Francesco Milioto, Music Director and Conductor
Celebrating 50 Years Sunday, April 15, 2012 3:00 P.M. North Shore Center for the Performing Arts in Skokie The SVSO at 50...................................................................Tom McGrath Exceptional Community, Exceptional Music -INTERMISSIONSymphony No. 4 in G major (1901)..........................Gustav Mahler (1860 - 1911) I. Bed채chtig, nicht eilen (Moderately, not rushed) II. In gem채chlicher Bewegung, ohne Hast (Leisurely moving, without haste) III. Ruhevoll, poco adagio (Peacefully, somewhat slowly) IV. Sehr behaglich (Very comfortably) Stacey Tappan, Soprano
This concert is partially supported by a grant from the Illinois Arts Council, a state agency. Skokie Valley Symphony Orchestra gratefully acknowledges the Village of Skokie, Niles Township, AdvantEdge Healthcare Solutions, the Bruning Foundation, the Daniel F. and Ada L. Rice Foundation, Kathryn Canny, Dr. Lee and Bonnie Malmed, and Mrs. Jason Sharps. The Majesty of Mahler 1
PROGR A M NOTES Gustav Mahler – Symphony No. 4 in G major Gustav Mahler’s symphonic works may be seen as falling into two sets or cycles, with the first four symphonies forming a cyclical set and numbers 5-8 forming a second. Additionally, each set may be perceived as dealing, in some way, with mankind’s progression from life to death and the afterlife and Mahler’s ever-present struggle with his own mortality. Thus, the Symphony No. 4, the concluding member of the first set, is something of an exploration of man’s passage through this earthly existence into the realm beyond. Indeed, the final movement of the symphony is based upon one of Mahler’s own songs, Das himmlische Leben (The Heavenly Life), composed in 1892. This song functions not only as the Finale of the symphony but also serves as the seed from which the first three movements grow. It describes the joys of heaven, draws a picture of a land of milk and honey, and ends with strains of heavenly music. Thus, we have the basic subject of the Fourth Symphony. From his use of the song in the Finale and his remarks to various acquaintances, it becomes apparent that that Mahler’s concept of the symphony was guided by meditations about “life after death.” In a letter to a friend he wrote, “It contains the cheerfulness of a higher and, to us, an unfamiliar world that holds for us something eerie and horrifying.” At Mahler’s behest, the conductor Bruno Walter furnished the following explanation of the work: “Mahler, who had composed the song ‘The Heavenly Life’ years ago, felt inspired by its delightful, childlike description of this heavenly life and felt transported into an exceedingly cheerful, distant, wondrous sphere.” This childlike conception of heaven as the basis for the work and the resulting light, joyous music were certainly a departure from the darker, more serious and philosophical side Mahler had exhibited in his previous works. His wife, Alma, provided a rationalization: “He knew why he wanted it exactly like this because he was himself so naïve, and at first I could not believe this. But he was childlike. One could not understand this when one first heard him talk.” In essence, the composer has tried to evoke a world of simplicity and innocence. The first movement opens with the sound of sleigh bells. We are immediately struck by the simplistic nature of the music and its gentle, childlike character. This was, as mentioned, intentional. Mahler envisioned “unprecedented cheerfulness and unearthly joy.” He went so far as to call the first theme “childlike, simple, and entirely non-self conscious.” However, as the movement progresses, darkness is let in on the light. Mahler compared this to walking in the woods when, even on the brightest of days, one could be overcome by sudden anxiety or an eerie uncertainty. For Mahler, even the joys of heaven could be dampened by the fear of the unknown. The second movement has come to be called the “Totentanz” or “dance of death.” Mahler often remarked to friends that the movement represented such a dance in which the solo violin – death – lures souls into his realm. Mahler specified the violin be played scordatura, a technique that involves tuning the instrument in an unnatural manner so as to produce an unusual sound. A close friend related that the composer specified this unique tuning “so that the violin would sound screeching and rough, as if Death would strike up the music” and that Mahler wanted to achieve “a shrill and frightening effect.” The movement is also marked lustig – merrily – in three separate places. The appropriateness of this marking in a ghostly death dance becomes clear when one remembers that for many people and many cultures, death is two-faced. Death can be dreadful, but it can also be friendly and merciful. Death can be frightening, but also alluring. 2 Skokie Valley Symphony
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The Majesty of Mahler 3
P R O G R A M N O T E S ( c o n t .) After the call of death in the second movement, we come to what Bruno Walter characterized as “solemn rest and serious, gentle cheerfulness broken by episodes of deep, painful contrasts.” For Mahler, these contrasts were reminiscences of earthly life. In his imagination, the restfulness and gentle cheerfulness of heavenly life could rise to boisterous bliss, but this gaiety could be marred by the misery of a remembered earthly existence. For the final movement of the symphony Mahler turned to his song, Das himmlishe Leben, the text of which was taken from a Bavarian folk poem entitled Der Himmel hangt voll Geigen (Heaven is Full of Violins). The poem, essentially a naïve child’s sunny vision of heaven, deals with a number of subjects, the first of which seems to present a paradox: that even the most placid restfulness of heaven does not necessarily exclude rowdy happiness. This idyllic imagery is interrupted by references to the death of a “dear little lamb” which has been prepared as a sacrifice to be served at a feast for the saints. There is then a description of the heavenly land of milk and honey. The poem closes in praise of the heavenly music. Fourth Movement Text Das himmlische Leben (aus Des Knaben Wunderhorn)
Heaven’s Life (from Des Knaben Wunderhorn)
Wir genießen die himmlischen Freuden, D’rum tun wir das Irdische meiden. Kein weltlich’ Getümmel Hört man nicht im Himmel! Lebt alles in sanftester Ruh’. Wir führen ein englisches Leben, Sind dennoch ganz lustig daneben; Wir tanzen und springen, Wir hüpfen und singen, Sanct Peter im Himmel sieht zu.
We enjoy heavenly pleasures and therefore avoid earthly ones. No worldly tumult is to be heard in heaven. All live in greatest peace. We lead angelic lives, yet have a merry time of it besides. We dance and we spring, We skip and we sing. Saint Peter in heaven looks on.
Johannes das Lämmlein auslasset, Der Metzger Herodes d’rauf passet. Wir führen ein geduldig’s, Unschuldig’s, geduldig’s, Ein liebliches Lämmlein zu Tod. Sanct Lucas den Ochsen tät schlachten Ohn’ einig’s Bedenken und Achten. Der Wein kost’ kein Heller Im himmlischen Keller; Die Englein, die backen das Brot.
John lets the lambkin out, and Herod the Butcher lies in wait for it. We lead a patient, an innocent, patient, dear little lamb to its death. Saint Luke slaughters the ox without any thought or concern. Wine doesn’t cost a penny in the heavenly cellars; The angels bake the bread.
Gut’ Kräuter von allerhand Arten, Die wachsen im himmlischen Garten, Gut’ Spargel, Fisolen Und was wir nur wollen. Ganze Schüsseln voll sind uns bereit! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben;
Good greens of every sort grow in the heavenly vegetable patch, good asparagus, string beans, and whatever we want. Whole dishfuls are set for us! Good apples, good pears and good grapes,
4 Skokie Valley Symphony
P R O G R A M N O T E S ( c o n t .) Die Gärtner, die alles erlauben. Willst Rehbock, willst Hasen, Auf offener Straßen Sie laufen herbei!
and gardeners who allow everything! If you want roebuck or hare, on the public streets they come running right up.
Sollt’ ein Fasttag etwa kommen, Alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sanct Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein. Sanct Martha die Köchin muß sein.
Should a fast day come along, all the fishes at once come swimming with joy. There goes Saint Peter running with his net and his bait to the heavenly pond. Saint Martha must be the cook.
Kein’ Musik ist ja nicht auf Erden, Die unsrer verglichen kann werden. Elftausend Jungfrauen Zu tanzen sich trauen. Sanct Ursula selbst dazu lacht. Kein’ Musik ist ja nicht auf Erden, Die unsrer verglichen kann werden. Cäcilia mit ihren Verwandten Sind treffliche Hofmusikanten! Die englischen Stimmen Ermuntern die Sinnen, Daß alles für Freuden erwacht.
There is just no music on earth that can compare to ours. Even the eleven thousand virgins venture to dance, and Saint Ursula herself has to laugh. There is just no music on earth that can compare to ours. Cecilia and all her relations make excellent court musicians. The angelic voices gladden our senses, so that all awaken for joy.
The Majesty of Mahler 5
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V IOLINS MEMBER: AMERICAN FEDERATION OF VIOLIN AND BOW MAKERS, INC 6 Skokie Valley Symphony
F R A N C E S C O M I L I O TO, M U S I C D I R E C TO R A N D C O N D U C TO R The Chicago Tribune names Francesco Milioto “one of the best young conductors working in the Chicago area.” Since his debut in the Chicago area just over a decade ago, he now balances a busy career conducting a wide range of orchestral and operatic repertoire while maintaining a full schedule as a pianist and vocal coach. He currently holds the positions of Music Director of the Skokie Valley Symphony Orchestra as well as the Chicago Cultural Center Summer Opera, Cofounder/Conductor of the New Millennium Orchestra, Principal Conductor of the Highland Park Strings, and Artistic Director/Conductor of Access Contemporary Music. Mr. Milioto is an assistant conductor/ rehearsal pianist/prompter for the Ravinia Festival where he works closely with Maestro James Conlon. This season Mr. Milioto will return to Los Angeles Opera as first assistant conductor following a successful debut last season. During both the 2009 and 2010 Chicago Opera Theater seasons he served as an assistant conductor/ rehearsal pianist, and also chorus master. Mr. Milioto makes regular appearances as
a guest conductor with Opera Elgin and Opera on the James in Lynchburg, VA. Now in his fifth season as Music Director of the Skokie Valley Symphony Orchestra, Mr. Milioto will lead programs celebrating the organizations 50th Anniversary. This season features repertoire played by the SVSO in its first year of existence. The SVSO’s 50th Anniversary season will end with two concerts, one featuring Mahler’s Fourth Symphony, with soprano Stacey Tappan, and a final benefit concert program featuring toetapping music by Morton Gould, Ferde Grofé and Leroy Anderson as well as legendary Chicago blues man Corky Siegel on harmonica and piano playing “Symphonic Blues,” a piece commissioned by the San Francisco Symphony. Mr. Milioto has enjoyed an enthusiastic response to his unique musicianship and wide range of repertoire. In addition to building on the history of high quality performances, the past seasons have seen a successful return to concert opera, and the creation of free concerts for local school children.
The Skokie Valley Symphony Orchestra is enjoying celebrating its 50th Anniversary Season (2011-2012) with Maestro Milioto.
ROBERT W. GEHRKE, P.C.
Robert W. Gehrke, CPA, JD phone (847) 680 - 1021 fax (847) 680 - 1022 e-mail taxguyone@aol.com Hilltop Executive Center 1580 South Milwaukee Avenue, Suite 202 • Libertyville, IL 60048 The Majesty of Mahler 7
S TAC E Y TA P PA N , S O P R A N O Stacey Tappan has distinguished herself as an exceptional musical artist in the United States and abroad. She made her professional debut with Houston Grand Opera as Beth in Little Women, broadcast on PBS’ Great Performances and released on CD by Ondine and on DVD by Naxos. Heralded for her “breakthrough performance” as Bella in Lyric Opera of Chicago’s production of Sir Michael Tippett’s The Midsummer Marriage, Ms. Tappan has also appeared with the Lyric Opera as Nanetta in Falstaff, the Woodbird and Woglinde in the Ring Cycle, and Papagena in the student matinees of Die Zauberflöte, as well as covering Cleopatra in Handel’s Giulio Cesare and the title role in Lulu. While with the Lyric Opera Center for American Artists, she “turned heads throughout operatic America” and “emerged as a real star” as Isis in the world premiere of Michael John LaChiusa’s Lovers and Friends: Chautauqua Variations. In stellar reviews for her “witty and sexy” Adele in Die Fledermaus with the Glyndebourne Festival Opera, she was praised for the production’s “most polished singing... her coloratura bright and well-focused.” Plaudits for her Gilda in Rigoletto with Opéra de Lille included “the revelation of the evening” -- “a luminous Gilda” -- tremendous American soprano” -- “a magnificent discovery” and “high notes of a splendid sweetness.” She reprised the role with Opéra de Dijon in 2010. Ms. Tappan sang in the first concert of the “Recovered Voices” series at the Los Angeles Opera under the baton of James Conlon, subsequently joining Conlon at the Ravinia Festival to sing the rarely heard songs of Alexander Zemlinsky and Franz Schreker. She has also appeared with Los Angeles Opera as Woglinde and the Woodbird
8 Skokie Valley Symphony
in the Ring Cycle, the Wren in The Birds (recently released on DVD), Virtú and Pallade in L’incoronazione di Poppea, and the Dew Fairy in Hansel and Gretel. This season’s appearances include Miss Wordsworth in Los Angeles Opera’s Albert Herring and Krenek’s Das Geheime Königreich, also under the baton of James Conlon. Ms. Tappan’s concert work has included Beethoven’s Christ on the Mount of Olives with the Springfield Symphony in Massachussetts, Carmina Burana with the Colorado, Wichita, Elgin, Springfield, and Jacksonville symphonies, and Hansel and Gretel and Mahler’s Second Symphony with the DuPage Symphony Orchestra. Tappan appeared with the Los Angeles Philharmonic singing Wing on Wing, composed and conducted by Esa-Pekka Salonen, and Mahler’s “Symphony of a Thousand” at the Hollywood Bowl. Chicago concert highlights include “Bernstein on Broadway” with the Grant Park Festival Orchestra, Hugh Wood’s Scenes from Comus with the Civic Orchestra of Chicago, three Stars of Lyric Opera concerts in Chicago’s Millennium Park, and Mendelssohn’s Midsummer Night’s Dream at Ravinia Festival. At the Chicago Cultural Center, she appeared in Rossini’s Il signor Bruschino and Ravel’s L’Enfant et les Sortilèges, winning critical acclaim as “the vocal showstopper.” Her operetta roles include Mabel in Pirates of Penzance with Michigan Opera Theatre, Cunegonde in Candide at the Chicago Cultural Center, Hannah Glawari in The Merry Widow, and Lilli Vanessi in Kiss Me Kate with Chicago’s Light Opera Works.
The Majesty of Mahler 9
S K O K I E VA L L E Y S Y M P H O N Y O R C H E S T R A 1st Violin Mark Agnor, Concertmaster Margarita Solomensky, Assistant Concertmaster Andrea Ferguson, Mittenthal String Chair Marianne Friedman Olena Hirna Iris Seitz Fran Sherman Wally Pok Hon Yu
Piccolo Angela Reynolds Emma Gerstein
2nd Violin Michael Kleinerman, Principal, Warren Grabner Beth Hafter Alysa Isaacson Stephanie Lane Rachelle Perrin David Ratner Mary Stoltz Gwen Weiner
Clarinet Walter Grabner, Principal Irwin Heller
Viola Michael Rozental, Principal, Dr. Lee Malmed Chair Sean Diller Jeanette Krstolich Rick Neff Jason Rosen Sid Samberg Cello Dan Klingler, Principal Marcia Chessick Paul Ghica Emily Hu Howard Miller Mike Taber Tess Van Wagner Bass Conner Hollingsworth, Principal Brett Benteler Beverly Schiltz Nick Steffan Flute Karen Frost, Principal Barb Austin Angela Reynolds Emma Gerstein
10 Skokie Valley Symphony
Oboe Jennifer Stucki, Principal Kenneth Adams Jana Specht English Horn Jana Specht
Eb Clarinet Irwin Heller Bass Clarinet Scott Thomas Bassoon Elizabeth Heller, Principal Jen Speer Bill Dawson Contra Bassoon Bill Dawson Trumpet Jordan Olive, Principal Paul Gilkerson Alicia Eisenstadt French Horn Valerie Whitney, Principal, Jack Shankman Chair Dafydd Bevil Erika Hollenback Laurel Lovestrom Timpani Jay Renstrom Percussion Barry Grossman Adam Mormelstein Emily Saltz Harp Phyllis Adams
Join us for a concert celebrating the retirement of former Chicago Symphony piccoloist
Walfrid Kujala after 50 years as Professor of Flute at Northwestern University
Photo: Jonathan Roob
Guest artists: Mindy Kaufman (New York Philharmonic) Erinn Frechette (Charlotte Symphony) Lindsey Goodman (Pittsburgh New Music Ensemble) Robert Cronin (Atlanta Symphony) Zart Dombourian Eby (Seattle Symphony) Jonathan Keeble (Professor of Flute, University of Illinois)
A world premiere performance commissioned in honor of Wally’s retirement:
TAKING CHARGE , trio for flute/piccolo, piano and percussion by
Joseph Schwantner
Monday, June 4, 2012 7:30 PM
Pick Staiger Concert Hall Northwestern University The Majesty of Mahler 11
C H A I R E N D OW M E N T A N D S P O N S O R S H I P S Kathryn Canny, Chair Endowment—Concertmaster Chair AdvantEdge Health Care Solutions—partial sponsorship of Dec 5th children’s concerts The Leo Krakow Community Endowment Fund—Concert Elizabeth and E. Harris Krawitz Endowment—Concert Harvey E. Mittenthal Scholarship Fund—Mittenthal String Chair Daniel F. and Ada L. Rice Foundation—Young Artist Competition and Concerts Charles and Cyd Sandleman Chair Endowment—Assistant Concertmaster Chair
2 011- 2 012 S V S O D O N AT I O N S Sustaining: $2500+ Kathryn Canny Illinois Arts Council Dr. Lee & Bonnie Malmed Niles Township Daniel F. and Ada L. Rice Foundation Village of Skokie Mr. & Mrs. Blaine Yarrington Benefactor: $1,000 - $2,499 AdvantEdge Healthcare Solutions, Inc. The Bruning Foundation Mrs. Jason Sharps Patron: $500 - $999 Steven Jay Blutza, Ph.D. Jack and Leslie Shankman R. Paul Urbanick, DMA Sponsors: $250 - $499 John Alberts Barbara Brown Dr. & Mrs. Richard Chessick David Eccles Roger Hirsch Ethel Mittenthal Richard Mittenthal Thomas & Barbara Rosenwein Dr. & Mrs. Don Singer Carolyn Smith, in memory of Janet Mazur Scott and Sandra Williams Peter P. Thomas
Donors: $100 - $249 Mark Barats Louis & Loretta Becker Maurice & Ruth Ettleson Bernard & Marilyn Friedman Sandor Jankovich Ruth L. Katz Joseph D. Kramer Milton & Miriam Levin Jerome & Lillian Mann Edward S. & Phyllis E. Merkin Eleanor Parker Ronald & Shirley Pregozen George Rimnac Mr. & Mrs. Henry Rosenbaum Marvin Rudman Jerome & Carolyn Sauvage, in memory of Noreen Giles Harold & Rita Selz Thelma Skaletsky Janet Thau, in honor of Barry Grossman Harlean Vision Izzie (Avram) Weinzweig Charlene Wiss Friends: $25 - $99 Jules & Sharon Abelman Ruth Barrash Anne Boll Dr. & Mrs. Richard Chessick, in memory of Noreen Giles Muriel Cohen Ulrich & Carol Conrad Arkady Diment
Nancy Franke Mr. & Mrs. Aaron Golub Alysa Isaacson Gilbert & Elaine Kanter, in honor of Bonnie Malmed Terese Klinger Jane Kornblith Alvan Lebovitz Sidney Levine Mr. & Mrs. Elmer Lipstadt Rochelle Magid Sherwin & Trude Marks Earl Meltzer Howard Miller Arthur & Lois Mills Michael Modica Sheldon Mostovoy Joseph Ott Saul Patt Janice Ross Michael Roth Milton Salmansohn Janet Schatz Rita Schreier Larry & Rhoda Schuman Anne Seefer Michael & Serna Shatz Harold C. Silverman Warne & Delores Stauss Florence T. Stein Herb & Roberta Sweetow, in memory of Dr. Robert Komaiko Tess Van Wagner George Vass Sandra Lynn Weiss Sheldon S. Weiss Dorothea Wolf, in honor of Bonnie Malmed Olga Wolz
Arline Dubow
Supporting the Symphony The concert you hear today was made possible by the generous donors you see listed in our program. To find out how you can contribute, please contact the SVSO office. 12 Skokie Valley Symphony
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North Shore Center for the Performing Arts 9501 Skokie Blvd., Skokie, IL 60077 ADMINISTRATIVE OFFICE TELEPHONE: (847) 679-9501 ADMINISTRATIVE OFFICE FAX: (847) 679-1879 BOX OFFICE TELEPHONE: (847) 673-6300 BOX OFFICE FAX: (847) 679-3704 www.northshorecenter.org General Manager....................................................................................................... Michael Pauken Box Office Manager......................................................................................................... Ron Weaver Box Office Assistant Manager.................................................................................... Heather Packard Box Office Staff...........................................................Paul Adams, Tricia Bulaclac, Alison Burkhardt, Jessica Hester, Jimmy Kaplan, Kaurryne Lev, Myra Levin, Karen Neumann, Maegan Rose, Cyndi Stevens, Director of Marketing and Sales..........................................................................................David Vish Education and Outreach Manager............................................................................ Gina M. Martino Events Manager............................................................................................................ Betty Boduch Events Supervisor/Concessions Manager........................................................................Anthony Marte House Managers.......................................................... Yuri Lysoivanov, Susan Robinson, Sherrie Witt Marketing & Communications Manager...................................................................... Joseph Alaimo Office Manager........................................................................................................... Carolyn Adams Operations Manager...................................................................................................Ardelle Winston Operations Staff.........................................................................Melvin Berkowitz, Christopher Jones Luis Narvaez, Hector Perez, Gary Sapperstein, Larry Williams Receptionist..................................................................................................................... Jean George Security......................................................................................................................Greg Kwiecinski Technical Director............................................................................................................. Frank Rose Technical Staff........................................................Dustin L. Derry, Jake Reich, Jay Stoutenborough Ushers provided by the Saints, Volunteers for the Performing Arts. For information call (773) 529-5510. Administrative Office Hours: Monday–Friday 9:00 a.m.–5:00 p.m. Box Office Hours: Monday–Friday, 10:00 a.m.–5:00 p.m. or until curtain; Saturday, Noon–5 p.m. or until curtain. Sunday: Opens two hours prior to curtain. (summer hours may vary)
The North Shore Center for the Performing Arts in Skokie opened in 1996 and operates as part of the Village of Skokie’s plan to provide cultural, literary, and educational programs, benefiting the citizens of Skokie and the North Shore communities. The North Shore Center is perfect for performances, social occasions and corporate events. For information on space availability and catering options, please contact the Events Manager at (847)679-9501 ext. 3005. The North Shore Center for the Performing Arts in Skokie Foundation was established to support the ongoing programming and capital needs of the North Shore Center for the Performing Arts in Skokie. The mission of the Foundation is to create and sustain the North Shore Center as a preeminent venue for the arts and as a major asset to the communities it serves.
IN CONSIDERATION OF OTHER PATRONS • Latecomers will be seated at the discretion of management. • Portable telephones, pagers, cameras, and recording devices are not allowed inside the theater. Please check them with the house manager. • Infrared assisted listening devices are available from the house manager. A valid driver’s license, state identification, or major credit card will be requested. • Lost and Found: please call (847) 679-9501 ext. 3202 for lost items. 14 Skokie Valley Symphony
Professional Facilities Management, of Providence, R.I, manages the North Shore Center for the Performing Arts in Skokie.
2 011- 2 012 B OA R D O F D I R E C TO R S Kathryn Canny, President Karen L. Frost, Artistic Vice President Roger Hirsch, Administrative Vice President Steven Jay Blutza, Ph.D., Treasurer John Alberts, Secretary Barbara E. Brown David F. Eccles Bonnie Malmed Lee Malmed, M.D. Ethel Mittenthal Jack Shankman Sandra Williams, Ph.D. Honorary Board Members Siobhan Drummond Lucinda Kasperson Thomas Rosenwein Donald Singer, M.D. Francesco Milioto, Conductor and Music Director Phyllis Adams, Office Manager How to Contact Us Address: 9501 Skokie Blvd., Skokie, IL 60077 Phone: 847-679-9501 x3014 E-mail: info@svso.org Website: www.svso.org
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 The Majesty of Mahler 15
GET TALKING. (Just not during the performance)
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