Cleveland Orchestra Miami November 11-12 Concerts

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST MUSIC DIRECTOR

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G I L S H A H A M P L AY S B A R B E R ’ S V I O L I N C O N C E R T O — page 13 Season Sponsor:

ClevelandOrchestraMiami.com

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CLEVELAND ORCHESTRA

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Table OF Contents 3

About Cleveland Orchestra Miami

PAGE

Miami Music Association . . . . . . . . . . . . . . . . . . 4 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Annual Fund Donors . . . . . . . . . . . . . . . . . . . . 7-9 Arsht Center . . . . . . . . . . . . . . . . . . . . . . . . . . 32-34 2016-17 Concert Schedule . . . . . . . . . . . . . . . 36

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Concert: November 11-12

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Concert Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Introducing the Concert . . . . . . . . . . . . . . . . . . . .

berlioz The Roman Carnival . . . . . . . . . . . . . . . . . . . . . .

barber Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . .

shostakovich Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . .

11 13 15 16 17 23

Conductor: Giancarlo Guerrero . . . . . . . . . . . . 22

Violin Soloist: Gil Shaham . . . . . . . . . . . . . . . . . 21

28 About The Cleveland Orchestra PAGE

Roster of Musicians . . . . . . . . . . . . . . . . . . . 28-29 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 About the Orchestra . . . . . . . . . . . . . . . . . . . . . 31

P R O G R A M B O O K S Copyright © 2016 by The Cleveland Orchestra.

Eric Sellen, Program Book Editor e-mail: esellen@clevelandorchestra.com Program books are distributed free of charge to attending audiences.

Cover photo copyright © Carl Juste / Iris Collective

Cleveland Orchestra Miami is supported by the State of Florida, Department of State, Division of Cultural Affairs and by the Florida Council on Arts and Culture.

Support for Cleveland Orchestra Miami is provided by the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, and the Miami-Dade County Mayor and Board of County Commissioners.

Cleveland Orchestra Miami education programs are funded in part by The Children’s Trust. The Trust is a dedicated source of revenue established by voter referendum to improve the lives of children and families in Miami-Dade County.

CLEVELAND ORCHESTRA

Cleveland Orchestra Miami was created with the vision of serving Miami-Dade through an annual season of musical presentations

by The Cleveland Orch­estra, featuring great orchestral concerts with world-renowned soloists, vibrant education programs for students from pre-school to college, and engaging community presentations for diverse populations throughout the region. Today, these programs touch the lives of over 20,000 children, students, and adults each year.

Under the leadership of a Miami-based not-for-profit board of directors, Cleveland Orchestra Miami is supported through the generosity of music-lovers from across South Florida, who believe in the power of great orchestral music to engage, motivate, and enthrall.

Each season of Cleveland Orchestra Miami concerts is presented in partnership with the Adrienne Arsht Center for the Performing Arts of Miami-Dade County.

Cleveland Orchestra Miami 2016-17

Who We Are

3

Cleveland Orchestra Miami presented by the

M IAM I M US I C AS SOC IAT I O N The Miami Music Association (MMA) is a not-for-profit corporation, comprised of leading Miamians motivated by the idea that as a world-class city Miami’s cultural life should always include orchestral performances at the very highest international level. No orchestra in America — indeed, perhaps no other orchestra in the world — is more ideally suited to partner with MMA in achieving these goals than The Cleveland Orchestra.

Securing and building support for Cleveland Orchestra Miami helps ensure that we succeed in creating a culture of passionate and dedicated concert-going in South Florida among the broadest constituency. Thank you for your support and commitment.

Miami Music Association Officers and Board of Directors Jeffrey Feldman, President Mary Jo Eaton, Secretary David Hollander, Treasurer Jon Batchelor Brian Bilzin Marsha Bilzin Alicia Celorio Mike S. Eidson Susan Feldman Isaac K. Fisher Adam M. Foslid Lawrence D. Goodman

Sheldon T. Anderson, Chairman Norman Braman, Vice Chairman Hector D. Fortun, Vice Chairman Pedro Jimenez Michael Joblove Gerald Kelfer Tina Kislak Thomas E Lauria Shirley Lehman William Lehman Jan R. Lewis Sue Miller

Patrick Park Andrés Rivero Michael D. Rudd Joseph Serota Mary M. Spencer Howard A. Stark Richard P. Tonkinson Gary L. Wasserman E. Richard Yulman

Cleveland Orchestra Miami 2016-17 Advisory Council Created in 2015, the Advisory Council promotes Cleveland Orchestra Miami and its programs with individuals, academic and cultural institutions, businesses, and foundations throughout South Florida, encouraging broad participation and advising on growth strategies and future projects.

Michael Samuels, Chair Carlos Noble, Vice Chair Kevin Russell, Secretary Bill Appert Jaime Bianchi Betty Fleming Joseph Fleming

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Alfredo Gutierrez Luz Maria Gutierrez Douglas Halsey Amy Halsey Paige A. Harper Ivonete Leite Georgia Noble

Claudia Perles Steven Perles Diane Rosenberg Michael Rosenberg Judy Samuels Brenton Ver Ploeg Joaquin Viñas

Board of Directors / Advisory Council

Teresa Galang-Viñas Chris Wallace Adam M. Foslid, Liaison, Board of Directors

2016-17 Cleveland Orchestra Miami

C L E V E LMiami AND Cleveland Orchestra

O R C H E S T R A

presented by the Miami Music Association

JEFFREY FELDMAN SHELDON T. ANDERSON President

Chairman

in partnership with The Cleveland Orchestra and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

Dear Friends, Welcome to the opening weekend of concerts for this year’s 2016-17 season.

Thank you so much for being a part of Cleveland Orchestra Miami, whether this is your first concert with us, or you have been enjoying our music for many seasons.

Sharing Music. Sharing great music is at the core of everything Cleveland Orch­estra Miami does. This season’s offerings include four weekends of great orchestral concerts here at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County — this week’s presentation, plus weekends in January, February, and March. Joining the world-famous Cleveland Orchestra is an array of renowned guest artists, including Miami’s own Seraphic Fire vocal ensemble in January and legendary cellist Yo-Yo Ma at the beginning of February. These concerts by what has been acclaimed as America’s best orchestra are a truly incredible offering for Miami-Dade — and an unforgettable experience here in the prized acoustics of Knight Concert Hall.

The Power of Music to Inspire. In addition to our evening concerts, this opening week also features a series of daytime Education Concerts by The Cleveland Orchestra here at the Arsht Center for 4,000 schoolchildren attending with their classes, presented in partnership with Miami-Dade County Public Schools.

This season, members of the Orchestra also present special Music Explorer programs for young children, to introduce new generations to instruments of the orchestra in bite-size formats — one instrument in each 30-minute program, with sing-alongs and music-playing demonstrations. The season will also feature a free Community Concert in January at the Miami-Dade County Auditorium, with details on how to get tickets for that special event to be announced in the coming weeks.

Community Support. Everything we do is only possible through your support. By attending concerts, buying tickets, and making donations, you enable Cleveland Orchestra Miami to serve thousands of people across the region annually. A very big thank you! I hope you’ll consider helping ensure that Cleveland Orchestra Miami’s work in South Florida this season is a success, by adding your name to the list of supporters on pages 7-9.

We look forward to seeing you again as we share exceptional musical performances throughout the season, here at the Arsht Center and in the community.

Best regards,

Jeffrey Feldman

Cleveland Orchestra Miami 2016-17

Welcome

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Cleveland Orchestra Miami is grateful to the John S. and James L. Knight Foundation for their continued support of the arts in Miami.

Thank you.

Through a five-year, $2 million challenge grant to expand programming in our community, Knight Foundation will match any new and increased gifts to Cleveland Orchestra Miami.

Your support through this grant will help ensure Cleveland Orchestra Miami’s ongoing success.

Please visit www.ClevelandOrchestraMiami.com to donate or call 305.372.7747.

CLEVELAND ORCHESTRA The Miami Music Association gratefully acknowledges these donors for their contributions to Cleveland Orchestra Miami in the past year. Listing as of October 25, 2016.

LEADERSHIP DONORS $100,000 and more

Irma and Norman Braman John S. and James L. Knight Foundation Sue Miller Mr. Patrick Park Mary M. Spencer White & Case $50,000 to $99,999

Florida Division of Cultural Affairs David and Francie Horvitz Family Foundation, Inc. Jan R. Lewis Miami-Dade County Department of Cultural Affairs Janet* and Richard Yulman $25,000 to $49,999

The Batchelor Foundation Marsha and Brian Bilzin In dedication to Donald Carlin Adam Foslid/Greenberg Traurig Thomas E Lauria Marc and Rennie Saltzberg Rick, Margarita, and Steven Tonkinson Ms. Ginger Warner $10,000 to $24,999

Sheldon and Florence Anderson William Appert and Christopher Wallace Jayusia and Alan Bernstein Do Unto Others Trust The Cowles Charitable Trust Cozen O’Connor Mary Jo Eaton Mr. Mike S. Eidson, Esq and Dr. Margaret Eidson Jeffrey and Susan Feldman Isaac K. Fisher Kira and Neil Franzraich Hector D. Fortun Linda and Lawrence D. Goodman Patti Gordon Mary and Jon Heider Ruth and Pedro Jimenez Cherie and Michael Joblove Tati and Ezra Katz Jonathan and Tina Kislak Alan Kluger and Amy Dean Eeva and Harri Kulovaara Shirley and William Lehman Moshe and Margalit Meidar Joy P. and Thomas G. Murdough, Jr.

Cleveland Orchestra Miami 2016-17

National Endowment for the Arts in partnership with Miami-Dade County Public Schools Mrs. Milly Nyman Andrés Rivero Michael and Chandra Rudd Drs. Michael and Judith Samuels Joseph and Gail Serota Howard Stark M.D. and Rene Rodriguez Ver Ploeg & Lumpkin Gary L. Wasserman and Charles A. Kashner Florence and Robert Werner Barbara and David Wolfort $5,000 to $9,999

Montserrat Balseiro Daniel and Trish Bell Jaime A. Bianchi and Paige A. Harper Maureen and George Collins Joseph Z. and Betty Fleming Alfredo and Luz Maria Gutierrez Richard Horvitz and Erica Hartman-Horvitz Foundation Jacqueline and Irwin* Kott Ivonete Leite Dr. R. Morgan and Dr. S. Weirich Georgia and Carlos Noble Jay Pelham Barbara S. Robinson Dr. and Mrs. Michael Rosenberg Southern Wine and Spirits Sidney Taurel United Automobile Insurance Company Teresa Galang-Viñas and Joaquin Viñas Mrs. Henrietta de Zabner $2,500 to $4,999

Mark and Maria Bagnall Michael and Lorena Clark John and Lianne Cunningham The Dascal Family Christian and Holly Hansen Andrew dePass and William Jurberg Dr. and Mrs. Edward C. Gelber David Hollander Mr. and Mrs. Dennis W. LaBarre Ana and Raul Marmol Roseanne and Gary Oatey James P. Ostryniec Maribel A. Piza James and LaTeshia Robinson Mr. Kevin Russell

Annual Fund Contributors

Charles E. Seitz Jorge Solano Michalis and Alejandra Stavrinides Brenton Ver Ploeg Suzanne and Carlos Viana $1,000 to $2,499

Paula and Carlos Alvarez Mr. and Mrs. Spencer Angel Rodney and Linda Benjamin Don and Jackie Bercu Helene Berger Carmen Bishopric Irving and Joan M. Bolotin Robert R. Brinker and Nancy S. Fleischman Matthew and Amy Brown Raoul and Ana Maria Cantero James Carpenter — two seats (In memory of Christina) Mardy and Roxanne Cason Betty B. Chapman Stanley and Gala Cohen Ms. Angela Daker Maria Ines Dal Borgo Christopher Damian Andrea and Aaron Edelstein Mr. and Mrs. Steven Elias Mr. George Feldenkreis and Ms. Marita Srebnick Mrs. Gabriele Fiorentino Morris and Miriam Futernick Mr. Michael Garcia Pamela Garrison Lenore Gaynor Niety and Gary R. Gerson Jeffrey Goldstein and Martha Austrich Alvaro Gomez and Cindy Mitch-Gomez Nancy F. Green Jack and Beth Greenman Roberto and Betty Horwitz Bob* and Edith Hudson Lawrence R. Hyer The Israel, Rose, Henry, and Robert Wiener Charitable Foundation, Inc. Gloria D.C. Johnson Richard Kebrdle and Ashley Jones Kebrdle Cynthia Knight Dr. and Mrs. Frederick Knoll Michael Kutsch and Tammy Coselli Mr. and Mrs. Israel Lapciuc Wendy G. Lapidus listing continues

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CLEVELAND ORCHESTRA MIAMI listing continued

Ronald and Harriet Lassin Judy and Donnie Lefton Mr. and Mrs. Tom Lehman Mr. and Mrs. Marvin H. Leibowitz Barbara C. Levin Mr. and Mrs. Carlos Lopez-Cantera Sandi M. A. Macdonald and Henry J. Grzes Maureen McLaughlin Dr. Isidoro Morjaim Mr. Chris Pedersen and Ms. Teresa Buoniconti Mrs. Kristin Podack Guillermo and Eva Retchkiman Alfonso Rey and Sheryl Latchu

Donald and Shelley Rubin Charles and Linda Sands Eugene Schiff Mr. Eric Sellen and Mr. Ron Seidman Mr. and Mrs. David Serviansky Donna E. Shalala Dr. and Mrs. Gregory W. Sharp Michael C. Shepherd and Janet R. Fallon Lois H. Siegel Henry and Stania Smek Amal Solh Kabbani Nancy and Edward Stavis Mr. Eduardo Stern Ms. Pat Strawgate

Drs. Paul and Linda Sugrue Jaime and Sylvia Sznajder Parker D. Thomson Esq. Mr. and Mrs. Robert H. Traurig Dr. and Mrs. Michael B. Troner Raymond Tuoti Betty and Michael Wohl Dr. and Mrs. Jack Wolfsdorf Jason N. Zakia and Elizabeth S. Zakia Susan and Bob Zarchen Anonymous (2)

FRIENDS up to $999

Mr. and Mrs. Tomas Abreu John Actman Marjorie H. Adler Mr. Rafael Alcantara-Lansberg Christine Allen Andrew and Laurie Alpert Rosalie Altmark and Herbert Kornreich Dr. Kip and Barbara Amazon John E. Anderson Lori Angus Ana L. Arellano Elaine Bachenheimer Ted and Carolann Baldyga Lionel Baugh Linda Belgrave Elaine Bercu Randall and Carol Berg Joseph and Sue Berland Mrs. Helen Berne Neil Bernstein and Julie Schwartzbard Rhoda and Henri Bertuch Ken Bleakley Dr. Louis W. Bloise Rachel Bloomfield Sam Boldrick Mr. and Mrs. Eric Buermann Bernard Bullock Nancy and Brad Burkhardt Dr. MarĂ­a Bustillo Mr. Richard Cannon Philip and Kathryn Carroll Erich Cauller Lydia Chelala Britt and Jerry Chester Josephine Chianese Carole J. Cholasta Katherine Chouinard Mark Cohan Phyllis Cohen Fernando Collar Guido Conterno Nathan Counts Mrs. Bonnie Craiglow-Clayton William R. Cranshaw Paul and Cynthia Cummiskey Wesley Dallas George and Robbin Dalsheimer Jennie Dautermann

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Shaun Rogers and Nadine Davey-Rogers Ellen Davis Jose and Marta De la Torre Diane de Vries Ashley Ruben Del Cristo Teresa Del Moral Berta Del Pino Michael A. and Lori B. Dribin Shahnaz and Ranjan Duara Roberto Duran Bill Durham Dr. Edward Gross and Karla Ebenbach Bernard Eckstein Eitan and Malka Evan Mr. and Mrs. Menashe Exelbirt Adam and Judit Faiwiszewski Murray H. Feigenbaum Katherine and Bennett Feldman Dr. Lawrence E. Feldman Suzanne Ferguson Mr. Thomas Ferstle J. Field Ingrid Fils and Benson Rakusin Corrine D. Finefrock Bruce and Martha Fischler Mr. Marcus Flanagan and Mr. William Flanagan Christiane and Ronaldo Flank Brian Fox VCN Corporation Mary Francis Dr. and Mrs. Rudolph J. Frei Dr. and Mrs. Michael Freundlich Mr. and Mrs. Joel Friedland Marvin Ross Friedman and Adrienne bon Haes Malcolm and Doree Fromberg Richard Fuchs Sue Gallagher Maria Galvez Christa Garavito Jose and Claudia Garcia Moreno Margaret Gerloff Lisa Giles-Klein Perla Gilinski Mr. and Mrs. Salomon Gold Bobbi Goldin and Tim Downey Sue and Howard Goldman Pauline Goldsmith William Gonzalez

Annual Fund Contributors

Rafael and Maria Del Mar Gosalbez Dr. Pepi Granat Barbara Gray Linda and David Grunebaum Nancy Haberman George and Vicki Halliwell Jack and Shirley Hammer Vincent Handal, Jr. Esq. and Michael Wilcox John Hanek Dely and Ernest Harper Claus and Barbara Haubold Dr. Gail A. Hawks Arturo and Marjory Hendel Parissa Hidalgo Barbara L. Hobbs Gregory T. Holtz Mr. and Mrs. Bernard Horowitz Melvin and Vivien Howard Dr. Michael C. Hughes Mrs. Carol Lee and Mr. James Iott Dr. and Mrs. Stanley Jacobs Anne Laurence Jaffee Nancy Jaimes Juan Jaramillo Thomas M. Jones Dr. Bruce and Mrs. Joyce Julien Dr. Marie Jureit-Beamish Mrs. Joyce Kaiser Mrs. Nedra Kalish Jack and Shirley Kaplan Phyllis Katz Harold G. and H. Iris Katzman Mr. Arthur S. Kaufman Meredith Kebaili and Heri Kletzenbauer David and Tammy Keinan Leon Kellner Dr. and Mrs. Frederick Kiechle Buddy Klein Daniel and Marcia Kokiel Lisa Kornse and August Wasserscheid Thomas Krasner Michael Kutsch Robert D.W. Landon, III Alvin Lapidus Terry S. Leet Mr. and Mrs. Elliot Lemelman Robert and Barbara Levenson Dr. and Mrs. Stanley Levick Melvin and Joan Levinson Linda Levy

2016-17 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA MIAMI

Daniel R. Lewis Mark Lieberfarb and Freya Silverstein Lieberfarb Carlos Llanos Mr. and Mrs. Emilio Llinas Judy Loft and Joe Reid Enrique and Monica Lopez Raul and Juanita Lopez Edward and Kay Lores John and Natasha Lowell Richard Mahfood Sandy and John Mahoney John Makemson Mrs. Sherrill R. Marks Joan A. Marn Victor Marquez Paul Martin and Maria Abreu Teresa Martin-Boladeres and Ignacio H. Boladeres Alejandro Martinez Laureano J. Martinez Carlos Martinez-Christensen Beatriz Martinez-Fonts Mr. and Mrs. Stephen Masson Edward Mast Robert Mayer Ms. Sara Maymir Alan E. Maynard Robert and Judith Maynes Thomas and Geraldine McClary Edison Mejia Bernice Mena Kenneth Mendelsohn Dr. and Mrs. Jorge Mendia Pauline Menkes Nicola Meyer Evelyn H. Milledge Paulette Mintz Harve and Alesia Mogul Fernando Montero Mr. Geronimo Montes Terri Moret Stephanie Moreton Dr. Michele Morris and Dr. Joel Fishman Judith Moscu Edgar Mosquera Samuel and Charlotte Mowerman Phillip and Hope Myers Ellen Nelson Karen Nicholls Ara and Violet Nisanian Dr. Daniel and Tamara Nixon Mr. and Mrs. Z. John Nyitray Dr. Jules Oaklander Dr. and Mrs. Larry K. Page Ruth M. Parry Stephen J. Parsons Harold and Ivy Lewis Stephen F. Patterson Robert and Christa Paul Marilyn Pearson Mrs. Beatriz Perez and Mr. Paul Knollmaier Ruso Perkins Henry Peyrebrune and Tracy Rowell Mr. and Mrs. Henry F. Pfister Ferdinand and Barbara Phillips Peter Pilotti and Joseph Rodano Robert Plessett Beatriz Pons

Suzan and Ronald Ponzoli Thomas J. Porto and Eugene P. Walton Edward Preston Lynne Rahn Albert Ray Douglas Reale Robert Rearden Matthew Reeg Jeffrey D. Reynolds Ms. Betty Rice Mr. and Mrs. S. Michael Rogers Eduard Rodriguez Horacio Rodriguez Miriam Rodriguez Pedro Rodriguez Jacques Rollet Stephen and Heidi Rowland Karen Rumberg Larry Rustin Mark Samberg Gonzalo Sanchez and Maria Gabriela Slik Saul and Mary Sanders George and Maria Claudia Savage Ernesto and Patricia Scerpella Sydney and David Schaecter Dr. Robin Schaffer James and Ita Schenkel Mr. and Mrs. Kyle R. Schlinsky Dr. Markus Schmidmeier Reuben Schneider Mr. Ronald E. Schrager and Ms. Wendy Hart Alex and Jeanne Schwaner David and Cathy Scott Margaret Searcy Mike and Ronna Segal Esme Segel Humberto Sevilla Norman and Arlene Shabel Brenda Shapiro and Javier Bray Mr. Jeffrey B. Shapiro Robert I. Shapiro Roger and Bobi Shatanof Dr. and Mrs. David Shpilberg Stewart and Gina Shull Mr. Jerald Siegel Mr. Norris Siert Alvaro and Gloria Silva Rafael and Sulamita Simkovicius Vicki and Bob Simons John Simpson Mark Snyder Alex Soriano Clara Sredni DeKassin Mr. and Mrs. Isaac Sredni Nick and Molly St. Cavish Marilyn Mackson Stein Holly Strawbridge Caroline Sullivan Lori V. Thomas Maria Helena Thornburgh Jarrett Threadgill Friend Dr. Takeko Morishima Toyama Judith Rood Traum and Sydney S. Traum Alicia M. Tremols Miguel Triay Mr. and Mrs. Art Trotman Stuart Tucker Tali and Liat Tzur

Cleveland Orchestra Miami 2016-17

Rita Ullman Andrea and Natalia Vasquez John C. Vaughn M. Therese Vento and Peter MacNamara Herbert W. and Peggy F. Vogelsang John and Leslie Wallace David and Oreen Wallach Ricky and Sarit Warman Estelle Weinstein Bonnie Whited Mr. and Mrs. Arthur Whittaker Mr. Mark Williams and Joseph Castellano Richard and Pamela Williamson Ms. Debbie Wirges Christian Wunsch Mr. and Mrs. Guri Yavnieli Sora Yelin in memory of Cary F. Yelin Douglas Yoder Allan Yudacufski Eloina D. Zayas-Bazan Patricio Ziliano Sr. Illene Zweig Anonymous (16) * deceased

Cleveland Orchestra Miami relies on the generosity of its patrons for our continued success.

Your contribution enables the Miami Music Association to present Cleveland Orchestra concerts, education programs, and community activities for thousands of citizens across Miami-Dade County.

Please consider a gift today by calling 305-372-7747 or visit us online today at ClevelandOrchestraMiami.com.

Annual Fund Contributors

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Great Music for a Great City

Sharing music with the South Florida community . . .

Your support makes Cleveland Orchestra Miami possible each year.

Annual Fund donations directly support the many ways Cleveland Orchestra Miami is making South Florida stronger.

In ten seasons, Cleveland Orchestra Miami has:

• touched the lives of over a quarter-million music lovers from across Miami.

• presented music programs for more than 65,000 young people across the county.

• engaged more than 40,000 students from

200 schools through music education concerts.

With your annual support, Cleveland Orchestra Miami will continue to change lives through the power of great music for years to come.

To make your Annual Fund pledge today for Cleveland Orchestra Miami, contact Bernice Mena by calling 305-372-7747 or sending an email to bmena@clevelandorchestra.com. Thank you!

CLEVELAND ORCHESTRA

C L E V E L A N D

O R C H E S T R A

M I A M I

Concert Prelude A free performance featuring musicians of The Cleveland Orchestra playing chamber music works, presented before the evening’s orchestral concert.

Friday evening, November 11 , 2016, at 7:00 p.m.

Saturday evening, November 12, 2016, at 7:00 p.m.

DMITRI SHOSTAKOVICH

born September 25, 1906, in Saint Petersburg, Russia died August 9, 1975, in Moscow, Soviet Union

Piano Trio No. 2 in E minor, Opus 67 (1944)

1.

2.

3.

4.

Andante — Moderato — Poco più mosso Allegro con brio Largo Allegretto — Adagio

performed by

Eli Matthews, violin Dane Johansen, cello Carolyn Gadiel Warner, piano

About the Music — Shostakovich wrote his Piano Trio No. 2 in the midst of World War II, beginning in December 1943. He dedicated the work to his friend, musicologist Ivan Sollertinsky, who died in February 1944. The composer shared some sketches of the work with Sollertinsky prior to his death, and as he continued writing the music, the trio became a lamentation for his friend. At the same time, reports of the Holocaust were reaching Russia — and the Piano Trio layers mourning for the victims of that large tragedy into its musical ideas. For the first time in one of his compositions, Shostakovich included a Jewish melody (modelled on his understanding of Jewish folk music). The work features several dark dance episodes, with the finale seen as a “dance of death” including the Jewish melodic motif.

Concert Preludes are free to ticketholders to that evening’s Cleveland Orchestra Miami concert.

Cleveland Orchestra Miami 2016-17

November 11-12 Concert Preludes

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2016-17 Cleveland Orchestra Miami

C L E V E L A N D

O R C H E S T R A

M I A M I

John S. and James L. Knight Concert Hall

Sherwood M. and Judy Weiser Auditorium

Miami Music Association and the Adrienne Arsht Center present

The Cleveland Orchestra Giancarlo Guerrero, conductor Friday evening, November 11 , 2016, at 8:00 p.m.

Saturday evening, November 12, 2016, at 8:00 p.m.

hector berlioz Overture: The Roman Carnival

samuel barber

(1803-1869)

(1910-1981)

Violin Concerto, Opus 14

1. Allegro

2. Andante 3. Presto in moto perpetua

GIL SHAHAM, violin

INTERMISSION

dmitri shostakovich Symphony

(1906-1975)

No. 5 in D minor, Opus 47

1. Moderato

2. Allegretto 3. Largo 4. Allegro non troppo

The concert will end at approximately 9:45 p.m.

Cleveland Orchestra Miami’s 2016-17 season sponsor is White & Case.

Cleveland Orchestra Miami 2016-17

Program: November 11-12

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Dmitri Shostakovich, circa 1952.

There can be no music without ideology.

The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement. If you read his letters, you will see how often he wrote to his friends that he wished to give new ideas to the public and rouse it to revolt against its masters. —Dmitri Shostakovich

November 11-12

INTRODUCING THE CONCERT

Concerto Beautiful & Rejoiceful Symphony T H I S W E E K E N D ’ S C O N C E R T S offer a boisterous French overture,

an American concerto filled with tender melodies and tempestuous drive, and a Russian symphony that mixes beauty and angst within music of mixed political messages. Guest conductor Giancarlo Guerrero conducts.

The evening opens with Hector Berlioz’s dramatic overture titled Roman Carnival from 1844. Created from ideas originally written for an opera that had failed at its premiere a few years earlier, this new overture quickly became one of Berlioz’s most-often played works, full of passion and energy — and a terrific start to any musical evening.

The concert continues with Samuel Barber’s great Violin Concerto, written in 1939 when the composer was twentynine years old. This was his first commissioned work, and Barber’s gift for melody is evident from the opening measures of what has been called the “most beautiful American concerto.” Splendor gives way to a hard-driven third movement, which caused strong disagreement between composer and the concerto’s original intended artist. Yet the difficulty of this finale was conquered by others — and serves as a virtuosic showpiece for any violinist playing it. Gil Shaham serves as our gifted soloist this week.

The concert ends with Dmitri Shostakovich’s big and thunderous Fifth Symphony, written in 1937. Created at a time of great turmoil for the composer, the symphony has been interpreted as different things by audiences, critics, and the Soviet bureaucrats at the time. Shostakovich had been soundly criticized by government censors the previous year for writing “inaccessible” and “wayward” music. Symphony No. 5 was greeted with open arms as a rousing and affirming piece of music, but may well have been intended as a tongue-in-cheek portrayal of the composer being forced to smile, of . . . praise and accolades at gunpoint. It remains a moving work, filled with telling moments of beauty and conflict, angst, anger, and triumph. Embrace the opportunity to enjoy this music along with your ability to choose among any contradictory meanings within it.

—Eric Sellen .

Cleveland Orchestra Miami 2016-17

Introducing the Concerts

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November 11-12

The Roman Carnival composed 1844

B E N V E N U T O C E L L I N I , Berlioz’s opera based on the autobi-

by

Hector

BERLIOZ born December 11, 1803 La Côte-Saint-André, Isère, France died March 8, 1869 Paris

At a Glance Berlioz composed his overture Le carnaval romain (“The Roman Carnival”) in 1844, based on material from his opera Benvenuto Cellini of 1834-37. The overture’s first performance was conducted by the composer in Paris, on February 3, 1844.

This concert overture runs about 10 minutes in performance. Berlioz scored it for 2 flutes, 2 oboes, english horn, 2 clarinets, 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, percussion (cymbals, 2 tambourines, triangle), and strings.

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ography of the Italian Renaissance artist, was a total failure at its premiere in 1838. Much of this owed to the incomprehension and hostility of the Paris Opera House, and the conductor Habeneck in particular. After four disastrous performances, Berlioz addressed the following letter to the director of the Opera: “Sir, I have the honor to inform you that I withdraw my opera Benvenuto Cellini. I am perfectly convinced that you will receive this news with pleasure. I have the honor to be, Sir, your devoted servant, H. Berlioz.”

Several years later, to prove that the opera’s fiasco had nothing to do with the quality of his music, Berlioz used some of the material from Benvenuto in a new overture that, conducted

by Berlioz himself, had to be encored at the first performance in 1844. In his Memoirs, Berlioz later told how Habeneck had ruined the “saltarello” dance in the opera by conducting it at half the correct tempo. After the success of the same music in the Roman Carnival Overture, Berlioz said to Habeneck: “This is how it ought to go!” to which, Berlioz noted, “he took care to make no reply.”

The Roman Carnival quickly became a favorite with audiences, both in France and abroad. Berlioz called the work an ouverture caractéristique, a term that stood for instrumental music with a definite dramatic meaning. Berlioz used two contrasting ideas from the opera. First comes the love duet between Cellini and Teresa — a melody first played by the english horn and then by the violas.

The fast section is based on the opera’s carnival chorus.

The love duet is preceded by a fast introduction which, after only a few bars, is suddenly interrupted by a general rest.

The two themes are then developed in succession; there are numerous surprising changes of key and unexpected pianissimo (“very soft”) sections, in which the orchestral texture suddenly thins out, only to resume with bold brilliance a few moments later. The overture concludes with a fast dance, growing ever more exuberant to the end.

—Peter Laki © 2016 Copyright © Musical Arts Association

About the Music

2016-17 Cleveland Orchestra Miami

November 11-12

Violin Concerto, Opus 14 composed 1939

B A R B E R WA S T W E N T Y- N I N E years old when he completed

by

Samuel

BARBER born March 9, 1910 West Chester, Pennsylvania died January 23, 1981 New York City

his Violin Concerto, a year after Toscanini’s performances of the First Essay and Adagio for Strings had catapulted the young composer to fame. The concerto was his first major commission, coming from Samuel Fels, a soap manufacturer and trustee at the Curtis Institute in Philadelphia, Barber’s alma mater. (Barber’s biographer Barbara Heyman writes that the composer later referred to the work in private correspondence as his “concerto del sapone,” or “soap concerto.”)

Fels intended the concerto for his adopted son, Iso Briselli, a former child prodigy and a student of the celebrated violinist Carl Flesch. Fels offered Barber $1000, half to be paid in advance and the other half upon completion of the concerto. But things didn’t quite work out between composer and violinist.

Briselli raised objections to the last movement of the concerto and asked Barber to make some major changes — which Barber declined to do. As a result, Briselli never played the work that was written for him.

In order to defend against charges that the concerto was unplayable, a young student at Curtis, Herbert Baumel, was asked to help. Based on a 1984 interview with Baumel, biographer Heyman gives the following account of what happened: “One afternoon during the autumn of 1939, while Baumel was sitting in the commons room of the Curtis Institute of Music, [pianist] Ralph Berkowitz walked into the room and handed him a pencil manuscript of a violin part without telling him the name of the composer.

He was told only that he had two hours in which to learn the music, that the ‘piece should be played very fast,’ and to return ‘dressed up’ and ready to play before a few people. The private performance took place in the studio of Josef Hofmann, where the tension and solemnity of the occasion, as recalled by Baumel, suggested that much was at stake for Barber besides the financial aspects of the commission. . . . Ralph Berkowitz accompanied Baumel, who produced dazzling evidence that the concerto was indeed playable at any tempo. There were ‘bravos’ and the ritualistic tea and cookies. The verdict was that Barber was to be paid the full commission and Briselli had to relinquish his right to the first performance of the work. The trial was based on a performance of the incomplete third movement through rehearsal no. 6, ending abruptly at measure 94.”

Cleveland Orchestra Miami 2016-17

About the Music

17

I was supposed to be a doctor.

I was supposed to go to Princeton.

And everything I was supposed to do I didn’t. . . . I was meant to be a composer. Don’t ask me to try to forget this and go play football. Please.

—Samuel Barber

If the finale was presented incomplete during Baumel’s demonstration, then no one present could truly get an idea of the concerto’s difficulties, for part of the challenge lies in keeping the momentum going for the entire length of the movement.

The need for technical virtuosity so dominates the last movement that some critics have seen little else in it. In fact, many musicians and commentators have repeatedly stated that the finale is the weakest of the concerto’s three movements. On closer look, however, that Presto turns out to be the most harmonically adventurous of the concerto’s movements.

THE MUSIC

Without so much as a single measure of

The Violin Concerto was Barber’s first major commission, coming from Samuel Fels, a trustee at the Curtis Institute in Philadelphia, Barber’s alma mater. Fels intended the concerto for his adopted son, Iso Briselli, a former child prodigy. But the composer and student did not see eye-to-eye on the concerto — and Briselli never performed it in public.

introduction, the solo violin begins the first movement with a tender melody, played over a gentle orchestral accompaniment. The atmosphere is idyllic, like a sunny summer afternoon in a beautiful garden. The first melody has repeatedly been called “Mozartian” in its purity and perfect equilibrium, but even Mozart didn’t eschew conflict and contrast as much as did Barber. Then the clarinet introduces a second melody (somewhat faster-moving than the first, but equally lyrical). A playful and animated but brief violin passage completes the collection of themes: the three form a happy family whose bliss nothing and no one can perturb. It is interesting that the characteristic clarinet theme is taken over by the soloist only at the very end; this effect is saved for the movement’s ethereal coda.

The idyll continues in the Andante second movement.

The solo oboe presents a long (and longing) melody, repeated by the cellos. The solo violin enters with more agitated material, leading to a cadenza, after which the violin takes over the opening melody. A brief fortissimo section flares up, before the movement ends on a calm and peaceful chord.

The first two movements were written in the summer of 1939, in Sils Maria in the beautiful Engadin Valley of Switzerland.

Barber expected to finish the third movement in Europe as well, but, as Heyman writes, “his plans were interrupted . . . when at the end of August all Americans were warned to leave Europe because Cleveland Orchestra Miami 2016-17

About the Music

19

At a Glance Barber composed his Violin Concerto in 1939. It was premiered on February 7, 1941, in Philadelphia, with Albert Spalding as soloist and Eugene Ormandy conducting the Philadelphia Orchestra. (Although this was the official premiere, Herbert Baumel had earlier played it with the Curtis Orchestra under Fritz Reiner, and he had also stood in for Spalding at rehearsals with Eugene Ormandy and the Philadelphia Orchestra.)

Barber revised the concerto in 1949.

This concerto runs about 25 minutes in performance.

Barber scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, snare drum, piano, strings, and solo violin.

The Cleveland Orchestra first performed Barber’s Violin Concerto in April 1942.

of the impending invasion of Poland by the Nazis.”

Barber sailed home on September 2, the day after the German invasion, and finished the concerto in the Poconos.

It would certainly be wrong to infer any direct links between these circumstances and the concerto’s third movement; in any event, Barber had from the outset planned a finale with “ample opportunity to display the artist’s technical powers.” But the finale movement definitely disrupts the idyll of the first two movements. Despite the steady motion in triplets that represents no small part of the violinist’s challenge, there are more surprises here than ever before. For one thing, after two largely diatonic movements (concentrating on the seven notes of the major or minor scale), the language in the third is chromatic (making use of all 12 pitches in the tonal system). For another, there are some unexpected changes in the meter that throw off the seemingly simple patterns established at the beginning. Furthermore, Barber made the orchestration spicier by adding the snare drum, by ingeniously combining pizzicato (plucked) and arco (bowed) string techniques, and through a more pointillistic use of the woodwind instruments. There is a powerful climax near the end, after which Barber cranks up the tempo even more, replacing triplets with sixteenth-notes for the frantic last 17 measures of the concerto.

—Peter Laki © 2016

Copyright © Musical Arts Association

Peter Laki is a musicologist and frequent lecturer on classical music.

He is a visiting associate professor at Bard College in New York.

November 17

www.GiveMiamiDay.org

Make your gift to Cleveland Orchestra Miami on November 17 and be part of the most exciting annual giving event in South Florida! Together, let’s make another historic Miami Moment. #GiveMiamiDay

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About the Music

2016-17 Cleveland Orchestra Miami

November 11-12

Gil Shaham American violinist Gil Shaham is among the foremost violinists of our time. In demand throughout the world for concerto, ensemble, and recital performances, he made his Cleveland Orchestra debut in April 1988. His most recent appearances with the Orchestra were at Severance Hall in February 2009, Miami in January 2014, and as part of the summer Blossom Music Festival in August 2015.

Born in Champaign-Urbana, Illinois, in 1971, Gil Shaham later moved to Israel with his family. At age 7, he began violin studies at the Rubin Academy of Music with Samuel Bernstein. In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year, he began working with Dorothy DeLay and Jens Ellerman at Aspen. In 1982, after receiving first prize in Israel’s Claremont Competition, Mr. Shaham became a scholarship student at the Juilliard School, where his teachers were Ms. DeLay and Hyo Kang. He also studied at Columbia University. His honors include the 1990 Avery Fisher Career Grant, 2008 Avery Fisher Prize, and 2012 Instrumentalist of the Year Award from Musical America.

Mr. Shaham recently spent several seasons exploring the violin concertos of the 1930s, resulting in a series of performances around the world and a set of recordings. Recent concerto performances included concertos by Bach, Barber, Bartók, Berg, Britten, Korngold, Prokofiev, Stravinsky, and Tchaikovsky with the orch­-

Cleveland Orchestra Miami 2016-17

estras of Boston, Los Angeles, New York, Philadelphia, San Francisco, and Seattle, as well as with the Berlin Philharmonic, BBC Symphony, Bavarian Radio Symphony, Berlin Radio Symphony, London Symphony Orchestra, and the Staatskapelle Dresden.

Reent seasons also included the world premieres of concertos by David Bruce and Bright Sheng. As an avid recitalist and chamber musician, he regularly appears in the U.S., Europe, and Japan.

Mr. Shaham’s more than two dozen concerto and solo recordings have earned many awards, including multiple Grammys, a Grand Prix du Disque, Diapason d’or, and Gramophone Editor’s Choice Award. His recent albums include concertos by Barber, Berg, and Stravinsky, available on Canary Classics, a label he founded in 2004. His newest recordings, 1930s Violin Concertos, Volume 1 and Volume 2, are made up of live performances — and feature concertos by Barber, Bartók, Berg, Britten, Hartmann, and Stravinsky.

Mr. Shaham plays the 1699 “Countess Polignac” Stradivarius. He lives in New York City with his wife and their three children.

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November 11-12

Giancarlo Guerrero The 2016-17 season marks Giancarlo Guerrero’s eighth year as music director of the Nashville Symphony. He made his Cleveland Orchestra debut in May 2006. He regularly leads the Cleveland ensemble in concerts in Miami and at the Orchestra’s hometown in Northeast Ohio.

Mr. Guerrero’s recent seasons with Nashville have featured several world premieres, including a new work by Richard Danielpour, a Béla Fleck banjo concerto, and a Terry Riley concerto for electric violin.

His work with the Nashville Symphony has also resulted in several Grammy Awards, including in the categories of Best Orchestral Performance in 2011 and for Best Classical Compendium in 2016.

Recent and current guest engagements include his debut with the Houston Grand Opera, and debuts with the Pittsburgh Symphony Orchestra, NDR Hanover, Deutsche Radio Philharmonie, Bilbao Symphony, Orchestre National de France, and Netherlands Philharmonic. He has conducted concerts with many of North America’s leading orchestras, including those of Boston, Cin­cinnati, Dallas, Detroit, Houston, Montreal, Philadelphia, Toronto, and Vancouver. Internationally, his engagements have included performances with the BBC Symphony Orchestra, Frankfurt Radio Symphony, London Philharmonic Orchestra,

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Deutsches Symphonie-Orchester Berlin, West Australian Symphony Orchestra, and Malaysian Philharmonic.

A strong advocate of new music and contemporary composers, Mr. Guerrero has collaborated with and conducted works by some of America’s most respected composers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, and Roberto Sierra. His recordings with the Nashville Symphony include releases of music by Danielpour and Sierra on the Naxos label, Béla Fleck’s Banjo Concerto on Deutsche Grammophone, and an album of works by Stephen Paulus on Naxos. Mr. Guerrero, together with composer Aaron Jay Kernis, recently developed and guided the creation of Nashville Symphony’s Composer Lab & Workshop initiative to further foster and promote new American orchestral music.

Mr. Guerrero has appeared regularly in Latin America, conducting the São Paulo State Symphony Orchestra and with the Orquesta Sinfónica Simón Bolívar in Caracas, Venezuela, where he has also worked with young musicians in the country’s much-lauded El Sistema music education program.

Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received a bachelor’s degree in percussion from Baylor University and his master’s degree in conducting from Northwestern University.

He was music director of Oregon’s Eugene Symphony (2003-09) and served as associate conductor of the Minnesota Orchestra (1999-2004). Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.

Guest Conductor

2016-17 Cleveland Orchestra Miami

November 11-12

Symphony No. 5 in D minor, Opus 47 composed 1937

O N E O F T H E M O S T frequently performed symphonies from

by

Dmitri

SHOSTAKOVICH born September 25, 1906 St. Petersburg (later Leningrad) died August 9, 1975 Moscow

the 20th century, Shostakovich’s Fifth has achieved the status of a modern classic. Western audiences have long admired its great dramatic power and melodic richness.

But the history of the work and its deeply ambiguous Russian context reveal additional layers of meaning that, more than 75 years after the premiere, we are still learning to understand.

Shostakovich wrote the Fifth Symphony in what was certainly the most difficult year of his life. On January 28, 1936, an unsigned editorial in Pravda, the daily paper of the Communist Party, brutally attacked his opera Lady Macbeth of the Mtsensk District, denouncing it as “muddle instead of music.” This condemnation resulted in a sharp decrease of performan­ces of Shostakovich’s music in the ensuing months. What was worse, Shostakovich, whose first child was born in May 1936, lived in constant fear of further reprisals, denunciations, and . . . possibly even more dire acts.

The Communist Party, however, quickly realized that the Soviet Union’s musical life couldn’t afford to lose its greatest young talent, and Shostakovich was granted a comeback. Less than a year after being forced to withdraw his Fourth Symphony, Shostakovich heard his Fifth premiered with resounding success in Leningrad on November 21, 1937. But by that time, it should be noted, the “Great Terror” had begun, with political show trials resulting in numerous death sentences and mass deportations to the infamous labor camps. The Great Terror claimed the lives of some of the country’s greatest artists — including the poet Osip Mandelshtam, the novelist Isaac Babel, and the theater director Vsevolod Meyerhold — but Shostakovich was miraculously spared.

Could it be that the qualities in the Fifth Symphony that are so admired today were the very same ones that saved the composer’s life at the time? Shostakovich clearly made a major effort to write a “classical” piece here, one that would be acceptable to the authorities and was as far removed from his avant-garde Fourth Symphony as possible. Whether that makes this new symphony into “A Soviet Artist’s Creative Response to Just Criticism,” as it was officially designated at the time, is another question.

The music is so profound and sincere as to transcend any

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About the Music

23

kind of political expediency. The symphony was, without question, a response to something, but not in the sense of a chastised schoolboy mending his ways. Rather, this is a great artist reacting to the cruelty and insanity of the times.

The Fifth Symphony was, without question, Shostakovich’s response to something.

But, with the Soviet government repremanding the composer for his earlier music, we should not think of a chastised schoolboy mending his ways. Rather, here is a great artist reacting to the cruelty and insanity of the times surrounding him.

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MEANING BEHIND THE MUSIC?

A lot of ink has been spilled over the “meaning” of this symphony. That Shostakovich had a special message to communicate becomes clear at the very beginning, when what would usually be a fast-paced “Allegro” first movement is replaced by a brooding opening that stays in a slow tempo for half its length.

(In fact, Shostakovich opened several of his later symphonies — Nos. 6, 8, and 10 — in a similar way, making a habit of avoiding fast first movements.)

The third and fourth movements are equally telling, with what seems to be completely transparent memorial music followed by an ambiguously triumphant ending.

An official Soviet interpretation of the Fifth Symphony was propounded by the novelist Alexey Tolstoy (a relative of Leo Tolstoy, the author of War and Peace), who, even though he was a royal count, was loyal to the Soviet regime. In an influential article, Alexey Tolstoy viewed the symphony as a kind of musical Bildungsroman — a particular genre of writing that traces a person’s evolution in terms of education, experience, social consciousness, etc. This interpretation was echoed in an oftenquoted article, published under Shostakovich’s name (but most probably not written by him): “The theme of my symphony is the formation of a personality. At the center of the work’s conception I envisioned just that: a man in all his suffering. . . . The symphony’s finale resolves the tense and tragic moments of the preceding movements in a joyous, optimistic fashion.”

Yet critics — even Soviet ones — have had a hard time reconciling this with what they actually heard. The famous passage in Testimony, Shostakovich’s purported memoirs as edited (and possibly tampered with) by Solomon Volkov, reflects a radically different view: “It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing’.”

As musicologist Richard Taruskin has noted, this interpretation was actually shared by many people present at the premiere, who had serious doubts about the “optimism” of the finale. To

About the Music

2016-17 Cleveland Orchestra Miami

some, this emotional ambiguity was a flaw in the work, while others saw it as a sign of a hidden message. On both sides of the political fence, it was felt that the finale did not entirely dispel the devastating effects of the third-movement Largo.

As a matter of fact, writing a tri­umphant finale has never been an easy thing to do, especially after Beethoven managed it so well in his Fifth Symphony. That masterpiece inspired later composers to devote their fifth symphonies to human tragedies on a large scale, as in the case of Tchaikovsky, Mahler, and Sibelius. Yet none of the finales in those symphonies can easily be described as unambiguously “triumphant” as Beethoven’s, a fact that obviously cannot be blamed on politics alone. Rather, it has more to do with the pessimistic side of these composers’ Romantic mindsets and the increasing complexity of the world surrounding them. In Shostakovich’s case, at any rate, politics made an already difficult artistic issue even more complicated. The “meaning” of the music can rarely be put into words, and under normal circumstances, there would be no need to even try. Shostakovich, however, wrote his Fifth Symphony in a context and with a level of public examination far from normal. The Soviet govShostakovich made ernment demanded triumphant optimism in all the arts, international headlines and failure to deliver it could result in severe criticism, or and news with his work as worse. Nevertheless, Shostakovich’s music resists simple a fireman during the siege of Leningrad in 1942 — black-and-white labels. and for the composition

The generation that came of age after the backof his Seventh Symphony to-back Russian Revolutions of 1917 (when Shostakovcelebrating the bravery ich was just 11 years old) knew no political reality other of the city's defenders. than Communism. Many Russians in the 1920s believed The politics in his other that the new world that the Communists promised was symphonies was often more subtle and less in line with sure to be an improvement over the Czarist regime. Yet the government's ideals. by the time of the Stalinist purges of the 1930s, many of the country’s best minds had become profoundly disillusioned, especially in view of the enormous sacrifices in human lives that the Party was trying to pass off as the price of progress.

Even though they were facing a horrible situation, they saw no viable political alternatives for their country. Voicing even the slightest dissent with the regime could result in instant deportation, disappearance, or death. This irreconcilable conflict between hopes and realities was a fundamental fact of life. With its ambiguous ending, Shostakovich’s Fifth stands as a gripping Cleveland Orchestra Miami 2016-17

About the Music

25

monument to that conflict and all whose voices were silenced by force or threat.

THE MUSIC

The symphony’s third movement was widely understood as a memorial for the Soviet Army Marshal Mikhail Tuk­ hachevsky, who fell victim to Stalin’s “Great Terror” as Shostakovich was writing this symphony.

At the first performance, many people wept openly during this movement.

26

A dramatic and ominous opening motif sets the stage for the Symphony’s first movement; a second theme, played by the violins in a high register, is warm and lyrical but at the same time eerie and distant. The music seems to hesitate for a long time, until the horns begin a march theme that leads to some intense motivic development and a speeding up of the tempo. It is not a funeral march, but neither is it exactly triumphant. Reminiscent perhaps of some of Gustav Mahler’s march melodies but even grimmer, its harmonies modulate freely from key to key, giving this march an oddly sarcastic character. At the climactic moment, the two earlier themes return. The dotted rhythms from the opening are even more powerful than before, but the second lyrical theme, now played by the flute and the horn to the soothing harmonies of the harp, has lost its previous edge and brings the movement to a peaceful, almost otherworldly close.

The brief Scherzo second movement brings some relief from the preceding drama. Its Ländler-like melodies again bear witness to Mahler’s influence, both in the Scherzo proper and the ensuing Trio section, whose theme is played by a solo violin and then by the flute.

The special tone color of the third movement is due to the absence of brass instruments, as well as to the fact that the violins are divided not into the usual two groups, but into three. This heart-wrenching music turns the march of the first movement into a lament, also incorporating a theme resembling a Russian Orthodox funeral chant. The tension gradually increases and finally erupts about two-thirds of the way through the movement. The opening melody then returns in a rendering that is much more intense than the first time. To the end, the music preserves the unmistakable character of a lament.

This movement, marked in the score as Largo (“extremely slow”), was widely understood as a memorial for the Soviet Army Marshal Mikhail Tuk­hachevsky, who fell victim to the Great Terror at the very time Shostakovich was working on his symphony.

(Tukhachevsky had been a benefactor and a personal friend of the composer’s.) At the first performance, many people wept openly during this movement, perhaps thinking of their own loved ones who had disappeared.

About the Music

2016-17 Cleveland Orchestra Miami

The last movement attempts to resolve the enormous tension that has built up in the course of the symphony by introducing a march tune that is much more light-hearted than a majority of the earlier themes. Yet after an exciting development, the music suddenly stops on a set of harsh fortissimo chords, and a slower, more introspective section begins with a haunting horn solo. Musicologist Richard Taruskin has shown that this section quotes from a song for voice and piano on a Pushkin poem (“Vozrozhdenie” or “Rebirth,” Opus 46, No.1), which Shostakovich had written just before the Fifth Symphony. The Pushkin poem intones: “Delusions vanish from my wearied soul, and visions arise within it of pure primeval days.” This quiet intermezzo ends abruptly with the entrance of timpani and snare drum, ushering in a recapitulation of the march tune, played at half its original tempo. Merely a shadow of its former self, the melody is elaborated contrapuntally until it suddenly alights on a bright D-major chord in full orchestral splendor — remaining unchanged for more than a minute to end the symphony.

—Peter Laki © 2016

Copyright © Musical Arts Association

At a Glance Shostakovich wrote his Fifth Symphony in 1937. The first performance was given on November 21 of that year as part of the celebration of the 20th anniversary of the October Revolution, with the Leningrad Philharmonic conducted by Yevgeny Mravinsky. The work was introduced to the U.S. by Artur Rodzinski and the NBC Symphony on April 9, 1938.

This symphony runs about 45 minutes in performance. Shostakovich scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, small

Cleveland Orchestra Miami 2016-17

clarinet in E-flat, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tam-tam, cymbals, triangle, glockenspiel, and xylophone), 2 harps, piano, and strings.

The Cleveland Orchestra first presented Shostako­vich’s Fifth Symphony in October 1941 at concerts at Cleveland’s Severance Hall, led by music director Artur Rodzinski.

The symphony has been programmed regularly since that time.

About the Music

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST

MUSIC

DIRECTOR

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jessica Lee

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Mark Dumm

Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

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Kelvin Smith Family Chair

CELLOS Mark Kosower*

SECOND VIOLINS Stephen Rose *

Louis D. Beaumont Chair

Richard Weiss 1

Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Emilio Llinás 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

Helen Weil Ross Chair

James and Donna Reid Chair

Muriel and Noah Butkin Chair

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Yun-Ting Lee Jiah Chung Chapdelaine

Tanya Ell

Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton

William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

VIOLAS Wesley Collins* Lynne Ramsey 1

Mark Atherton Thomas Sperl Henry Peyrebrune

Stanley Konopka 2 Mark Jackobs

Charles Carleton Scott Dixon Derek Zadinsky

Chaillé H. and Richard B. Tullis Chair Charles M. and Janet G. Kimball Chair

Charles Barr Memorial Chair

Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Orchestra

HARP Trina Struble *

Alice Chalifoux Chair

This roster lists the fulltime members of The Cleveland Orchestra.

The number and seating of musicians onstage varies depending on the piece being performed.

2016-17 Cleveland Orchestra Miami

16 17 2 O 1 6 -1 7

S E A S O N

O R C H E S T R A FLUTES Joshua Smith *

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

E-FLAT CLARINET Daniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASSOONS John Clouser *

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

HORNS Michael Mayhew §

Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

PERCUSSION Marc Damoulakis*

Margaret Allen Ireland Chair

Donald Miller Tom Freer * Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

TRUMPETS Michael Sachs *

Carolyn Gadiel Warner

Jack Sutte Lyle Steelman2

LIBRARIANS Robert O’Brien

Robert and Eunice Podis Weiskopf Chair

James P. and Dolores D. Storer Chair

Marjory and Marc L. Swartzbaugh Chair

Joe and Marlene Toot Chair

Donald Miller

Michael Miller CORNETS Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Massimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard Stout

Alexander and Marianna C. McAfee Chair

Shachar Israel 2

BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANI Paul Yancich *

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

* Principal § Associate Principal 1

First Assistant Principal Assistant Principal

on sabbatical leave

2

*

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell

ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Otto G. and Corinne T. Voss Chair

Tom Freer 2*

Mr. and Mrs. Richard K. Smucker Chair

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The Orchestra

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C L E V E L A N D

O R C H E S T R A

M I A M I

Franz Welser-Möst Franz Welser-Möst is among today’s most distinguished conductors. The 2016-17 season marks his fifteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade.

Under his leadership, the New York Times has declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities.

As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival, as well as appearances at New York’s Carnegie Hall. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. Mr. Welser-Möst also maintains relationships with a number of other major European orchestras, with recent engagements including performacnes with Munich’s Bavarian Radio Symphony Orchestra, Zurich’s Tonhalle Orchestra, and Amsterdam’s Royal Concertgebouw Orchestra.

From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, culminating in three year as music director.

Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a recently-released multiDVD set of major works by Brahms.

For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor,” as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, and appointment as an Academician of the European Academy of Yuste.

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Music Director

2016-17 Cleveland Orchestra Miami

P H OTO BY M I C H A E L P O E H N

Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

C L E V E L A N D

O R C H E S T R A

M I A M I

The Cleveland Orchestra Under the leadership of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world, setting standards of artistic excellence, creative programming, and community engagement. In July 2015, the New York Times declared it “the best in America.” The strong and ongoing financial support of the ensemble’s home region is driving the Orchestra forward with renewed energy and focus, increasing the number of young people attending concerts, and bringing fresh attention to the Orchestra’s legendary sound and committed programming.

The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. Welser-­Möst continues to add to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s earlier music directors. In addition, Cleveland Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe.

The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s top rank of symphony orchestras. Over the next decades, the Orchestra grew from a fine regional organization to one of the most admired symphonic ensembles in the world. Seven music directors (Nikolai Soko­loff, 1918-1933; Artur Rodzinski, 1933-1943; Erich Leins­ dorf, 1943-1946; George Szell, 1946-1970; Lorin Maazel, 1972-1982; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002) have guided and shaped the ensemble’s growth and sound. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Today, touring, residencies, radio broadcasts, and recordings provide access to the Orchestra’s music-making to a broad and loyal constituency around the world.

Visit ClevelandOrchestraMiami.com for more information.

Cleveland Orchestra Miami 2016-17

The Cleveland Orchestra

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ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI-DADE COUNTY ADRIENNE ADRIENNEARSHT ARSHTCENTER CENTERFOR FORTHE THEPERFORMING PERFORMINGARTS ARTSOF OFMIAMI-DADE MIAMI-DADE COUNTY COUNTY M. John Richard M. John Richard M. John Richard President & CEO President President && CEO CEO Scott Scott Shiller Shiller Valerie Riles Trish Brennan Andrew Goldberg Executive Vice President Vice President, Vice President, Marketing Vice President Vice President, Board and Executive

Ken Harris Vice President, Operations Trish Brennan Andrew Goldberg Valerie Riles Human Resources Government Relations Trish Brennan Andrew Goldberg Valerie Riles Vice Vice Vice Board and Vice President, President, Vice President, President, Marketing Marketing Vice President, President, and Fuentes Suzanna Valdez Thomas M. Berger Liz Wallace SuzetteBoard Espinosa Human Resources Government Ken Harris Human Resources Vice President, FinanceKen Government Relations Relations Vice President, & Harris Vice President, Vice President, John Burnett Vice President, Operations Suzanna Valdez Advancement Administration and Programming Communication John Burnett ViceChief President, Operations Suzanna Valdez Vice Vice Vice President, President, Finance/CFO Finance/CFO Financial Officer Vice President, President, Advancement Advancement

Administration Aric Kurzman

Assistant Vice President of Business and Legal Affairs Chantal Honoré Manager of Board Relations Administration Administration Monique McCartney Executive Assistant to Chantal Manager of Board Chantal Honoré Honoré Manager of Board Relations Relations the President & CEO CEO Joanie Rivera Executive & Joanie Rivera Executive Assistant Assistant to to the the President President & CEO Julisa Campbell Receptionist Joanne Matsuura Manager, Office of the Executive Vice Joanne Matsuura Manager, Office of the Executive Vice President President Thyra Joseph Receptionist Thyra Joseph Receptionist Advancement David S. Green Assistant Vice President of Advancement Advancement Advancement and Campaign Director Munisha Underhill Senior Director, Advancement Munisha Underhill Senior Director, Advancement John Copeland Senior Director, Corporate Giving Churé Senior Advancement Churé Gladwell Senior Director, Director, Advancement JodiGladwell Mailander Farrell Senior Director, Foundation Relations Felicia Hernandez Relations and Felicia Hernandez Director, Member Member Relations and Donor Donor Relations Relations Christine Brown Director, Director, Advancement Services Rita Manager Special Events and Membership Rita Martin Martin Manager of of Special Events Jodi Mailander Farrell Senior Foundation Carrie Rueda Interim TicketingRelations Manager Jodi Mailander Farrell Senior Director, Director, Foundation Relations Eva Bordeaux Director Elaine Cox Silverstein Manager, Foundation Relations andCampaign Research Eva Bordeaux Silverstein Director of of Advancement, Advancement, Campaign Development && Partnerships Christine Montano Executive Assistant to the Development Partnerships Christine Manager, Advancement Services Vice President, Advancement Christine Brown Brown Manager, Advancement Services Carrie Rueda Executive to Natalia Ortiz Corporate Sponsorship Coordinator Carrie Rueda Executive Assistant Assistant to the the Vice of Samantha Zerpa Membership Assistant Vice President President of Advancement Advancement Kalyn Corporate Kalyn James James Corporate Sponsorship Sponsorship Coordinator Coordinator Finance Finance Teresa Randolph Assistant Vice President, Finance Teresa Senior of && Controller and Controller Teresa Randolph Randolph Senior Director DirectorFinance of Finance Finance Controller Kimba King Director, Human Resources Antonio Necuze Accounting Director Antonio Necuze Accounting Director Aida Rodriguez Accounting Manager Bill McKenna Event Accountant BillFrancisca McKenna Squiabro Event Accountant Revenue Staff Accountant Kimba King Manager of Human Resources Kimba King Manager of Human Resources Giovanni Ceron Payable Accountant Aida Rodriguez Staff Accountant Aida Rodriguez StaffCoordinator Accountant Thyra Joseph Payroll Roberta Llorente Human Resources Assistant Roberta Llorente Human Resources Assistant Roberta Llorente Human Resources & Finance Coordinator Francisca Squiabro Payroll Accountant Francisca Squiabro Payroll Accountant Heather St. Fleur Payables Accountant Heather St. Fleur Payables Accountant Audience Services Alice Arslanian Fifelski Theater Manager Audience Services Audience Services Matthew Ashley House Manager Manager Alice Arslanian Fifelski Theater Alice Arslanian Fifelski Theater Manager Neal Hoffson House Manager Neal Hoffson House Neal Hoffson House Manager Manager Rodolfo Mendible House Manager Rodolfo Mendible House Rodolfo House Manager Manager NicoleMendible Smith Volunteer Services Manager Pauline Goldsmith House Manager Pauline Goldsmith House Manager Nicole Keating Assistant Vice President, Business Intelligence Carolyn Woodyer Volunteer Services Coordinator Nadinne Farinas Director, Ticket Services Carolyn Woodyer Volunteer Services Coordinator Nicole Senior Director, Ticket JuliaKeating Acevedo Services Manager Nicole Keating SeniorTicket Director, Ticket Services Services Maria Usaga Ticket Services Richard Ticket Manager Maria UsagaMalin TicketServices Services Manager Manager Nadinne Farinas Ticket Services Timothy Robblee Ticket Manager Nadinne Farinas TicketServices Services Manager Manager David Saifman Ticket Services Maria Usaga Ticket Manager David Saifman TicketServices Services Manager Manager Laura White Ticket Services Manager Mabel Gonzalez Ticket Services Supervisor Laura White Ticket Services Manager Julia Turner Ticket Services Javier Rhoden Ticket Supervisor Julia Turner TicketServices Services Supervisor Supervisor Bryan Lindeman Ticket Services Supervisor Jose L Carrion III Customer Service Representative Bryan Lindeman Ticket Services Supervisor Fernanda Arocena Customer Service Representative Liana Rodriguez Customer Fernanda Arocena CustomerService ServiceRepresentative Representative Diego Delatorre Customer Service Representative Ashley Araujo Customer Diego Delatorre CustomerService ServiceRepresentative Representative Mario Acevedo Customer Service Representative Fernanda Arocena Customer Mario Acevedo CustomerService ServiceRepresentative Representative AnitaAlmaguer Braham Customer Melissa Customer Service Representative Melissa Almaguer CustomerService ServiceRepresentative Representative Alfred Cruet Customer Service Representative Ashley Araujo Customer Service Representative Ashley Araujo CustomerService ServiceRepresentative Representative Destiny David Customer Heather Brummer Customer Service Representative Heather Brummer Customer Service Representative LindaCastro Elvir Customer Service Representative Maritza Customer Service Representative Maritza Castro CustomerService ServiceRepresentative Representative Celina Fernandez Customer Leyda Castro Customer Service Representative Leyda Castro Customer Service Representative Randy Garcia Customer Service Representative Casey Craig Customer Service Representative Casey Craig Customer Service Representative Randall Heidelburg Customer Service Representative Giovany Delgado Customer Service Representative Giovany Delgado CustomerService ServiceRepresentative Representative Diana Herrera Customer Adam Garner Customer Service Representative Adam Garner Customer Service Representative Mirlanta Petit - Homme Customer Service Representative Mabel Gonzalez Customer Service Representative Mabel Gonzalez CustomerService ServiceRepresentative Representative Cristirose Marsicano Customer Diana Herrera Customer Service Representative Diana Herrera Customer Service Representative Alexander Matar Customer Service Representative Nubia Mora Customer Service Representative Nubia Mora CustomerService ServiceRepresentative Representative Kerrie Mitchell Customer Fabiana Parra Customer Service Representative Fabiana Parra CustomerService ServiceRepresentative Representative Natalia Morgan Customer Oscar Quesada Customer Service Representative Oscar Quesada CustomerService ServiceRepresentative Representative Ashley Richardson Customer Theo Reyna Customer Service Representative Theo ReynaRivera CustomerService ServiceRepresentative Representative Cristina Customer Logan Customer Service Representative AmySmiley Ruiz Customer Logan Smiley CustomerService ServiceRepresentative Representative Nadia Zehtabi Customer Service Representative David Santa Customer Nadia Zehtabi CustomerService ServiceRepresentative Representative Kimberly Simmons Customer Service Representative Information Technology Logan Smiley Customer Service Representative Information Technology James J. Vice Matey St. Dic Customer Assistant Service James J. Thompson Thompson AssistantRepresentative Vice President, President, Information Information Technology Technology Michael Sampson Director, Information Technology Michael Sampson Director, Applications Applications Francisco Information Systems Manager James Pichardo J. Thompson Assistant Vice President, Francisco Pichardo Information Systems Manager Renville Developer Information Technology Renville Williams Williams Developer Marco Franceschi IT Systems Administrator Michael Sampson Director, Information Technology Marco Franceschi IT Systems Administrator Renville Williams Data Analyst/Developer Michael Vigorito IT Technician Michael Vigorito IT Support Support Technician Joe Chin IT Systems Administrator Marco Franceschi IT Systems Administrator Lilibeth Bazail IT Support Technician

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Marketing Luis Palomares Senior Director, Creative Services Tyrone Manning Director of Marketing Joanne Matsuura Director of Marketing Marketing Marketing Fernando OlallaFuentes Director,Vice e-Marketing Suzette Espinosa Assistant President, Suzette Espinosa Fuentes Assistant Vice President, Laura White Director of Marketing Public Relations PublicManager Relations Gino Campodonico Public Relations Crystal Brewe Senior Director of Marketing Crystal Brewe Senior Director of Marketing Jeanne Monks Promotions Manager Luis Palomares Director, Creative Services Luis Palomares Director, Creative Services Craig Stedman Group Sales Manager John Copeland Director of Marketing John Copeland Director ofDesigner Marketing David Chang Graphic Alexander Ramos Group Sales Manager Alexander Ramos Group SalesDesigner Manager Sam Hall Graphic Morgan Stockmayer Promotions Manager Morgan Stockmayer Manager Adam Garner Group Promotions Sales Coordinator Fernando Olalla e-Marketing Manager Fernando Olalla e-Marketing Manager Raul Vilaboa Graphic Designer David Chang Graphic Designer Stephanie e-Marketing Coordinator David ChangHollingsworth Graphic Designer Raul Vilaboa Graphic Designer Estefania Public Relations Coordinator Raul VilaboaPinzon Graphic Designer Sam Hall Graphic Designer Patrick Marketing Sam HallRhudy GraphicAssistant Designer Gino Campodonico Publicist Carmen Rodriguez Marketing Assistant Gino Campodonico Publicist Claudia Public Relations Nicole Tuck Rodriguez Group SalesCoordinator Assistant Claudia Tuck Public Relations Coordinator Nicole Smith Marketing Coordinator Nicole Smith Marketing Coordinator Natalia Ortiz Creative Operations Natalia Ortiz Creative Services Services Coordinator Coordinator Keidy Diaz Group Assistant Daniel Alzuri Senior Director, Operations Keidy Diaz Group Sales Sales Assistant Natalie Perez e-Marketing Assistant Dean Dorsey Senior Director, Engineering Natalie Perez e-Marketing Assistant Ernesto Diaz Engineering Manager Operations Lucy Hargadon Executive Assistant to the Operations Vice President, Daniel Senior Director, Operations Daniel Alzuri Alzuri Senior Director,Operations Operations Ashley Perdigon Operations Nick Tigue Senior Director, Engineering Nick Tigue Senior Director,Coordinator Engineering Jack Crespo Engineer Thomas McCoy Engineering Manger Thomas McCoy Engineering Manger Isaac DominguezExecutive Assistant to the Vice President, Operations Engineer Lucy Hargadon Lucy Hargadon Executive Assistant to the Vice President, Engineer Operations Jorge Garcia Jack Crespo Engineer Jack Engineer JoseCrespo Hurtado Engineer Carlos De Torre Engineer Carlos De la laLeiva Torre Engineer Fernando Engineer Isaac Dominguez Engineer Isaac Dominguez Engineer Wilner Montina Engineer Alfredo Horta Engineer Alfredo Horta Engineer Jimmy Panchana Engineer Jose Hurtado Engineer Jose Hurtado Engineer Xavier Ross Engineer Wilner Montina Engineer Wilner Montina Engineer Alberto Vega Engineer Jimmy Panchana Engineer Jimmy Panchana Engineer Pedro Villalta Engineer Xavier Engineer Xavier Ross Ross Engineer Alberto Vega Engineer Alberto Vega Engineer Production Pedro Villalta Engineer Pedro Villalta Engineer Jeremy Shubrook Director, Production Curtis V. Hodge Production Manager Production Herman Montero Production Manager Production Jeremy Director, JaniceShubrook Lane Technical Director Jeremy Shubrook Director, Production Production Lauren Acker Technical Director Melissa Santiago - Keenan Production Services Manager Lauren Acker Technical Director Janice Lane Technical Director DanielLane McMenamin Head Carpenter, Janice Technical Director Michael Matthews Technical Director Ziff Ballet Opera House Michael Matthews Technical Director Andres Puigbo Technical Director John Mulvaney Assistant Carpenter/Head Andres Puigbo TechnicalFlyman, Director Melissa Assistant Technical Ziff Ballet Opera Director House Melissa Santiago-Keenan Santiago-Keenan Assistant Technical Director Daniel Head Ballet Opera House RalphMcMenamin Cambon Head Audio Video, ZiffZiff Ballet Opera Daniel McMenamin Head Carpenter, Carpenter, Ziff Ballet OperaHouse House John Mulvaney Assistant Carpenter/Head Flyman Michael Matthews Head Electrician, Ziff Ballet Opera House John Mulvaney Assistant Carpenter/Head Flyman Ballet Opera House Frederick Schwendel Head Carpenter,Ziff Knight Concert Hall Ziff Ballet Opera House Michael Feldman Head AudioHead Video, Knight Concert Hall Ralph Cambon Audio Video Technician, Ralph Cambon Head Audio Video Technician, Tony Tur Head Electrician,Ziff Knight Concert Hall Ballet Opera House Ziff Ballet Opera House Dan Mayer Head AudioHead Video, Carnival Studio Theater Frederick Schwendel Knight Concert Hall Frederick Schwendel Head Carpenter, Carpenter, Concert Hall Harold Trenhs Head Electrician, CarnivalKnight Studio Theater Michael Head Michael Feldman Feldman Head Audio Audio Video Video Technician, Technician, Knight Concert Hall Knight Concert Hall Programming Tony Tur Head Electrician, Knight Concert Tony Tur Head Electrician, Knight Concert Hall Hall Erica Schwartz Senior Director, Programming Jon Goss Head Ziff Opera Jon Goss Head Electrician, Electrician, Ziff Ballet Ballet Opera House House Ed Limia Director, Programming Luke Klingberg Head Electrician, Studio Theater Luke Klingberg Head Electrician, Studio Theater Jairo Ontiveros Director, Education and Ross Head Engineer, Ross LaBrie LaBrie Head Audio Audio Engineer, Studio Studio Theater Theater Community Engagement Tina Williams Facility Rentals Director Programming Programming Lakeisha Frith Manager of Education Liz Wallace Assistant President, Programming Liz Wallace AssistantofVice Vice President,Engagement Programming Yamely Gonzalez Manager Community Ed Limia Director, Ed Limia Director, Programming Programming Jan Melzer Thomas Engagement Manager Brian Moore Director, Kristen Pieski Engagement Manager Brian Moore Director, Programming Programming Jairo Ontiveros Community Christopher Manager Jairo OntiverosWood Director, Director, Education Education and and Engagement Community Engagement Engagement Esther Park Director, Richard Tappen Programming Manager Esther Park Director, Programming Programming LisaMichelle Eigler Engagement Oscar Quesada Programming Coordinator LisaMichelle Eigler Engagement Manager Manager Ann Engagement Ann Koslow Koslow Engagement Manager Manager Jan Melzer Thomas Engagement Jan Melzer Thomas Engagement Manager Manager Renei Suarez Facility Facility Management Renei Suarez Facility and and Rental Rental Schedule Schedule Manager Manager Tessa Schultz Administrative Spectra Food Services Tessa Schultz Administrative Programming Programming Manager Manager AlliedBarton Facility Management Pritchard Sports and Entertainment Facility Management Performing Performing Arts Arts Catering Catering AlliedBarton AlliedBarton Pritchard Sports Pritchard Sports and and Entertainment Entertainment Goldstein Goldstein Schechter Schechter Koch Koch

ADRIENNE ARSHT CENTER 7

Arsht Center

2016-17 Cleveland Orchestra Miami

PERFORMING ARTS CENTER TRUST, INC. PERFORMING ARTS CENTER TRUST, INC.

Officers of the Board Officers of the Board Mike Eidson Alan H. Fein OfficersChairman of the BoardIra D. Hall Chair-Elect Chairman Alan H. Fein Richard C. Milstein Ira D. Hall

PERFORMING ARTS CENTER TRUST, INC.

Alan H. Fein Matilde Aguirre Chair-Elect Treasurer Matilde Emery B.Aguirre Sheer Add Alexandre Tachmes Treasurer Treasurer Assistant Treasurer Add Alexandre Tachmes Ira D. Hall Assistant Treasurer Assistant Treasurer

C. Milstein Chairman Richard Secretary Chair-Elect Secretary Richard C. Milstein EvelynGreer Greer Evelyn Secretary Assistant Secretary Assistant Secretary Evelyn Greer

Assistant Secretary

Board of Directors

J. Ricky Arriola Mike Eidson Immediate Past Chair Immediate Past Chair Mike Eidson Parker D. Thomson Parker D. Past Thomson Immediate Chair Founding Chair Founding Chair Parker D. Thomson Founding Chair

Board of Directors Carlos Rosso Alan R. Lieberman Karen Fryd Christia E. Alou Board of Directors Mario Sanchez Florene Litthcut The Rene Garcia Pierre R.Aguirre Apollon TheErnesto Honorable Gilberto NevesNichols RosieHonorable Gordon-Wallace Matilde Carlos Rosso R.C.Lieberman Karen Fryd Donald L. Graham Alan Christia Alou J. Ricky Arriola Carole Ann TaylorSpence-Jones Carlos Lopez-Cantera Seth Gordon The Honorable Michelle Beverly A. Parker The Honorable Pierre R. E.Apollon Mario Ernesto Florene Litthcut Nichols The Honorable Rene Garcia Pierre R.Desroches ApollonOscar Penny Thurer Sanchez Hillit Meidar-Alfi Rosie Gordon-Wallace The Honorable Braynon II Alexander I. Tachmes Jorge A. Plasencia Javier Hernandez-Lichtl Magalie Austin Carole AnnAnn Taylor Carlos C. Lopez-Cantera Seth Gordon The Honorable J. Ricky Arriola II Aileen Ugalde Armando Olmedo Gerald Grant, Julia M. BrownOscar Carole Taylor Abigail Pollak James HerronJr. The Honorable Braynon Penny Thurer Hillit Meidar-Alfi Rosie Gordon-Wallace The Honorable Oscar Braynon II Judy Weiser Beverly A. Parker Javier Hernandez-Lichtl Adrianne Cohen Penny Thurer The Honorable Raquel Regalado Aileen MitchellGrant, Kaplan Armando J. Bucelo, Jr. Ugalde Armando Olmedo Gerald Jr. Julia M. Brown Miles Wilkin Jorge A. Plasencia Hank Klein Larry H. Colin G. Valdes-Fauli Adriana Hank Klein Robert Furniss-Roe JudyRaul Weiser Beverly A. Sabino Parker Javier Hernandez-Lichtl Adrianne Cohen Lucille Zanghi Neill D. Robinson Nathan Leight Laurie Flink Judy Weiser Mario Nathan Leight Felix Miles Wilkin Jorge A. Ernesto PlasenciaSanchez Hank Klein LarryGarcia H. Colin Miles C. Wilkin The Honorable Marc D. Sarnoff Florene Litthcut Nichols The Honorable Rene Garcia Emeritus Directors: Stanley Arkin*, Stuart Blumberg, James Herron, I. Stanley Levine*, Parker Thomson, David Wilson Lucille Zanghi Neill D. Robinson Nathan Leight Laurie Flink Ronald A. Silver Carlos C. Lopez-Cantera Sergio M. Gonzalez Directors: Stanley Arkin*, INC. StuartBOARD Blumberg, Herron, I. Stanley Levine*, Parker Thomson, David Wilson ADRIENNEEmeritus ARSHT CENTER FOUNDATION, OFJames DIRECTORS ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF of DIRECTORS Officers the Board

Officers of the Board Adrienne Arsht Robert of Barlick, Jr. Sergio M. Gonzalez the Board Adrienne Arsht OfficersTreasurer Richard E. Schatz Chairman Adrienne Arsht Robert Barlick, Jr. SergioSecretary M. Gonzalez Founding Chairman Chairman Nancy Batchelor Chairman Swanee DiMare David Rocker Sherwood M. Weiser * Treasurer Secretary Trish Bell Ronald Esserman Frances Aldrich Sevilla-Sacasa Alan Fein, Ex officio

Nancy Batchelor Ronald Esserman Nancy Swanee DiMare Lee E.Batchelor Caplin Swanee DavidEsserman Rocker Trish DiMare Bell Ronald RESIDENTLee COMPANIES ALLIANCE E. Caplin ALLIANCE RESIDENT COMPANIES Sheldon Anderson RESIDENT COMPANIES ALLIANCEJerome J. Cohen JeromeCohen J. Cohen Sheldon Stanley AdrienneAnderson Arsht StanleyJ.J.Cohen Adrienne Arsht Jerome Cohen Sheldon Nancy Davis Diane deAnderson Vries Ashley Susan T.Esserman Danis Diane Vries Stanley Cohen Adrienne ArshtAshley Ronald RobertdeBarlick, Jr. NancyFeldenkreis Davis Robert T. Jr. Nancy J.J.Davis Diane deBarlick, Vries Ashley Oscar Fred Berens RonaldEsserman Esserman Fred Berens Ronald Robert Barlick, Jr. Pamela Gardiner Sia Bozorgi OscarFeldenkreis Feldenkreis Sia Bozorgi Oscar Fred Berens Jerrold F. Goodman* Norman Braman Pamela Gardiner Sia Bozorgi Pamela Norman Braman Rose EllenGardiner Greene Sheila Broser Jerrold Goodman* Norman JerroldJ.F.F.Halleran, GoodmanJr. Sheila Arthur RobertBroser S.Braman Brunn Rose Greene Sheila Howard Herring M. Anthony Burns RoseEllen Ellen Greene Robert S.Broser Brunn Arthur Jr.Jr. S.Carlin* Brunn Robert Hudson, Donald ArthurJ.F.J.Halleran, Halleran,Jr.* M.Robert Anthony Burns Howard Herring M. Anthony Burns Howard Herring Donald Carlin* Donald Carlin*

Robert F. Hudson, Jr.*

Daryl L. Jones Robert F. Hudson, Jr. Edie Laquer DarylL.E.L.Jones Jones Daryl Donald Lefton EdieLaquer Laquer Edie Rhoda Levitt DonaldE.L. E.Lefton Lefton Donald George Lindemann Rhoda Levitt Rhoda Carlos C.Levitt Lopez-Cantera George L.Lindemann Lindemann George Pedro A.L.Martin, Esq. Carlos CarlosC.Mendelson C.Lopez-Cantera Lopez-Cantera Arlene Pedro Esq.Esq. PedroA. A.Martin, Martin, Nedra Oren Arlene J. Arlene DavidMendelson Peña, Esq. Mendelson Nedra Aaron Podhurst, Esq. NedraS.Oren Oren J. J.David Esq.Esq. DavidPeña, Peña, Aaron S. Podhurst, Esq.

Jason Williams Sherwood M. Weiser * Alan Fein, Ex officio

Charles Porter S. Podhurst, Esq. JaneAaron A. Robinson Charles Porter Charles Porter Richard E. Schatz A. Robinson JaneJane A.Spalding-Fardie Robinson Sherry Richard E. Schatz Richard Schatz Robert H.E.Traurig, Esq. Sherry Spalding-Fardie Sherry Spalding-Fardie Sherwood M. Weiser * Robert H. *Traurig, Robert H. Traurig, Esq. Esq. Lynn Wolfson Sherwood M. Weiser * Sherwood M. Weiser* LynnLynn Wolfson * Wolfson *deceased

*deceased *deceased

Carlos A. Gimenez Carlos A. Gimenez CarlosMayor A. Gimenez Mayor MIAMI-DADE BOARD OFMayor COUNTY COMMISSIONERS MIAMI-DADE BOARD OF COUNTYCOMMISSIONERS COMMISSIONERS MIAMI-DADE BOARD OF COUNTY Jean Monestime Esteban Bovo, Jr. Rebeca Sosa BellJr. Chairman ViceLynda Chairman Jean Monestime Esteban Bovo, Chairwoman Vice Chairman Chairwoman Bruno A. Barreiro Chairman Vice

Barbara J. Jordan DistrictJordan 1 Barbara Barbara J. J. Jordan Jean Monestime District 1 District 1 District 2 Jean Jean Monestime Monestime AudreyDistrict M. Edmonson 2 District 3 Audrey Audrey M. Edmonson Edmonson Sally A. Heyman District 3 District 4 Sally A. Heyman Heyman Sally District 4 Harvey Ruvin Clerk of Courts Harvey Ruvin 8

Frances A. Sevilla-Sacasa David Rocker Sherwood M. Weiser* Frances Aldrich Sevilla-Sacasa

Harvey Ruvin Clerk of of Courts Courts Clerk

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District 5 Bruno Barreiro Bruno A.A.Barreiro Rebeca Sosa District District 55 District Sosa 6 Rebeca Rebeca Sosa Xavier L. Suarez District District 66 District 7 Xavier Suarez Xavier L.L.Suarez Daniella Levine District District 77Cava District 8 Lynda Bell Daniella Levine Cava Dennis C. Moss District District 88 District 9 Dennis DennisC.C.Moss Moss District 99 Pedro J. Garcia District

Property Pedro J.Appraiser Garcia Carlos Lopez-Cantera Property PropertyAppraiser Appraiser

Sen. Javier D. Souto District 10 Souto Sen. Javier Sen. Javier D. D. Souto Juan C. Zapata District District 1010 District 11 Juan Zapata Juan C.C. Zapata JoséDistrict “Pepe” District 11 11Diaz District 12 Diaz José “Pepe” José “Pepe” Diaz Esteban Bovo, Jr. District District 1212 District 13 Esteban Bovo, Jr. Jr. Esteban Bovo, District 1313 District

Abigail Price-Williams County Attorney Abigail Price-Williams Robert A. Cuevas Jr. County Attorney County Attorney

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Cleveland Orchestra Miami 2016-17

Arsht Center

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PERFORMING ARTS CENTER TRUST, INC.

INFORMATION

Officers of the Board Center as a member, you give the gift of culture to Miami – now, and for generations to come. The Culturist membership Adrienne Arsht Center is Board fully accessible. When Mike Eidson Officers of the program is designed to enhance your experience at the purchasing tickets, patrons who have special needs Chairman Arsht Center with special benefits ranging from advance should call (305)Mike 949-6722 Eidsonor (866) 949-6722 and notice of performances to invitations to exclusive receptions. inform their Alan customer service representative. (786) 468-M. Herron, H. Fein James Ricky Arriola, Membership begins at just $75,J.with giving levels through 2011(TTY). Audio Chairman description and assistive listening Chair-Elect Secretary Immediate Past Chair $5,000.

To join the Culturist movement, please call 786equipment is funded by Mary & Sash Spencer and the . Fein James M. Herron, J. Ricky Arriola, 468-2040, email: membership@arshtcenter.org or visit Miami-Dade County Mayor and the Board of County Emery B. Sheer Penny Thurer, Parker D. Thomson, -Elect Secretary Immediate Past Chair www.arshtmembers.org.

Commissioners, the Miami-Dade County Department of Treasurer Secretary Founding Chair Cultural Affairs andPenny the Cultural . Sheer Thurer, Affairs Council. Assistant Parker D. Thomson, MEMBERS GET IT FIRST! As a member of the Adrienne Arsht Center–a CulturDINING urer Assistant Secretary Founding Chair ist–you have exclusive access to members-only ticket BRAVA BY BRAD KILGORE, named by ZagatBoard as oneof Directors pre-sales and so much more! Join today, online at www. of theAguirre 15 most anticipated restaurant openings in the A. Silver Beverly A. Parker The Honorable Donald L. Graham Matilde arshtmembers.org or by callingRonald 786-468-2323. of Directors Country, is theBoard Center’s on-site fine dining experience The Honorable Jorge A. Plasencia Evelyn Greer Pierre R. Apollon located on the second floor of the Ziff Ballet Opera Ronald A. Silver Beverly A. Parker The Honorable Donald L. Graham PAGERS, CELL PHONES AND OTHER LISTENING DEVICES Michelle Spence-Jones Abigail Pollak Mitchell Kaplan Magalie Desroches Austin House.

LedOscar by acclaimed Chef Brad Kilgore, BRAVA The Jesus Honorable A. Plasencia Evelyn Greer All electronic devices—including Alexander I. Tachmes “Jay” Pons and mechanical Hank Klein The Honorable Braynon II Jorge serves cuisine with a strong French Michelle Spence-Jones Abigail Pollak Mitchell KaplanJ.European-inspired in pagers, PDAs, cellular telephones, and wristwatch Carole Ann Taylor The Honorable Raquel Regalado Nathan Leight Armando Bucelo, Jr. influence.

Reservations available at arshtcenter.org/ Alexander I. Tachmes be turned off while JesusFlorene “Jay” Litthcut Pons Nichols HankFelix KleinGarcia aynon II alarms—must the auditoriums.

Raul G.inValdes-Fauli Larry Rice brava or by calling the Box Office at 305.949.6722.

Open Carole Ann Taylor The Carlos Honorable Raquel Regalado Nathan Leight Judy Weiser Adriana SabinoVIDEOGRAPHY, AND RECORDING C. Lopez-Cantera The Honorable Rene Garcia PHOTOGRAPHY, for Litthcut pre-show dining show days only. RaulMario G. Valdes-Fauli Larry Rice on Florene Nicholsor post-curtain Wilkin Ernesto of Sanchez Richard C. Milstein Sergio M. Gonzalez The taking photographs andMiles the C.use of audio or video Visit www.arshtcenter.org/brava for more information.

Judy Weiser Adriana Sabino Carlos C. Lopez-Cantera rcia The Honorable Marc D. Sarnoff Gilberto Neves Rosie Gordon-Wallace Café at Books & Books the Sanchez Carnival Tower, Milesrecording C. Wilkin inside the auditoriums are strictly prohibited.

MarioinErnesto Richard C. Milstein managed theMarc direction of Chef Theunder Honorable D. Sarnoff Gilberto Neves by Books & Books TICKETS ADRIENNE ARSHT CENTER INC. OF DIRECTORS Allen Susser, is located onFOUNDATION, the ground floor of BOARD the historic Patrons may purchase tickets Carnival Tower, on the corner of 13th St. and Biscayne •Online: www.arshtcenter.org CENTER FOUNDATION, INC.café-style BOARD OF DIRECTORS Officers Blvd. The restaurant features a full-food menuof the •ByBoard Phone: (305) 949-6722 or (866) 949-6722 10 a.m.designed by Chef Allen Susser as well as a full bar, 6 p.m. weekdays; Officers of the Board Adrienne Arsht Richard E. Schatz outdoor seating, table service, pastries and a specialty beginning at noon on weekend perfomance days.

Founding Chairman Chairman coffee bar.

Open Monday – Friday, 8 a.m.

– 10 p.m., •At the Box Office: the Adrienne Arsht Center Box Adrienne Arsht Richard E. Schatz and weekends, 9 a. m. – 10 p.m. (with extended hours Office is located in the Ziff Ballet Opera House lobby DavidChairman Rocker Sherwood M. Weiser* Jason Williams Founding on Chairman allRonald show Esserman nights). (main entrance on NE 13th between Biscayne Blvd. and NE 2nd Ave.) the Adrienne Arsht Center Box Office Theater Lobbies Concessions Wine Bars an David Rocker Sherwoodand M. Weiser* Jason Williams RESIDENTaCOMPANIES ALLIANCE is open 10 a.m. - 6 p.m. Monday-Friday; noon to curtain feature variety of light food and beverage one hour on weekends when there is a performance, and two before the show and during intermissions.

ES ALLIANCE Sheldon Anderson Aaron S. Podhurst, Esq. Robert Hudson,every Jr. performance.

Jerome J. Cohen hoursF.before Charles Daryl L. Jones Stanley Cohen Adrienne Arsht •Groups of 15 or more people: (786)Porter 468-2326.

EMERGENCIES Aaron Podhurst, Esq. Robert F. Hudson, Jerome J. Cohen Jane A. Robinson EdieS. Laquer Susan T. DanisJr. Diane de Vries Ashley TOURS Emergency Porter DarylNancy L.marked Jones Stanley Cohen Richard E. Schatz Donald E. Lefton J. Davisthroughout the Charles Robert T. Barlick,exits Jr. are clearly Free behind-the-scene toursSherry of the Adrienne Arsht building. personnel A. Robinson EdieRonald Laquer Susan T. Danis Spalding-Fardie Levitt Esserman will provide JaneRhoda Fred Berens Ushers and security Center Monday and instructions in the event ofDonald anOscar emergency.

E. Schatz E. Lefton Nancy J.Bozorgi Davis Robert H. Traurig, Esq.Saturday George L.complex Lindemannare given every Feldenkreis Contact an Richard Sia at Spalding-Fardie noon, starting in the Ziff Ballet Opera House Lobby. usher or a member of the house staff if you require Sherry Rhoda LevittGardiner Ronald Esserman Sherwood M. Weiser* Carlos C. Lopez-Cantera Pamela Norman Braman NoH.reservations medical assistance.

Robert Traurig, Esq.Esq. necessary. Lynn Wolfson George L. Lindemann OscarSheila Feldenkreis Pedro A. Martin, Jerrold F. Goodman Broser

S CENTER TRUST,ACCESSIBILITY INC.

Sherwood M. Weiser* Carlos C. Lopez-Cantera Pamela Gardiner Arlene Mendelson Rose Ellen Greene Robert S. Brunn VOLUNTEERS FACILITIES RENTALS Wolfson A. Martin, Esq. Jerrold F. Goodman *deceased Oren play a central role at the Adrienne Arthur J. Halleran, Jr. M. Anthony Burns Volunteers Arsht Persons or organizationsPedro interested in renting the LynnNedra Arlene Mendelson RoseDonald Ellen Greene J.Center.

David Peña, Howard Herring Carlin lounges, terraces, ForEsq. more information, call (786) 468-2285 or auditoriums, plazas or other spaces for *deceased Nedra Oren Arthur J. Halleran, Jr. email volunteers@arshtcenter.org. private and public events at Adrienne Arsht Center should J. David Peña, Esq. Howard Herring contact (786) 468-2292 or rentals@arshtcenter.org.

Carlos WEBSITE A. Gimenez Visit Mayor www.arshtcenter.org for the most up-to-date HEARING AIDS AND OTHER HEARING-ENHANCEMENT DEVICES Carlos A. Gimenez performance schedule. Also, join our mailing list and Please reduce the volume on hearing aids and other we will send performance notices directly to you. devices that may produce a noiseMayor that would disturb other MIAMI-DADE BOARD OF COUNTY COMMISSIONERS When you join, you may choose the types of shows patrons or the performers. Assistive Listening Devices are about which you want to be notified, and update those MIAMI-DADE BOARD OFanCOUNTY COMMISSIONERS available in the lobby; please ask usher for assistance.

Joe A. Martinez Audrey Edmonson choices at any time. If M. you’ve already signed up, make LATE SEATING sure you add email@arshtcenter.org to your address Chairman Vice Chairwoman Adrienne Arsht Center performances begin promptly as Joe A. Martinez Audrey M. Edmonson book and/or safe list. Visit www.arshtcenter.org today. scheduled. As a courtesy to the performers and audience Chairman Vice Chairwoman Bruno Steinway & Sons, The Official Piano of the Adrienne members already seated, patrons who arrive late will beA. Barreiro 5 Center.

Arsht asked to Barbara wait Bruno in theJ.lobby until a suitable break in District the Jordan Javier D. Souto A. Barreiro performance toDistrict be determined the 1 5 in consultation with District 10 Adrienne Arsht Center Uniforms, an EcoArtFashion Rebeca Sosa District a J. Jordan performing artists.

Javier D. Souto Until the seating break, latercomers project www.luisvalenzuelausa.com District 6 10by Luis Valenzuela,Joe Monestime A. Martinez may watchJean the Rebeca performance via closed-circuit monitors strict 1 District Sosa PHONE NUMBERS conveniently situated in 2 the lobbies. To confirmXavier starting L. Suarez District District 11 District Monestime times for Adrienne Joe A.Accessibility Martinez (786) 468-2011(TTY) Arsht Center6performances please check District 7 11 Audrey M. Edmonson José “Pepe”(786) Diaz468-2232 Advertising your ticket, visit Xavier www.arshtcenter.org, strict 2 L. Suarezor call (305) 949-6722. District Administration (786) 468-2000 3 7 District 12 Lynda Bell Diaz Offices District M. EdmonsonLOST AND FOUND District José “Pepe” Box (305) 949-6722 or (866) 949-6722 8 Office Patrons should withBell the House Manager in District the District Sally check A.Lynda Heyman Esteban Bovo, Jr.to Curtain strict 3 12 M – F 10am – 6pm; Sat. – Sun. noon theater lobby prior to leaving the theater, otherwiseDennis please C.Facilities District 4 District 13 Rental (786) 468-2292 Moss District 8 main security number A. Heyman call the Adrienne Arsht Esteban Bovo, Jr. Center Advancement (786) 468-2040 9 (786) 468-2081.Dennis Lost articles will be held for 30 days. District strict 4 District C. Moss Group13 Sales (786) 468-2326 Membership (786) 468-2040 MEMBERSHIPHarvey – BE A CULTURIST District Ruvin 9 Pedro J. Garcia Robert A. Cuevas Jr. Parking (305) 949-6722 or (866) 949-6722 Members matter at the Adrienne Arsht Center. Your Clerk of Courts Property Appraiser County Attorney or visit www.arshtcenter.org philanthropy makes our world-class performances possible, y Ruvin Pedro J. Garcia Robert A. Cuevas Jr. Security (786) 468-2081 and helps to provide free arts education and meaningful Courts Property Appraiser County Attorney community engagement for thousands of Miami-Dade 10 PLAYBILL County young people and their families. When you join the 34

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PLAYBILL

Arsht Center Information

2016-17 Cleveland Orchestra Miami

CLEVELAND ORCHESTRA Touching lives and inspiring new generations through the power of music.

Cleveland Orchestra Miami 2016-17 Arsht Center Information

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16 17 2 O 1 6 -1 7

S E A S O N

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST MUSIC DIRECTOR

Presented by Miami Music Association and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County

November 12, 13 GIL SHAHAM PLAYS BARBER The Cleveland Orchestra Giancarlo Guerrero, conductor Gil Shaham, violin January 27, 28 BACH AND BRUCKNER The Cleveland Orchestra Franz Welser-Möst, conductor Seraphic Fire, vocal ensemble Patrick Dupré Quigley, artistic director

February 2, 4 SIBELUS SECOND SYMPHONY The Cleveland Orchestra Franz Welser-Möst, conductor Nikolaj Znaider, violin February 3 YO-YO MA PLAYS DVOŘÁK The Cleveland Orchestra Franz Welser-Möst, conductor Yo-Yo Ma, cello March 24, 25 RESPIGHI’S PINES OF ROME The Cleveland Orchestra Franz Welser-Möst, conductor

Season Sponsor:

TICKETS

305-949-6722 ARSHTCENTER.ORG/CLEVELAND

Visit ClevelandOrchestraMiami.com for complete details of our 2016-17 Season.