Cleveland Orchestra Youth Orchestra February 19

16 17 2 O 1 6 -1 7

S E A S O N

CLEVELAND ORCHESTRA

Youth Orchestra .

BRETT MITCHELL

MUSIC DIRECTOR

CLEVELAND ORCHESTRA

Years

Youth Chorus .

LISA WONG

DIRECTOR

February 19, 2O17 Severance Hall

An Eastman education forges the highest levels of artistry and scholarship with deep musicianship skills and entrepreneurial savvy. Eastman graduates emerge as leaders in their respective disciplines, have created their own professional opportunities, and are shaping the future of music.

FACULTY VIOLIN

OBOE

Federico Agostini Juliana Athayde* Bin Huang RenĂŠe Jolles Mikhail Kopelman Oleh Krysa Robin Scott*

Richard Killmer

VIOLA

BASSOON

Carol Rodland George Taylor Phillip Ying*

George Sakakeeny HORN

CELLO

TRUMPET

Steven Doane Alan Harris David Ying* BASS

CLARINET

Kenneth Grant Jon Manasse SAXOPHONE

Chien-Kwan Lin

W. Peter Kurau James Thompson Douglas Prosser* TROMBONE

James Van Demark

Mark Kellogg Larry Zalkind

HARP

TUBA

Kathleen Bride

Don Harry

FLUTE

PERCUSSION

Bonita Boyd

Michael Burritt

*part-time

For application information visit

esm.rochester.edu/admissions

Prelude Concert Cleveland Orchestra Youth Orchestra

Sunday evening, February 19, 2017 Concert Hall at Severance Hall Prior to each Cleveland Orchestra Youth Orchestra concert at Severance Hall, a special Prelude Concert features members of the Youth Orchestra in chamber music performances.

This evening’s instrumental ensemble represents our pioneering Advanced Performance Seminar program, in which Cleveland Orchestra coaches also perform in the chamber ensembles with Youth Orchestra students. Coaches are denoted with (*) next to their name.

Three Pieces by LUDWIG MAURER (1789-1878)

edited by Robert Nagel

1. Allegro grazioso 2. Andante con moto 3. Allegro vivo

Fugue No. 6 in G minor, BWV558

attributed to J.S. BACH (1685-1750), but more likely by Johann Tobias Krebs

arranged for brass quintet by Chalres F. Decker

1. Fugue

Sonata from Die Bänkelsängerlieder [The Bench Singer Songbook]

Anonymous (circa 1684), edited by Robert King

1. Allegro

performed by

Charlie Jones, trumpet Allen Morinec, trumpet Michael Rising, horn Shachar Israel, trombone*

Nicholas Withey, tuba

coached by Shachar Israel, Assistant Principal Trombone, The Cleveland Orchestra

SEVERANCE HALL

Prelude Concert

3

Dreams can come true

Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.

CLEVELAND ORCHESTRA

Youth Orchestra .

BRETT MITCHELL

CLEVELAND ORCHESTRA

MUSIC DIRECTOR

Youth Chorus .

LISA WONG

DIRECTOR

Sunday evening, February 19, 2017, at 7:00 p.m.

Severance Hall — Cleveland, Ohio Brett Mitchell, conductor

16 17

2 O1 6 -1 7

mason bates (b. 1977)

Sea-Blue Circuitry

S E A S O N

1. Circuits 2. Marine Snow

3. Gigawatt Greyhound

claude debussy

(1862-1918)

Three Nocturnes (for orchestra and women’s chorus)

1. Nuages [Clouds] 2. Fêtes [Festivals]

3. Sirènes [Sirens]

INTERMISSION

francis poulenc

Gloria (for orchestra, soprano, and chorus)

(1899-1963)

1. Gloria in excelsis Deo 2. Laudamus te 3. Domine Deus, Rex caelestis 4. Domine Fili unigente 5. Domine Deus, Agnus Dei 6. Qui sedes ad dexteram Patris

MARIAN VOGEL, soprano

live radio broadcast

This evening’s concert is being broadcast live on WCLV (104.9 FM).

The program will be rebroadcast as part of regular weekly programming on WCLV, on Saturday, July 29, 2017, at 8:00 p.m. and on Saturday, September 9, 2017, at 8:00 p.m.

SEVERANCE HALL

Concert Program

5

CLEVELAND ORCHESTRA

Youth Orchestra .

BRETT MITCHELL

FIRST VIOLINS Masayoshi Arakawa CONCERTMASTER Solon High School

Célina Béthoux

ASSISTANT CONCERTMASTER Home schooled

MUSIC DIRECTOR

Christine Shih

Dublin Jerome High School

Yihoon Shin

Perkins High School

Erika Lee

Strongsville High School

Taejun Kim

Kevin Tan

Formosa Deppman

Samantha Ma

Alice Wu

Grace Brown

Maria Zou

Tae-Hee Kim

Hudson High School Oberlin High School Solon High School Hudson High School

Brice Bai

Hathaway Brown School

Uzo Ahn

University School

Nicholas Schmeller Medina High School

Andrew Smeader Padua High School

Jaeho Kim

Beachwood High School

Lea Kim

Lake High School

Edie Duncan

Shaker Heights High School

Claudia Hamilton Hawken School

Richard Jiang

Solon Middle School

SECOND VIOLINS Daniel Fields PRINCIPAL Cleveland Heights High School

Julia Schilz

ASSISTANT PRINCIPAL Hathaway Brown School

Constant Clermont

Saint Ignatius High School

Hana Chang

Shaker Heights Middle School

Zachary Keum

Revere High School

Katsuaki Arakawa

Hathaway Brown School

Faith Geho

Solon High School

Jason Suh

Shaker Heights High School

University School

PICCOLOS Krysta-Marie Aulak D, P Karissa Huang B, P

University School

Solon High School

Twinsburg High School/ Kent State University

OBOES Olivia Brady P

Home schooled

Amelia Johnson B

Hudson High School

Eleanor Plaster

Hudson High School

Kate Young D

Sofia Ayres-Aronson

Katarina Davies

Hyowon Harrison Ahn

Rachelle Larivee

Kevin Du

Hyunwoong (David) Cho

Jakob Faber

Andrew Tian

Shaker Heights High School Western Reserve Academy Hudson High School Oberlin High School

Hudson High School

Anna Burr

Hudson High School

VIOLAS Claire Peyrebrune

Theodora Bowne

Sam Rosenthal

BASSES Redd Ingram

PRINCIPAL The Lyceum

ASSISTANT PRINCIPAL Shaker Heights High School

Luke Wardell

Twinsburg High School

Sarah Hong

Solon High School

Shaker Heights High School

PRINCIPAL New Albany High School

Gautam Apte

ASSISTANT PRINCIPAL Shaker Heights High School

Lauren Swartz

Blake Himes

Natalie Brennecke

Jacob Kaminski

Ayano Nakamura

Jamie Park

Adam Warner

Grace Cumberlidge

Ginger Deppman

Jacqueline Marshall

Highland High School Home schooled

Hudson High School Cleveland School of the Arts Oberlin High School

Shaker Heights High School Mentor High School

Hoover High School Strongsville High School

ENGLISH HORNS Amelia Johnson D, P Kate Young B CLARINETS Alex Dautel

Brunswick High School

Katherine Smith B, D Kenston High School

Jennifer Vandenberg Chardon High School

Peter Varga P

Solon High School

BASS CLARINET Jennifer Vandenberg P BASSOONS Natalie Corrin

Gesu Middle School

David Coy B, P

Brunswick High School Mentor High School

HARPS Cecilia Hiros

Shaker Heights High School

Taylor Hoppes

Charlotte Lo

Bay High School

Hudson High School

Solon High School

Sandy Shen

Crestwood High School

Beachwood Middle School

Kathryn Semus

Medina High School

6

Shaker Heights High School

Jessica Pan P

ASSISTANT PRINCIPAL Home schooled

Revere High School

Beachwood Middle School

Shaker Heights High School

Karissa Huang B, D

James Hettinga Brandon Wang

Moonhee Kim

FLUTES Krysta-Marie Aulak

PRINCIPAL Cleveland Heights High School

Strongsville High School

Solon High School

Alexandra Xuan

CELLOS Matthew Fields

Berea-Midpark High School Hudson High School

Youth Orchestra

Jack Formica D

Kenston High School

Zoe Perrier

Mentor High School

CONTRABASSOON Jack Formica B, P

2 0 1 6 - 17 S E A S O N

16 17 2 O 1 6 -1 7

HORNS Haley Brady

TROMBONES Brendon Loeb P

Sophia Calabrese P

Sydney Reik B, D

Miranda Deppisch

Tyler Smith

Sydney Gembka Michael McIntyre

TUBA Nicholas Withey

Samantha Rosselot

TIMPANI Catharine Baek D

PIANO Nathan Hensley

Crestwood High School Shaker Heights High School Copley High School

Nicolas Haynes

Lexington High School

Angeline Monitello Gilmour Academy

Michael Rising

B, D

Revere High School Strongsville High School Shaker Heights High School

PERCUSSION Catharine Baek Erin Detchon

Medina High School/ Medina County Career Center

Howland High School

Southeast High School

S E A S O N

MANAGER Lauren Generette LIBRARIAN /ASSISTANT Austin Land

Brecksville-Broadview Heights High School

Bay High School

TRUMPETS Steven Cozzuli

Northwestern High School

Charlie Jones B, D

Cuyahoga Valley Christian Academy

Allen Morinec

Willoughby South High School

Sydney Gembka P

West Geauga High School

Lily Sadataki B

Revere High School

Saint Ignatius High School

Elyria High School

Performers are listed alphabetically within each woodwind, brass, and percussion section.

PRINCIPAL PLAYERS B = Bates D = Debussy P = Poulenc

Kyle Perisutti P

Strongsville High School

The Cleveland Orchestra Youth Orchestra is supported by a grant from the Martha Holden Jennings Foundation.

Endowed Funds The future of classical music shines brightly through the talented young musicians of the Cleveland Orchestra Youth Orchestra. A gift to The Cleveland Orchestra’s endowment in support of the Youth Orchestra is a wonderful way to show your commitment to the future of this important program while providing vital funding for The Cleveland Orchestra.

In addition to the endowed musicians’ chairs listed at right, created by supportive donors, The George Gund Foundation has made a generous gift to the Orchestra’s endowment in support of the Youth Orchestra, the estate of Jules and Ruth Vinney has generously endowed a Touring Fund to support the Youth Orch­estra’s performances beyond Northeast Ohio, and Christine Gitlin Miles has made a generous planned gift to honor Jahja Ling, founding music director of the Youth Orchestra.

SEVERANCE HALL

Youth Orchestra

The following seven endowed Youth Orchestra chairs have been created in recognition of generous gifts to The Cleveland Orchestra’s endowment: Concertmaster, Daniel Majeske Memorial Chair Principal Cello, Barbara P. and Alan S. Geismer Chair Principal Bass, Anthony F. Knight Memorial Chair Principal Flute, Virginia S. Jones Memorial Chair Piccolo, Patience Cameron Hoskins Chair Principal Harp, Norma Battes Chair Principal Keyboard, Victor C. Laughlin M.D. Memorial Chair

For more information about how you can support the Youth Orchestra through an endowed chair or fund, please contact The Cleveland Orchestra’s Development Office by calling 216-231-8006.

7

CLEVELAND ORCHESTRA

Youth Orchestra .

BRETT MITCHELL

P H OTO BY R O G E R MA S T R O I A N N I

MUSIC DIRECTOR

T H E 2 01 6 -17 S E A S O N marks the

Cleveland Orchestra Youth Orchestra’s 31st season and the fourth year under the direction of Brett Mitchell. The Cleveland Orchestra Youth Orchestra is one of the Cleveland area’s premier musical destinations for aspiring student musicians — and one of the most acclaimed youth orchestras in the United States. Since its inaugural concert in 1987, the Youth Orchestra has performed more than 130 concerts and provided a musical home to 1,500 talented young instrumentalists.

Founded for The Cleveland Orchestra

by Jahja Ling, then the ensemble’s resident conductor, the Cleveland Orchestra Youth Orchestra provides serious young music students of middle school and high school age with a pre-professional orchestral training experience in a full symphony orchestra.

The unique musical experiences that the Youth Orchestra offers include weekly coachings with members of The Cleveland Orchestra, rehearsals and performances in historic Severance Hall, and opportunities to work with internationally renowned guest artists and conductors. Those guests

8

have included Marin Alsop, Pierre Boulez, Stéphane Denève, Christoph von Dohnányi, Giancarlo Guererro, Witold Lutosławski, YoYo Ma, Gil Shaham, Michael Tilson Thomas, Antoni Wit, and Cleveland Orchestra Music Director Franz Welser-Möst.

The creation of the Cleveland Orchestra Youth Chorus in 1991, to provide a similar experience for young vocalists from across Northeast Ohio, also widened the repertoire for the Youth Orchestra and expanded the Youth Orchestra’s preparation for potential professional roles. The two ensembles perform together at Severance Hall once each season.

As one of the best youth orchestras in North America, and one of just a few affiliated with a top-tier orchestra, the Cleveland Orchestra Youth Orchestra has garnered a number of prestigious accolades. In 1998, the Youth Orchestra was selected to participate in the second National Youth Orchestra Festival sponsored by the League of American Orchestras. In 2001, the Youth Orchestra appeared on the Family Concert Series at New York’s Carnegie Hall, and, in June 2009, they traveled

Cleveland Orchestra Youth Orchestra

Prague, 2012

2 0 1 6 - 17 S E A S O N

China, 2015

Music Directors of the

Cleveland Orchestra YOUTH ORCHESTRA Jahja Ling 1986-1993 to Boston for a series of four performances. The ensemble’s recent schedule has included performances at the Ohio Music Education Association Conference in February 2015, and for the League of American Orchestras national conference held in Cleveland in May 2015.

Regular international touring is now a planned part of the Youth Orchestra’s schedule. Their first overseas tour, to Europe in June 2012, featured concerts in Prague, Vienna, and Salzburg, as well as educational programs and historic tours. A second overseas tour, to four cities in China, took place in June 2015.

In recent years, several Cleveland Orchestra Youth Orchestra students have been featured on the nationally syndicated radio series From the Top, and several former members have won full-time positions in major orchestras, including four in The Cleveland Orchestra.

Members of the Youth Orchestra range in age from 12 to 18 and are chosen through competitive auditions held each spring. They come from forty communities in a dozen counties throughout Northeast Ohio to rehearse together each week SEVERANCE HALL

Gareth Morrell 1993-1998

Steven Smith 1998-2003

James Gaffigan 2003-2006

Jayce Ogren 2006-2009

James Feddeck 2009-2013

Brett Mitchell 2013-2017

in Severance Hall. The Youth Orchestra season runs from August through May and includes a three-concert subscription series at Severance Hall, radio broadcasts of Youth Orchestra concerts on Cleveland’s classical music station WCLV (www.wclv. org), and a variety of community concerts by both the full orchestra and chamber groups of Youth Orchestra members.

Cleveland Orchestra Youth Orchestra

9

TRAINING THE NEXT GENERATION OF CLASSICAL MUSICIANS

World class faculty, a stimulating, supportive atmosphere and outstanding facilities make the Cleveland Institute of Music an ideal environment for training the next generation of classical music performers.

cim.edu Bachelor of Music | Master of Music | Doctor of Musical Arts | Artist Certificate | Professional Studies | Artist Diploma

Brett Mitchell

P H OTO BY R O G E R MA S T R O I A N N I

Associate Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra

T H E 2 0 1 6 - 1 7 S E A S O N marks

Brett Mitchell’s fourth and final year as a member of The Cleveland Orchestra’s conducting staff. In this role, he leads the Orchestra in several dozen concerts each season at Severance Hall, Blossom Music Festival, and on tour. He also serves as music director of the Cleveland Orchestra Youth Orchestra. In June 2015, he led the Youth Orchestra in a four-city tour to China, marking the ensemble’s second international tour and its first to Asia.

With the 2017-18 season, Mr. Mitchell becomes music director of the Colorado Symphony in Denver; this season, he holds the title music director designate. He also continues an active career as a guest conductor, leading performances throughout North America, Europe, and Asia. Recent and upcoming guest engagements include performances with the orchestras of Columbus, Dallas, Detroit, Houston, Indianapolis, Oregon, Saint Paul, and Washington D.C., and the Frankfurt Radio Symphony, among others.

Mr. Mitchell served as music director of the Saginaw Bay Symphony Orchestra, 2010-15, where an increased focus on locally relevant programming and community collaborations resulted in record attendance throughout his tenure. He had earlier been assistant conductor of the Houston Symphony (2007-11), where he led over

SEVERANCE HALL

T

Music Director Cleveland Orchestra Youth Orchestra

100 performances with the ensemble and concurrently held a League of American Orchestras American Conducting Fellowship.

He was also an assistant conductor to Kurt Masur at the Orchestre National de France (2006-09) and served as director of orchestras at Northern Illinois University (200507). He was associate conductor of the Pittsburgh New Music Ensemble (2002-06), where he led many subscription programs, six world premieres, and several recording projects. Mr. Mitchell has also served as music director of nearly a dozen opera productions, principally as music director at the Moores Opera Center in Houston (201013), leading eight productions.

A native of Seattle, Brett Mitchell holds a doctor of musical arts degree from the University of Texas at Austin, where he was also music director of the University Orchestra. He earned a bachelor of music degree in composition from Western Washington University, which selected him as its Young Alumnus of the Year in 2014. Mr. Mitchell also participated in the National Conducting Institute in Washington D.C., and studied with Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship, and with Lorin Maazel.

For more information, please visit www.brettmitchellconductor.com.

Youth Orchestra: Music Director

11

School Music Teachers The members of the Cleveland Orchestra Youth Orchestra and Cleveland Orchestra Youth Chorus express gratitude to their school music directors for the role they play on a daily basis in developing musical skills.

Mark Skladan, Amherst Steele High School Joel McDaniel, Andrews Osborne Academy Sarah Dixon, Aurora High School Darren Allen & Devon Gess, Bay High School Lisa Goldman, Beachwood Middle and High Schools Dr. Lisa Litteral, Beaumont School Joshua Chenoweth, Benedictine High School Jeff Fudale & Katherine Robinson-Rhanny, Berea-Midpark High School Jason Wyse, Brecksville-Broadview Heights High School Jay Wardeska, Brunswick High School Youssef Hamid, Chagrin Falls High School Melissa Lichtler, Chardon High School Daniel Heim & Jesse Lang, Cleveland Heights High School Angelo Johnson, Dianna Richardson, & William Woods, Cleveland School of the Arts Mike Foster, Copley High School Jacob Page, Crestwood High School Scott Isaacs, Ben Weber, & Denita King, Cuyahoga Valley Christian Academy Michelle Adair, Dublin Jerome High School Kalee Bondzio, Elyria High School Christine Karliak, Fairview Park High School David Kilkenney, Gilmour Academy Linda Simon-Mietus & Laura Webster, Hathaway Brown School Sergio Castellanos & Laura Schupbach-Barkett, Hawken School Damon Conn, Heritage Academy Rachel Gamin, Chris Ilg, & Emily Miller, Highland High School Ronald Varn, Hoover High School Greg Rezabek, Howland High School Roberto Iriarte, Hudson Middle and High Schools Gretchen Obrovac, Independence High School Michele Monigold, Jackson Memorial High School Jeffery Link, Kenston High School Suzanna Adkins, Kirtland High School

12

Arleen Scott, Lake High School Tim Unger, Lake Ridge Academy Peter Hampton, Lakewood High School Anthony Gault, Laurel School Mary Bright, Mayfield High School Shelly Jansen & Jason Locher, Medina High School Adam Landry, Stephen Poremba, & Matthew Yoke, Mentor High School Julie Wallace, Middleburg Heights Junior High School Aaron Wilburn, New Albany High School Alissa Bodner, Newbury Junior/Senior High School Joe Mikolajczyk, North Royalton High School Ralph Negro, Northwestern High School Audrey Melzer, Oberlin High School Julie Budd, Olmsted Falls High School Randy Gernovich, Perkins High School Taylor Peel, Pymatuning Valley High School Darren LeBeau & Katie Rizzo, Revere Middle and High Schools Allison Paetz, Rocky River High School Jason Falkofsky & Dan Hamlin, Saint Ignatius High School Kathleen Cooper, Saint Joseph Academy James Gomez, Saint Peregrine Academy Mario Clopton, William Hughes, Donna Jelen, & Adrian Pocaro, Shaker Heights High School Gerald MacDougall & Ed Kline, Solon High School Joni Stoll, Southeast High School Vickie Eicher, Andrew Hire, & Brian King, Strongsville High School James Flood, The Lyceum Damon Conn, Twinsburg High School Daniel Singer, University School Jason Branch, Teresa Cosneza, & Melanie Kennedy, West Geauga High School William Talaba, Western Reserve Academy Jennifer Butler, Westlake High School Fred Pimavera, Willoughby South High School

Appreciation

2 0 1 6 - 17 S E A S O N

CLEVELAND ORCHESTRA

Years

Youth Chorus .

LISA WONG

DIRECTOR

Sema Albulet

Ben Gwinnell

Eddie McLaughlin

Maria Schreiner

Sydney Ball

Alyse Hancock-Phillips

Eunice Min

Robert Shaw

Adam Holthaus

Grace Mino

Eva Shepard

Shaker Heights High School

Anthony Iacovone

Kristina Mullen

Emily Shields

Mentor High School

Fisher Ilijasic

Nathan Niedzwiecki

Jackson Slater

Grace Christian Academy

Elizabeth Javorsky

University School

Tiger Jin

Hathaway Brown

Charles Nykiel

Michael Stupecki

Andrews Osborne Academy

Isabella O’Brien-Scheffer

Meghan Sweeney

Mayfield High School Cleveland Heights High School

Amelia Bayless-Marr Leah Beardslee Luke Benko

Samuel Blocker Anna Buescher

Chagrin Falls High School

Max Clifford

University School

Hannah Cogar

Lakewood High School

Katelyne Crouch Pymatuning Valley High School

Maya Cundiff

Saint Joseph Academy

Maksim Damljanovic K12 Homeschool

Lake Ridge Academy

Berea-Midpark High School University School

Mentor High School

Shaker Heights High School

Eleni Karnavas

Independence High School

Lydia Kee

Casey Walters

Strongsville High School

Megan Qiang

Shaker Heights High School

Victoria Rasnick

Lakewood High School

Mimi Ricanati

Andrews Osborne Academy

Emma Violet Rosberil

North Royalton High School

Jennifer Rowan

Cleveland School of the Arts

Hannah Rutkowski

Hawken School

Steven Schein

Rachel Kovatich

Natalily Kyremes-Parks

Niamh Field

Grace Maicki

Spencer Fortney

Sarah Malarney Annamarie Martin

Debolina Ghosh

Ellie Martin

Mariana Gomez

Madeleine Massey

Sarah Grube

Hathaway Brown

Amherst Steele High School Solon High School

Andrews Osborne Academy Jackson Memorial High School

Hathaway Brown

Dana Way

Strongsville High School

Azalea Artemis Webster

Shaker Heights High School

Sydney Williams

Saint Joseph Academy

Garrett Wineberg

Mentor High School

Alex Wuertz

Saint Joseph Academy

Laurel School

Shaker Heights High School Rocky River High School West Geauga High School Beaumont School

Mentor High School

Gilmour Academy Laurel School Laurel School

ASSISTANT DIRECTOR Daniel Singer ACCOMPANIST Daniel Overly

Shaker Heights High School

The Cleveland Orchestra Youth Chorus is supported by the Edward and Ruth Wilkof Foundation.

SEVERANCE HALL

University School

Laurel School

Joe Foti

St. Peregrine Academy

Laurel School

Justin Prindle

Narayah B. Lyles

Hathaway Brown

Mentor High School

Natalie Thomas

Westlake High School

Aaron Kim

Jared Dubber

St. Ignatius High School

Middleburg Heights Junior High School

Highland High School

Angel Victoria Tyler

Jennifer Lutz

Kirtland Middle School

Mentor High School

Cuyahoga Valley Christian Academy

Sara Phillips

Taniya Dsouza

Newbury Jr./Sr. High School

Homestead Lutheran Academy

Mentor High School

Fairview Park High School

Seth Ketchum

Rebecca Li

Lakewood High School

Hathaway Brown

Kirtland High School

Joey Thornton

Jade Domos

Gilmour Academy

Highland High School

Bay High School

Rosalie Phillips

Averie Lester

Aurora High School

Shaker Heights High School

Hawken School

Home School

Sasha Desberg

Revere High School

Benedictine High School

Youth Chorus

MANAGER OF YOUTH CHORUSES Julie Weiner

13

Directors of the

Cleveland Orchestra YOUTH CHORUS Gareth Morrell 1991-1998

Betsy Burleigh 1998-2006

Frank Bianchi T H E 2 0 1 6 - 1 7 S E A S O N marks the

Cleveland Orchestra Youth Chorus’s 25th Anniversary season and fifth year under the direction of Lisa Wong. The Youth Chorus was founded in the spring of 1991 to help raise awareness of choral music-making in the schools of Northeast Ohio and to encourage students to continue their choral singing activities through college and into adulthood. The Youth Chorus provides a unique opportunity for talented singers in grades nine through twelve to work together under professional guidance beyond their high school experience and to perform works from the standard choralorchestral repertoire in collaboration with the Cleveland Orchestra Youth Orchestra.

The members of the Cleveland Orch­ estra Youth Chorus are selected through competitive auditions held each spring. This season, the members represent more than forty schools and communities from nine counties across North­east Ohio. The Chorus participates in a half-dozen performances each season, including a joint concert at Severance Hall with the Cleveland Orchestra Youth Orchestra. The Youth Chorus made its debut at a Severance Hall concert in February 1992 singing Dvořák’s Te Deum with the Youth Orchestra.

In addition to performances at Severance Hall, the Youth Chorus’s activities

14

2006-2012

Lisa Wong

2012 to present include concerts and community engagement programs in the greater Cleveland area. Ensemble singers also participate in workshops and masterclasses with noted choral directors and clinicians. In recent years, the Youth Chorus has collaborated in performance with The Cleveland Orchestra, Cleveland Orchestra Chorus, Baldwin Wallace Men’s Chorus, and the Cleveland State Chorale. The Youth Chorus has appeared in concert at the Ohio Choral Directors Association, the Ohio Music Education Association Convention, and on the subscription concert series at a number of churches across Northeast Ohio.

Members of the Youth Chorus have participated in Holiday performances with The Cleveland Orchestra and Cleveland Orch­estra Chorus and as part of the annual Blossom Music Festival. Many members of the Youth Chorus began their Severance Hall “singing career” as members of the Cleveland Orchestra Children’s Chorus, and some have gone on to become members of the Cleveland Orchestra Chorus.

For further information about the Cleveland Orchestra Youth Chorus, please call the Chorus Office at 216-231-7374.

Youth Chorus

2 0 1 6 - 17 S E A S O N

Lisa Wong

Director Cleveland Orchestra Youth Chorus

Daniel Singer

Assistant Director Cleveland Orchestra Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season, helping to prepare the Cleveland Orch­estra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orch­estra Youth Chorus.

In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts.

Recent accolades have included work at Kenyatta University in Nairobi, Kenya, as a part of Tunaweza Kimuziki, and as a conductor for “Conducting 21C: Musical Leadership for a New Century” in Stockholm, Sweden.

Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

SEVERANCE HALL

Youth Chorus: Directors

Assistant Director Cleveland Orchestra Youth Chorus

The 2016-17 season marks Daniel Singer’s fifth year as assistant director of the Cleveland Orchestra Youth Chorus. He is director of music at University School in Hunting Valley, Ohio, where he conducts orchestra and chorus activities. He is also an active arranger and composer, having written for choral and instrumental ensembles throughout the United States. He previously worked as a performer, music director, and teacher in the Chicago area.

Mr. Singer holds a bachelor of music degree in choral and instrumental music education from Northwestern University and a master of music degree in choral conducting from Michigan State University.

15

WHERE ARTISTRY + INNOVATION SHARE CENTER STAGE music.cmu.edu | Application Deadline: December 1

Sea-Blue Circuitry

by Mason Bates

composed 2010-11

M

A S O N B A T E S was recently counted as the most-

performed symphonic composer of his generation. The accessibility — listenability — of his work, for both audiences and musicians, is intensified and strengthened by an inherent depth of detail and interest within his writing. His works bring together tradiMason tional classical writing, with influences from jazz and BATES DJ’ing, plus the integratation of techno rhythms and born January 23, 1977 electronic sounds. Oft-played, good listening. in Richmond, Virginia

A graduate of the Juilliard School of Music in lives near San Francisco, New York, Bates has served a stint as composer-inCalifornia residence with the Chicago Symphony Orchestra, and recently became the first composer-in-residence for the Kennedy Center in Washington D.C.

Bates is also a storyteller. There is an arc to each work, to the movements of each piece — so that he’s literally telling a story, or putting forth a musical one in the grand traditions of a Beethoven symphony or symphonic suite. These imaginative narrative forms, spiced with novel orchestral writing, bring dividends to listeners and musicians alike. His body of work is, perhaps, among the first symphonic music to receive widespread acceptance for integrating electronic sounds as a regular and integral part of the music’s vocabulary — and not just as decoration or gimmick. His musical works have been championed by leading conductors in North America and Europe, including Riccardo Muti, Michael Tilson Thomas, and Leonard Slatkin.

As a DJ and as a curator (in that newer everyday meaning of “curating,” as a guide to and creator of a particular experience), he has been a persuasive advocate for bringing new music to new spaces — with clear results from a partnership with the Chicago Symphony Orchestra, or through his own club/classical project called Mercury Soul (which has transformed spaces ranging from commercial clubs to Frank Gehrydesigned concert halls into exciting, hybrid musical events drawing large crowds). In awarding Bates the Heinz Medal, Teresa Heinz remarked that “his music has moved the orchestra into the digital age and dissolved the boundaries of classical music.”

This coming summer will witness the world premiere of Bates’s new opera The (R)evolution of Steve Jobs with Santa Fe Opera. This past autumn saw the release of film director Gus Van Sant’s The Sea of Trees, a mystical narrative of a man lost in Japan’s suicide forest, with Bates’s accompanying symphonic score (recorded at the legendary Skywalker Studios).

SEA- BLUE CIRCUITRY

Bates wrote this short three-part symphonic tone-poem in 2010 (revised in 2011).

It was premiered in a version for wind ensemble in October 2010, by the Frost Wind Ensemble in Miami, Florida. In musical language — and in his own commentary about SEVERANCE HALL

About the Music

17

the work — Bates points to a mixing together of technology and life, a juxtaposition of carbon-based life forms (both living and as debris) in the ocean with silicon-based computer circuitry. Here, perhaps, is a story of intelligence, of instinct, of programming both natural and human-created, turned into a musical representation of form and color (both visual color and auditory). The work’s three movements blend seamlessly together, in sound and in concept.

Bates has written the following comments about this work: “Breathy flute interjections, chirping trumpets, and even an old typewriter bring to life the quicksilver music of the opening movement ‘Circuits,’ which I also call ‘Silicon Blues.’ The morphing beat, at the movement’s climax, begins to lengthen persistently, and by the time we enter ‘Marine Snow,’ a pulsing preparedpiano figure becomes a distant, out-of-tune gong. In the deep ocean, marine snow is a continuous shower of organic detritus — primarily made up of dead and dying animals — that falls for weeks before reaching the ocean floor. Conjured by shimmering textures in the upper winds, this suspended animation (a nod to the Floridian element of the piece’s premiere) serves as the quiet backdrop for the melody that unfolds in the brass. Changing color at almost every cadence, it floats over the haze, eventually being taken up by the rest of the ensemble.

“As the marine snow drifts lower, the gentle pulse returns with growing insistence.

The prepared low-end of the piano finally presents itself in the third movement, called ‘Greyhound,’ a mad dash across bumpy terrain. The piano’s muffled thuds are a subsonic reincarnation of the work’s opening mechanistic element. By the work’s end, we return to a clunkier version of the silicon-based world that began the piece — like an old-fashioned mainframe computer doing a lopsided dance.”

Performance Time: just over 10 minutes

T H E C L E V E L A N D O R C H E ST RA Franz Welser-Möst , Music Director Dennis W. LaBarre, President André Gremillet, Executive Director

Education and Community Programs Joan Katz Napoli, Director Sandra Jones, Manager, Education and Family Concerts Mollibeth Cox, Manager, Community and Learning Programs Sarah Lamb, Coordinator, Education and Community Programs

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Cleveland Orchestra Youth Orchestra Brett Mitchell, Music Director Lauren Generette, Manager Austin Land, Librarian/Assistant Cleveland Orchestra Youth Chorus Lisa Wong, Director Daniel Singer, Assistant Director Robert Porco, Director of Choruses Jill Harbaugh, Manager of Choruses Julie Weiner, Manager of Youth Choruses

About the Music

2 0 1 6 - 17 S E A S O N

Youth Orchestra Coaching Staff These members of The Cleveland Orchestra are serving as coaches for the Cleveland Orchestra Youth Orchestra.

VIOLIN William Preucil

WOODWIND Marisela Sager

Peter Otto

Saeran St. Christopher

Concertmaster

First Associate Concertmaster

Emilio Llinas

Assistant Principal Second Violin

VIOLA Lynne Ramsey

Assistant Principal Flute Flute

Jeffrey Rathbun

Assistant Principal Oboe

Robert Woolfrey Clarinet

Jonathan Sherwin

First Assistant Principal

Bassoon / Contrabassoon

Assistant Principal

BRASS Hans Clebsch

Stanley Konopka Eliesha Nelson

Horn

CELLO Richard Weiss

Lyle Steelman

David Alan Harrell

Assistant Principal Trombone

First Assistant Principal

BASS Mark Atherton Scott Dixon

Assistant Principal Trumpet

Shachar Israel

Yasuhito Sugiyama Principal Tuba

PERCUSSION Thomas Sherwood

HARP Trina Struble Principal

KEYBOARD Joela Jones Principal

EMERITUS COACHES Erich Eichhorn violin emeritus Yoko Moore violin emeritus Catharina Meints cello emeritus John Rautenberg flute emeritus James DeSano trombone emeritus With Special Thanks To Robert O’Brien librarian

Percussion

The Musical Arts Association is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra and its programs: National Endowment for the Arts, State of Ohio and the Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

SEVERANCE HALL

Appreciation

19

But music, don’t you know,

is a dream from which the veils have been lifted. It’s not even the expression of a feeling, it is the feeling itself.

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—Claude Debussy

2 0 1 6 - 17 S E A S O N

Three Nocturnes Nuages — Fêtes — Sirènes

by Claude Debussy composed 1894-99

C

O M P O S E D A F T E R the breakthrough orchestral

writing of his Prélude à l’après-midi d’un faune [“Prelude to the Afternoon of a Faun”] of 1894, the three-part Nocturnes are further evidence of the new way of conceiving musical texture and nuance with which Debussy opened the door to a new century of inClaude novation. The “nocturnal” aspect indicated by the title DEBUSSY derives from Debussy’s inspiration by the French Symborn August 22, 1862 bolist poet Henri de Régnier — in particular, from his in Saint-Germain-en-Laye collection Trois Scènes au Crépuscule (“Twilight Scenes”).

At first, Debussy thought about writing the died March 25, 1918 in Paris pieces as a sort of violin concerto, which he had sketched out by 1894, for the great virtuoso Eugène Ysaÿe. However, before the music reached the public, Debussy nixed that plan and substantially recast Nocturnes, omitting the violin solo and, for the final panel, Sirènes [“Sirens”], adding a wordless female chorus.

Debussy famously bristled at the later comparisons routinely made between his style and that of the Impressionist painters. He particularly objected to the one-sizefits-all application of the term by critics to all manner of artists. Yet Debussy was deeply sensitive to the visual arts. Describing his Nocturnes project to Ysaÿe, he said, “It is an experiment with the various combinations of texture that can be made from one color — like a study in grays in the realm of painting.”

In the preface to his score, Debussy elaborated: “The title Nocturnes is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore it is not meant to designate the usual form of a nocturne, but rather all the various impressions and the special effects of light that the word suggests.” Indeed, each of Debussy’s three parts pursues a distinctive form and characteristic tone color.

The opening Nuages [“Clouds”] presents “the slow motion of the clouds” in pastel shadings that drift against a plaintive figure from the english horn. Toward the end, flute and harp float a languid lyricism. This kind of evocation by exquisite detail and suggestion, rather than through traditional thematic development, marks a stunningly original advance.

Of the contrastingly extroverted Fêtes [“Festivals”], the composer wrote that this movement began as impressions of a village fair at night, through which passes a unit of the Garde Républicaine, on horseback and with the regimental band, lit by torchlight.

The music “gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cos-

SEVERANCE HALL

About the Music

21

mic rhythm.”

For the third and longest movement, Sirènes [“Sirens”], Debussy returns to the ambiguously floating sensibility of Nuages. And in fact Debussy here intends an oceanic effect by depicting “the sea and its countless rhythms.” The title refers to the mythic creatures of Homer’s Odyssey, the island nymphs whose beautiful singing is fatal to passing sailors, causing them to cast themselves into the sea. (While his men plug their ears with wax, Odysseus cleverly has himself tied to the mast so that he can experience their ravishing music and not be driven to self-destruction.)

In this movement, Debussy enhances the otherworldly mystery of the Sirens’ imagined song through hypnotic, oscillating rhythms at a soft volume as well as through the ambiguity of the female chorus’s wordless singing. Notice the finesse of their echoing interplay with the orchestra, which paints “the waves silvered by moonlight.” Toward the end, he instructs the chorus to vocalize with mouths closed (Maurice Ravel would borrow the idea of the wordless chorus some years later in his ballet Daphnis and Chloé). Debussy sustains a sense of variety and surprise amid the repetitive patterns that weave his musical texture, as details bubble to the surface and glisten like flecks reflected on the waves.

Performance Time: 25 minutes

The Japanese artist Hokusai’s “The Great Wave Off the Coast of Kanagawa” from “ThirtySix Views of Mount Fuji” (1830-32). Debussy was fascinated by the ocean’s rhythms and dynamics, and by Japanese woodblock prints. Debussy’s Sirènes from 1899-1901 evokes the natural and hypnotic power of waves, which the composer returned to with his great tone-poem La Mer [“The Sea”] of 1903-05.

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About the Music

2 0 1 6 - 17 S E A S O N

Youth Orchestra Teachers The members of the Cleveland Orchestra Youth Orchestra express gratitude About the Music to their private teachers for their patience, insight, and expertise.

VIOLIN TEACHERS Amy Barlowe Alan Bodman Vladimir Deninzon* Wei-Fang Gu* Rachel Huch Minju Kim Kimberly Meier-Sims Ioana Missits* Yoko Moore** Peter Otto Eugenia Poustyrena Alexandra Preucil* Mary Price Julian Ross Samuel Rotberg Carol Ruzicka Stephen Sims Cory Smith Isabel Trautwein* Cara Tweed Wei-Shu Wang Co Ivan Zenatý

BASS TEACHERS Scott Dixon* Paul Robinson Tracy Rowell Bryan Thomas Matthew Yoke

VIOLA TEACHERS Andrea Belding Lisa Boyko* Jeffrey Irvine Stanley Konopka* Christine Sherlock Laura Shuster Peter Slowik Lembi Veskimets* Louise Zeitlin

BASSOON TEACHERS Mark DeMio Andrew Machamer Kathy Stockmaster

CELLO TEACHERS Chauncy Acerat Martha Baldwin* Rachel Bernstein Amir Eldan David Alan Harrell* Pamela Kelly Mark Kosower* Melissa Kraut Keith Robinson Richard Weiss*

2 015 - 15 S E A S O N

FLUTE TEACHERS Heidi Kushious Angie Ro Marisela Sager* Martha Somach Saeran St. Christopher* OBOE TEACHERS Judith Guegold Patti Hoover Jeffrey Rathbun* Danna Sundet CLARINET TEACHERS Jenny Magistrelli Tracy Peroubek Thomas Tweedle

HORN TEACHERS Hans Clebsch* Lisa Fink Meghan Guegold Jesse McCormick* Van Parker

Teacher Appreciation

TRUMPET TEACHERS Ken Holzworth Mark Maliniak Loren Toplitz TROMBONE TEACHERS Bob Adamson Tom Pylinski TUBA TEACHER Neal Chiprean PERCUSSION TEACHERS Matt Dudack Tony Ferderber Ryun Louie Brian Sweigart Scott Velardo HARP TEACHERS Cyndi Lally Xiao Lei Salovara KEYBOARD TEACHERS Nancy Bachus Rose Pham

* Member of The Cleveland Orchestra

** Retired member of The Cleveland Orchestra

23

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Gloria

by Francis Poulenc composed 1959-60

T

H E G E N E R AT I O N of important French compos-

ers between Fauré, born in 1845, and Poulenc, born fifty years later — Debussy and Ravel in particular — showed no interest in church music. And even Poulenc didn’t show much interest in his early years. While generations of outstanding church musicians, from Louis Vierne to Maurice Duruflé, continued the tradiFrancis tion of French sacred music, Francis Poulenc’s return in POULENC the 1930s to the faith of his youth injected a great deal born January 7, 1899 of new energy into the writing of church music within in Paris French circles. After all, here was a composer who had acquired an early reputation with a ballet for Diaghidied January 30, 1963 in Paris lev’s internationally renowned Ballets Russes (“Russian Ballet”) company and was a regular in all the fashionable Parisian salons. Yet in 1936 — following the death of a close colleague in a horrible accident — Poulenc visited the sanctuary of the Black Virgin of Rocamadour in Southern France, which included a famous 12th-century statue of the Virgin Mary sculpted in black wood. Soon after this experience, Poulenc began to write sacred music, including a complete setting of the Mass. Over the following years, he completed a Stabat Mater and several smaller liturgical works, before receiving a commission from the Koussevitzky Foundation that resulted in the Gloria, one of the major works from Poulenc’s last years.

M I S B E H AV I N G A N G E L S

Poulenc undeniably had a certain irreverent streak that he had to curb when writing sacred music. Even so, his two sides — the devout and the irreverent — are well in evidence in the Gloria. The opening movement (“Gloria”) sets the tone with a jubilant glorification of God. It is followed by the “Laudamus te” (“We Praise You”) second movement, of which the composer admitted that it had caused a scandal: “I wonder why? I was simply thinking, in writing it, of the Gozzoli frescoes in which the angels stick out their tongues; I was thinking also of the serious Benedictines whom I saw playing soccer one day.”

Indeed, there are many moments in the second movement that might have been inspired by misbehaving angels or soccer-playing monks. The isolated trombone notes at the beginning, the almost childish simplicity of some of the vocal parts, and the bouncy staccatos (extremely short notes) in the orchestra all convey a feeling of playfulness that only reinforces the joyful enthusiasm of the text. The mood then suddenly changes at the words “Gratias agimus tibi” (“We give thanks to you”), where the music becomes more solemn; the earlier material then returns to close the movement.

It is in the third movement, “Domine Deus, Rex caelestis” (“Lord God, Heavenly

SEVERANCE HALL

About the Music

25

King”), that we first hear the soprano soloist. Her melodic line, seconded by expressive woodwind solos, projects piety and introspection. The repetition of the words “Pater omnipotens” (“Father almighty”) is particularly memorable.

Like the earlier “Laudamus te,” the fourth-movement “Domine Fili unigenite” (“Lord, the only-begotten Son”) has short and crisp musical motifs, expressing an exuberant affirmation of faith.

The fifth movement, “Domine Deus, Agnus Dei” (“Lord God, Lamb of God”), again belongs to the soloist, with the chorus acting merely as a kind of aural backdrop. For a single measure, the soprano is joined by one tenor voice from the chorus, resulting in an expressive “mini love-duet.” The whole movement is intimate in tone, despite occasional stronger accents and “dry” staccatos (the word sec [“dry”] returns several times as a written instruction in the score).

The last movement, “Qui sedes ad dexteram Patris” (“You who sits at the right hand of the Father”), opens with a motif sung by the unaccompanied chorus in unison, punctuated by orchestral restatements of the theme that opened the first movement.

In the faster central section, the singing of praises again takes a playful and buoyant form. The opening theme is taken over by the soloist in the final “Amen.” (Poulenc borrowed this melody from his Mass in G, written in 1937.)

Poulenc’s unique combination of sacred and profane characters makes his Gloria a highly personal response to the religious text, one that not only conveys the composer’s interpretation of these timeless words but also offers a summing-up of his entire style near the end of a remarkable 45-year career in composition.

Performance Time: 30 minutes program notes by eric sellen, thomas may, and peter laki © 2017.

SOLOIST Marian Vogel Soprano Marian Vogel made her Carnegie Hall debut singing the soprano solos in the Mozart Requiem and Rutter’s Magnificat under the baton of composer John Rutter. She has performed many leading operatic roles, including Cio-Cio San in Madama Butterfly, Mimi and Musetta in La Bohème, and Violetta in La Traviata, as well as many Gilbert & Sullivan heroines and musical theater roles. Equally at home on the concert stage, Ms. Vogel has appeared in major works across the United States and in Europe. Ms. Vogel is a two-time first prize winner of the Metropolitan Opera National Council District Auditions and the winner of the Belle O. Morse Young Artist Award. She is a graduate of the University of Cincinnati College-Conservatory of Music.

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About the Music

2 0 1 6 - 17 S E A S O N

Gloria 1— chorus Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

Glory be to God on high, And on earth peace to people of good will.

2 — chorus Laudamus te. Benedicimus te.

Adoramus te. Glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam.

Laudamus te.

We praise you. We bless you.

We adore you. We glorify you.

We give thanks to you for your great glory.

We praise you.

3 — soprano and chorus Domine Deus, Rex caelestis, Deus Pater omnipotens.

Lord God, heavenly King, Father almighty.

4 — chorus Domine Fili unigenite, Jesu Christe.

Lord the only-begotten Son, Jesus Christ.

5 — soprano and chorus Domine Deus, Agnus Dei, Filius Patris.

Rex coelestis, Qui tollis peccata mundi, miserere nobis, suscipe deprecationem nostram.

Lord God, Lamb of God, Son of the Father, Heavenly King, Who takes away the sins of the world, Have mercy upon us, Receive our prayer.

6 — soprano and chorus Qui sedes ad dexteram Patris, miserere nobis.

Quoniam tu solus sanctus, Tu solus Dominus, Amen.

Tu solus altissimus, Jesu Christe.

Cum Sancto Spiritu, in gloria Dei Patris, Amen.

SEVERANCE HALL

You who sits at the right hand of the Father, Have mercy upon us.

For you only are holy, you only are the Lord, Amen.

You only are the most high, Jesus Christ, with the Holy Ghost in the glory of God, Amen.

Sung Text

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Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends.

As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

PAGERS, CELL PHONES, AND WRISTWATCH ALARMS Please silence any alarms or ringers on pagers, cellular telephones, or wristwatches prior to the start of the concert.

of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000.

HAILED AS ONE

SEVERANCE HALL

Severance Hall

PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance Hall. Photographs of the hall and selfies can be taken when the performance is not in progress.

As courtesy to others, please turn off any phone/ device that makes noise or emits light.

IN THE EVENT OF AN EMERGENCY Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

HEARING AIDS AND OTHER HEALTH-ASSISTIVE DEVICES For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. Infrared AssistiveListening Devices are available. Please see the House Manager or Head Usher for more details.

AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical season subscription concerts are not recommended for children under the age of 8. However, there are several ageappropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

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T HE

CLEVEL AND ORC HE STR A A T

T H E

M O V I E S

WEST SIDE STORY

Experience this classic film on the big screen with the original score performed live!

JUNE JUNE JUNE JUNE

1 — Thursday at 7:00 p.m.

2 — Friday at 7:00 p.m.

3 — Saturday at 7:00 p.m.

4 — Sunday at 3:00 p.m.

at Severance Hall

The Cleveland Orchestra Brett Mitchell, conductor Celebrate the 50th anniversary of this iconic film, as The Cleveland Orchestra plays Leonard Bernstein’s electrifying score live while the re-mastered film is shown in hi- def on the big screen with the original vocals and dialog. Winner of ten Academy Awards®. music by Leonard Bernstein and Irwin Kostal screenplay by Ernest Lehman based on “West Side Story”

by Jerome Robbins, Leonard Bernstein, Stephen Sondheim, and Arthur Laurents directed by Robert Wise and Jerome Robbins presented by arrangement with MGM © all rights reserved

216-231-1111 clevelandorchestra.com

TICKETS

THE OPERA EVENT OF THE SEASON

OPE R A IN FIVE AC TS

BY C L AU D E D E B U S SY The Cleveland Orchestra conducted by Franz Welser-Möst stage direction by Yuval Sharon set design by Mimi Lien lighting and projection design by Jason Thompson costume design Ann Closs-Farley choreography by Danielle Agami featuring Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande) Hanno Müller-Brachmann, bass-baritone (Golaud) Peter Rose, bass (Arkel) Nancy Maultsby, mezzo-soprano (Geneviève) Julie Mathevet, soprano (Yniold) David Castillo, baritone (Doctor/Shepherd) and the Cleveland Orchestra Chamber Chorus (Sung in French with English supertitles)

SEVERANCE HALL MAY 2 — TUESDAY at 7:30 p.m.

MAY 4 — THURSDAY at 7:30 p.m.

MAY 6 — SATURDAY at 7:30 p.m.

T HE

CLEVEL AND ORC HE STR A

Luminous and hypnotic — Pelléas and Mélisande is among the most magical and mezmerizing of all opera scores. Composed when Impressionism was a new and radical force, it was Claude Debussy’s only completed opera. This tale of two fallen lovers resonates with mystery and meaning.

Debussy’s beautiful depiction transforms the unending musical longing that Richard Wagner had pioneered with Tristan and Isolde into a tragedy of unique power. It is presented at Severance Hall in a made-for-Cleveland production directed

by Yuval Sharon (The Cunning Little Vixen) filled with dream-like realism.

216-231-1111 clevelandorchestra.com

TICKETS

INSPIRED INSPIRED EXCELLENCE EXCELLENCE EXCEPTIONAL EXCEPTIONAL OPPORTUNITY OPPORTUNITY #2 in the Nation #2 in the Nation #2 in the Nation #2 in the Nationfor Musical Theatre Majors” “Top 10 Colleges “Top 10 Colleges for Musical Theatre Majors” “Top Theatre Majors” “Top 10 10 Colleges Colleges for for—Musical Musical Theatre Majors” College Magazine — College Magazine — College Magazine #4 #4 in in the the Nation Nation — College Magazine

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Baldwin Wallace University Conservatory of Music Baldwin Wallace University Conservatory Baldwin Wallace University Conservatory of of Music Music Berea, Ohio 44017 bw.edu/conservatory Baldwin Wallace University Conservatory of Music Berea, Ohio 44017 bw.edu/conservatory 2 0 1 6 - 17 S E A S O N Berea, Ohio 44017 bw.edu/conservatory Berea, Ohio 44017 bw.edu/conservatory