All about the women-Chicago a cappella by Footlights.com

All About the Women Saturday, April 14, 2012, 8:00 pm Nichols Concert Hall 1490 Chicago Ave., Evanston

Friday, April 20, 2012, 8:00 pm Anne & Howard Gottlieb Hall at Merit School of Music 38 S. Peoria St., Chicago

Sunday, April 15, 2012, 4:00 pm Pilgrim Congregational Church 460 Lake Street, Oak Park

Saturday, April 21, 2012, 8:00 pm Wentz Concert Hall 171 E. Chicago Ave., Naperville

Chicago a cappella Kathryn Kamp, Soprano Cari Plachy, Soprano Elizabeth Grizzell, Mezzo-soprano Susan Schober, Mezzo-soprano Hoss Brock, Tenor Trevor Mitchell, Tenor Matt Greenberg, Bass Benjamin Rivera, Bass Brian Streem, Bass Special Guest: Barbara Robertson, Actor Founder and Artistic Director Jonathan Miller Music Director Patrick Sinozich Chicago a cappella is partially supported by the Klaff Family Foundation; the MacArthur Fund for Arts and Culture at the Richard H. Driehaus Foundation; the Gaylord and Dorothy Donnelley Foundation; the Arts Work Fund for Organizational Development; Dr. Scholl Foundation; a CityArts Program 2 grant from the City of Chicago Dept. of Cultural Affairs and Special Events; the Oak Park Area Arts Council, in partnership with the Villages of Oak Park, Forest Park and River Forest; and the Illinois Arts Council, a state agency. The Naperville Sun is a media sponsor of Chicago a cappellaâ&#x20AC;&#x2122;s series at Wentz Hall in Naperville.

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A B O U T C H I C AG O A C A PPEL L A An ensemble of professional singers founded in 1993 by Jonathan Miller, Chicago a cappella presents an annual Chicago-area subscription series, creates studio recordings as well as live and broadcast-media musical content, and gives performances on tour and in special engagements. Long recognized for vocal virtuosity and innovative programming, the ensemble enjoys a reputation as a leader in the choral field. With more than 325 concerts to its credit, Chicago a cappella has produced more than 200 performances on its Chicago-based series. On tour, the group has appeared in 11 American states and in Mexico. The ensemble has been heard frequently on WFMT radio and through broadcasts distributed by American Public Media, including the highly-regarded Performance Today. The ensemble has produced eight CD recordings of music ranging from Renaissance masses to contemporary works.

From its inception, Chicago a cappella has been a champion of living composers. Since 1993 the group has presented more than 100 works in their world, national, or local premiere. Chicago a cappella has commissioned new music from composers such as Joseph Jennings, Chen Yi, Stacy Garrop, Rollo Dilworth, Tania León, and Ezequiel Viñao. As part of its work to give back to the community, Chicago a cappella has been increasingly active in the area’s schools. From an initial residency on Chicago’s West Side, the ensemble undertook residencies in Chicago Public Schools during both the 201011 and 2011-12 school years. This season, Chicago a cappella produced its first annual Youth Choral Festival and launched the ensemble’s High School Internship program, a unique multifaceted immersion for selected students in the world of both performance and arts administration.

Find us on Facebook for photos, audio clips and more: www.facebook.com/chicagoacappella Read blogs and join the conversation at www.chicagoclassicalmusic.org

2936 N. Southport Ave., 2nd Floor, Chicago, IL 60657 Phone: (773) 281-7820 | Fax: (773) 435-6453 www.chicagoacappella.org | info@chicagoacappella.org Founder and Artistic Director.................................................................................. Jonathan Miller Executive Director...............................................................................................Matthew Greenberg Music Director...............................................................................................................Patrick Sinozich Box Office & Concert Manager........................................................................................ Deb Hoban Marketing & Operations Coordinator................................................................Shaina Farwell Education Outreach Coordinator.............................................................................Susan Schober Interns..................................................................Manda Gervase, Katie Meyers, Myles Teague Board of Directors Michelle Eppley William K. Flowers Helen C. Gagel (President) Joyce Grenis (Secretary) Howard Hush 2 Chicago a cappella

Murray Kopelow Leslie Lauderdale Robert B. Linn (Treasurer) Linda Mast (Vice-President) David Perlman

Stephen Shaw Maria T. Suarez Committee Members Carole Baumgart William Thomas Huyck Yvonne Owens Lisa Scott John Sterling

C H I C AG O A C A PPEL L A C D S Available in the lobby: $16 each (includes sales tax) Days of Awe and Rejoicing: Radiant Gems of Jewish Music Our newest release is a treasury of unique and poignant Jewish music, from hallowed chants and High Holiday prayers to luminous, heartfelt works by today’s composers. Highlights include works by Pulitzer Prize-winner Shulamit Ran, Robert Applebaum, Max Janowski and Louis Lewandowski, as well as Stacy Garrop’s joyous “Hava Nagila,” commissioned by Chicago a cappella.

Christmas a cappella A celebration of the holiday season with Christmas songs from around the world

Shall I Compare Thee? Contemporary settings of Shakespeare’s timeless words

Eclectric New works, familiar favorites, pop & jazz. “An overflowing cornucopia of choral delights” (ChicagoTribune)

Holidays a cappella Live Live performances of Christmas spirituals, Chanukah songs and holiday music from around the world

Go Down, Moses A stunning collection of spirituals

Mathurin Forestier: Masses World-premiere recording of breathtaking Renaissance church music

Palestrina: Music for the Christmas Season Brilliant Renaissance polyphony by the Italian master Palestrina All About the Women 3

L O C AT I O N I N F O R M AT I O N Smoking is prohibited in all venues. Food and beverage are not permitted in the audience seating area. No photography or recording of any kind is permitted. Nichols Concert Hall Music Institute of Chicago 1490 Chicago Avenue, Evanston Restrooms and drinking fountain: On lower level; take stairs or elevator from lobby.

Anne and Howard Gottlieb Hall at Merit School of Music 38 S. Peoria St., Chicago Restrooms and drinking fountain: near main lobby entrance on first floor.

Pilgrim Congregational Church 460 Lake Street, Oak Park Restrooms: Off the lobby, in the southeast corner of the building. Accessible restroom in south hallway near the chapel. Additional restrooms on the lower level.

Wentz Concert Hall 171 E. Chicago Ave., Naperville Restrooms and drinking fountain: in the main lobby.

R E S TAU R A N T S U G G E S T I O N S Show your ticket stub or program book to receive discounts at these area restaurants.

Evanston

Chicago

Lulu’s Dim Sum & Then Sum 804 Davis St. (two blocks from Nichols Hall) Hours: 11:30 am – 10:00 pm 15% off (excludes Munch a Brunch and 8 after 8)

Jaks Tap Bar & Grill 901 W. Jackson Blvd. Hours: Fridays until 2 am 15% off all pizzas

Prairie Moon 1502 Sherman Ave. Evanston (one block west of Nichols Hall) Fri. & Sat. 4-11pm 15% off Oak Park Café Winberie 151 N. Oak Park Ave. Hours: Sun. 1-9pm 10% off Cucina Paradiso 814 North Blvd. Hours: Sunday 5-9:30 pm ½ off wine bottles with purchase of 2 entrees Reservations needed

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Lloyd’s Chicago 1 S. Wacker Dr. Dinner 5:00-8:30pm 10% off food Naperville Catch 35 35 S. Washington St. Hours: Fri. & Sat. 5-10 pm Sun. 4:30-8:30pm 10% off food Quigley’s Irish Pub 43 East. Jefferson Ave. Hours: Sat. until 2 am Sun. until 1 am 20% off food Tango Argentinean Grill 5 W. Jackson Ave. Hours: Sat. until 1 am Sun. dinner 2:30 pm-10pm $10 off purchase of $25 or more

PROGR A M Man! I Feel Like a Woman.....................................................Shania Twain and Mutt Lange, arr. James Yarbrough and Betsy Grizzell Kiss the Girl...................................................Music: Alan Menken; Lyrics: Howard Ashman; arr. Alexander Engler Diamonds are a Girl’s Best Friend...........................Music: Jule Styne; Words: Leo Robin; arr. Jarmela Speta; ed. Betsy Grizzell O! Mio Babbino Caro........................................................................................ Giacomo Puccini (libretto: Giovacchino Forzano); arr. Sean Altman; ed. Patrick Sinozich Chicago Bound Blues........................................................ Lovie Austin, arr. Jonathan Miller Ain’t No Sunshine.....................................................................Bill Withers, arr. Tristan Pilcher She’s Always a Woman................................................................. Billy Joel, arr. Philip Lawson Dames!........................................... Music: Richard Rodgers, Lyrics: Oscar Hammerstein II; arr. Patrick Sinozich INTERMISSION Baby Mine.............................................................................Frank Churchill, arr. Betsy Grizzell Waltz for Debby...............................................................Music: Bill Evans, Lyrics: Gene Lees; arr. Peder Karlsson Three Little Maids from School.............. Music: Arthur Sullivan, (libretto: W.S. Gilbert); arr. Betsy and Chris Grizzell Mama Who Bore Me (Part I and Reprise)..........................................Music: Duncan Sheik, Lyrics: Steven Slater; arr. Rose and Betsy Grizzell Una Matica de Ruda.....................................................Trad. Sephardic, arr. Jonathan Miller Mother I Will Have a Husband..........................................................................Thomas Vautor Ob-La-Di, Ob-La-Da.................................. John Lennon and Paul McCartney, arr. Bill Ives Calling My Children Home.................................................................... Lawson/Waller/Yates, arr. Emmylou Harris/Jonathan Miller Time Does Not Bring Relief, You All Have Lied..................................Music: Stacy Garrop, Poem: Edna St. Vincent Millay We Cannot Retrace Our Steps.............................................................Music: Virgil Thomson, (libretto: Gertrude Stein); arr. Betsy Grizzell You are invited to stay for a brief Q&A session with Barbara Robertson and Betsy Grizzell following the concert Latecomers will be seated at the discretion of the ushers. Unauthorized photography or sound recording of any kind are strictly prohibited. Thank you for your cooperation All About the Women 5

F R O M T H E A R T I S T I C D I R E C TO R It is exciting to me that Betsy Grizzell, a longtime singer in our ensemble, has now twice stepped up to the plate to develop a concert program for Chicago a cappella. Her first venture was a joint programming effort with me – The Birds and the Bees – which we presented exactly two years ago. Emboldened by that success, Betsy asked to “fly solo” for All About the Women, a concept that she and Kathryn Kamp first suggested, and I was impressed enough with the proposal that I agreed. Betsy is a bold and adventuresome colleague, with decades of experience as a professional singer and music educator. She has a keen ear for and knowledge of pop and show tunes as well as broad and deep exposure to great choral repertoire. Betsy has scoured the globe for great music, and when some of the songs she wanted were not in a cappella form, she either found help or did it herself! While I am pleased that she’s put a few of my own arrangements on this program, I’m even more pleased that she is stretching our repertoire to cover songs from productions as different as Spring Awakening and The Mother of Us All. Betsy’s program has great energy, spunk, fun, seriousness, and passion. Barbara Robertson’s gifts as an actress are enhancing the production in another way: Barbara is integral to the flow of the entire program, making it an unusually dramatic experience as well as a musical one. I am deeply grateful to both of these talented women for building on our 19 years of musical excellence to create a stage presentation of power and beauty. ******* I have someone else to thank. With this set of concerts, Patrick Sinozich is leading his final show on our subscription series as our Music Director. After he music-directs our Gala in May, he is moving on to other adventures. Patrick’s legacy after five years is a Chicago a cappella that is musically stronger and fresher than ever, that welcomes new voices without a hitch, that always remembers the imperative to communicate, and that embodies the true meaning of a professional vocal ensemble—classy, hard-working, and dedicated to results of exquisite musicianship and musicality. Next season’s programs, to be directed by me and an international cast of Guest Music Directors, will build on the strength of Patrick’s superb work. To Patrick I express my deepest thanks, admiration, and best wishes. Thank you for being here, for bringing anyone whom you brought, and for supporting the unique experience of live a cappella singing. Enjoy the show. --Jonathan Miller Founder and Artistic Director

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Join us at for a magical evening of music and revelry amid the antique wonderland of Chicago’s Salvage One. Groove to the ensemble’s performances of Lennon and McCartney songs, and enjoy hors d’oeuvres, wine, and dessert as well as an exciting raffle and silent auction. All proceeds support Chicago a cappella’s educational and artistic programs. Don’t miss this unforgettable event!

Special Guest Emcee: Terri Hemmert

Tribute Award: John Vorrasi Artistic & Executive Director, William Ferris Chorale

Friends of the Year: The Arts & Business Council of Chicago With special recognition to Joan Gunzberg

Thursday, May 17, 2012, 7:00 pm Salvage One A limited number of reserved host tables are available, as well as general admission reservations. Tickets and Information: www.chicagoacappella.org or 773-281-7820

INTRODUCTION Some years ago, veteran Chicago a cappella soprano Kathryn Kamp and I spent a couple of weeks brainstorming Chicago a cappella programs. Some of them were pretty sketchy, and some were full of detail. All About the Women was one of Kathryn’s ideas, including a long list of repertoire. Unfortunately, when a gap in CAC programming appeared, Kathryn was busy with multiple other projects (singing, stage directing…you have no idea how talented this chick is!). I received her blessing to propose, and subsequently proceed with, the project. She had lots of wonderful suggestions along the way, including contacting Barbara Robertson (the Jeff Award-winning Chicago actress) to present the non-musical portions of the program. I decided early on that the second half would be about a woman’s life, and that it would be chronological. That meant a more serious ending than we usually have, but the songs which presented themselves were perfect, if not perky. I knew that Barbara would be able to weave a story that would give us the ending I craved. Indeed, she even made the suggestion for the final piece. After struggling to find a recording, I finally found it on an LP in my own collection! Thank goodness I still have a working turntable. The first half was a bit more of a struggle. This was to be the Fun Half; the Raucous Half; the Any-Song-I-Like Half. The struggle was: too many choices! After much wringing of hands, multiple passes with a stopwatch, and a moment of ruthless, hatchet-like editing, the first half was finalized. It is shamelessly fun. Songs for both halves presented themselves fairly quickly. Arrangements...not so much! As a fledgling Chicago a cappella programmer (this is my second go, the first being our 2010 The Birds and The Bees program), I find it difficult and frustrating to hear a piece and not be able to find the arrangement. There are so many wonderful things to be found on YouTube and other sites, but it is often difficult if not impossible to find the actual printed music. I did track down several young arrangers, and am pleased to feature their work. It has also been an enormous thrill to see my children get into the act. Christopher put the bulk of Three Little Maids into Finale (a music notation program that is far from intuitive), and Rose took on Mama Who Bore Me, even as a Finale novice. Oh, the musical tools which are now available to the brave, daring arranger! I had thought of using all women composers, or at least only women poets. But how can we have a show called, “All About the Women” if we don’t consider the man’s point of view? The show is for women, about women, in praise of women, making fun of women... Yes, men needed to be featured as well. I hope our audience members of both genders enjoy the show. --Betsy Grizzell

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NOTES ON THE MUSIC PART 1 Man! I Feel Like a Woman Shania Twain, Mutt Lange; arr. James Yarbrough and Betsy Grizzell Unlike Helen Reddy’s defiant I Am Woman anthem of the ‘70s (“I am strong, I am invincible, I am woman”), Shania’s sassy anthem boasts the “prerogative to have a little fun.” Shania, a country singer who faced criticism in Nashville for baring her belly-button, defied the establishment and became a huge star. She fell in love with and married her producer, caught him cheating, divorced, married the cheatress’ ex-husband, lost her voice, and used it all as inspiration for her song writing. Man! I Feel Like a Woman is on the 1997 Come on Over album, which became a bestselling country music album with over 40 million copies sold. The song won a Grammy in 2000 for Best Female Country Vocal Performance. Shania’s other accomplishments include: five Grammys, three Academy of Country Music Awards, six American Music Awards, and 22 BMI Songwriting Awards. Kiss the Girl Music by Alan Menken, words by Howard Ashman; arr. Alexander Engler Disney’s 1989 animated film The Little Mermaid yielded two Oscar-nominated songs. Under The Sea, a fantastic production number, would ultimately win the Academy Award for Best Song. In Kiss the Girl, Sebastian the Crab encourages Prince Eric to kiss the Little Mermaid, Ariel. In doing so, he will turn her into a human, thus fulfilling her wish to live “where the people are,” and saving her from the evil witch-octopus, Ursula. My children, born in 1991 and 1992, nearly wore out our VHS version of The Little Mermaid. We recently watched it at the family cabin, with six now-twenty-something cousins alternately singing along and contributing cynical comments. We sing a version by one of the many young arrangers who are writing for their college a cappella choir. Alex Engler will graduate from Darmouth College this spring. Diamonds are a Girl’s Best Friend Music by Jule Styne, words by Leo Robin; arr. Jarmela Speta, ed. Betsy Grizzell Carol Channing debuted this song in the 1949 Broadway production of Gentlemen Prefer Blondes. Much later, she reprised her performance as a duet with another huge star, Miss Piggy. The song appears twice in the 1953 film version of the same show, most famously by Marilyn Monroe and in a completely different version (and outfit!) by Jane Russell. Other worthy versions include: Christina Aguilera in Burlesque, Beyonce for Emporio Armani, and Nicole Kidman in Moulin Rouge. The Sweet Adelines, a female barbershop organization, provides us with our arrangement by local musician and director Jarmela Speta. Singing the lead is Kathryn, whose family has a proud barbershop history. O! Mio Babbino Caro Giacomo Puccini, libretto by Giovacchino Forzano; arr. Sean Altman, ed. Patrick Sinozich Puccini wrote his comedic one-act opera, Gianni Schicchi, in 1918. Amidst a feuding family plotting to alter a dying man’s will, newcomer Schicchi has a plan of his own. His daughter, Lauretta, sings one of the shortest and most beautiful arias in opera, providing a brief moment of sanity. She begs her father to let her marry her love, Rinuccio. Schicchi manipulates everything for the best outcome.

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N O T E S O N T H E M U S I C ( c o n t .) O! Mio Babbino Caro is in the repertoire of every worthy soprano, and in the dreams of most mezzo sopranos and altos, both worthy and not. We first performed this GrooveBarber’s version on our 2008 Romanticism and Rock and Roll concert. O mio babbino caro Mi piace è bello, bello Vo’andare in Porta Rossa a comperar l’anello! Sì, sì, ci voglio andare! e se l’amassi indarno, andrei sul Ponte Vecchio, ma per buttarmi in Arno! Mi struggo e mi tormento! O Dio, vorrei morir! Babbo, pietà, pietà! Babbo, pietà, pietà! —Giovacchino Forzando

O my dearest daddy He is pleasing to me, and so handsome I want to go to Porta Rossa to buy the ring! Yes, yes, I want to go there! And if my love were in vain, I would go to the Ponte Vecchio, and throw myself in the Arno! I am aching, I am tortured! Oh God, I’d rather die! Father, have pity, have pity! Father, have pity, have pity! —trans. Jonathan Miller

Chicago Bound Blues Lovie Austin, arr. Jonathan Miller Lovie Austin was a pianist, and a female in the male-dominated music scene in post-World War I Chicago. She was a composer for the Theatre Owners Bookers Association, a black vaudeville circuit, and was the music director at the Monogram Theater on south State Street. Jonathan’s wonderful arrangement is a faithful transcription of the 1923 Bessie Smith recording, complete with piano and clarinet solos. Despite the subject matter, I find it surprisingly perky. Jonathan writes: “The lyrics tell of a woman in the Deep South who wants to go to Chicago but is not on the train; her man went north without her, leaving her to die ‘down home’ from the blues.” Ain’t No Sunshine Bill Withers, arr. Tristan Pilcher In September of 1971, I was a freshman at Hinsdale Central High School. This hit song is burned into my brain, especially the “I know, I know, I know…” section. The song was from the Just As I Am album, and won a Grammy in 1972 for Best R&B Song. The album was produced by Booker T. Jones of Booker T and the MGs. My brother, Pat, a knowledgeable blues aficionado (and mean bass player), provided me with some background on Booker T and friends: “All these guys were available individually or as a unit if you showed up at the studio, wanted to record, but were short a player or two. In the grand American tradition of business owners doing everything as cheaply as possible, these guys would often wear many hats. They would play if you needed, they’d arrange if you wanted that, they’d do a little production, writing, engineering… They’d run down and get you a chicken dinner if you were hungry, and more than likely sweep out the studio when you left.” Our arrangement comes from Tristan Pilcher, just one of the many young arrangers out there who are trying to ride the wave of college a cappella popularity. Tristan graduated in 2011 from University of Waterloo in Waterloo, Ontario, Canada. She’s Always a Woman Billy Joel, arr. Philip Lawson Billy Joel is a six-time Grammy winner, having been nominated 23 times. He is a member of the Songwriter’s Hall of Fame and the Rock and Roll Hall of Fame. His 1977 album, The Stranger, is responsible for two of those Grammys (Record of the Year, and Song of the Year for Just the Way You Are). She’s Always a Woman (from The Stranger) highlights a woman’s quirks and faults. I love that included in that list is:“she’s nobody’s fool.” Joel’s classical piano chops are evident in this song’s accompaniment, with its Bach Prelude-esque rolling arpeggios. 10 Chicago a cappella

N O T E S O N T H E M U S I C ( c o n t .) Our arranger is the fantastic Philip Lawson, formerly of the King’s Singers. He is responsible for over 50 of the King’s Singers arrangements, and arranged 10 of the 15 tunes on their Grammy Award-winning album, Simple Gifts. His arrangements are always challenging, and are at once an accurate depiction of the original and creatively unique. In this arrangement he cruelly spreads the arpeggios over four voice parts. Dames! Music by Richard Rodgers, lyrics by Oscar Hammerstein II; arr. Patrick Sinozich Patrick Sinozich crafted this arrangement for our 2010 Gala. It features songs from The Sound of Music, Oklahoma, Cinderella, South Pacific, and Flower Drum Song. Patrick’s arrangements are clever, sometimes brutal to sing, and always fun! Are you insulted by the term, “dame?” Not me. I think of someone strong, sexy, and confident, like Mae West, but without the big hat and the buxom bod. As a high school choral director (my first post-college job, and what I thought would be my career), I staged three of these shows. I left the grueling world of high school music for singing, and teaching toddlers. INTERMISSION

Suggestions for Intermission • Subscribe to our 2012-13 season and get DOUBLE GUEST VOUCHERS. Offer is only valid today, so sign up in the lobby before you leave! • Buy raffle tickets for your chance to win a Magical Mystery Trip. Raffle tickets are $10 (3 for $25) and available in the lobby. • Make your reservation for our Lennon & McCartney benefit bash, Come Together! The event is May 17 at the fabulous Salvage One venue. Information and reservations available in the lobby and on our website.

Keep track of Chicago a cappella with your favorite social media! “Like” us on Facebook at Chicago a cappella Follow us on Twitter at chi_acappella All About the Women 11

N O T E S O N T H E M U S I C ( c o n t .) PART TWO Baby Mine Frank Churchill, arr. Betsy Grizzell In 1941, Disney released the animated film, Dumbo. In it, a baby circus elephant, Jumbo Jr., is born with enormous ears. His mother loves him unconditionally, of course. But the others in the circus menagerie are not so kind. They dub him “Dumbo”, and tease him cruelly. His mother defends her baby boy to the point of her being captured and separated from her son. She is chained in a circus train car, but can reach her trunk out to comfort and rock her little guy. The scene always makes me weepy. A mother with her child who is different from the other kids, but she loves him just the same… Ah, go ahead. Lock me up, too. Dumbo won the 1941 Academy Award for Original Music Score, and Baby Mine was nominated for Best Song. During the scene, Baby Mine is sung by the voice of Betty Noyes, with a beautiful, soothing, womanly voice. No pop princess here. Waltz for Debby Music by Bill Evans, lyrics by Gene Lees; arr. Peder Karlsson Waltz for Debby was first composed as a piano trio and appeared on Evans’ 1956 New Jazz Conceptions album, and later on the 1961 live album, Waltz for Debby. It has been covered by many, including Tony Bennett (accompanied by Evans), Oscar Peterson, and The Real Group. Waltz for Debby was programmed on our first vocal jazz concert, 2002’s Stormy Weather. Peder Karlsson of the Real Group provides the arrangement, using a lilting waltz alternated with a light jazz swing to express so effectively a love for a little girl. Sigh. My baby girl is away at her first year of college… For the record: Peder Karlsson’s arrangement of “Waltz for Debby” appears on our CD Eclectric. Three Little Maids From School Music by Arthur Sullivan, libretto by W.S. Gilbert; arr. Betsy and Chris Grizzell Gilbert and Sullivan’s comic opera, The Mikado, opened in 1885. It is set in Japan, and deals with betrothal and avoidance of betrothal. One of the reluctantly betrothed, Yum-Yum, joins with her sisters, Peep-Bo and Pitti-Sing, to sing this famous trio. My son, Christopher, seeing that I was overwhelmed with arranging for this program, volunteered to help. I had no idea that he knew how to use Finale, the not-so-user-friendly notation program. He saved me hours of work, and provided lots of sensible suggestions. Mama Who Bore Me (Part I and Reprise) Music by Duncan Sheik, lyrics by Steven Sater; arr. Rose and Betsy Grizzell This is the opening number from the 2007 Broadway show Spring Awakening, an adaptation of the 1892 German play of the same title, dealing with teenagers who are discovering their sexuality. In 2007, Spring Awakening received eleven Tony Award nominations, winning eight. In the opening number, local girls lament their lack of knowledge on the facts of life. Spring Awakening deals with erotic dreams, self-stimulation, physical intimacy, incest, suicide, teenage pregnancy, and abortion. My daughter, Rose, insisted upon arranging Mama Who Bore Me and its Reprise. She is a freshman at Carthage College in Kenosha, majoring in Theatre. I’m happy to report that she still studies harp as well.

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N O T E S O N T H E M U S I C ( c o n t .) Una Matica de Ruda Traditional Sephardic, arr. Jonathan Miller “Sephardic” refers to the descendants of Jews who lived in the Iberian Peninsula before their expulsion in the late 1400s. Many of their surviving songs and customs exhibit a Spanish flair, including the use of the Ladino dialect. Una Matica de Ruda, as arranged by Jonathan, has a sensuous, earthy feel. I envision a group of travelers, sitting around the embers of a fire, listening to one of their favorite tales. The listeners provide a background of droned chords, clicks, snaps, and grunted commentary. I invited my stand-mate, Susan, to portray the part of the defiant daughter against my lecturing mother. Mother: Una matica de ruda Una matica de flor: Hija mia querida, Dime a mi quen te la dio.

Mother: A little bunch of rue, a little bunch of flowers: my dear daughter, tell me who gave them to you.

Daughter: Una matica de ruda, Una matica de flor: Me la dio un mancevico Que de mi s’enamoro.

Daughter: A little bunch of rue, a little bunch of flowers: a young man gave it to me, who, I know, is in love with me.

Mother: Hija, mia mi querida, No t’eches a perdición, Mas vale un mal marido Que major de nuevo amor.

Mother: My beloved daughter, do not bring yourself to a downfall: a bad husband is worse than a new love is good.

Daughter: Mal marido la mi madre, No hay mas maldición, Nuevo amor, la mi madre, La mansana y el limón. —anon. Sephardic

Daughter: A bad husband, my dear mother, will not be a curse to me; a new love, my mother, (is better than) the apple and the lemon. —trans. J. Miller

39th Opera Contest Season

Preliminaries $40.00 per person

Dinner, Tax & Service Charge included, $10.00 Tax Deductible

Mar. 4 & Mar. 11 – 5:30

Semi-Finals $50.00 per person

Dinner, Wine, Tax & Service Charge included, $10.00 Tax Deductible

Mar. 18 – 5:30 & Apr. 14 – 6:30

Grand Prize Evening $75.00 per person

Hors d'oeuvres, Dinner, Wine, Tax & Service Charge included, $20.00 Tax Deductible

Sat. Apr. 21 – 6:30

Bravo Awards $60.00 per person

Dinner, Wine, Tax & Service Charge Included, $10.00 Tax Deductible

Sun. May 20 – 5:30

For Reservations call

773-588-2515

Monastero’s

Ristorante & Banquets 3935 W. Devon Avenue Chicago, IL 60659 All About the Women 13

N O T E S O N T H E M U S I C ( c o n t .) Mother I Will Have a Husband Thomas Vautor This English madrigalist (c. 1590-1625) is not the only one who seems to have known what young women wanted: a husband. Is that really what young women wanted? Or is that just what was expected of them? Similar to Una Matica de Ruda, this young girl wants a husband,“good or bad.” The common madrigal technique of voice exchange is used from the beginning in the two soprano voices. And in the contrasting middle section, offset soprano entrances highlight the lighthearted, defiant text:“To the town therefore will I gad.” Ob-La-Di, Ob-La-Da John Lennon and Paul McCartney, arr. Bill Ives This appears on the 1968 album, The Beatles, aka The White Album. Beatles history is full of rumor, myth, and hearsay. Supposedly Paul actually wrote the song and John hated it. Reportedly, “ob-la-di ob-la-da, bra” is a saying used by a Jamaican acquaintance of Paul’s and means “life goes on, brother.” Apparently, Paul messed up the words during the recording session, but he kept the botched take. Arranger Bill Ives (of the King’s Singers) uses a marimba accompaniment. Hours of rehearsal were spent mastering the technique. Calling My Children Home Doyle Lawson/Charles Waller/Robert Yates, arr. Emmylou Harris and Jonathan Miller My mother, when looking back at her track record in raising six children, often says,“I gave it my all.” I sang this number at a family Musical Evening soon after my father passed. Mom cried. Now, just months after my sister’s passing, it takes on a new meaning. I would like to dedicate this program to my mother. She indeed gave it her all, and still does. One foot in front of the other, Ma. Chicago a cappella first sang this in 1999 on the concert Go Down, Moses. Jonathan arranged it before Finale, Sibelius, or any other computer notation programs existed, using the 3 Ps: paper, pen, and photocopy. Brian Streem finally put it into Finale this year, with his usual attention to detail. Time Does Not Bring Relief, You All Have Lied Music by Stacy Garrop, poem by Edna St. Vincent Millay The Grant Park Chorus sang Garrop’s Sonnets of Desire, Longing, and Whimsy for its 2011 a cappella programs. I had been hoping to find one of Stacy’s pieces for my All About the Women program, and Grant Park’s first read-through of this setting left me breathless. I ultimately was not able to be part of the performance; my dear sister, Mary, lost her horrible battle with cancer just days before the first performance. Talk about a strong woman! But that’s another story… This number was immediately written into my program. It made me think of my mother who, upon losing my father, commented that she couldn’t listen to music anymore because either he would have liked it, or it reminded her of something in their past. Later it occurred to me that this poem is not about death necessarily, but about the end of a relationship. For me, though, it marks that most final of ends. Edna St. Vincent Millay (1892-1950) was a Pulitzer Prize winning poet. Her works include over 200 sonnets, along with several books of poetry, and an opera libretto. Time does not bring relief; you all have lied Who told me time would ease me of my pain! I miss him in the weeping of the rain; I want him in the shrinking of the tide; The old snows melt from every mountain-side, 14 Chicago a cappella

N O T E S O N T H E M U S I C ( c o n t .) And last year’s leaves are smoke in every lane; But last year’s bitter loving must remain Heaped on my heart, and my old thoughts abide. There are a hundred places where I fear To go, so with his memory they brim. And entering with relief some quiet place Where never fell his foot or shone his face I say, “There is no memory of him here!” And so stand stricken, so remembering him. —Edna St. Vincent Millay We Cannot Retrace Our Steps Music by Virgil Thomson, libretto by Gertrude Stein; arr. Betsy Grizzell Virgil Thomson and Gertrude Stein collaborated on a number of works, including three of her poems, and two operas. The opera The Mother of Us All was their last work together, and was Stein’s last completed work. It premiered in May of 1947, ten months after Stein’s death. We Cannot Retrace Our Steps ends the opera, and is sung by a statue of Susan B. Anthony. She looks back on the struggles and lessons of her long life. Barbara suggested this song.When I first listened to it, I thought we couldn’t possibly end our program with such a slow, dramatic piece. But I was drawn to it over and over, despite not quite loving the text. Later I read that Thomson had said,“My theory was that if a text is set correctly for the sound of it, the meaning will take care of itself.” I decided to give in to the longing I felt for the piece. I admit it. I usually don’t get Gertrude Stein. But the text hits home at this stage of my life. One looks back and wonders,“Did I do the right thing? Is this all there is? What’s next? Have I done my best?” I believe that, as long as the answer to the last question is “Yes,” there can only be pride. —Notes by Betsy Grizzell

Thank you, Patrick Sinozich! An important change on our artistic team will take place this spring, as we bid a fond farewell to our music director, Patrick Sinozich. Patrick will be moving on to pursue new musical opportunities after a very successful five year run as Chicago a cappella’s first-ever music director. (Before that, he served as our occasional rehearsal coach, and even accompanied our very first auditions in 1993, so our musical relationship goes back almost 20 years!) Although it will be tough to see him go, we are looking forward to working with three Guest Music Directors during our 2012-13 season, as well as artistic director Jonathan Miller, who will take the helm for our opening concert. Patrick will always be part of our musical family – in fact, we are designating him Music Director Emeritus – and we know that the years ahead will continue to include some of the marvelous arrangements he’s created for us. He will music direct our upcoming benefit event, Come Together on May 17. We’ll relish this chance to celebrate the great musical gifts Patrick has brought to Chicago a cappella, and we wish our beloved colleague only the best. All About the Women 15

SPECIAL THANKS Chris Baer Enid Frandzel Grant Park Chorus: Christine Worthing Christopher Grizzell Rose Grizzell Paul Grizzell Bill Hoban Kathryn Kamp Merit School of Music: Tom Bracy, Brian Gordon Jonathan Miller Sandy Miller Music Institute of Chicago: Fiona Queen, Jared Scott North Central College: Ken Hannah Pilgrim Congregational Church: Joan Hutchinson, Joycelin Fowler Brian Streem James Yarbrough Women’s Business Development Center: Hedy Ratner And all of our arrangers, co-arrangers, and junior arrangers Thanks also to The Saints, Volunteers for the Performing Arts, for providing our house staff. For information visit www.saintschicago.org or call 773-529-5510.

C H I C AG O A C A P P E L L A A R T I S T R O S T E R 2 011-12 Jonathan Miller...................................................................................................................Artistic Director Patrick Sinozich..................................................................................................................... Music Director Hoss Brock..............................................................................................................................tenor (Women) Klaus Georg...................................................................................tenor (Days of Awe; Holidays, Wade) Matt Greenberg........................................................................ bass (Days of Awe; Holidays; Women) Elizabeth Grizzell....................................................................................................mezzo (entire season) Garrett Johannsen.............................................................................................................tenor (Holidays) Kathryn Kamp.....................................................................soprano (Days of Awe; Holidays; Women) Alexia Kruger..................................................................................................... soprano (Holidays; Wade) Joe Labozetta............................................................................................................bass (Holidays; Wade) Trevor Mitchell............................................................................... tenor (Days of Awe; Wade; Women) Cari Plachy..................................................................................soprano (Days of Awe; Wade; Women) Sarah Ponder..................................................................................................................... mezzo (Holidays) Benjamin Riveraa............................................................................ bass (Days of Awe; Wade; Women) Susan Schober.............................................................................mezzo (Days of Awe; Wade; Women) Brian Streem................................................................................................................. bass (entire season)

BIOGR APHIES Jonathan Miller, Founder and Artistic Director Since founding Chicago a cappella in 1993, Jonathan Miller has guided the ensemble through more than 130 concerts, seven commercial CD releases, and thirty choral-music demo CDs. His international accolades include the 2008 Louis Botto Award for Innovative Action and Entrepreneurial Zeal from Chorus America. His skills at presenting a wide spectrum 16 Chicago a cappella

of music are a combined product of his singer’s ear, scholar’s training, and composer’s temperament. He was fortunate to be exposed at an early age to a wide range of music by a remarkable group of mentors, including Christopher Moore, Lena McLin, Max Janowski, Joseph Brewer, Howard Mayer Brown, Richard Proulx, John Nygro, and Anne Heider. He was a founding member of His Majestie’s Clerkes (now Bella Voce) and for ten years was bass soloist with the Harwood Early Music Ensemble. Eager to learn research tools for repertoire, Jonathan pursued musicology, earning his doctorate

B I O G R A P H I E S ( c o n t .) at UNC-Chapel Hill while remaining an active performer. Since returning to the Chicago area, Jonathan has expanded his role as a conductor and composer. He has led the volunteer choir at Unity Temple and Heritage Chorale in Oak Park and has served several other choirs as clinician and coach. He has written more than fifty choral works in a variety of genres and languages; his music has been sung at venues including St. Patrick’s Cathedral in New York City and the Pentagon. He conducted his piece The Lincoln Memorial at the Lincoln Memorial on the 200th anniversary weekend of Lincoln’s birth. Since 1998, Jonathan has taken a growing leadership role in Chicago-area Jewish music, leading the high-holiday choir and occasional Kabbalat Shabbat services at Congregation Rodfei Zedek in Hyde Park; he now serves there as high-holiday cantor. He is principal guest conductor of Kol Zimrah, the Jewish Community Chorus of Metro Chicago, and holds as a great honor his role as publisher of the late Max Janowski’s catalogue. Jonathan enjoys the blessings of family and neighbors in the woods of Downers Grove, where he loves helping to maintain two shared vegetable gardens. Patrick Sinozich, Music Director An acclaimed choral conductor, pianist, vocal coach, and chamber musician, Patrick Sinozich joined Chicago a cappella’s musical staff in 2007 as Music Director. He is currently in his 15th season as Artistic Director of the Chicago Gay Men’s Chorus, and is Assistant Director of Music at St. Clement Catholic Church in Lincoln Park. He is on the musical staff of the Chicago Symphony and has performed chamber music with members of the Chicago Symphony Orchestra, the Lyric Opera Orchestra, the San Francisco Symphony and the Cincinnati Symphony. He has also produced four CDs for Chicago a cappella and three for the Chicago Gay Men’s Chorus (which feature many of his own arrangements). Patrick will be moving on to other professional opportunities after this spring’s Gala, Come Together, capping off a very successful five year run as Chicago a cappella’s first-ever music director. We’ll relish these final chances to celebrate the great musical gifts Patrick has brought to Chicago a cappella!

Barbara Robertson In the past year, Barbara Robertson appeared in Wicked (first National Tour), received a Jefferson Award for her portrayal of Alice Conroy in the world premiere of Keith Huff’s The Detective’s Wife (Writers’ Theatre), opened Working as well as Love, Loss, and What I Wore (Broadway Playhouse), and just finished the run of Camino Real at the Goodman Theatre. She has played in many of Chicago’s theatres, and earned over twenty awards and nominations for her performances in such shows as: The Goat, or Who is Sylvia?, Garden, Pal Joey, Black Snow (Goodman Theatre); A Little Night Music; Kabuki Lady Macbeth; Hamlet (Chicago Shakespeare Theatre); Who’s Afraid Of Virginia Wolf?, Mary Stuart, La Bete, (Court Theatre); Grand Hotel (Water Tower); Emma’s Child (Victory Gardens); Yeast Nation (ATC); Kabuki Medea and the First National Tour of Tony Kushner’s Angels in America I and II. Film credits include The Company, A Straight Story, Hunter, LOL and various projects for television. Barbara will be performing her cabaret:“Stages of My Life” at the Wilmette Theatre on April 15. Hoss Brock, tenor With feats of vocal and linguistic derring-do, Hoss Brock has become a perennial favorite with audiences and critics alike. As a soloist with the Grant Park Music Festival, Hoss earned praise from critic John Von Rhein for his “plaintive, clarion singing” and his command of Slavic texts. When asked to fill in for Warsaw Opera star Adam Zdunikowski in the Lira Ensemble’s “Polish Christmas,” with only days to prepare selections by Paderewski and Moniusko, Brock (who can barely pronounce “Zdunikowski”, much less speak Polish) delivered a “warm and emotional rendition” (Chicago Sun-Times). Sponsored by a grant from the Metropolitan Opera Competition, Hoss traveled to Barcelona, Spain, to compete in the Francisco Viñas International Vocal Competition, from which he was promptly eliminated, and subsequently enjoyed a fabulous week of shopping, All About the Women 17

B I O G R A P H I E S ( c o n t .) sightseeing, and sangria. Recently, Hoss has performed Mozart’s Requiem, Bach’s B Minor Mass, and “Baba Yetu” from Civ IV at Video Games Live. Matt Greenberg, Baritone Matt Greenberg has appeared frequently on Chicago’s concert and theater stages, singing everything from Bach to Broadway. His solo appearances include Bach’s St. Matthew Passion, Mozart’s Requiem, and an evening of Rodgers and Hammerstein. Matt is a longtime member of the Grant Park Chorus and sang for over 20 years with the Chicago Symphony Chorus, where he made over a dozen solo or small ensemble appearances. A founding member of Chicago a cappella, he has also performed with Music of the Baroque, William Ferris Chorale, and the Harwood Early Music Ensemble. Matt’s work in musical theater includes the Jeff-award winning Sylvia’s Real Good Advice, Hot Mikado, and appearances at Light Opera Works and Wisdom Bridge. He has also appeared with the pop quintet Table For Five. Combining his performing with a career in arts administration, Matt is Chicago a cappella’s Executive Director. Elizabeth Grizzell, mezzo Mezzo-soprano Elizabeth Grizzell has performed with groups both in Chicago and abroad. She has appeared as soloist with the Tunbridge Wells Opera, the Marlow Choral Society, and the Wooburn Singers of England. As a member of the Chicago Symphony Chorus, she has recorded the role of Apprentice with the late Sir Georg Solti and the Chicago Symphony Orchestra in Wagner’s Die Meistersinger. Betsy is also a member of the Grant Park Chorus, and records regularly as a soloist for GIA Publications. She holds a Bachelor of Music degree with a vocal emphasis from DePaul University. This will be Betsy’s 12th season with Chicago a cappella. She is proud to be programming this year’s All About the Women concert, and she previously programmed the ensemble’s 2009 concert, The Birds and the Bees. Of special note is 18 Chicago a cappella

her Betsy’s MusiKids program, a musical education experience designed for children ages 16 months to 9 years old. Her studio in Naperville introduces more than 100 children each year to the fun and beauty of music. Find her on Facebook at “Betsy’s MusiKids”, or at www.grizzell.com. Kathryn Kamp, soprano A mix of opera, operetta, and musical theater productions as well as oratorio, concert, and choral engagements keeps Kathryn busy when she’s not singing with Chicago a cappella. She has appeared as soloist at the Ravinia Festival, Orchestra Hall at Chicago Symphony Center, Grant Park Music Festival, the Peninsula Music Festival, and Bach Dancing and Dynamite Society, among others. Favorite works include Mozart Requiem; Haydn Creation and Dixit Dominus; Handel (Messiah); Poulenc (Gloria) and Brahms (Requiem); Mozart’s Despina (Cosi fan tutte); many Gilbert and Sullivan ingénues (Patience, Rose Maybud, Yum-Yum and Mabel); and anything by Steven Sondheim (especially Anne Egerman and Mrs. Segstrom of A Little Night Music). She has also directed over 15 opera and operetta productions. Free time is spent in the garden, on a bike, cooking, reading, and hanging out with her husband. She always looks forward to the unique vocal demands and wonderful colleagues of Chicago a cappella. Trevor Mitchell, tenor Acclaimed as having “simply the most uniquely beautiful and easily produced tenor instrument most people will ever hear,” Trevór Mitchell’s career has taken him across the U.S. as well as to Austria, Italy, Ukraine, the United Kingdom. Recently audiences heard him in Bach’s B-Minor Mass, WeihnachtsOratorium, St. Matthew Passion, and St. John Passion, Britten’s Serenade for Tenor, Mozart’s Requiem, Beethoven’s Missa Solemnis and Ninth Symphony, Vivaldi’s Beatus Vir, Gershwin’s Porgy and Bess, and several recitals, one being a recital for honored guest Paul, Duke of Oldenburg of Germany. Under the baton of the renowned John Rutter, Trevór performed Vaughn Williams’

B I O G R A P H I E S ( c o n t .) Serenade to Music. Recent performances also include Messiah with the Baroque Band and Handel’s Judas Maccabaeus. He also recorded Don Meyers’ Meditation in Three Reflections with the Millennium Symphony of Norfolk, VA. Upcoming engagements include Haydn’s Theresienmesse, Mozart’s Requiem, Rossini’s Stabat Mater, a recording of Christmas music and several solo recitals. Cari Plachy, soprano Chicago native Cari Plachy is enjoying splitting her time between choral and opera singing. She has been seen throughout the Midwest with Opera for the Young, DuPage Opera Theater, Light Opera Works and Bowen Park Opera. Her choral work includes singing with the Chicago Symphony Chorus. In 2008, she had an opportunity to step out from the chorus and sing a solo in Bruckner’s Psalm 150. The Chicago SunTimes recognized it as being a “sparkling, and aggressively sung solo.” Cari received her Bachelor’s degree in music education from DePaul University. Since then, she has been working with the education department of the Chicago Symphony Orchestra, bringing music to children all over Chicago. In addition to her work in Chicago, Cari is fortunate to bring her love of music to deaf children at Child’s Voice School in Wood Dale. Benjamin Rivera, bass Bass-baritone Benjamin Rivera appears often as a concert and oratorio soloist. Recent appearances include performances of Bach’s St. John Passion, several Haydn Masses and a local premiere of a song cycle for baritone and instrumental sextet by Stacy Garrop. He is a longtime member of the Chicago Symphony Chorus, where he served in the position of section leader for several seasons. Benjamin also sings with the Grant Park Chorus during the summer. He recently completed his tenth season as conductor of the Chicagoarea chamber choir Cantate, with whom he performs a wide range of mainly a cappella music. Benjamin holds the Master of Music degree in Music Theory from

Roosevelt University and recently left a teaching position at St. Xavier University to pursue doctoral studies in conducting at Northwestern University. Susan Schober, mezzo Susan Schober is a founding member of Chicago a cappella. A native Chicagoan, she sang for nine years with the Chicago Children’s Choir, and has performed a wide variety of solo and choral music with Chicago-area ensembles. Most recently, she was a soloist at the 23rd International Kodály Festival in Kecskemét, Hungary. In addition to solo and choral music, Susan has performed leading roles in several theatrical productions, including Puccini’s Gianni Schicchi, Britten’s Albert Herring, Herman’s La Cage Aux Folles, and Sullivan’s Utopia Limited. Susan received her bachelor’s degree from Northwestern University and a master’s degree in Music Education from Holy Names University in Oakland, CA. She is an accomplished music educator, specializing in the Kodály Method. She has taught students at every level, from preschool to graduate level teacher training. Susan loves both singing and teaching, but her favorite job is being a new mom to twins Katherine and Andrew. Brian Streem, bass A lover of choral music, Brian Streem has been a member of some of Chicago’s finest choral ensembles, including the Chicago Symphony Chorus, the Grant Park Symphony Chorus, Bella Voce, the William Ferris Chorale, and the Chicago Jazz Ensemble. His theatrical credits have included Pippin (Pippin), Jesus (Jesus Christ Superstar), Sky Masterson (Guys and Dolls), Jack (Into the Woods), Philip (Lion in Winter) and the star of the one-man show All in the Timing. His recent work with Chicago a cappella was praised by critic Cathryn Wilkinson, who noted that he “pattered out a better maraca ostinato with his mouth than many drummers can with two hands.” Brian is a graduate of the Chicago College of Performing Arts at Roosevelt University, studying music theory with Dr. Rudy Marcozzi. All About the Women 19

Chicago a cappella’s 2012-2013 Season Subscribe today and get 4 tickets to use however you choose.

How it works: · Use your four tickets in any combination · Choose dates now, change your mind any time · Unlimited free exchange privileges with simple phone call or online form What you get: · Two guest vouchers Bring two friends for free! Receive two free guest vouchers when you subscribe today. Offer only valid today.

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· Advance Program Notes Read about the concert before you arrive with our email program notes. FALL Genius in the Synagogue: A Musical Portrait of Max Janowski We mark the centenary year of Chicago’s renowned composer of Jewish music with works from his distinctive legacy, new a cappella arrangements of his music, and other styles in which he excelled, from folk songs to spirituals. DECEMBER Navidad en México Celebrate Mexico’s rich choral heritage, from Renaissance and baroque music to traditional songs from Chihuahua and Jalisco. We’ll present the world premiere of a commission by acclaimed Mexican composer and conductor Jorge Córdoba Valencia. Feliz Navidad! WINTER Spirit / Breath / Voice This inspiring concert about generosity, peace, and joy is centered around movements from a Renaissance Mass. Revel in the uplifting sounds of Shaker tunes and bold and joyful new works by Gwyneth Walker and Oleh Harkavyy. SPRING The A Cappella American Songbook The songs of Gershwin, Porter, Berlin, and others are “Steppin’ Out” in new adaptations for a cappella voices by a host of brilliant arrangers. Enjoy these charming and witty classics like you’ve never heard them before.

Don’t delay – subscribe today in the lobby. Visit online at www.chicagoacappella.org or call (773) 281-7820.

Chicago a cappella Raffle 2012 Enter Chicago a cappella’s 2012 raffle and win a “Magical Mystery Tour” vacation getaway! Buy 1 raffle ticket for $10 or 3 for $25 and you could win two roundtrip tickets on Southwest Airlines to any continental U.S. destination of your choice! Plus, you’ll also get a $500 Travelocity gift card! The winner will be announced at our benefit bash, Come Together on May 17, 2012. Winner need not be present to win.

Buy your raffle tickets in the lobby during intermission or after the concert!

DONORS We offer our deep gratitude to our contributors who made gifts and pledges to Chicago a cappella between January 1, 2011 and March 20, 2012. We regret that we are unable to list the many thoughtful contributors who made gifts under $50. If this list contains an error, please accept our apologies and kindly let us know so that we may correct it.

INSTITUTIONAL CONTRIBUTORS FOUNDATION SUPPORTERS Arts Work Fund for Organizational Development Dr. Scholl Foundation The Gaylord and Dorothy Donnelley Foundation Klaff Family Foundation The MacArthur Fund for Arts and Culture at the Richard H. Driehaus Foundation Richard H. Driehaus Foundation

GOVERNMENT SUPPORTERS Illinois Arts Council City of Chicago Dept. of Cultural Affairs and Special Events Oak Park Area Arts Council MEDIA SPONSORS 90.9fm WDCB (Holidays a cappella) Chicago Jewish News (Days of Awe) Naperville Sun (concerts at Wentz Hall, Naperville)

CORPORATE SUPPORT, MATCHING GIFTS, AND OTHER SUPPORT AT&T Foundation Bank of America Blue Cross-Blue Shield of Illinois First Bank and Trust Evanston Homestead Hotel JP Morgan Chase Foundation King Insurance Agency Macy’s Foundation Robert Morris University St. Scholastica Academy in memory of Frances Flowers Whole Foods Markets All About the Women 21

DONORS

INDIVIDUAL CONTRIBUTORS VISIONARY ($5,000 or more) Estate of Helen Asher ARCHANGEL ($2,500 or more) Howard and Jane Hush Murray Kopelow and Cathy Bachman ANGEL ($1,000 or more) Bonnie Benson Marguerite Bloch Bill and Jeanetta Flowers Helen Gagel Joyce Grenis and Michael Koen Ann Hewitt Ann Hicks and Lawrence Hamilton Margaret and Gary Kachadurian Jay and Jackie Lauderdale Leslie Lauderdale LoPrete Family Foundation Susan and Joe Lunn Alice and David Osberg David and Carole Perlman Lisa Scott Priscilla and Steve Shaw Maria Suarez Dee Dee Whipple and Phillip Grossman BENEFACTOR ($500 or more) Alex and Rosemary Cudzewicz Michelle Eppley Robert Harris Hank and Becky Hartman Terri Hemmert Tom and Margaret Huyck Douglas and Christine Kelner Lindy Lauderdale, in honor of Leslie Lauderdale Ronna Lerner In recognition of educational outreach programs Dan and Cari Levin Bob and Fleury Linn Linda Mast and Bard Schatzman Mary Miller Robert and Lois Moeller Nora Bergman Fund Ken Novak Dale and Donna Prest 22 Chicago a cappella

Carolyn Sacksteder Ann Stevens Frank Villella Duain Wolfe SPONSOR ($250 or more) Five K. Family Fund at The Chicago Community Trust Sanford Greenberg and Betsy Perdue Don and Joanna Gwinn Anne Heider and Steve Warner Jim and Lois Hobart Karen Hunt Kathryn Kamp and Erich Buchholz Charles Katzenmeyer Marina and Andrey Kuznetsov Jean McLaren and John Nitschke Sandi and Mike Miller Vreni Naess Drs. Donald and Mary Ellen Newsom Camilla Nielsen Cari Plachy Dinglasan and Raymond Dinglasan John and Gail Polles Susan and Jason Schober Kenneth Schug Bette Sikes and Joan Pederson Tom and Linda Spring Mary Beth Strahota Peggy Sullivan Lance and Stephanie Wilkening PATRON ($100 or more) Wendy Anker and Edward Reed Susan Beal Joel and Carol Brosk Judy Chernick Laura and Gary Cooper Claudia and Timothy Divis Bernard Dobroski Mary Ekins Susan Eleuterio Ron & Judy Eshleman Anne Evans Howard and Judy Gilbert Beverley Gilmore Judith Grubner and Craig Jobson Joan and Guy Gunzberg Margo Lynn Hablutzel Munn and Bonnie Heydorn

Richard Holbrook Troy Huber Jean and Lester Hunt Susan Kamp Rae Kendrick John and Karen Kruger Ivan and Jasna Lappin Helen and John Lauderdale Barbara and Martin Letscher Joan Levin Jay Lytle Mary and Steven Magnani Lorelei and Tim McDermott Cheryl and Tom McRoberts Allen McVey Ephraim and Ann Miller Jonathan Miller and Sandra Siegel Miller Cathy and Paul Newport Clayton Parr John and Vicky Pickett Jane Ann Prest Penelope Sachs in honor of Joan Gunzberg Jennifer and Warren Schultz Lisa and Richard Scipione Laura Smith Jeni and David Spinney Juan J. Suarez Eileen Sutter Kris Swanson Geri Sztuk David and Mari Terman Dave and Carolyn Utech Barbara Volin John Vorrasi In memory of Dr. Joan M. Ferris Clark and Joan Wagner Gary and Beth Wainer Shirlene Ward and Kevin Kipp Dorthea White Robert and Barbara Wichmann Virginia Witucke FRIEND ($50 or more) Anonymous Frank Brockway and Mimi Brile Rona and Ralph Brown In honor of Ronna Lerner Ioanna and Robert Chaney Ruth Crippen Dale and Frances Dellutri Norma Felbinger Dale Fitschen Madelon and Roger Fross Gail Schaefer Fu Valerie and Stephen Garry

D O N O R S ( c o n t .) Evelyn Gaudutis Elizabeth and Phil Gould Carolyn Hayes Kathleen Higgins Valerie Humowiecki John and Martha Jurecko Lorraine Kaplan Catherine Marquis Scott and Kelly McCleary Patrice Michaels and Jim Ginsburg Carol Mullins

Belverd and Marian Needles Sonia Ness and Peter Jenkins Jim Peterson Virginia Russell Dennis and Patricia Smith Gene and Mindy Stein Bernard Szeszol Nancy Ellen Tauchman Laura Temple and Andrew Wood William Wallace

Scott Williamson Robert Wolff John and Mary Zimmermann IN HONOR OF DOUG AND CHRISTINE KELNER Richard Holbrook Marina and Andrey Kuznetsov Lorelei and Tim McDermott Jonathan Milller and Sandra Siegel Miller

SUSTAINING DONORS By joining our Sustaining Donor program, the following individuals support the work of Chicago a cappella while reducing our fundraising costs and saving resources. Sustaining donors choose the level and frequency of their automatic payment, and receive the benefits of annual tax deductions without the hassle of writing checks. For more information, see the envelope in this program, visit our website, or call (773) 281-7820. A huge thank you to our Sustaining Donors: Susan Beal Frank Brockway Norma Felbinger Sanford Greenberg & Betsy Perdue Ann Hewitt Jean & Lester Hunt Doug & Christine Kelner

Rae Kendrick Vreni Naess Donald & Mary Ellen Newsom Ken Novak Alice & David Osberg David & Carole Perlman

Carolyn Sacksteder Warren & Jennifer Schultz Tom & Linda Spring Ann Stevens David & Carolyn Utech Frank Villella Shirlene Ward & Kevin Kipp

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