. David Lifsey Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Ruth & Paul Marston The Devereaux F. & Dorothy McClatchey Foundation, Inc. Mr. & Mrs. Albert S. McGhee Birgit & David McQueen Judy & Gregory Moore Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable
Ms. Rebecca Oppenheimer Mr. & Mrs. Andreas Penninger Susan Perdew Mr. & Mrs. David M. Ratcliffe Realan Foundation, Inc. Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue Mrs. William A. Schwartz Elizabeth S. Sharp Angela & Morton Sherzer Dr. Kay R. Shirley Beverly & Milton Shlapak In memory of Willard Shull Helga Hazelrig Siegel Lewis Silverboard
Baker & Debby Smith Amy & Paul Snyder Mr. & Mrs. Raymond F. Stainback, Jr. John & Yee-Wan Stevens Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Mr. William C. Voss Dr. & Mrs. James O. Wells, Jr. Mr. & Mrs. Peter L. Whitcup Ms. Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates The Zaban Foundation, Inc.
Representative Pat Gardner & Mr. Jerry Gardner Paul B., Paul H. & M. Harrison Hackett Carol & Thomas J. Hanner Thomas J. High Mr. Thomas Hooten Mary & Wayne James Aaron & Joyce Johnson Veronique & Baxter Jones Lana M. Jordan Mr. Thomas J. Jung Dr. Rose Mary Kolpatzki Mr. & Mrs. David E. Krischer Thomas C. Lawson Dr. Leslie Leigh Levenson Foundation Barbara & Jim MacGinnitie Mr. & Mrs. Craig P. MacKenzie Mr. & Mrs. James H. Matthews, Jr. Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey John F. & Marilyn M. McMullan Virginia K. McTague Angela & Jimmy Mitchell* Mrs. Gene Morse** Mr. & Mrs. Robert Olive Sanford & Barbara Orkin Dr. & Mrs. Keith D. Osborn Dr. & Mrs. Bernard H. Palay
Mr. & Mrs. Emory H. Palmer Leslie & Skip Petter Dr. & Mrs. Frank S. Pittman III The Reverend Neal P. Ponder, Jr. Provaré Technology Dr. & Mrs. W. Harrison Reeves, Sr. The Gary W. & Ruth M. Rollins Foundation John T. Ruff Dr. & Mrs. Rein Saral Alida & Stuart Silverman Sydney Simons Alex & Betty Smith Foundation, Inc. Johannah Smith Mr. & Mrs. Gabriel Steagall Kay & Alex Summers Elvira Tate Mr. & Mrs. William M. Tipping Ms. Kimberly Tribble & Mr. Mark Lange Robert F. Tuve* Drs. Jonne & Paul Walter Drs. Julius & Nanette Wenger David & Martha West Mr. & Mrs. William White* Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Dorothy & Charlie Yates Family Fund Grace & Herbert Zwerner
$1,750+ Anonymous (2) Mrs. Kay Adams* & Mr. Ralph Paulk Mr. & Mrs. John Allen Mr. & Mrs. Stephen D. Ambo Dr. David & Julie Bakken Betty & Robert Balentine Mr. & Mrs. Ron H. Bell Leon & Linda Borchers Mr.** & Mrs. Eric L. Brooker Dr. & Mrs. Anton J. Bueschen Mr. & Mrs. Russell E. Butner* Mr. & Mrs. Walter K. Canipe In Memory of Dr. Richard A. Carroll, Sr. Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Ralph & Rita Connell Jean & Jerry Cooper Mr. & Mrs. Douglas C. Curling Mrs. H. Frances Davis Brant & Kathy Davis* Mr. & Mrs. Peter T. de Kok Drs. Carlos del Rio & Jeannette Guarner Elizabeth & John Donnelly Cree & Frazer Durrett Dr. Francine D. Dykes & Mr. Richard Delay Mary Frances Early Judge & Mrs. Jack Etheridge George T. & Alecia H. Ethridge
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
Atlanta’s Performing Arts Publication 35
Corporate Support $100,000+
Classical Title Sponsor Classic Chastain Title Sponsor Family and SuperPOPS Presenting Sponsor
Holiday Title Sponsor Muhtar Kent Chairman, Board of Directors and Chief Executive Officer
Richard Anderson Chief Executive Officer
jerome j. byers, II Atlanta Regional President
Atlanta School of Composers Presenting Sponsor Philip I. Kent Chief Executive Officer
$50,000+ AGCO Corporation and Vendors AT&T The Real Yellow Pages GE Energy UPS
$35,000+ Georgia Natural Gas InterContinental Hotels Group Porsche Cars North America Publix Super Markets & Publix Super Markets Charities, Inc.
Delta Classic Chastain Presenting Sponsor
Supporter of the Atlanta Symphony Orchestra Chorus
Ralph de la Vega President & CEO of Mobility and Consumer Markets
Jerry Karr Senior Managing Director GE Asset Management
$10,000+
$20,000+ Nalley Cars Ryder System, Inc. Sutherland Asbill & Brennan LLP SunTrust Foundation
AlixPartners, LLP Four Seasons Hotel Atlanta The Boston Consulting Group
Foundation and Government Support $250,000+ The Mabel Dorn Reeder Foundation Wells Fargo The Zeist Foundation, Inc.
$100,000+ The Halle Foundation Abraham J. & Phyllis Katz Foundation The Vasser Woolley Foundation, Inc
Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.
$25,000+ Anne & Gordon Getty Foundation John H. & Wilhelmina D. Harland Charitable Foundation, Inc. Hellen Ingram Plummer Charitable Foundation The Charles Loridans Foundation, Inc. MetLife Foundation The Sara Giles Moore Foundation SunTrust Bank Trusteed Foundation- Walter H. and Marjory M. Rich Memorial Fund
Major support is provided by the City of Atlanta Office of Cultural Affairs.
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$10,000+
Special Gifts
The Aaron Copland Fund The ASCAP Foundation For Music, Inc. Irving Caesar Fund The Arnold Foundation, Inc. The Blonder Family Foundation, Inc. Livingston Foundation, Inc. $5,000+ Reiman Charitable The Fraser-Parker Foundation Foundation Robert S. Elster Foundation William Randolph Hearst Endowed Fund JBS Foundation William McDaniel The Sartain Lanier Charitable Foundation Family Foundation
This program is supported 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.
support Henry Sopkin Circle Recognizing planned gifts that benefit the Atlanta Symphony Orchestra Madeline & Howell E. Adams, Jr. Mr. & Mrs. John E. Aderhold William & Marion Atkins Dr. & Mrs. William Bauer Neil H. Berman Fred & Bettye Betts Mr. & Mrs.* Karl A. Bevins Mr.* & Mrs. Sol Blaine Frances Cheney Boggs* 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. Miriam & John A. Conant* Dr. John W. Cooledge Mr. & Mrs. William R. Cummickel* John R. Donnell Dixon W. Driggs* Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves
Elizabeth Etoll John F. Evans Doyle Faler* Rosi & Arnoldo Fiedotin Dr. Emile T. Fisher A. D. Frazier, Jr. Betty & Drew* Fuller Carl & Sally Gable William H. Gaik Kay Gardner* Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Mrs. Irma G. Goldwasser* Robert Hall Gunn, Jr. Billie & Sig* Guthman Betty G.* & Joseph F. * Haas James & Virginia Hale Miss Alice Ann Hamilton* John and Martha Head Ms. Jeannie Hearn Jill* & Jennings* Hertz Albert L. Hibbard, Jr.* 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 deForest F. Jurkiewicz* Herb & Hazel Karp Anne Morgan & Jim Kelley
Bob Kinsey James W. & Mary Ellen* Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff Ouida Hayes Lanier Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Ann Bernard Martin* Mr. Michael McDowell* Dr. Michael S. McGarry Mr. & Mrs. Richard McGinnis Vera A. Milner* Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay Bill Perkins Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram The Reiman Foundation Carl J. Reith* Edith Goodman Rhodes* 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 W. Griggs Shaefer, Jr.* Mr. & Mrs. Robert Shaw* Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Margo Sommers* Elliott Sopkin Elizabeth Morgan Spiegel Daniel D. Stanley* Peter James Stelling C. Mack* & Mary Rose Taylor Jed Thompson Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Mrs. Anise C. Wallace* Mr. & Mrs. John B. White, Jr. Adair and Dick White Hubert H. Whitlow, Jr. Sue & Neil Williams Mrs. Frank L. Wilson, Jr. Elin M. Winn* George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12)
*Deceased
Education & Community Engagement Atlanta Symphony Youth Orchestra, Talent Development Program, Talent Development Program Endowment, Concerts for Young People, Family Concerts, Conversations of Note
$250,000+
Wells Fargo The Zeist Foundation, Inc.
$50,000+
GE Energy Abraham J. & Phyllis Katz Foundation
$25,000+
The Coca-Cola Company Mr. & Mrs. Jesse Hill, Jr. MetLife Foundation Monica & John Pearson Hellen Ingram Plummer Charitable Foundation Publix Super Markets & Publix Super Markets Charities, Inc. Jay & Arthur Richardson
SunTrust Bank Trusteed Foundation - Walter H. and Marjory M. Rich Memorial Fund SunTrust Foundation
Links Inc., Azalea City Chapter Victoria & Howard Palefsky Ms. Margaret H. Petersen Ms. Joni Winston Elise T. Phillips $2,500+ Alison Rand Elinor Rosenberg Breman** Mr. & Mrs. Johnathan Mr. & Mrs. Charles B. Ginden H. Short InterContinental Suzanne & Willard* Shull $10,000+ Hotels Group The Society, Inc., Edith H. & James E. Bostic, Greater Atlanta Chapter Jr. Family Foundation $1,000+ Isaiah & Hellena Huntley Cree & Frazer Durrett Anonymous Tidwell Livingston Foundation, Inc. Mr. & Mrs. Henry Aaron Annie-York Trujillo Primerica Sharon, Lindsay & Raul F. Trujillo Mr. & Mrs. Robert A. Yellowlees & Gordon Fisher Mr. Mack Wilbourn Drs. John O. & Gloria S. Gaston Dr. Blenda Wilson $5,000+ Aaron & Joyce Johnson & Dr. Louis Fair Dr. Margo A. Brinton Ms. Malinda C. Logan & Mr. Eldon Park Mr. & Mrs. Howatt E. Cynthia & Donald Carson Mallinson Mrs. Mary C. Gramling Dr. Joanne R. Nurss *Deceased
** Scholarships for Atlanta Symphony Youth Orchestra tuition are made possible through the Elinor Rosenberg Breman Fellowship.
Atlanta’s Performing Arts Publication 37
support Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra
2010-2011 board Belinda Massafra President Suzy Wasserman, Leslie Petter & Camille Yow Advisors Leslie Petter Parliamentarian Elba McCue Secretary Janis Eckert Treasurer
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from
JUNE 3–5 Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
ThE FabulouS FoX ThEaTrE
bravo! Celebrating Robert Spano’s 10th Anniversary Season
LIVE ON STAGE hE AT T
FAbuLOuS FOx ThEATRE
October 2010
800-982-2787
August 2009 FoxTheatre.org EncoreAtlanta.com
A
PER FEC T SPR IN FLIN G G!
Robert Spano, Music Director
Donald Runnicles, Principal Guest Conductor
WOLFGANG AMADEUS MOZ ART
July 16, 2010
www.TheateroftheStars.com GROup SALES: (404) 881-2000 or email foxgroup@foxtheatre.org
APRIL 9,I2,I5,I7(M), 2OII October 20 – November 14, 2010 Series on the Alliance Stage
dennis hanthorn - Zurich General Director Pictured Enisha Brewster. Photo by Greg Mooney.
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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 $8.4 million last year. Thank you! Chairman’s Council ★★★★★★★★★★★★ $500,000+ Georgia Power Foundation, Inc. UPS ★★★★★★★★★★★ $450,000+ The Coca-Cola Company ★★★★★★★★★★ $300,000+ Cox Interests Atlanta Journal-Constitution, WSB-TV, Cox Radio Group Atlanta, James M. Cox Foundation The Honorable Anne Cox Chambers ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Deloitte LLP, its Partners & Employees Ernst & Young, Partners & Employees The Home Depot Foundation Jones Day Foundation & Employees The Klaus Family Foundation PricewaterhouseCoopers Partners & Employees Mabel Dorn Reeder Foundation Turner Broadcasting System, Inc. ★★★★★★★★ $150,000+ Alston & Bird LLP Equifax Inc. & Employees The Rich Foundation, Inc. SunTrust Bank Employees & Trusteed Foundations Harriet McDaniel Marshall Trust
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Bryan Latham Karole & John Lloyd Lockheed Martin Aeronautics Company McKenna Long & Aldridge LLP Mohawk Industries, Inc. Mueller Water Products, Inc. Noonan Family Foundation Gail & Bob O’Leary Vicki R. Palmer The Sally & Peter Parsonson Foundation, Inc. Paul, Hastings, Janofsky & Walker LLP Printpack Inc./The Gay & Erskine Love Foundation David M. Ratcliffe J. Mack Robinson Interests Frances & Jesse A. Sasser, Jr. Emily Winship Scott Foundation Selig Enterprises, Inc./ The Selig Foundation Spencer Stuart Karen & John Spiegel Superior Essex Inc. TriMont Real Estate Advisors, Inc. United Distributors, Inc. WATL/WXIA/Gannett Foundation John Wieland Homes and Neighborhoods Mr. & Mrs. James B. Williams Sue & Neil Williams Womble Carlyle Sandridge & Rice, PLLC Carla & Leonard Wood The Xerox Foundation Mr. & Mrs. Robert A. Yellowlees *As of February 8, 2011
Atlanta’s Performing Arts Publication 41
Continued from page 20
“James knows what to do idiomatically with the kettles,” Mark says of the composer’s technique. “I think the audience will be able to hear some really good music that happens to be for timpanists. They should sit back and enjoy the sound of what a timpani can do. And have fun watching us — up front for a change.” Timpani — also called kettledrums, after their appearance — have been part of the orchestral family since the Baroque era. While timpani are among the few percussion instruments that have definite pitch, each kettle has a limited range of less than an octave. Scores call for various numbers of drums, usually in pairs with complementary tunings, up to about five for one player. Foot pedals allow the player to change pitches. “And then there are stick choices for articulation or mellowness [or other sound qualities],” Mark explains, “often not indicated by the composer [Oliverio excepted, of course]. So it becomes the artistic choice of the player or conductor. Some schools of thought say just a few pair are enough; some have a palette of dozens of pairs. Paul and I are in the middle. Usually we use about eight pairs of sticks, ranging from the hardest to softest.” Still, Paul points out physical limitations: “With a violin you have a huge range at your fingergtips, while we change the notes with our feet. A pianist uses 10fingers, while we play with two sticks. Our instruments are slow mechanically and big to get around.” Oliverio had these constraints and others to factor in. He says, “Each player can only play so many notes without changing the 42 EncoreAtlanta.COM
“ I want to…take the listener to a different mental or psychological space…” — James Oliverio foot pedal. The two soloists have to share certain notes of a melody.” Composer and soloists have had a few in-progress sessions to rehearse together and exchange ideas. “Paul will be driving his instruments to Atlanta for the premiere,” says Mark, who will return the favor when the brothers perform DYNASTY with the Cleveland Orchestra in September at the Blossom Music Festival. The score calls for each player to use five drums. “Mr. Spano heard us read through initial sketches and gave us some input. And James has incorporated some things that Paul and I asked for.” One being the use of two harps. “He had the solo timpani with harp in his first concerto, and we thought it was really neat. Writing for two timpanists is extremely challenging territory. It’s tricky. It passes back and forth. James has ingeniously combined two players’ parts to sound as one.” “I think once the piece starts, until the last note, people will think, ‘Wow,’” says Paul.“We happen to be musicians who play timpani. We are hoping this opens up a new appreciation for what timpanists do in general.” Mark adds, “And playing with my brother — it doesn’t get any better than this!” Margaret Shakespeare writes often about music and musicians. She lives in New York and the farmlands of Long Island.
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In an era where the biggest story on Broadway is the abysmal failure of the accident-plagued Spider-Man: Turn Off The Dark, the legendary Patti LuPone stands apart as (to borrow a line from composer Marvin Hamlisch) one singular sensation.
a league of her own
Ethan Hill
By Bret Love
Broadway Legend Patti LuPone Coulda, Woulda, Shoulda‌ and does in a One-Woman SuperPOPS! show, May 27-28
44 EncoreAtlanta.com
Our Professional Ensemble Bruce V. Benator, CPA, Managing Partner Kevin J. Hedrick, CPA, Partner Steven G. Horn, CPA, Partner Laura E. Speir, CPA, Partner Patricia A. Yeager, CPA, Partner
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Born in 1949, LuPone came by her vocal talent honestly — her great-grand aunt was celebrated 19th-century opera singer Adelina Patti. She started out performing on Long Island in the LuPone Trio with older brothers William and Robert, the actor/dancer/director who later originated the role of Zach the choreographer in A Chorus Line. She went on to become part of the first graduating class of Julliard’s Drama Division, eventually following acting professor John Houseman when he formed the influential theatre company, The Acting Company, with whom she worked regularly from 1972 to 1976. By 1973 she’d made her Broadway debut playing Irina in Chekhov’s The Three Sisters, and two years later she received her first Tony Award nomination — Best Featured Actress in a Musical — for her role as Rosamund in The Robber Bridegroom. But it was her work as Argentinean first lady Eva Perón in Andrew Lloyd Webber’s Evita that truly established LuPone as a star, earning her a Tony for Best Actress in a Musical and leading to major roles in The Cradle Will Rock, an Oliver! revival, the original London production of Les 46 EncoreAtlanta.com
Rahav
A Broadway veteran with nearly 40 years of experience; two Tony Awards (for 1979’s Evita and 2008’s Gypsy revival); and numerous Tony, Laurence Olivier and Drama Desk award nominations under her belt, LuPone remains one of musical theater’s most celebrated talents. And though she may venture into TV (“LBJ: The Early Years,” “Oz,” “30 Rock”) and film (City By The Sea, State and Main, Driving Miss Daisy) from time to time, her solo show Coulda, Woulda, Shoulda proves that the Long Island native remains most at home on the stage.
Misérables and Cole Porter’s Anything Goes (for which she earned another Tony nod). LuPone’s latest solo show, Coulda, Woulda, Shoulda, offers Broadway’s greatest diva since Ethel Merman a chance to perform songs from musicals in which she could’ve played, would’ve played, did play or will play, including beloved favorites from Evita and Gypsy. The set list is filled with songs from classic musicals such as Hair; Bye, Bye Birdie; Funny Girl; West Side Story; and Peter Pan, all of them born anew thanks to LuPone’s depth of emotion, dramatic gestures and signature knack for the dynamic knockout punch. While the Great White Way may be floundering, searching for new ways to “turn off the dark,” Patti LuPone reveals herself to be in peak form as Broadway’s reigning Grande Dame. And if Coulda, Woulda, Shoulda is any indication, she has no intention of relinquishing that crown anytime soon. Atlanta-based freelancer Bret Love has been covering arts, entertainment, restaurants and travel for 17 years and recently launched his own website, GreenGlobalTravel.com.
when I play music… I have more confidence
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calendar June 2/4 Thur/Sat: 8pm Delta Classical Rachmaninov: Symphonic Dances Oliverio: Double Timpani Concerto Robert Spano, conductor Mark Yancich, timpani Paul Yancich, timpani
Hear for the first time a virtuosic concerto by James Oliverio for the brothers Yancich, Mark of the ASO and Paul of the Cleveland Orchestra. The Symphonic Dances of Rachmaninov swirl and twirl with passionate intensity.
June 9/11/12 Thur/Sat: 8pm/ Sun: 3pm Delta Classical Puccini: Madama Butterfly Robert Spano, conductor James Alexander, stage director Shu Ying Li, soprano (Butterfly) Russell Thomas, tenor (Pinkerton) Mika Shigematsu, mezzo-soprano (Suzuki) Steven Cole, tenor (Goro) Dwayne Croft, baritone (Sharpless) ASO Chorus
This “Butterfly” soars as never before! A signature “Theater of a Concert” presentation vividly underscores Puccini’s immortal story of an ill-fated marriage. With glorious writing and a celebrated score, and spot-on casting, the tragic masterpiece breathes new fervor as it closes a season of riches.
404.733.5000 aso.org Woodruff Arts Center Box Office @15th and Peachtree Make it a group! 404.733.4848 Presented by:
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404-877-9000 | MELIA.COM 590 WEST PEACHTREE ST NW | ATLANTA, GA 30308
staff Administrative Staff Executive Stanley E. Romanstein President Aysha H. Siddique Manager of Board & Community Relations Brien Faucett Administrative Assistant to the President’s Office Evans Mirageas Director of Artistic Planning 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 Kelly O’Donnell Artist Assistant Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator 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 Education & Community Engagement Mark B. Kent Senior Director of Education & Community Engagement Melanie Darby Director of Education Programming Ahmad Mayes Community Programs Coordinator
FINANCE & ADMINISTRATION Donald F. Fox Executive Vice President for Business Operations & Chief Financial Officer Shannon McCown Assistant to the Executive Vice President for Business Operations & Chief Financial Officer Susan Ambo Vice President of Finance Kim Hielsberg Director of Financial Planning & Analysis April Satterfield Senior Accountant Peter Dickson Staff Accountant Michael Richardson Venues Analyst Stephen Jones Symphony Store Manager Galina Rotbakh Symphony Store Sales Associate
DEVELOPMENT Sandy Smith Vice President for Development Tammie Taylor Assistant to the VP for Development Stephanie Malhotra Director of Development & Education Services Rebecca Abernathy Development Services Coordinator
MARKETING & CONCERT PROMOTIONS Charles Wade Vice President for Marketing & Symphony Pops Alesia Banks Director of Customer Service & Season Tickets Nellie Cummins Group & Corporate Sales Associate Meko Hector Major & Planned Giving Office & Marketing Jessica Langlois Coordinator Director of Leadership Gifts Jennifer Jefferson & Planned Giving Director of e-Business Andrea Welna & Interactive Media Major Gifts Officer Melanie Kite Meredith Schnepp Subscription Prospect Research Officer Office Manager Shelby Moody Annual, Institutional Group & Corporate & Volunteer Services Sales Coordinator Corey Cowart Seth Newcom Director of Database Administrator Corporate Relations Kimberly Nogi Toni Paz Director of Individual Giving Publicist ASO Presents Robert Phipps Barbara Saunders Clay Schell Publications Director Director of Vice President, Programming Foundation Relations Melissa A. E. Sanders Trevor Ralph Senior Director, General Manager and Senior Maya Robinson Communications Patron Partnership Director of Operations Gifts Officer Travis Sari Holly Clausen Marketing Manager Zachary Brown Director of Marketing Director of Christine Saunders Keri Musgraves Volunteer Services Group & Corporate Promotions Manager Sales Assistant Sarah Levin Lisa Eng Volunteer Project Manager Karl Schnittke Graphic Artist Publications Editor Ashley Krausen Chastain Park Amphitheater Special Events Coordinator Robin Smith Tanner Smith Subscription Sarah Williams Program Director & Education Sales Individual Giving Coordinator Rachel Trignano Verizon Wireless Manager of Amphitheatre at Melissa Donalson Broad Based Giving Encore Park Development Coordinator Russell Wheeler Katie Daniel Group & Corporate VIP Sales Manager Sales Manager Jenny Pollock Christina Wood Operations Manager Director of Marketing Rebecca Simmons Box Office Manager
52 EncoreAtlanta.com
Photos: Iris Feinberg
What will you pass down? Ensure that you will be remembered and that your charitable giving and lifelong values will continue for generations to come. For more information, visit www.AtlantaJewishLegacy.org. Create a Jewish Legacy is an initiative of the Jewish Federation of Greater Atlanta.
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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Atlanta’s Performing Arts Publication
More than a program, it’s your ticket to the arts. 404.459.4128 encoreatlanta.com
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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 bestavailable 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.
Timothy Fain
“Thrilling performances of the world’s greatest music – along with beautiful cool mountains, fine dining, golf, art, shopping and more – all await you at the 30th anniversary “Dream Season” of the Highlands-Cashiers Chamber Music Festival! Paradise is just a short 2 hour drive from Atlanta.”
Eroica Trio
HIGHLANDS-CASHIERS CHAMBER MUSIC FESTIVAL July 8 - August 14
www.h-cmusicfestival.org
Laura Ardan
(828) 526-9060 • Highlands, NC
William Preucil
fanfare, fiddle, friend
gallery
1
Erik Dixon
DIZZYING WORK Orchestra double bassist Michael Kurth (on right), also a composer, discussed May Cause Dizziness, his world premiere fanfare honoring Robert Spano’s 10th anniversary, with ASO Insider and Program Note Annotator Ken Meltzer prior to its performance last month.
1 2
2 VOILÀ! Partnering with WXIA-TV and its Random Acts of Kindness program, the Orchestra welcomed Miranda Cantrell, a local student and violinist, to Atlanta Symphony Hall for an open rehearsal, a “meet-andgreet” with Robert Spano, and a lesson from Concertmaster David Coucheron.
Jeff Roffman
3
Erik Dixon
3
58 EncoreAtlanta.com
WELCOME BACK! The eminent conductor Roberto Abbado, a longtime friend of the Orchestra, returned to lead a program of Haydn and Brahms, with guest pianist Peter Serkin in Bartok’s Piano Concerto No. 3.
SUNDAY, MAY 22 at 7 PM Join friends of UNICEF to experience our organization’s global influence on the lives of children without leaving Atlanta. Interactive exhibits. Heavy hors d’oeuvres and cocktails. Wishing well. CO-CHAIRS
John Terracino Vern Yip, UNICEF Ambassador The Lenox Square Luxury Wing
3393 Peachtree Road Northeast, Atlanta (mall entrance between Neiman Marcus and Lenox Square Grill)
Individual tickets start at $250. Proceeds will support UNICEF’s work in over 150 countries. Reservations (404) 881-2700 ext. 208
unicefusa.org/experience Portions of the showcase will remain viewable within the Lenox Square Luxury Wing through May 31.
FIRST BAG FREE ON EVERY DELTA FLIGHT. THE GOLD DELTA SKYMILES ® CREDIT CARD.
DELTA .COM/FIR STBAGFREE Benefit is limited to Basic Cardmembers (not Additional Cardmembers) with the Gold, Platinum, or Reserve Delta SkyMiles Credit Cards. Reservation must include the Basic Cardmember’s SkyMiles number. Fee waiver also available for passengers traveling in the same reservation as the Basic Cardmember. Maximum nine waivers per reservation. New Cardmembers and Cardmembers upgrading from another Delta SkyMiles Credit Card product will be eligible for the checked baggage fee waiver benefit after receiving their Card from American Express. Benefit available only on Delta and Delta Connection® carrier flight segments. Waiver does not apply to overweight or oversized bags. Additional terms, conditions and restrictions may apply. See delta.com/firstbagfree for details.