Christmas with the KSO (2021)

Christmas with theKSO Join us for a sparkling concert full of festive fun for the whole family

F E AT U R I N G COSETTE

JUSTO VALDÉS

GUEST CONDUCTOR

RACHEL CASPONI SOPRANO

KSO CHORUS

SATURDAY

DECEMBER

11

2:00PM • 7:30PM

OASIS CHURCH

kamloopssymphony.com 250.372.5000

Together Again!

Congratulations to Kamloops Symphony for your resiliency during these unprecedented times.

The City of Kamloops is a proud sponsor and wishes the symphony all the best during its 2021–2022 season.

Kamloops.ca

Greetings from the Music Director Dear music lovers, It is such a pleasure to welcome you to our traditional Christmas concert which features dazzling local soprano Rachel Casponi and our KSO musicians under the merry baton of guest conductor Cosette Justo Valdés. This year’s programme will bring your family into a festive spirit through orchestral classics, hidden gems, and timeless carols. Speaking of carols, we are delighted to welcome back our beloved KSO Chorus into their first performance in 23 months!

Looking back at our first five productions of the year, we are stunned by the number of local talents and artists with whom the KSO had the pleasure to be collaborate and share the stage. From Salmon Arm pianist Jaeden Izik-Dzurko to Kamloops-born composers Kevin Mulligan and Ryan Noakes, Secwepemc storyteller Chris Bose to illustrator Susan Mark—thank you for enriching our musical community with your creativity! And to our very own dedicated KSO Chorus master Tomas Bijok and our fabulous chorus members: thank you for your flexibility through the ever-changing circumstances—we can’t wait to hear you sing today!

Finally, on behalf of the musicians, the board member and our team, we would also like to thank every audience member and KSO enthusiast for your continuous support in helping to create such vibrant musical moments. We are really looking forward to sharing our second part of the season, which we promise, will be extraordinary!

Wishing you all a fabulous Holidays!

Dina Gilbert

The Kamloops Symphony wishes to acknowledge that this concert is taking place on Tk’emlúps te Secwépemc territory within the traditional lands of the Secwépemc Nation.

BC Interior Community Foundation Kamloops Symphony Foundation TELUS Community Foundation Hamber Foundation

GOVERNMENT FOUNDATIONS GRANTS

Music Director Kamloops Symphony

Proud Supporters of the

KAMLOOPS SYMPHONY ORCHESTRA ®

®

®

Proud Sponsor of the Kamloops Symphony Ron & Rae Fawcett k e lsong roup.c om 2

Kamloops Symphony Society BOARD OF DIRECTORS

John McDonald | President Claire Ann Brodie | Vice President Helen Newmarch | Secretary Tyler Klymchuk | Treasurer Kathy Collier Lucille Gnanasihamany Gabriele Klein Rod Michell Steve Powrie Simon Walter

HONOURARY LIFE MEMBERS Bonnie Jetsen Art Hooper

ADMINISTRATION Executive Director

Daniel Mills

Music Director

Dina Gilbert

Office Administrator

Sue Adams

Marketing Coordinator

Ryan Noakes

Operations Coordinator

Sam Bregoliss Librarian

Sally Arai

Orchestra Personnel Manager

Olivia Martin

Production Assistant

Adrien Fillion

Chorus Master

Tomas Bijok Proud Member of Orchestras Canada, the national association for Canadian orchestras

Collaborative Pianist

Daniela O’Fee

Music Director Emeritus

Bruce Dunn

MUSIC DIRECTOR Regularly invited to conduct in Canada and overseas, Dina Gilbert attracts critical acclaim for her energy, precision and versatility. Currently Music Director of the Kamloops Symphony and of the Orchestre symphonique de l’Estuaire (Québec), she is known for her contagious dynamism and her audacious programming.

Dina Gilbert is regularly invited by leading Canadian orchestras including the Orchestre symphonique de Montréal, Orchestre métropolitain, Toronto Symphony Orchestra, Hamilton Philharmonic and the Orchestre symphonique de Québec.

Passionate about expanding classical audiences and with an innate curiosity towards non-classical musical genres, Dina has conducted the Orchestre Philharmonique de Radio France and the Orchestre national de Lyon in several Hip-Hop Symphonic programmes collaborating with renowned Hip hop artists. She has also conducted the world premiere of the film The Red Violin with orchestra at the Festival de Lanaudière and has conducted the North American premiere of the film The Artist with the Orchestre symphonique de Montréal.

As the founder and artistic director of the Ensemble Arkea, a Montreal-based chamber orchestra, Dina premiered over thirty works from emerging young Canadian composers. Committed to music education, she has reached thousands of children’s in Canada with her interactive and participative Conducting 101 workshop.

From 2013 to 2016, Dina Gilbert was assistant conductor of the Orchestre symphonique de Montréal and Maestro Kent Nagano, also assisting guest conductors including Zubin Mehta, Sir Roger Norrington, Lawrence Foster and Giancarlo Guerrero. In April 2016, she received great acclaim for stepping in to replace Maestro Alain Altinoglu with the OSM in a program showcasing Gustav Holst’s The Planets.

Dina Gilbert earned her doctorate from the Université de Montréal, where she studied with Jean-François Rivest and Paolo Bellomia. Awarded the Opus Prize of “Découverte de l’année” in 2017, Dina Gilbert was also named as one of the 50 personalities creating the extraordinary in Québec in 2018 by the Urbania Magazine.

Dina Gilbert

Orchestra VIOLA

FIRST VIOLIN

Elyse Jacobson

Ashley Kroecher* John Kastelic Erin MacDonald

Molly MacKinnon

CELLO

Cvetozar Vutev

—concertmaster° —concertmaster*

— assistant concertmaster Llowyn Ball Evelyn Creaser-Rumley

SECOND VIOLIN Boris Ulanowicz* Annette Dominik Narumi Higuchi Sandra Wilmot

Martin Kratky* Doug Gorkoff

BASS

Maggie Hasspacher*

FLUTE

Mark McGregor++

BASSOON

Olivia Martin*

HORN

Sam McNally*

TRUMPET

Mark D’Angelo* Jeremy Vint

TIMPANI

Katie Rife

PIANO/HARP

Naomi Cloutier

OBOE

Marea Chernoff* °On Leave

Principal

*

+

Acting Principal

Chair Sponsors

Substitute Principal

++

Geoff & Judith Benson | concertmaster Rod Michell | assistant concertmaster Gabriele Klein | principal second violin June McClure | principal viola Anonymous | principal cello Eleanor Nicoll | principal flute Joyce Henderson | principal clarinet Kelvin & Roberta Barlow | principal bassoon Hugh & Marilyn Fallis | principal trumpet

PERFORNMANCE SPONSORS

SEASON SPONSORS

SERIES SPONSORS

Sponsors

PROGRAMME PERFORMANCE SPONSOR

Guest Artists: Cossette Justo Valdés | conductor

Rachel Casponi | soprano KSO Chorus George Frideric Handel

Overture: Allegro from Alcina

Marc-Antoine Charpentier

arabande, from Concert pour S 4 parties de violes, H. 545

Gustav Holst

Jig from St. Paul’s Suite, op. 29

Traditional

The Holly and the Ivy

Michaël Prætorius

Es ist ein Rose entsprungen

Vaughan Williams

Fantasia on “Greensleeves”

Anônimo, séc. XV

Veni, veni, Emmanuel

Tomás Luis de Victoria

O magnum Mysterium

Marianna Martines

Sinfonia in C Major

Wolfang Amadeus Mozart Contradance in C Major, K.587 (Der Sieg von Helden Koburg) Wolfgang Amadeus Mozart

Nehmt meinen Dank; K. 383

Heitor Villa-Lobos

ria, from Bachianas Brasileiras No.5 A (arr. Krance)

George Frideric Handel

“Hallelujah Chorus” from Messiah HWV 56

Robert Shaw Many Moods of Christmas & Richard Russell Bennett (arr. Hugues Laforte-Bouchard)

BCLC is a proud supporter of CHRISTMAS with THE KSO

Last year, more than 100 non-profit and charitable organizations in Kamloops received Community Gaming Grants from the Province of B.C., including the Kamloops Symphony Society which received $61,500 to help enrich the community through arts & culture.

GUEST CONDUCTOR

Cosette Justo Valdés Cosette Justo Valdés was born and raised in Cuba. A daughter of amateur musicians, she’s loved music all of her life, and she began learning piano and music theory from age 8. At 18 she saw a symphony orchestra for the first time and immediately knew she wanted to be a conductor. She took up conducting in 2003 at the National Institute of the Arts of Cuba, in Havana, and after graduating in 2009 with a Bachelor’s Degree in Orchestral Conducting with Maestro Jorge López Marín she was appointed Music & Artistic Director of the Orquesta Sinfónica de Oriente (OSO) (Santiago, Cuba), Cuba’s second-most important orchestra.

With Cuba’s OSO, Cosette conducted premières for some of Cuba’s best known composers. She also performed the Cuban première of Domenico Scarlatti’s intermezzo La Dirindina, including designing the costumes, sets, super-titles and directing the overall artistic production.

In 2012, Cosette was admitted to study her Master’s Degree with Maestro Klaus Arp in the Mannheim

Staatliche Hochschule für Musik und Darstellende Kunst (State University for Music & Performing Arts) in Germany, to learn more about conducting classical repertoire from the European perspective, earning her Master’s Degree in 2018. In Germany, as well as many other European countries she visited with her professor as well as a guest conductor, she had the opportunity to conduct many orchestral, choral, and chamber ensembles, while remaining Music & Artistic Director of the OSO in Cuba and returning often to conduct it.

Cosette conducted the OSO for the CD “Popularmente Sinfónico”, and guest-conducted several other CD recordings in Cuba. She organized the project “SinfóniJazz” for jazz quartet and orchestra, which had its first performance in December 2016 at the International Jazz Festival of Havana.

For it, she commissioned music from some of the best young jazz payers and composers in Cuba. The National Orchestra of Cuba performed the première of this project, and it was a great success. She also conducted

Proud to support

Music & the Arts

Todd Stone, MLA

Peter Milobar, MLA

Kamloops | South Thompson

Kamloops | North Thompson

446 Victoria Street • 250.374.2880

618B Tranquille Road • 250.554.5413

Todd.Stone.MLA@leg.bc.ca

Peter.Milobar.MLA@leg.bc.ca

ToddGStone @toddstonebc

PeterMilobarKNT @petermilobar

Cosette Justo Valdés, continued

concerts specifically for children to give them an opportunity to get to know an orchestra and its instruments. She also invited music students to listen to and play with chamber orchestras and/or symphony orchestras for the first time.

Cosette started in January 2019 her position as Assistant Conductor and Community Ambassador of the Edmonton Symphony Orchestra, in Canada. During her more than 2 years in this position, she has been able to conduct all types of ensembles and

styles of music with the ESO, and her connection to the musicians of this orchestra is really special.

She has been invited this year to conduct in Canada, by the iMusici de Montréal, the Calgary Philharmonic Orchestra and the Edmonton Opera.

Next March Cosette will be conducting a production of Così fan tutte with the Edmonton Opera. She has also been invited to conduct the Rockford Symphony Orchestra in the USA, as well as several orchestras in Cuba.

GUEST ARTIST

Rachel Casponi Soprano

Rachel Casponi is a performer, director, and educator holding a Bachelor of Arts in Music and Drama from University of Windsor and a Master of Music from the University of Western Ontario. She has worked across Canada including with BC’s North Peace Community Choir that she led at their Carnegie Hall performance. A regular performer with the chamber Musicians of Kamloops and director of local choirs, Rachel teaches for Kamloops-Thompson School District and Kamloops Music Collective.

KSO CHORUS

The Kamloops Symphony is pleased to work with the following: Michael Ababin Chelsey Belanger Rita Bittante Amanda Bond Kevin Bronnimann Janet Brunsgaard Anne Cartwright Fred Cunningham Tony Denbigh Lynn Eberts Loretta Ellison Shelly Ewanek Linda Fortier Heather Gnoato Marcia Gofsky Luccock Toya Grieve Blake Hogg Elaine Karas

Amanda Kruper Morgan Lacusta Mariko Lintott Sylvia Markowsky Heather Martin Taylar Masson Mari-Anne Maulenkamp Diane McArthur Leanna McBurnie Peter Nieuwold Linda Oliver Chantal Oliver Louise Oyler Bonnie Peterson Elizabeth Reichenback Cherryl Rice Jason Richard Janice Rutherford

Rosemary Saint Michaels Mercedes Settle Kaia Smoliak-Carlin Patricia Spencer Maatje Stamp-Vincent Barbara Steinke Gisele Strodl Jill Timko Caroline Tupholme Tamara Vass Evelyn Vipond-Schmidt Florence Walde Robert Walter Barb Webber Lois Williams Tieghan Williams Michelle Zwolak Sally Zyrd

KSO CHORUS

The KSO Chorus provides local singers with the opportunity to perform masterworks for choir and orchestra in concert with the the Kamloops Symphony Orchestra. Repertoire highlights over the years include a concert of opera choruses, Beethoven’s 9th (Ode to Joy), Haydn’s Lord Nelson Mass, Mozart’s Requiem, Holst’s King Estmere, Steven Chatman’s Proud Music of the Storm, Fauré’s Requiem, Britten’s Ceremony of Carols, and Orff ’s Carmina Burana. The KSO Chorus has also joined the symphony for a wide variety of Pops performances, including numerous Christmas concerts.

Tomas Bijok Chorus Master

The chorus is led by Tomas Bijok.

Tomas Bijok’s journey in music began at an early age. Having come from a musical family it was understood that music was to be a part of his life.

Tomas began his formal vocal training under the instruction of Dr Wendoline Pazitka Munroe at Canadian University College. At the age of 22 Bijok began to study under the guidance of Lynn Vernon. He then studied for two Years at the University of British Columbia with Roelof Oostwoud after which he auditioned for the Prague Academy of Performing Arts. In Prague he completed his B.A and M.A. in Vocal Performance under the tutelage of Ivan Kusnjer and the guidance of Magdaléna Hajóssyová. Bijok made his Czech debut in Bohuslav Martinu’s comedy on the Bridge at the Northern Bohemian Theatre of Opera and Ballet and since has sung in theaters in the Czech Republic, Germany,

Austria, Japan and France. In 2010 Bijok recorded the lead role of Lucas in the world premiere recording of Bohuslav Martinu’s “Le Jour de Bonte” under the Arco Diva label. Bijok has currently relocated to his home town of Kamloops. Dedicating more time to teaching, he presently acts as choral instructor at Thompson Rivers University, and continues to spread the secrets of Bel Canto in his private studio. In 2015 Tomas founded the TRU Chamber Chorus which won third at the 2018 Provincial Festival of the Performing Arts in BC. Most recently Tomas has been acting as the conductor of the Kamloops Happy Choristers, Music Minister at Mount Paul United Church, and Chorus Master of the Kamloops Symphony.

When not singing, Bijok can be found in the kitchen making a mess and exquisite food.”

PROGRAMME NOTES

George Frideric Handel (1685–1759)

Overture to Alcina The early part of Handel’s career in London was, in general, a success if not a triumph. His reputation (and his financial success) was built chiefly on Italian-style operas for which London seemed to have an inexhaustible appetite. However, by the time he wrote Alcina in 1735 tastes were changing, he was in financial difficulties, in an opera-war with a rival company, and in increasing ill-health.

Nonetheless, the story of the sorceress Alcina, her lovers and her magic island required music of delicacy and elegance which Handel was still fully capable of supplying, both vocal and instrumental, beginning with this charming two-part Overture in the French style. Alcina itself was a respectable success. However, as a composer of opera Handel began to fade from public view, and within just a few years his increasingly middleclass audiences would be admiring his oratorios instead.

Marc-Antoine Charpentier (1643–1704)

“Sarabande” from Concert pour 4 parties de violes Marc-Antoine Charpentier, who was born and died in Paris, was a dominant figure in French Church music in the later 17th Century. As a young man he studied in Italy which permanently shaped aspects of his musical style. His work most often

heard today is probably his Messe de Minuit pour Noël (Christmas Midnight Mass), in which he includes several traditional, popular French Christmas carols, or Noëls. His career as a secular musician was less successful because of the music politics at the court of Louis XIV and the objections of JeanBaptiste Lully, the Court Composer.

However, Charpantier did compose a considerable amount of secular instrumental music (for instance for some of Molière’s plays), such as this “Concert” for groups of strings.

Today we hear this Sarabande (an old, dignified dance form from Spain) played on instruments of the violin family, but Charpentier’s original instruments were “parties de violes” from the viol family, medieval instruments that had remained popular in France throughout the 17th Century while violins were still gradually being introduced from Italy.

Gustav Holst (1874–1934)

“Jig” from St. Paul’s Suite Op.29 We probably know Holst best for his work The Planets, his tuneful, innovative suite in seven parts celebrating the astrological characteristics of Earth’s solar system companions. However, although he became increasingly original as a composer, his output was not large, in part because he had to support himself as an orchestra player and as a teacher. One of his longest teaching appointments was as Director of Music at St. Paul’s Girls School starting

JANA SASAKI INJUSTICE AND IDENTITY October 2 to December 31, 2021

THE CUBE

Kamloops, BC • kag.bc.ca

Book Direct FOR THE BEST RATES GUARANTEED! 5 0 + H OT ELS AC ROSS C A NA DA S A NDM A NH OT E LS .CO M

PROGRAMME NOTES

in 1905, and the four-movement Suite from which this vivacious “Jig” is taken was written in 1912–13 for the school orchestra. It reflects Holst’s growing interest in English folk tunes as well as his strong commitment to music education. A glimpse of his inventiveness is reflected in the fact that this lively Jig (a dance more usually reserved for a rousing finale) is here used to open the suite—and its joyful energy enlivens the atmosphere of our Christmas celebrations.

Ralph Vaughan Williams (1872–1958)

Fantasia on “Greensleeves” The tune we know as “Greensleeves” is one of the most tender and yearning of English melodies and is attributed by some to King Henry Vlll who was (among other things) a composer and patron of the arts. For many musiclovers this Fantasia on “Greensleeves”

by Vaughan Williams has become the standard orchestral version of this lovely tune. The “Fantasia” was originally composed for Vaughan Williams’ 1928 opera Sir John in Love, an adaptation of Shakespeare’s comedy The Merry Wives of Windsor, about the philandering knight Sir John Falstaff. This version, however, was created for the Promenade Concert season in 1934, and is scored for strings, harp and flutes. In spite of the work’s title, “Greensleeves” is not the only melody to form the fabric of the piece: Vaughan Williams also incorporates the beautiful folk-tune “Lovely Joan,” which he heard in East

Anglia on one of his folk song collecting excursions. You will hear it presented in the lower strings immediately after the “Greensleeves” melody itself has been played.

What about the connection between “Greensleeves” and Christmas? Clearly the original lyrics, which recount the travails of a rejected lover, are not the link. But from about the 17th Century on this beguiling tune began to attract other words, and, by the 19th Century, verses such as “The King of Love My Shepherd is” and “What Child Is This? had become firmly established in the Christmas carol repertoire.

Marianna Martines (1744–1812)

Sinfonia in C major The careers of women as composers of classical music have almost always been fraught with difficulty. Today, the situation may at last be improving.

Viennese composer, Marianna Martines (who knew both Haydn— as teacher—and Mozart—as friend) fared slightly better. But not much.

She was a remarkable keyboard player, an accomplished singer and by many accounts a prolific composer. Do we hear her music played? Do we even have much of her music to play? No. Publication was the avenue to public acknowledgement of success and for dissemination of the music itself.

Music that remains in manuscript tends to get neglected, then lost.

However, her father and brothers had positions at the Imperial court, so she knew other artists, had more presence,

PROGRAMME NOTES

and got to perform at the court concerts which were at the time the focus of Viennese musical life. With this aristocratic patronage Marianna was able to get her own compositions performed (even a Mass in 1761 when she was only 17). Then her skill was such that she became the first woman to be admitted to the eminent Accadamia Filarmonica in Bologna.

As a result of her considerable prestige some of her compositions appeared in print. This lively Sinfonia is in three movements: Allegro con spirito, Andante ma non troppo, and Allegro spiritoso.

Wolfgang Amadeus Mozart (1756–1791)

Contradanse K.587 “The Victory of Coburg the Hero” One of Mozart’s tasks as imperial chamber composer in Vienna was to compose dances for the masked balls, which were both popular and frequent, especially during Carnival. Mozart was himself a keen and accomplished dancer who seldom missed attending a ball. In fact, he was more than just a dancer and composer of dances, on occasion he was a ball organizer and choreographer. In January of 1783 at Carnival time, he writes to his father explaining, “last week I held a ball at my apartment—the men naturally each paid 2 florins. We started at six in the evening and finished at seven— what? Only for one hour? No, no—at seven in the morning!” This piece gets its title from the marching song Mozart quotes, which celebrated the

final victory of Prince Coburg Saalfeld over Turkish forces in that year.

Wolfgang Amadeus Mozart

Nehmt Meinen Dank K.383 Mozart’s greatest operas are the product of the last six years of his life, yet he had been attracted to opera and to vocal writing from a young age.

The aria as a form, even outside of the dramatic framework of an opera (a concert aria) clearly appealed to him, with the result that by the end of his career he had composed some forty such concert arias. “Nehmt meinen Dank” dates from 1782—Mozart would have been 26—and he wrote it for Aloysia Weber, a former object of his strong affections but soon to be his sister-in-law. She had a high coloratura voice of great range and flexibility which he had always admired. There is something of a mystery about the aria in that the author is unknown (the text is German not Italian), and the context referred to is unclear. It is a woman who is singing—the words reveal that she is an artist of some kind who is thanking her patrons for their help and generosity. She describes that like all artists she leads a roving life, led by fate away from her native land, but that her heart will always be with her patrons. But who she is, who she is thanking, and what her domain of artistic activity is, we do not learn.

The lyrical grace of this melody is subtly accompanied by the strings that employ both pizzicato and bowing to articulate and accentuate the singer’s delicately phrased gratitude.

PROGRAMME NOTES

Heitor Villa-Lobos

George Frideric Handel

Bachianas Brasilieras No.5

“Hallelujah” Chorus from Messiah

(1887–1959)

Heitor Villa-Lobos is quite simply the best known and most productive Brazilian composer of classical music.

Like the Amazon rain forest of his homeland, his musical output was vast, varied and exhilarating—more than 700 works in an astounding range of forms, genres and modes of expression, much of it for original and unorthodox instrumental combinations. He was taught by his father to play cello at a very early age; his love for the instrument and of guitar informed a number of his compositions throughout his life. In his late teens and twenties, he travelled around Brazil absorbing the popular and folk musical styles and dances of various regions. Likewise, his travels to Europe and the US increased his familiarity with western classical forms and traditions. In his nine suites collectively titled Bachianas Brasilieras (1930-45), Villa-Lobos brings together Brazilian musical language and structures with elements of the more traditional western baroque past, in particular his admiration for Johann Sebastian Bach. The best known of these Bachianas is the beautiful No. 5 for soprano with strings (originally eight cellos), renowned for its first movement, an Aria— Cantilena. It is a soaring, wordless vocalise in two parts separated by a declaimed “Nocturne” with words by the poet Ruth Valadres Correa.

(1685–1759)

Handel’s acclaimed masterpiece Messiah is an oratorio in three parts, first performed at Easter time in 1742. Performances of Messiah at Christmas time are perfectly natural however, as Part 1 tells of God’s promise of salvation for humanity and ends with the appearance of an angel to shepherds in the hills outside Bethlehem, the announcement to them of Jesus’ birth (the Incarnation) and of his healing ministry.

Part 2 of Messiah presents the tribulations of His ministry that lead ultimately to His Passion and Crucifixion, but it ends in His triumph over death and the establishment of God’s power on earth. It is this triumph that provides the context for the “Hallelujah” Chorus, the final element in Part 2, and that makes it the emotional and doctrinal heart of the oratorio. Such is the significance of the text, and so great the uplifting power of the music, that it is easy to believe the reports from Handel’s servant: that upon Handel’s completion of the Chorus the servant found him at his desk, weeping and exclaiming, “I did think I did see all Heaven before me, and the great God Himself seated on His throne with His company of Angels.”

BOOM

Presenting Partner

A KIDOONS AND WYRD PRODUCTION WRITTEN, DIRECTED, AND PERFORMED BY

RICK MILLER

100 VOICES. 25 YEARS. ONE MAN.

February 24 to March 04 | SAGEBRUSH THEATRE Tickets from $25 at wctlive.ca | 250.374.5483

Did you know, ticket sales and other earned revenues only cover about 30% of the costs to run Kamloops Symphony concerts? (and even less when our audiences sizes are restricted). More than ever, we rely on the generous support of individuals to ensure we can achieve our mandate of connecting to the community through music.

We invite you to help us reach our goal of bringing music to the public by giving to the Kamloops Symphony today.

Wanting to give back in perpetuity?

Then please consider a gift to one of our endowment funds managed at the BC Interior Community Foundation.

For ways to give, please contact us today, or visit

kamloopssymphony.com/supportus.htm

Donors $2000+

COND U CTOR’S CI RCLE Margaret Carlson

Rae Nixon

Annette Dominik

Colene Palmer

Joyce Henderson

Sheila Stewart

Gabriele Klein

Maureen Stewart

June McClure

John Watson

$1000+

BENEFACTORS

Anonymous (2) Kelvin Barlow Geoff & Judith Benson Geoff & Kathy Collier Hugh & Marilyn Fallis Murray Foubister Karen Gerke Joyce Henderson Kamloops Choristers

$750+

Gabriele Klein Catharine Kroetch June McClure Rod Michell Eleanor Nicoll Edith Pletzer Tacey Ruffner Jolana Tamajka

PRESIDENT ’S CLUB Tom Dickinson & Nancy Flood Bob & Jo-Mary Hunter Jessie & James Fedorak

Daniel Mills

Dina Gilbert

David & Rosemarie Stoltze

DONORS

$500+

OVATION

Anonymous (2)

George & Gloria Moore

Anise Barton & Tom Wallace

Helen & Bruce Newmarch

Evelyn Baziuk

Peter & Debra Allik-Petersenn

Kim Buker

Jane Reid

Holly Campbell

Ron & June Routledge

Dan & Denise Douglas

Michael & Pamela Saul

Roy & Helen Haugen

Terry Simpson

Rick & Carol Howie

Jerry Stack

Bob & Jo-Mary Hunter

M. Colleen Stainton

Gwyneth Lamperson

Robert Walter & Jill Calder

John & Joan McDonald

Dave & Marianne Whiting

David & Alison McKinnon

Judy Wiebe

Brian Mills & Susan Tyrrell

$250+

ENCORE

Luisa Ahlstrom

Dennis How

Darryl & Jeryl Auten

Marjorie King

Francis & Helen Barnett

Kats & June Kitamura

Pauline & Jack Braaksma

Karen Krout

Margaret Brown

Fred & Nancy Leake

Naomi & Ross Cloutier

Elspeth McDougall

Robert Cochrane

Susie Safford

Geoff & Kathy Collier

Salmon Arm Supporters

John Corbishley

Bryan Salsbury

Bruce Dunn

Ray & Sue Sewell

George Fowlie

Laura Soles

Lucille Gnanasihamany

Stan Szpakowicz

Louis Gosselin

James & Barbara Wentworth

Lois K. Hollstedt

$100+

BRAVO Anonymous

William Heese

Charo Neville

Erin Adams

Frances Higginson

Peter & Debra Allik-Petersenn

Margot Holmes

Nu Master Chapter of Beta Sigma Phi

Wendy Bainbridge

Bob & Jo-Mary Hunter

William Beaton Joan Bernard Phyllis Bond Percy Brackett Pamela Bradley Susan Buis

Marylyne House Claire Johnson Pat & Fred Kaatz Joan Keay Reid Kimmett Martin Kratky

Rosalind Burnell

Christina & Reimar Kroecher

Hugh Burton

Lyle LeClaire

Jo Butland

Mary Lester

Catherine Card

James Macdonald

Raymond & Toshi Chatelin

Matthew Macdonald

Harriett Chave

Wally Mah

Ruth Majak Brenda & Ken Christian Richard Mann Michelle Christopher Heather Martin Rochelle Collins Alan Corbishley Sharon Cotter

Mrs. Shirley Martin Catherine Masterson

Marian Owens Ron & Louise Oyler Elaine Paget Janet Pangman Janice Pedersson Penny & Carl Pentilchuk Sheila Pierson Pauline Pollock Steve Powrie Anna Redekop Amy Regen Jane Reid Nicole & Steven Remesz Farid Rener Chris & Gine Rose Ron & June Routledge David Schmidt Kathy Sinclair

Murray Crawford

Ellen & John McCurrach

Phil Crossley

Kirsten McDougall

Fred Cunningham

Maureen McInnes

Ross Styles

Pamela Dalgleish

Robert & Marian McLaren

Nicole Tougas Barbara Ulevog

Kaitlin Methot

Robert Ulevog

Rosalie Middlemass

Nels Vollo

Dianne Miller

Donald & Margaret Waldon

Joan Denton Jean Ethridge Ruth & Michael Fane Louella Garner Christy Gauley Christine Goodman Peter & Judy Gray Alan Grimes Penelope Heaslip

Randy Miller Christy Morris Peter & Ann Marie Mumby Doug Neigel

Donald & Sandra Staff Ian & Margaret Stewart

We Run the World Coaching Eric & Mary Wiebe John Wiens Lois & David Williams

Volunteers Nicholas Adams

Deb Fransen

Alison McKinnon

Kathleen Alcock

Lucille Gnanasihamany

David Mckinnon

Wendy Allen

Diana Haque

Wendy McLean

Mary Aulin

Roy Haugen

Rod Michell

Pierrette Beaton

Marylyne House

Davina Neve

Pam Bradley

Carol Howie

Helen Newmarch

Claire Ann Brodie

Barb Humphrey

Jane Osterloh

Faye Burles

George Humphrey

Bess and Kaytee Ovington

Jo Chipperfield

Kathy Humphreys

Louise Oyler

Kathy Collier

Patricia Kaatz

Carol Paulsen

Geoff Collier

June Kitamura

Steve Powrie

John Corbishley

Gabriele Klein

Bonnie Pryce

Jean Crowe

Tyler Klymchuk

Wilma Scheer

Libby Denbigh

Sie Koopman

Margaret Sharon

Kathrine Dominik

Mary Lester

Simon Walter

Denise Douglas

Maureen Light

Mary Ann Whiting

Bruce Dunn

Joan McDonald

Dave Whiting

Sandy Eastwood

John J. McDonald

Judy Wiebe

Jill Field

Deb McKeown

Coming in January to Kamloops & Salmon Arm…

Phenomenal Piano F E AT U R I N G

CHARLES RICHARDHAMELIN piano

Sagebrush Theatre

The Nexus on First

JANUARY 15

JANUARY 16

SATURDAY 7:30PM

BOX OFFICE: 250.374.5483

kamloopssymphony.com

SUNDAY 2:00PM