T(w)o New Heights concert programme by Kamloops Symphony

Web Experience FRIDAY

MAY 21

to SATURDAY

JUNE 19

DINA GILBERT Music Director ALAN CORBISHLEY Baritone CSETKWE Vocalist “Moody Hoodoos” Kamloops, BC | Photo Credit: Candace Hansma

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MESSAGE FROM THE EXECUTIVE DIRECTOR

Well, here we are!

At the final concert experience of our reimagined 2020–21 Season. It is remarkable to think than only eleven months ago, hardly any of our artistic output of this past season had even been conceived. Putting our initial plans for the Season on pause, we embarked on a new way of thinking progressing project by project in our digital medium. And now here we are, having produced nine full-length concerts not unlike a regular season, with an entirely digital season under our belts. Special thanks must be given Dina Gilbert for tirelessly sharing her artistic vision and working so hard to come up with new and creative ideas that fit within our new circumstances. We must also thank all our new production partners who not only helped us pull off the season but also ensured our concert experiences were both visually and sonically stunning. And, a huge shout out to the small but mighty administrative team at the Kamloops Symphony who have worked in new and creative ways, to keep things running behind scenes. And finally, thank you for joining us for this adventurous year of programming. We can’t wait for you to join us again next Season, for another year of musical experiences created for the community. Until then, wishing you all a restful and rejuvenating summer. Daniel Mills | Executive Director

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Music & the Arts

BOARD OF DIRECTORS

Miki Andrejevic | President Claire Ann Brodie Kathy Collier Lucille Gnanasihamany Gabriele Klein Maureen McCurdy | Treasurer Rod Michell Helen Newmarch | Secretary Steve Powrie | Vice President 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

Evan Ren

Librarian

Sally Arai

Orchestra Personnel Manager

Olivia Martin

Production Manager

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

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. In 2017, she made debut performances in the United States with the Eugene Symphony and the Fayetteville Symphony Orchestra as well as in Asia conducting a series of five concerts with the Sinfonia Varsovia in Niigata and Tokyo. 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 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 paticipative 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.

Orchestra FIRST VIOLIN

| concertmaster+ | assistant concertmaster+

Cvetozar Vutev Elyse Jacobson

SECOND VIOLIN Boris Ulanowicz* Hannah Chung

Ashley Kroecher Erin Macdonald

CELLO

Martin Kratky* Doug Gorkoff Principal

Acting Principal

Chair Sponsors Dina Gilbert

TRUMPET

FLUTE

PERCUSSION

CLARINET

HARP

Michael Vaughan+ Heather Beaty+

VIOLA

BASS

Sally Arai+

Mark D’Angelo+ Martin Fisk

Naomi Cloutier

BASSOON

Olivia Martin+ Substitute Principal

Photo Credit: Candace Hansma | “Moody Hoodoos” Kamloops, BC

Program Conductor:

Dina Gilbert

Guest Artists: Alan Corbishley | baritone Csetkwe | vocalist

Francis Poulenc

Le bal masqué

I. Préambule et air de bravoure II. Intermède III. Malvina IV. Bagatelle V. La dame aveugle VI. Finale

Katia Makdissi-Warren Whispers of the Mountain

(feat. Csetkwe)

Stacey Brown Aaron Copland

Still* (World Premiere) Appalachian Spring Suite (original chamber instrumentation)

*the first installment in a multi-year commissioning project

Guest Artist

Csetkwe Guest Artist

Alan Corbishley As a baritone, Alan has sung throughout North America and Europe. In the UK, he sang Marcello in Puccini’s La Bohème, Mozart’s Mass in C minor, and Bach’s St. Mathew’s and St. Johns Passion, Dr. Falke in Die Fledermaus in London, and Papageno in The Magic Flute in Belfast. He sang Schaunard in La Boheme with Vancouver Opera and with Opera Theátre Besançon in France and returned to Besancon and Dijon, France in Peter Eötvös’ contemporary opera Le Balcon and in Rossini’s opera L’occassione fa il Ladro. Alan performed many times with the Kamloops Symphony including Mahlers’ Das Lied von der Erde and Polar Express. With Western Canada Theatre, Alan had lead roles in their productions of Fiddler on the Roof, My Fair Lady, Beauty and the Beast, Seussical and Les Miserables. As an award-winning arts producer and versatile opera director, Alan has had his stage works described as “poetry on stage”. As a stage director, his production of Handel’s Acis & Galatea was named “Vancouver’s Best Opera” of 2017 and his production of Nigredo Hotel with City Opera Vancouver was also on the 2018 Best of Vancouver list. In 2020, Alan directed and co-created the production Berlin:

The Last Cabaret which premiered at the PuSh International Performing Arts Festival and in 2016, Alan directed and conceived of City Opera Vancouver’s production The Lost Operas of Mozart. In 2014 Alan wrote and directed his original “silent play”, based on the life of Charlie Chaplin entitled Silent Chap, for Western Canada Theatre’s mainstage season. As a producer, Alan is the Artistic and Executive Director of Sound the Alarm: Music/Theatre and has created well over 200 events and productions. Due to his successes, Alan won the Mayor’s Award for Arts Innovation as well as a Distinguished Alumni Award for Arts and Culture through Thompson Rivers University. Having started his studies in theatre, Alan eventually received his Bachelor of Music from the University of British Columbia followed by his Masters of Music from the New England Conservatory of Music in Boston and trained for two summers each at the Tanglewood Music Centre and the Music Academy of the West as well as a year-long Young Artist Program in France. Alan is also currently on faculty at the Vancouver Academy of Music as a voice teacher and their resident stage director.

Csetkwe is a multi-gifted artist with her roots in the Syilx (Okanagan) and Secwepemc (Shuswap) Nations. Holding the respect of being a sqwuy (mother to a son) and a Traditional Knowledge Keeper, she mainly works in performance art, writing, painting and drawing. She is a graduate of the En’owkin Centre of Indigenous Art, receiving a National Aboriginal Professional Artists’ Training certificate and Nsyilxcn Language Program certificate. She honed her love for performance art during her time in the Full Circle Ensemble Program in Vancouver, BC. Csetkwe’s performances include those of a Singer/Song Carrier, Spoken Word Poet as part of the kʷem kʷem słénsłénəy—Indigenous Female Drum Collective and as the former front woman in multimedia performance collective Skookum Sound System. As a visual artist, Csetkwe is grateful to contribute to the Kama Collective and Ullus Collective.

Some of Csetkwe’s notable performances, exhibits and presentations include: 2018 Juno Performance with Arcade Fire EvenTide Night of The Matriarch —Victoria BC DetermiNation —Castlegar, BC ArtCatalyst Series: Indigenous Women In the Arts —Toronto, Ontario Centennial College —Toronto Ontario Big Medicine Studio —Nipissing, Ontario Sakewewak Storytellers Festival —Regina, Saskatchewan Movable Feast at the Mackenzie Art Gallery —Regina, Saskatchewan Grunt Gallery during S.W.A.R.M Art Crawl —Vancouver BC Adaka Festival —Whitehorse, Yukon Push Festival at Performance Works —Vancouver, BC Alternator Centre for Contemporary Art —Kelowna, BC Royal BC Museum —Victoria, BC VIMAF (Vancouver Indigenous Media Arts Festival) among others.

During the 2020-21 Season, our Executive Director Daniel Mills embarked on an epic journey: He ran every city street in Kamloops, and with your support raised over $24,000 for the orchestra! His journey is now complete!

Special thanks to the following people for their donations Anonymous

Annette Dominik

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Jim McLaren Heather McLaren Marilyn McLean Daniel Mills Brian Mills Lauren Minuk Joan Moffat Christy Morris Jean Nelson

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kamloopssymphony.com/running-the-symphony.htm

PROGRAM

Francis Poulenc (1899–1963)

Le bal masqué (1932) Our concert opens with music that is lively, energetic and playful, suitable for spring in all its many moods. The solo voice is one well known and admired in Kamloops, that of baritone Alan Corbishley, and the work is by French composer Francis Poulenc, also well known and admired although this entertaining work is one not often heard. In English the title names it as a “secular cantata.” Traditionally, most cantatas (a genre of moderately lengthy vocal compositions) have a religious focus. To compose a cantata with a secular subject invites listeners to take it “seriously” as with traditional cantatas—you can see the result presents opportunities for irony, especially as in French Poulenc’s title reads “cantate profane.” A little background about the composer and his times is revealing. Poulenc was a member of the legendary “Groupe de Six,” a circle of French composerfriends formed about 1920 under the influence of Eric Satie (18661925). Unlike other composer groups (Russia’s “Mighty Five” for example), “Les Six” were genuinely close and collaborative, meeting regularly to exchange and showcase musical ideas and compositions. They also shared wealthy patrons whose commissions and soirées became additional opportunities for Les Six to develop agreements and disagreements over musical ideas. Also important is that these were the post-war WW1 years, times of reaction, revolution and experiment in all the arts. There were

many alternative movements, musical and otherwise—Dadaism, Surrealism, Expressionism, Impressionism among them. For French culture “post-war” also meant post Franco-Prussian War (1870-71), where, in music, the French defeat intensified their rejection of German Romantic and Neo-romantic orchestral styles. Les Six, and Poulenc in particular, took the long-established French musical characteristics of charm, delicacy, fun and wit, and imbued them, at times, with a seriousness and restrained passion that reflected the ironic and ambivalent feelings of the inter-war years. A considerable portion of Poulenc’s music was concerned with song. He loved poetry and was particularly inspired by his contemporaries, several of whom were representatives of the French literary avant-garde, such as Apollinaire and, in Le bal masqué, Breton poet Max Jacob, both of them founders of French literary Surrealism. Clearly Poulenc was intrigued by the puzzling nonsense verse of Jacob’s poems he chose for “Le bal masqué,” and the resulting work is the quintessence of the type of music being promoted by Les Six, much of which favoured chamber music ensembles or small instrumental groups. For “Le bal,” in addition to the baritone, Poulenc scores for oboe, clarinet, bassoon, cornet, violin, cello, percussion, and piano. After an instrumental introduction, the three poems he chose are separated by two

PROGRAM

instrumental interludes: “Madame la Dauphine,” Intermede (instrumental), Malvina, Bagatelle (instrumental), La Dame Aveugle, Finale. [For text and translations, see pp. 16-19] Together, the words and music evoke carnival time in the Paris suburbs with which Poulenc was quite familiar. The songs provide much opportunity for parody,

irony and sarcasm about French society and attitudes. However, the instrumental element emerges as equally important as the vocal, with its own musical references, instrumental and rhythmic humour, sometimes light and playful, often cheeky and irreverent and occasionally jazzy.

Katia Makdissi-Warren

Whispers of the Mountain (feat. Csetkwe) (2020, rev. 2021) Kamloops audiences first heard the commissioned work, Whispers of the Mountain, in March of last year when it was premiered by the KSO in what turned out to be the final concert in a season abruptly curtailed by the arrival of COVID-19. This inspirational orchestral piece by Katia MakdissiWarren is a creative collaboration with the artist Csetkwe, a member of the indigenous Secwepmec peoples of the Kamloops territory. Csetkwe is a song writer, musician and performer with profoundly expressive voice. As Katia herself explains, “Csetkwe sent me her song ‘Sunrise on the Water, which she had written on a lake in the forest, and I was immediately inspired to write something in response to her wonderful piece. Certain aspects of Aboriginal music imitate sounds of the natural world, and I wanted to explore this idea too while still maintaining respect for the artistic elements of Csetkwe’s song and culture. My goal was for the audience to experience immersion in ‘an invented musical forest,’ in which each individual musical element

creates an imaginary forest sound.” Csetkwe’s part in the composition is based on her song and on an improvisation based on the orchestral piece. The result is an orchestral work that aims to re-create the larger natural environment in music. At the beginning of the piece, the musicians reproduce sounds that are more like nature itself, and then, through Csetkwe’s song, the sounds transcend to communicate metaphorically with nature. Now, just over a year later, we hear this remarkable piece again, reorchestrated by the composer for the smaller instrumental forces that circumstances demand, and with Csetkwe in her central role with voice and drum. Music Director Dina Gilbert has placed it in the programme almost like a bookend—a way of acknowledging the tribulations of the last twelve months, but more as an affirmation of our collective resilience and adaptability. Composer Stacey Brown is already familiar to Kamloops

PROGRAM

Stacey Brown

Still (2021) Symphony concertgoers. In part this is because a central element of Music Director Gilbert’s philosophy is that there is music everywhere in our environment that we can come to appreciate—Canada, BC, and Kamloops. Although not exactly “local” any longer (she is based in Montreal), Stacey Brown’s roots are in Kamloops, and to begin the recent 2018–2019 season Music Director Gilbert and the KSO commissioned a work from her—Perspectives—which premiered in that season’s opening concert. And for today’s concert we have another work commissioned by Dina and the KSO, titled Still. As yet unperformed, the work is best described by the composer herself. Stacey writes: “this piece takes as its starting point the body, the physicality of breath. Breathing and pulse. Breathing and spaces. Breathing

and distance and proximity. Breathing and acceleration and slowing down and absence. And absence. Breathing and the body as it hears itself in a void of ambient sound. The music unfolds slowly, rising gently but insistently toward a midpoint that shatters the process into a series of shorter episodes alternately singing, striking, floating, reverberating. A focus inward, a self-awareness. A contemplation of evolving experiences of time, spaces, connection, and isolation.” Only the rich and complex medium of music could undertake such a task as that.

premiered in 1944. A year later (as is often the case with ballet scores), the composer arranged some of the most striking of the ballet’s eight sections into this orchestral suite. In addition to the enchantment of the music, one reason for the enduring appeal of Appalachian Spring is its subject matter: a wedding that celebrates the American pioneers of the early 19th century and embodies youthful desire and optimism along with romanticized ideas of frontier settler life—none of this unfamiliar to Canadian experience.

The orchestration for Still, as for the Whispers of the Mountain is this: flute, oboe, clarinet bassoon, trumpet, piano, percussion, first violins (2), second violins (2), violas (2), cellos (2) and bass.

Copland was Brooklyn born and bred and had travelled widely in Europe, South America and the Caribbean, yet surprisingly had never visited the American Appalachian region. Nonetheless, his music captures to perfection the innocent hope of a young couple and their rural way of life. He called it his “vernacular style.” In the absence of dancers it helps our imagination to have an indication of the action of each of the suite’s parts. Copland himself gave the following outline.

Aaron Copland (1900–1990)

Appalachian Spring Suite (1944) (original chamber instrumentation) Composers often seek to depict their country’s landscape and to embody key aspects of their culture through the medium of their music. Many of us know American composer Ferde Grofé’s Grand Canyon Suite, or remember Michael Daugherty’s evocation of Detroit and its industrial character in his Fire and Blood violin concerto the KSO performed a few years ago. Yet, for many listeners it is

Aaron Copland’s music for the ballet Appalachian Spring that captures in music most memorably, essential elements of North American life— pioneer life—and not just American life, but experiences that resonate with Canadian culture too. The ballet was the product of collaboration between Copland and the legendary modern dancerchoreographer, Martha Graham, and

“1. Very Slowly—the introduction of the characters one by one, in a suffused light: the Husbandman, the Bride, the Pioneering Woman, the Revivalist, and the Followers. 2. Sudden Burst of Unison Strings— marking the beginning of the action. A sentiment both elated and religious gives the keynote to this scene.

3. Moderate—Duo for the Bride and her Intended—scene of tenderness and passion. 4. Quite Fast—the Revivalist and his Flock. Folksy feelings—suggestions of square dancers and country fiddlers. 5. Still Faster—Solo Dance of the Bride—presentiment of motherhood. Extremes of joy and fear and wonder. 6. Very Slowly—(as at first). Transition scenes reminiscent of the introduction. 7. Calm and Flowing—scenes of daily activity for the Bride and her Farmerhusband: containing five variations on the Shaker hymn “’Tis A Gift To Be Simple.” 8. Moderate (Coda). The Bride takes her place among her neighbours.” One critic wrote after the ballet’s first performance, the music’s quality is “shining and joyous,” so that rather than being just Americana “it belongs to a much broader and dateless category. It is, indeed, a kind of testimony to the simple fineness of the human spirit.” Our continuing reach for “the fineness of the human spirit” in this most difficult of times makes Copland’s music a deeply significant choice as the closing work for this concert in this KSO season of online performances.

POEMS

Le bal masqué by Francis Poulenc

Poems by Max Jacob (1876–1944) from Laboratoire central (1921)

I. Préamble et Aire de Bravoure

I. Preface and Bravura Air

II. Intermède

II. Interlude

Madame la Dauphine fine, fine, fine, fine, fine, fine ne verra pas, ne verra pas le beau film qu’on y a fait tirer —les vers du nez— car on la menée en terre avec son premier né. en terre et à Nanterre où elle est enterrée Madame la Dauphine, etc…

Madam Dolphin phin, phin, phin, phin, phin, phin you will not, you will not see the lovely film they made by dint of to worm secrets out of her for she was put in the earth with her first born: in the earth in Nanterre where she is buried Madam Dolphin, etc.

III. Malvina

Voilà que j’espère vous effraye

Quand un paysan de la Chine chine, chine, chine, chine, veut avoir des primeurs, il va chez l’imprimeur ou bien chez sa voisine shin, shin, shin, shin, Tous les paysans de la Chine les avaient epiés pour le mettre des bottines tine! tine! Ils leurs coupent les pieds.

When a peasant of China china, china, china, china wishes spring vegetables he goes to the printer or also to the girl next door, door, door, door, door. All the peasants of China had spied on them to put on their boots oots, oots! they cut off their feet.

M. le comte d’Artois est monté sur e toit faire un compte d’ardoise toi, toi, toi, toi, et voire par la lunette, nette! nette! pour voir si la lune est plus grosse que le doigt

His Lordship the Count of Artois climbed up on the roof to reckon up the slate, slate, slate, slate, slate, and look through the telescope scope! scope! to see if the moon is fatter than his finger.

I hope there’s something will frighten you. Miss Malvina hasn’t abandoned her fan since she died. Her pearl-gray glove is spangled with gold. She corkscrews like a gypsy waltz, she dies of love at your door beside the stone jug where the walking-sticks are placed. Let us say she died of diabetes died of the great perfume that bent her neck. Oh! So honest beast, so chaste and so far from mad less gourmet than glutton she had thick blood, she was graduate in literature and senior lecturer she was treated as highbrow

Un vapeur et sa cargaison son, son, son, son, son, son, ont échoué contre la maison. Chipons de las graisse d’oie doye, doye, doye, doye, doye, doye, pour enfaire des canons.

A steamboat and its cargo go, go, go, go, go, go, crashed against the house. Let’s take some grease of goose goose, goose, goose, goose, goose to make cannons.

Madame Malvia ne quitte plus son éventail, depuis qu’elle est morte. Son gant gris perle est étoilé d’or. Elle se tirebouchonne comme une valse tzigane, elle vient mourir d’amour à ta porte près du grès où l’on met les cannes. Disons qu’elle est morte du diabète morte du gros perfum qui lui penchait le cou. Oh! si honnête animal si chaste et si peu fou moins gourmet que gourmande elle était de sang-lourd agrégée de lettres et chargée de cours c’était en chapeau qu’on lui faisait la cour or, on ne l’aurait eue qu’ a la méthode hussarde Malvina, ô fantôme, que Dieu to garde!

when she only wanted to be treated cavalierly! Malvina, O ghost, may God keep you!

POEMS

Le bal masqué by Francis Poulenc

Poems by Max Jacob (1876–1944) from Laboratoire central (1921)

IV. Bagatelle

V. La dame aveugle

V. The blind lady

La dame aveugle dont les yeux saignent choisit ses mots elle ne parle à personne de ses maux.

The blind lady with bleeding eyes

Elle a des cheveux pareils à la mousse elle porte des bijoux et des pierreries rousses

She has hair like moss she wears jewels and precious reddish stones

La dame grasse et aveugle dont les yeux saignent écrit des lettres polies avec marges et interlignes

The fat blind lady with bloodshot eyes writes elegant letters with borders and space between the lines

Elle prend garde aux plis de sa robe de peluche et s’efforce de faire quelque chose de plus

She takes care of the folds of her plush gown and tries hard to do something more than that

et si je ne metionne pas son beau-frère c’est qu’ici ce jeune homme n’est pas en honneur

and if I do not mention her brother-in-law it is because that young man is not respected here

car il s’enivre et fait s’enivrer l’aveugle qui rit, qui rit et beugle

because he gets drunk, and makes the blind lady drunk so she laughs, laughs and then bellows. Oh! the Blind Lady!

Ah! la dame aveugle!

chooses her words about her troubles she speaks to no one

VI. Finale

Réparateur perclus de vieux automobiles l’anachorète hélas a regagné son nid par ma barbe je suis trop veillard pour Paris l’angle de tes maisons m’entrent dans les chevilles. Mon gilet quadrillé a, dit-on, l’air étrusque et mon chapeau marron va mal avec mes frusques avis! c’est un placant qu’on a mis sur ma porte dans ce logis tout sent la peau de chêvre morte. Réparateur perclus de vieux automobiles, etc.

Crippled mender of old automobiles the hermit, alas, returned to his nest by my beard I am too old for Paris the corner of your houses gets ito into my ankles. My check waistcoat, they say, has an Etruscan look and my brown hat doesn’t go well with my get-up. Notice! There’s a poster been put on my door: in this house everything smells of dead goat’s hide. Crippled mender of old automobiles…

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Erin Adams Nicholas Adams Randy Adams Luisa Ahlstrom Joe Alcock Lorene Anders Leianne Anderson Milentije Andrejevic Sally Arai Mary Aulin Wendy Bainbridge Helen Barnett Pierrette Beaton Caylen Bennett Jack & Pauline Braaksma Sue Brace Pam Bradley Claire Ann Brodie Margaret Brown Roz Burnell Maeve Calhoun Naeve Calhoun Harriet Chave Jo Chipperfield Michelle Chitsaz Franca Cinel Tracy Clarke Geoff Collier Kathy Collier John Corbishley Bunny Covey Philippa Coxon Jean Crowe Libby Denbigh Murray & Cathy Dochstader Kay Dodds Annette Dominik Kathrine Dominik Denise Douglas Lori Douglas Bruce Dunn Jane Dyck Sandy Eastwood Jill Field Miranda Fish Caroline Fish

Hinke Floris Debbie Fransen Lucille Gnanasihamany Karin Gerke Diana Hague Shane Hall Leslie Hall Robert Hall Cathy Hall-Patch Judy Hatch Roy Haugen Helene Haugen Petra Hofman Woltle Marylyne House Ken House Rick Howie Carol Howie Loretta Huff George Humphrey Darla Hunter Betty Jakel Marg James Pat Kaatz June Kitamura Barb Klie Gabriele Klein Gwyneth Lamperson Marg Larsen Sue Lemke Carmen Leslie Mary Lester Maureen Light Teresa Lomax Teresa Lomax Jim MacPherson Hilda MacPherson Gerry & Vi Maricle Linda Marquard Diane McArthur Maureen McCurdy Elspeth McDougall Kirsten McDougall Deb McKeown Alison McKinnon David McKinnon Andrew McLaren

Wendy McLean Linda McMillan Rod Michell Sharon Mirtle Vic & Sally Mowbray Doug Neigel Davina Neve Helen Newmarch Eleanor Nicoll Rae Nixon Helen Nybo Daniela O’Fee Lucas Olsen Jane Osterloh Bess Ovington Kaytee Ovington Louise & Ron Oyler Colene Palmer Carol Paulsen Margaret Peemoeller Marlene Peters Don Poirier Michael Powell Steve Powrie Bonnie Pryce Jane Reid Russ Reid Cherryl Rice Wilma Scheer Sue Sewell Terry Simpson Tom Stone Jolana Tamajka Lynne Totten Linda Tully Simon Walter Tom Walton James Watson John Watson Linda Watson Sigi White Judy Wiebe

DONORS

Donors $2000+

$500+

CON DUCTOR’S CIRCL E

OVATION

Anonymous

David & Alison McKinnon

Lorene & Ben Anders

Andrew McLaren

The Arai Family

Brian Mills

Anise Barton

Daniel Mills

Holly Campbell

Rudy Morelli

Margaret Carlson

Colene Palmer

Rae Nixon

Maureen Stewart

Annette Dominik

Sheila Stewart

Robert Cochrane

River City Realty

Gabriele Klein

John Watson

Geoff & Kathy Collier

Ron & June Routledge

Darcy Latremouille

The Wawanesa Mutual Insurance Company

Dina Gilbert

Michael & Pamela Saul

Roy & Helen Haugen

Jolana Tamajka

Bob & Jo-Mary Hunter

Dave Whiting

June McClure

Gwyneth Lamperson

$250+

$1000+ $750+

CHAIR SPONSORS Anonymous Kelvin & Roberta Barlow Geoff & Judith Benson Hugh & Marilyn Fallis Murray Foubister Karin Gerke Joyce Henderson Rod Michell Eleanor Nicoll Edith Pletzer Tacey Ruffner

PRESIDENT ’S CLUB Tom Dickinson & Nancy Flood Bruce Dunn Jessie & James Fedorak George & Gloria Moore M. Colleen Stainton David & Rosemarie Stoltze Robert Walter & Jill Calder

ENCORE

Anonymous

Fred & Nancy Leake

Luisa Ahlstrom

Mary Lester

Peter & Debra Allik-Petersenn

Richard Mann

Sandy Baird

Kirsten McDougall

Francis & Helen Barnett

Elspeth McDougall

Barb Berger

Vic & Sally Mowbray

Keith Boughton

Jean Nelson

Pauline & Jack Braaksma

Helen Mary Newmarch

Margaret Chrumka

Daniela O’Fee

Naomi & Ross Cloutier

Cherryl & Rick Rice

Dan & Denise Douglas

Ray & Sue Sewell

Robert & Leslie Hall

Chris & Laurie Stabler

Lois K. Hollstedt

Jerry Stack

Dennis How

Ross Styles

Betty Jakel

Lynne Totten

Marjorie King

Ray & Deidre Zacharias

Kats & June Kitamura

DONORS $100+

< $99

BRAVO Anonymous Sue Adams Wendy Bainbridge Llowyn Ball Barbara & Magnus Balle Pierrette Beaton William Beaton Marcia Beckner Jeremy Berkman Joan Bernard Phyllis Bond Keith & Kathy Boughton Robin Bowowlin Percy Brackett Pamela Bradley Lesley Brooks Margaret Brown Kim Buker John Burge Don Cavers Wendy Charlebois Raymond & Toshi Chatelin Harriett Chave Kenneth Lorne Christian Catherine Churchill Kathleen Collier John Corbishley Sharon Cotter Phil Crossley Joanne Dennstedt Kathrine Dominik Lynn Eberts John Evans Julie Feather Julie Flowerdew William Flynn Ben & Clara Fouillard Judith Fowles Diane Fraser Louella Garner Judy Gibson Linda Graham Vivian Grant Victoria Gray

Cathy Hall-Patch Susan Hammond Penelope Heaslip Frances Higginson Michelle Hiscock Thomas How Greg Howard Rick & Carol Howie Darla Hunter Breanne Jamieson Claire Johnson Pat & Fred Kaatz Alex & Margaret Kerr Jaroslav & Alena Kratky Martin Kratky Karen Krout Morgan Lacusta Ray LePage Ruth Lidster Mariko Lintott James MacDonald James & Hilda MacPherson Ruth Majak Beverly Martin Heather Martin Shirley A. Martin Catherine Masterson Betty Anne McCallum Ellen & John McCurrach Russell McDonald Ona McDonald Robert & Marian McLaren Rosalie Middlemass Randy Miller Dianne Miller Joan Moffat Trudy Nagurski Doug Neigel Helen & Bruce Newmarch Angi & Russ Noakes Helen Olynyk Jake & Marg Ootes Patricia Owen

Ron & Louise Oyler Janice Pedersson Jos Penner Penny & Carl Pentilchuk Marlene Peters Sheila Pierson Reg & Tracey Pointer Barb Prystawa Amy Regen Nicole & Steven Remesz Pat Richardson David Ritenburg Gloria Robertson Don & Sharon Rodgers Susie Safford David Schmidt Ken & Almina Self Kathy Sinclair Carol Sinnemann Carol & Wolfgand Sinnemann Bud & Daphne Smith Laura Soles Arlene Soloman Barbara Jean Steinke Stan Szpakowicz Ed Takahashi Elizabeth Templeman Nicole Tougas Judith Treherne Nels Vollo Donald & Margaret Waldon Ann & Rick Wallin Andrew & Tammy Watson Ronald Watson Elaine Webber Dave & Maryanne Whiting Eric & Mary Wiebe John Wiens

APPL AUSE Anonymous

Dyan Gunnlaugson

Thomqui Quigley

Patricia K. Andrews

Peggy Heath

Carmen Ranta

Minori Arai

Dian Henderson

Kelly Richard

Mary Aulin

Marylyne House

Carol Robb

Darryl & Jeryl Auten

Trent & Melissa Jakubec

Jodi Lynne Roberts

Florence Johnson

Chris Roskell

Jennifer Barrett Pat & Tom Becker Nicole Befurt Lori Bonertz

Cora Jones Linda Jontz

Gordon & Joan Britton

Richard Klassen

Janet & Bruce Brunsgaard

Helen Knight Martin Kratky

Angela Burghard

Christina & Reimar Kroecher

Rosalind Burnell Jo Butland Sue Buzash Giovanni Cinel Franca Cinel Evelyn Claudepierre Pauline Claydon Maureen Coldicott Joslyn Conley Peter Coxon Janice Faye Crape Donna Daines Lloyd & Paula Darwent Susan Deering Donna DeMarni Brenda Dley Mona Doney Peter Duda Sandy Eastwood Bianka Ede Jean Ethridge Christine Fichter Edwin Fockler Alan Forseth Gillian Gaiser Sandy Gallup Anne Geernaert David Gilmor Yanni Giftakis James & Joy Gothard Peter & Judy Gray

Jo Lange Lani Laviolette Suzanne Legault Debbie & Lance Lehar Margaret Lichtenegger Ryan Liebe Reg & Barbara Lucas Cindy Malinowski Sylvia Rose Markowsky Bev Maxwell Janet McChesney Allen McCurrach Heather McLaren K.A Michell Nonie Miles Cheryl Monkman Kathy Moore Kathleen Nadler W. Russell Nakonesby

Pam & Tyler Robertson Opal Roskell Diane Russell Audrey Saigeon Irene Sansom Gerry Schellenberg Elaine Sedgman Tricia Sellmer Donna Sharpe Linda Shwaylyk Jennifer Simcoe Manju Singh Arjun Singh Patricia Spencer Linda Stender Janis Stertz Dawne Taylor Nadine Terziani Florence Thomson Dennis F. Tupman Shelley Utz Steve & Nancy L. Van Wagoner Michael Vaughan Evelyn Vipond-Schmidt Allan Voykin

Kimberley Naqvi

Tom & Anise Wallace/Barton

Catherine Oakden

Donna Walsh

Kyle & Shelley M. Okano

Robert Walter

Sheila Park

Wendy Watters

Deborah Pearen

James & Barbara Wentworth

Robert & Carol Petrie Joan Phillips Tracey Pointer Pauline Pollock Frith Powell Sheila Powell

John West Lois & David Williams Sheryl Willis Perry Wingenbach Harley Wright

The above represents the individuals and corporations who have donated to the Kamloops Symphony Society in the last twelve months. For any errors or omissions, please do let us know at 250.372.5000 or info@kamloopssymphony.com

hoto Credit: Candace Hansma P “Moody Hoodoos” Kamloops, BC

Thank you for your support