The Cleveland Orchestra Don Giovanni Program

DON GIOVANNI March 19, 22, 24, 27

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The ClevelandOrchestra Franz Welser-Möst

TA B L E

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C O N T E N T S

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Now S I M O N K E E N LYS I D E I N D O N G I O VA N N I AT Z U R I C H O P E R A P H OTO G R A P H BY S U Z A N N E S C H W I E R T Z

WEEK 16

DON GIOVANNI 9

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . 9 Music Director . . . . . . . . . . . . . . . . . . . . . . 13 Conductors . . . . . . . . . . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . 18 Guest Information. . . . . . . . . . . . . . . . . 76-O Severance Hall . . . . . . . . . . . . . . . . . . . . . . 91 The Cleveland Orchestra . . . . . . . . . . . . . 92 In the Spotlight Photograph . . . . . . . . . . 93

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In the News Perspectives . . . . . . . . . . . . . . . . . . . . . . . . 21 Orchestra News . . . . . . . . . . . . . . . . . . . . . 22 Education & Community. . . . . . . . . . . . . . 29

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About the Opera Concert Previews . . . . . . . . . . . . . . . . . . . 33 Don Giovanni . . . . . . . . . . . . . . . . . . . . . 34 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Don Giovanni: The Opera . . . . . . . . . . . . 45 Don Juan: Art & Legend . . . . . . . . . . . . . 47 Director’s Views. . . . . . . . . . . . . . . . . . . . . 51 An Artist’s Life: W. A. Mozart . . . . . . . . . 63 Mozart Timeline . . . . . . . . . . . . . . . . . . . . 67 Lorenzo Da Ponte . . . . . . . . . . . . . . . . . . 71 Leading Man: Simon Keenlyside . . . . . . 75 Mostly More About Mozart . . . . . . . . 76-B Cast Biographies . . . . . . . . . . . . . . . . . 76-E Production Biographies . . . . . . . . . . . . 76-K

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Donors and Sponsors

Copyright © 2011 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Elaine Guregian, Communications Manager Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

Program book advertising is sold through LPC PUBLISHING COMPANY at (216) 721-1800 The Musical Arts Association is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

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

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

Project Sponsors . . . . . . . . . . . . . . . . . . 76-U Endowed Funds . . . . . . . . . . . . . . . . . . 76-V Corporate Honor Roll . . . . . . . . . . . . . . . . 77 Foundation / Government Honor Roll . . . 79 Patron Listings. . . . . . . . . . . . . . . . . . . . . . 80

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Upcoming Concerts Table of Contents

The Cleveland Orchestra

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B O A R D O F T R U S T E E S as of February 2011

T H E M U SI C AL AR TS AS SOCIATION operating The Cleveland Orchestra, Severance Hall, and Blossom Festival OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Raymond T. Sawyer, Secretary Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Matthew V. Crawford Michael J. Horvitz Douglas A. Kern

Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson

R E S I D E NT TR U S T E E S Gay Cull Addicott George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Bruce P. Dyer Terrance C. Z. Egger Paul G. Greig Robert K. Gudbranson Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Christopher Hyland

James D. Ireland III Clifford J. Isroff Trevor O. Jones Jean C. Kalberer Nancy F. Keithley Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Nancy W. McCann Thomas F. McKee Samuel H. Miller Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey

Katherine T. O’Neill The Honorable John D. Ong Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner James S. Reid, Jr. Barbara S. Robinson Steven M. Ross Raymond T. Sawyer Luci Schey Neil Sethi Hewitt B. Shaw, Jr. David L. Simon Richard K. Smucker R. Thomas Stanton Thomas A. Waltermire Geraldine B. Warner Paul E. Westlake Jr. David A. Wolfort

NON-RESIDENT TRUS TEES Virginia Nord Barbato (NY) Laurel Blossom (SC) Richard C. Gridley (SC)

George Gund III (CA) Loren W. Hershey (DC) Mrs. Gilbert W. Humphrey (FL)

Herbert Kloiber (Germany) Ludwig Scharinger (Austria)

TRUS TEES EX-OFFICIO Iris Harvie, President, Volunteer Council of The Cleveland Orchestra Jean Sarlson, President, Women’s Committee of The Cleveland Orchestra Phyllis Knauf, State Chair, Blossom Women’s Committee TRUS TEES EMERITI David A. Ruckman Naomi G. Singer

H O N O RARY T RUS TEES FOR LIFE Robert W. Gillespie Francis J. Callahan Dorothy Humel Hovorka Mrs. Webb Chamberlain Robert F. Meyerson Oliver F. Emerson Allen H. Ford

PA S T P R E S I D E N T S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

THE CLEVELAND ORCHESTRA Gary Hanson, Executive Director

clevelandorchestra.com

Severance Hall 2010-11

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Dr. Lester Lefton, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

SEVERANCE HALL 11001 Euclid Avenue Cleveland, Ohio 44106 Telephone (216) 231-7300

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Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

began his tenure as Music Director of The Cleveland Orchestra in 2002. His long-term commitment extends to the Orchestra’s centennial in 2018. Under his direction, the Orchestra is enlarging and enhancing its community programming at home, is presented in a series of ongoing residencies in the United States and Europe, continues its historic championship of new composers through commissions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst became General Music Director of the Vienna State Opera in September 2010.

With a committed focus on music education in Northeast Ohio, Mr. Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District.

The initiative continues and expands upon Mr. Welser-Möst’s active participation in community concerts and educational programs, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservatories and universities across Northeast Ohio.

Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established an ongoing biennial residency in Vienna at the famed Musikverein concert hall and at the Lucerne Festival in Switzerland. Together, they have also appeared at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established an annual three-week Cleveland Orchestra Miami Residency in Florida and launches a new biennial residency at New York’s Lincoln Center Festival in July 2011.

Under Franz Welser-Möst’s direction, The Cleveland Orchestra has performed twelve world and fifteen United States premieres. Through the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, and Toshio Hosokawa in partnership with the Lucerne Festival and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought additional new voices to the Orchestra’s repertoire, including Marc-André Dalbavie, Matthias Pintscher, Susan Botti, Julian Anderson, Johannes Maria Staud, and Jörg Widmann.

Franz Welser-Möst has led opera performances each season during his P H OTO BY D O N S N Y D E R

FRANZ WELSER-MÖST

Severance Hall 2010-11

Music Director

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

tenure in Cleveland. Following six opera-in-concert presentations, he brought fully staged opera back to Severance Hall in 2009, leading four sold-out performances of a Zurich Opera production of The Marriage of Figaro. The cycle of MozartDa Ponte operas concludes with Don Giovanni in March 2011.

Franz Welser-Möst was appointed General Music Director Designate of the Vienna State Opera in 2007. He began his directorship at the start of the 2010-11 season, leading performances of Puccini’s La Bohème and a production of Wagner’s Tannhaüser that he premiered the previous season. During the 2007-08 and 2008-09 seasons, he premiered a new production of Wagner’s Ring cycle in tandem with stage director Sven-Eric Bechtolf. He has also led performances with the company of Wagner’s Parsifal, Tristan and Isolde, and Tannhäuser, along with Strauss’s Die Frau ohne Schatten and Arabella, and Hindemith’s Cardillac.

In June 2010, Mr. Welser-Möst conducted the Vienna Philharmonic in its annual outdoor “Summer Night” concert at Vienna’s Schönbrunn Palace, and led its New Year’s Day concert telecast worldwide on January 1, 2011. Other recent and upcoming guest-conducting engagements include appearances with the Berlin Philharmonic and Bavarian Radio Symphony Orchestra, as well as opera performances in Zurich. Franz Welser-Möst first appeared at the Salzburg Festival in 1985, made his American debut in 1989, and served as music director of the London Philharmonic (1990-96). Across a decade-long tenure with the Zurich Opera, culminating in three seasons as General Music Director (2005-08), Mr. Welser-Möst led the company in more than 40 new productions and numerous revivals.

Franz Welser-Möst’s recordings and videos have won major awards, including the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, he has created DVD recordings of live performances of four Bruckner symphonies, presented in three accoustically distinctive venues: Symphony No. 5 in the Abbey of St. Florian in Austria, Symphony No. 9 in Vienna’s Musikverein, and Symphonies Nos. 7 and 8 at Severance Hall. With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano Measha Brueggergosman. DVD releases on the EMI label have included Mr. Welser-Möst leading Zurich Opera productions of The Marriage of Figaro, Così fan tutte, Don Giovanni, Der Rosenkavalier, La Bohème, Fierrabras, and Peter Grimes.

For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, and the appointment as an Academician of the European Academy of Yuste. In 2010, he was awarded a Gold Medal from the Austrian government for his work as a cultural ambassador. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

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Music Director

The Cleveland Orchestra

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Franz Welser-Möst MUSIC DIREC TOR Kelvin Smith Family Chair

Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

James Feddeck ASSISTANT CONDUCTOR Elizabeth Ring and William Gwinn Mather Chair

MUSIC DIRECTOR, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Sasha Mäkilä ASSISTANT CONDUCTOR Sidney and Doris Dworkin Chair

Robert Porco DIRECTOR OF CHORUSES Frances P. and Chester C. Bolton Chair

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

ASSISTANT TO THE DIRECTOR OF CHORUSES DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

Lisa Yozviak ASSISTANT TO THE DIRECTOR OF CHORUSES

Ann Usher DIRECTOR, CLEVELAND ORCHESTRA CHILDREN’S CHORUS

a r t es

The Cleveland Orchestra Franz Welser-Möst

MUSIC DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Lev Polyakin

ASSISTANT CONCERTMASTER

Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown 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

SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair

Emilio Llinas

2

James and Donna Reid Chair

Eli Matthews

1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

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

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin Thomas Mansbacher BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Martin Flowerman HARP Trina Struble * Alice Chalifoux Chair

FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Alexandra Preucil Dolan

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

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The Orchestra

The Cleveland Orchestra

SEASON

2010.11

clevelandorchestra .com

PHOTOS BY ROGER MASTROIANNI

PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Elizabeth Camus Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen * Robert Marcellus Chair

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

Linnea Nereim E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Linnea Nereim BASSOONS John Clouser * Louise Harkness Ingalls Chair

Phillip Austin Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2010-11

Jesse McCormick Hans Clebsch Richard Solis Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

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

TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair

Tom Freer 2 PERCUSSION Richard Weiner * Margaret Allen Ireland Chair

Donald Miller Tom Freer Marc Damoulakis KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Donald Miller ORCHESTRA PERSONNEL Carol Lee Iott DIRECTOR

Rebecca Vineyard MANAGER

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout

ENDOWED CHAIRS CURRENTLY UNOCCUPIED ASSISTANT PRINCIPAL HARP

Sunshine Chair

* Principal §

TUBA Yasuhito Sugiyama*

1 2

Associate Principal First Assistant Principal Assistant Principal

Nathalie C. Spence and Nathalie S. Boswell Chair

The Orchestra

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Perspectivesfrom the Executive Director Welcome to our production of Don Giovanni, which completes our presentation of the three celebrated collaborations by Mozart and Lorenzo Da Ponte. We were delighted by the overwhelmingly positive reception and big crowds for our Così fan tutte in 2010 and The Marriage of Figaro in 2009, and we are honored to be performing for full houses each performance of the run this year.

Producing fully staged opera is no small task, and we are indebted to our collaborators from the Zurich Opera and director Sven-Eric Bechtolf, who created this production. Staging for Severance Hall has been led by director Julia Mathes, with scenery recreated by John Bukala and lighting adapted by Chris Shick, all supported by a large group of dedicated staff and stage crew behind the scenes. We also thank the members of the Cleveland Orchestra Opera Chorus and their director, Robert Porco. And it is a pleasure to collaborate with the dancers of Cleveland’s Verb Ballets and their director, Margaret Carlson, in their first Cleveland Orchestra production. Finally, we extend our heartfelt thanks to the fabulous cast.

Opera is a pleasure on its own terms, and throughout The Cleveland Orchestra’s history, audiences have eagerly attended opera performances at Severance Hall. Opera also provides a meaningful and long-term artistic benefit to this institution. Ask members of the Orchestra, and they’ll tell you that playing Dvořák’s opera Rusalka at the Salzburg Festival helped bring deepen their understanding of the composer’s other masterpieces; playing Strauss’s Der Rosenkavalier adds breadth and depth to performances of his Alpine Symphony or Ein Heldenleben. And the Orchestra’s experience playing this cycle of the three Mozart/Da Ponte operas brings new insights to their performances of Mozart’s symphonies and concertos.

We very much appreciate your presence this week at Don Giovanni. Cleveland is an opera-loving city that deserves opera performances of international quality but, as everyone knows, opera is not inexpensive. And so, as our fully staged cycle comes to a close, I want to convey our deepest appreciation to the generous local and national foundations who funded these three operatic masterpieces with arguably the greatest conductor, orchestra, and casts performing in the world today. As for what’s next, I can assure you that everyone in The Cleveland Orchestra family has dedicated themselves to a financial future where opera at this level can continue to be heard in Severance Hall.

If you love opera, please consider how your philanthropy can keep it alive in Cleveland.

Gary Hanson

Severance Hall 2010-11

Perspectives

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THE CLEVELAND ORCHE

OrchestraNews Orchestra will perform special tribute concert on tenth anniversary of 9/11; free concert to be presented on Public Square

THE CLEVELAND ORCHESTRA

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra will perform a tribute concert titled “Hope. Remembrance. Dedication.” on Sunday, September 11, 2011, in commemoration of the 10th anniversary of 9/11. The remembrance concert at 3 p.m., conducted

by Loras John Schissel, will be held on Public Square in downtown Cleveland.

The concert will provide an opportunity for the community to gather together to honor the heroic first responders and pay a memorial tribute to those who lost their lives on September 11, 2001.

The event is presented in partnership with Cuyahoga Arts & Culture.

On September 30, 2001, approximately 1,500 Northeast Ohioans gathered at Severance Hall to hear The Cleveland Orchestra perform A Concert in Tribute and Remembrance, conducted by Jahja Ling and Franz Welser-Möst (who began his tenure as music director the next year). The musicians of the Orchestra organized the free concert as a memorial to the victims of the tragic events of September 11, 2001, and in tribute to all those involved in the heroic rescue and relief efforts.

Committed to Accessibility Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at (216) 231-7425.

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A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Cleveland Orchestra cellist Tanya Ell appears in concert as part of the Trio Terzetto on Sunday afternoon, March 27, performing works by Haydn, Schumann, and Brahms. The performance at 3 p.m. is on the Arts Renaissance Tremont series at Pilgrim Congregational Church in Cleveland (2592 West 14th Street). Admission is free.

Next Fridays@7 concert features The Cleveland Orchestra and more on April 1

Fridays@7

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The Cleveland Orchestra’s next Fridays@7 concert takes place on April 1, combining a one-hour orchestral program featuring Rachmaninoff’s Second Piano Concerto with world music performances by the Leo Blanco South American Jazz Quartet and the string quartet Sweet Plantain. Musicians from Cleveland-based Passport Project will also participate, providing a musical transition between the classical concert and the @fter Party presentation. The Orchestra concert features guest conductor Jiří Bělohlávek and pianist Horacio Gutiérrez. Tickets available thru Severance Hall Ticket Office or clevelandorchestra.com.

Cookbook benefits Orchestra A new cookbook that benefits The Cleveland Orchestra, Kitchen Conductor: Scores of Great Recipes, is available through the Cleveland Orchestra Store.

This is the first cookbook published in 28 years to benefit The Cleveland Orchestra. The book is a collaboration between Louise Morris and Gail Kichler, authors and amateur chefs, who enlisted professional local and national chefs for recipes for this project. The cookbook is priced at $22. All proceeds benefit The Cleveland Orchestra.

Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews Cleveland’s Rotary Club honors Welser-Möst and Cleveland Orchestra as region’s “best ambassadors”

Cleveland Orchestra Store recordings and more . . .

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Recordings of Franz Welser-Möst leading the Vienna Philharmonic in its annual New Year’s concert — televised and broadcast around the world on January 1, 2011 — are selling briskly in Europe. The release reached #1 album on iTunes Classical charts in every country across Europe and recently reached “double platinum” status in Austria, with over 40,000 CDs sold in that country alone. The concert is available as internet download, as a double-CD audio set, and on DVD. The CD and DVD are available at the Cleveland Orchestra Store.

The annual New Year’s concert is a grand tradition at the Philharmonic, presenting music of the Strauss family and other favorites. It was televised in over 70 countries. This season, which is also Franz’s first year as General Music Director of the Vienna State Opera, marked his debut leading the New Year’s concert.

Among Viennese critics’ comments reviewing the concert, the Austrian Daily wrote: “This was one of the most beautiful New Year’s Concerts since Karajan or Kleiber. Franz Welser-Möst knows how the music of the Strauss dynasty, or Lanner and Hellmesberger should sound. . . . Both in the hall and on television, one could experience how Welser-Möst conducted the program with relaxed, dissolved objectivity.” Another critic stated that the quality of the performance will make this recording a “touchstone” in the years ahead.

Cleveland Orchestra News

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The Cleveland Orchestra Store offers a wide variety of recordings related to this season’s performances, in addition to many current and past Cleveland Orchestra CDs and DVDs. CDs of many of this season’s guest artists are currently available. The Store has DVDs of all three Mozart-Da Ponte operas recorded in their original Zurich Opera presentations.

The Cleveland Orchestra Store is open before and after concerts and at intermissions, and for regular weekday hours.

Recordings of Welser-Möst’s Vienna New Year’s concert top charts across Europe

THE CLEVELAND ORCHESTRA

The Rotary Club of Cleveland has chosen to honor Franz Welser-Möst and The Cleveland Orchestra with its 2011 International Service Award. The club selects an individual or organization each year to recognize work toward the furtherance of world understanding and peace. In announcing the choice of The Cleveland Orchestra for the award, the Club cited “the outstanding awareness it brings to our community on the international stage.”

The announcement called the Orchestra “Cleveland’s best international ambassador,” noting, “it travels the world representing the quality of life and importance our city places on the arts. The Orchestra furthers world understanding and peace through the power of music.”

On Thursday, February 17, Gary Hanson, executive director of the Orchestra, accepted the award on behalf of WelserMöst and the members of The Cleveland Orchestra, and presented the keynote address at the Rotary Club of Cleveland’s weekly luncheon.

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OrchestraNews Blog presents more Cleveland Orchestra news — and interest — online The Cleveland Orchestra Blog

THE CLEVELAND ORCHESTRA

Looking for the latest news about The Cleveland Orchestra? Or behindthe-scenes information about an upcoming artist or event? Photographs from a recent event? Learn more online at clevelandorchestrablog.com.

Check out recent postings to: — Watch a video of Franz WelserMöst’s special opera preview about Don Giovanni; — See Cleveland Orchestra cellist David Alan Harrell working with schoolchildren at William Cullen Bryant Elementary School in a video by WEWS Channel 5;

E CLEVELAND ORCHESTRA

— Put yourself into a seat at the Arsht Center in Miami, via video, to hear guest violinist Augustin Hadelich performing with the Orchestra; — View slideshows of Orchestra members taking part in Miami Residency activities for students of all ages; — Find out how Orchestra violist Eliesha Nelson has balanced work, family, and playing on a Grammy Award-winning album.

“Baroque & Beyond” festival features new artist-in-residence and collaborative performances April 28 thru May 8 Coinciding with Ton Koopman’s first season as The Cleveland Orchestra’s artist-in-residence, a festival titled “Baroque & Beyond” is being created around Koopman’s two weekends of concerts with the Orchestra, April 28-30 and May 6-8. The Festival will feature collaborative performances with the Cleveland Museum of Art and with Case Western Reserve University’s Chapel, Court, & Countryside series, as well as a masterclass with Koopman working with students from CWRU and the Cleveland Institute of Music.

Koopman, founder of the Amsterdam Baroque Orchestra, is an acknowledged expert on Baroque music and performance practice. The position of artist-inresidence with The Cleveland Orchestra is made possible through a generous endowment gift establishing the Malcolm E. Kenney Artist-in-Residence Fund.

Silence is golden As a courtesy to the performers onstage and the audience around you, all patrons are reminded to turn off cell phones and to disengage electronic watch alarms prior to the concert.

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OrchestraNews 2011 Blossom Festival announced Season offers broad range of musical programming and increases access for young people; Festival opens July 2

Cleveland Orchestra News

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THE CLEVELAND ORCHE

Severance Hall 2010-11

programs in early July, featuring Bruckner’s Symphonies Nos. 8 and 9, plus John Adams’s Violin Concerto with Leila Josefowicz as soloist, prior to the Orchestra’s first Lincoln Center Festival Residency in New York City in July.

Audience favorites throughout the Festival season include Mussorgsky’s Pictures at an Exhibition, Ravel’s La Valse, Rimsky-Korsakov’s Capriccio espagnol, Tchaikovsky’s “1812” Overture and his Violin Concerto, and a program featuring waltzes and polkas by the Strauss family.

In the Festival closing program on September 10, The Cleveland Orchestra will give its first performance of James Oliverio’s Dynasty, a double concerto for timpani. The work features as soloists Cleveland Orchestra principal timpanist Paul Yancich and his brother, Atlanta Symphony Orchestra principal timpanist Mark Yancich.

Each summer’s Blossom Festival is made possible through the generous support of many of sponsoring corporations and organizations from throughout Northeast Ohio. Money-saving series subscriptions and popular Lawn Ticket Books are available for purchase now, with individual tickets scheduled to go on sale on Tuesday, May 31.

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The Cleveland Orchestra’s 2011 Blossom Festival was announced on February 20, with details outlined in the newspapers that day. Complete details and renewal materials are being mailed in the coming weeks to series subscribers to last summer’s Festival. Concert dates and the season news release can be viewed at clevelandorchestra.com.

The 2011 Blossom Festival begins Saturday, July 2, with a gala benefit concert featuring Broadway superstar Idina Menzel, known for her Tony award-winning performances in Wicked and Tony nominated debut in Rent, along with appearances on the hit television show Glee, performing with The Cleveland Orchestra.

The Festival continues through Saturday, September 10, with a performance of Beethoven’s Ninth Symphony with The Cleveland Orchestra and Chorus.

As part of a mission to attract young audience members and to break down barriers to attendance, The Cleveland Orchestra will offer free tickets to youth 17 and under for all Blossom Festival concerts this summer, aside from the benefit on July 2. The “Under 18” initiative is part of a program of The Cleveland Orchestra’s Center for Future Audiences, endowed by the Maltz Family Foundation, to create broader access for the Northeast Ohio community. Subscribers will be able to add on free seats for young people 7-17 in the Blossom Pavilion, and free youth seats on the Lawn will be available for youth up to age 18 attending with adults. Details on how to obtain the youth tickets will be available at clevelandorchestra.com.

The Cleveland Orchestra will perform sixteen concert programs during the 2011 Blossom Festival, including many beloved works from the orchestral repertoire. Music Director Franz Welser-Möst leads two

THE CLEVELAND ORCHES

OrchestraNews Mitsuko Uchida wins Grammy Award as soloist with The Cleveland Orchestra; Orchestra violist’s album wins for engineering Two recordings involving The Cleveland Orchestra received Grammy Awards this year. The two awards were presented or announced on February 13.

Pianist Mitsuko Uchida received her first-ever Grammy as “Best Instrumental Soloist Performance with Orchestra” for the album Mozart Piano Concertos Nos. 23 and 24 on Decca. The album was recorded live at Severance Hall with The Cleveland Orchestra.

(A second album with Uchida and the Orchestra, of Mozart Piano Concertos Nos. 20 and 27, was released this past autumn in Asia, and is now available in the United States. Both albums are available at the Cleveland

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Orchestra Store on the ground floor of Severance Hall.)

In addition, an album featuring Cleveland Orchestra violist Eliesha Nelson, Quincy Porter: Complete Viola Works, on the Dorian Sono Luminus label, was awarded this year’s Grammy for “Best Engineering of a Classical Album.”

This year marked the 53rd Grammy Awards.

Up to this year, Cleveland Orchestra recordings had won a total of eight Grammys and thirty-one previous nominations for its recordings.

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OrchestraNews 3,260 pounds of food donated to Cleveland Food Bank

Orchestra receives strong praise for Miami concerts

The numbers from The Cleveland Orchestra’s food drive in January are in: 3,260 pounds of food were donated by concertgoers, Orchestra musicians, staff, and the Orchestra’s affiliated choruses, as well as the Youth Orchestra and Youth Chorus.

The food drive was part of Orchestras Feeding America, a national food drive held by America’s symphony orchestras. Last season, more than 250 orchestras representing all 50 states collected more than 200,000 pounds of food for their communities.

The project was the single largest orchestra initiative organized at a national level, uniting musicians, staff, volunteers, and audiences to help alleviate hunger.

Thank you to everyone who donated and volunteered as part of this effort!

The Cleveland Orchestra earned high marks during last week’s performances with guest conductor Giancarlo Guerrero soloist Augustin Hadelich. Among the Miami Herald’s comments: “They opened with Kabalevsky’s Overture to Colas Breugnon, one of those bright, rapid-fire overtures that Russians have been composing since Glinka. A piece like this is made for virtuoso orchestras like Cleveland and they played in an extroverted, almost show-offy style that fit it perfectly . . .

Elgar’s Enigma Variations was given a gorgeously wrought performance. From the restless opening notes through the stormy, playful and grave variations, Guerrero exercised control over tempos and dynamics that allowed the work to breathe and build to the climactic ending.”

THE CLEVELAND ORCHESTRA

Orchestra team wins local spelling bee for second year

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Franz Welser-Möst was in charge on the podium when the Vienna Philharmonic appeared at the famed Vienna Opera Ball in early March.

Held at the Vienna State Opera, this annual social event featured ballet performances and singing by Latvian mezzo-soprano Elína Garanča.

Cleveland Orchestra News

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THE CLEVELAND ORC

Cleveland Orchestra musicians Kathleen Collins and Beth Woodside (violins) and Lisa Boyko (viola) have won the Reaching Heights Adult Community Spelling Bee for a second year in a row. As the team OOPSALA (Orchestral Orthographers Publicly Support Annoyingly Lengthy Acronyms), they correctly spelled the word “trumeau” to clinch the title for 2011, besting the twenty-four other teams who competed at Cleveland Heights High School on February 22.

The contest is held each year to raise funds for Reaching Heights, which works on behalf of excellence in the Cleveland Heights-University Heights public schools.

Join us for the

Baldwin-Wallace College

79th Annual Bach Festival April 15-17, 2011 Bach represents classical music at its noblest. Performances feature internationally renowned artists teamed with Baldwin-Wallace faculty and the B-W Festival Orchestra and Chorus. Join us for this acclaimed festival and discover why the Baldwin-Wallace College Conservatory of Music has been enchanting audiences for 79 years!

Dwight Oltman, Festival Music Director

Featured Vocal Soloists Suzie LeBlanc, soprano; Juliana Gondek, mezzo-soprano; Benjamin Butterfield, tenor; Daniel Lichti, bass-baritone

Featured Instrumentalists Venice Baroque Orchestra Jory Vinikour, harpsichord

NEW THIS YEAR! Preview Recitals featuring Jonathan Moyer, organ Duo Amaral, guitar

Featured Performances Friday, April 15

4:00 p.m.

8:00 p.m.

Saturday, April 16 2:00 p.m.

4:00 p.m.

8:00 p.m.

Sunday, April 17

11:15 a.m.

Buxtehude: Movements from Membra Jesu nostri “Coffee” Cantata, BWV 211 (staged) Venice Baroque Orchestra featuring Vivaldi’s The Four Seasons Lecture presented by Dr. George B. Stauffer Goldberg Variations, BWV 988 Jory Vinikour, harpsichord Mass in B minor, BWV 232 Bach Service Cantata: Sehet, welch eine Liebe, BWV 64

For a complete schedule of events, artist information or tickets: www.bw.edu/bachfest 440-826-8070

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The Cleveland Orchestra

The Cleveland Orchestra: Serving the Community The Cleveland Orchestra draws together traditional and new programs in music education and community involvement to deepen connections with audiences throughout Northeast Ohio

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

THE C L E V E L A N D O RC H E S T R A has a long and proud record of music education and community programs to share the value and joy of music with citizens throughout Northeast Ohio. Over the past nine decades, the Orchestra has introduced symphonic music to more than 4 million schoolchildren. Today, with the support of many generous individual, foundation, corporate, and governmental funding partners, the Orchestraâ&#x20AC;&#x2122;s educational and community programs reach 70,000 young people and adults annually, helping to foster a love of music and a lifetime of involvement with the musical arts. On these pages, we share photographs from a sampling of these many programs. For additional information about these and other programs, visit us at clevelandorchestra.com or contact the Education & Community Programs Office by calling (216) 231-7355.

School buses delivering students to Severance Hall. More than four million schoolchildren have been introduced to symphonic music in nearly nine decades of Cleveland Orchestra weekday Education Concerts.

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Education & Community

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Hornapalooza 2010, a MusicMasters program presented with local partner Conn-Selmer Inc., brought together over 70 horn students and adult players from the region to learn from the masters — members of The Cleveland Orchestra’s horn section and conductor Loras John Schissel.

Each year since 1990, The Cleveland Orchestra has led Northeast Ohio in celebration with a free downtown concert, including Fourth of July festivities before tens of thousands on Public Square. A pre-concert Festival highlights young performers from around the region.

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At the Orchestra’s annual Community Open House Day, participants pose for a photo at the “Picture Yourself at Severance Hall” activity sponsored

by Macy’s.

Education & Community

The Cleveland Orchestra

The Cleveland Orchestra is creating â&#x20AC;&#x153;Musical Neighborhoodsâ&#x20AC;? in Cleveland preschools as part of PNC Grow Up Great, using music to support pre-literacy and school readiness skills.

Cleveland Orchestra clarinetist Robert Woolfrey leads a Learning Through Music program at H. Barbara Booker School in Cleveland.

Outdoor activities for families, such as Parade the Circle in Cleveland and Family Day at Blossom, promote hands-on fun and learning.

More than 1,000 talented youth musicians have performed as members of the Cleveland Orchestra Youth Orchestra since its founding in 1986.

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Education & Community

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Baroque &Beyond April 28 to May 8

The Cleveland Orchestra’s new artist-in-residence, conductor Ton Koopman, returns to Severance Hall for a special two-week festival of Baroque music — and beyond. Koopman, a leading authority on Baroque styles and influences, leads an exploration of the transition from the Baroque period into classical forms and style.

Ton Koopman’s appearances as Artist-in-Residence with The Cleveland Orchestra are made possible by the Malcolm E. Kenney Artist-in-Residence Fund.

ISSERLIS

KOOPMAN

Royal Fireworks

SPECIAL PRESENTATION

Severance Hall

Italian Masterworks

APR 28 — Thursday at 8 p.m.

APR 30 — Saturday at 8 p.m.

The Cleveland Orchestra Ton Koopman, conductor BACH Orchestral Suite No. 1 HANDEL Music for the Royal Fireworks HAYDN Symphony No. 104 (“London”)

Haydn and C.P.E. Bach Severance Hall

MAY 6 — Friday at 11 a.m.1 MAY 8 — Sunday at 3 p.m.2 The Cleveland Orchestra Ton Koopman, conductor Steven Isserlis, cello C.P.E. BACH Sinfonia in G major C.P.E. BACH Cello Concerto in A major C.P.E. BACH Sinfonia in D major 1 HAYDN Symphony No. 98 1

not included on Friday Morning Matinee FREE Prelude Concert at 2 p.m. featuring Cleveland Orchestra musicians.

2

Gartner Auditorium Cleveland Museum of Art

MAY 1 — Sunday at 2 p.m.

MAY 4 — Wednesday at 7:30 p.m.

MAY 6 — Friday at 7:30 p.m.3 The Cleveland Orchestra James Feddeck, conductor and harpsichord In a collaboration with the Cleveland Museum of Art, The Cleveland Orchestra is featured in three unique programs of great chamber works by Italian composers from across four centuries. Featuring music by Boccherini, Berio, Dallapiccola, Vivaldi, and more.

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Featuring members of The Cleveland Orchestra

Order Tickets: clevelandart.org These concerts are funded in part by the Keithley Fund for Artistic Collaboration.

Early Keyboards: Solo Recital Harkness Chapel Case Western Reserve University

MAY 1 — Sunday at 7:00 p.m.

Ton Koopman, harpsichord

Order Tickets: music.cwru.edu/ccc The program is presented in conjunction with Chapel, Court and Countryside.

clevelandorchestra.com

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LEARNING MORE ABOUT THE MUSIC

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Concert Previews The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins.

For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.)

The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes meet weekly in locations around Cleveland and are professionally led by Dr. Rose Breckenridge to explore the music being played each week and the stories behind the composers’ lives.

Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

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Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts.

Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka.

ONLINE — SPECIAL OPERA PREVIEW “Mozart’s Don Giovanni” with Franz Welser-Möst This Sunday afternoon opera preview was taped and is available for viewing at clevelandorchestra.com.

March 31 and April 2 “Miracles, Hypnosis, and Revolution” with James Feddeck, assistant conductor, The Cleveland Orchestra

April 21, 22, and 23 “Beethoven, Mendelssohn, and Brahms” with David Rothenberg, assistant professor of music, Case Western Reserve University

April 28 and 30 “From Baroque to Classical” with David Rothenberg

May 6 “Beyond Baroque”

Concert Previews

with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

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T H E C L E V E L A N D O R C H E S T R A F R A N Z

W E L S E R - M Ö ST M U S I C

D I R E C T O R

. 11 0 1 ON 20 EAS S

Severance Hall

Saturday evening, March 19, 2011, at 7:00 p.m.

Tuesday evening, March 22, 2011, at 7:00 p.m.

Thursday evening, March 24, 2011, at 7:00 p.m.

Sunday afternoon, March 27, 2011, at 1:30 p.m.

DON GIOVANNI O SIA IL DISSOLUTO PUNITO (or “The Rake Punished”) Dramma Giocoso in Two Acts music by Wolfgang Amadè Mozart (1756-1791) to a libretto by Lorenzo Da Ponte (1749-1838) based on the legend of Don Juan

Conducted by Franz Welser-Möst Original Zurich Opera Production by Sven-Eric Bechtolf set design by Rolf Glittenberg costume design by Marianne Glittenberg choreography by Stefano Giannetti lighting design by Jürgen Hoffmann Staged at Severance Hall

by Julia Mathes scenery by John S. Bukala lighting by Christopher Shick

Sung in Italian with projected English supertitles English supertitles by Toby Alleyne-Gee, Zurich Opera © 2011

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Opera Production — Week 16

The Cleveland Orchestra

Don Giovanni, a young nobleman . . . . . . . . . . . . . . . SIMON KEENLYSIDE, baritone Leporello, Don Giovanni’s servant . . . . . . . . . . . . . . . . . . RUBEN DROLE, baritone Donna Anna, the Commendatore’s daughter . . . . . . . . . . . . . . . . EVA MEI, soprano The Commendatore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALFRED MUFF, bass Don Ottavio, Donna Anna’s betrothed . . . . . . . . . . . . . . . . . SHAWN MATHEY, tenor Donna Elvira, a lady from Burgos . . . . . . . . . . . . . . . MALIN HARTELIUS, soprano Zerlina, Masetto’s fiancée . . . . . . . . . . . . . . . . . . . . . . . MARTINA JANKOVÁ, soprano Masetto, a villager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . REINHARD MAYR, bass with

CLEVELAND ORCHESTRA OPERA CHORUS / Robert Porco, director VERB BALLETS / Margaret Carlson, director as townspeople, villagers, guests, and servants

ENRICO CACCIARI playing continuo on the fortepiano This production’s silent onstage role of the Caretaker is played by Sheffia Dooley.

Simon Keenlyside’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the Kulas Foundation.

Cleveland Orchestra opera performances are made possible in part through the generous support of The Andrew W. Mellon Foundation.

ACT ONE I N T E R M I S S I O N (30 minutes) ACT TWO

The performances will end each evening at approximately 10:45 p.m. and on Sunday afternoon at about 5:15 p.m.

RADIO BROADCAST

Sunday afternoon’s performance is being broadcast live on WCLV (104.9 FM) and nationally across the United States. The opera will be rebroadcast on WCLV on Saturday afternoon, May 21, beginning at 1:00 p.m.

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Week 16 — Don Giovanni

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CLEVELAND ORCHESTRA OPERA CHORUS Robert Porco, Director Lisa Yozviak, Assistant to the Director Joela Jones, Chorus Accompanist SOPRANO

ALTOS

TENOR

BASS-BARITONE

Brinden Brown Claire Connelly Heather Grovemiller* Megan Hamm Rachel E. Morrison Crystal E. Robinett Anjin Stewart-Funai

Dawn Ellen Durdella Megan Elk Elizabeth Frey Kimberly Lauritsen Jennifer Rozsa * Elizabeth Tredent Jennifer R. Woda

Daniel Doty* Jeremy Gilpatric Oswaldo Iraheta Peter Kvidera Daniel May, Jr. Matthew T. Rizer William Venable

Nikola Budimir Armando Contreras José Gotera Jason Levy James Love* Joel A. Rhoads Sr. Jack Templeton * standby chorus member

VERB BALLETS Margaret Carlson, Director Danielle Brickman Richard Dickinson Katie Gnagy Terence Greene

Stephanie Krise Kara Madden Kevin D Marr II Garrett McCann

Michael Medcalf Brian Murphy Rebecca Nicklos Sara Whale

PRODUCTION Julia Mathes, Stage Director Enrico Cacciari, Musical Assistant / Répétiteur Philip Kelsey, Prompter James Feddeck, Assistant Conductor Sasha Mäkilä, Assistant Conductor / Supertitle Operator Julie Kim, Producer John S. Bukala, Technical Director Christopher Shick, Lighting Richard K. Blanton, Production Stage Manager Lisa M. Kelly, Assistant Stage Manager Matty Sayre, Assistant Stage Manager Joseph Short, Orchestra Stage Manager Verena Giesbert, Wardrobe Jeffery Gryczan, Wardrobe Assistant Amy Wright, Principal Makeup Artist Molly Weinreb, Assistant Principal Makeup Artist

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Don Giovanni

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DON GIOVANNI SYNOPSIS ACT ONE At the Commendatore’s house. Leporello, waiting for his master, vents his anger on the hardships of being Giovanni’s servant.

When he hears a noise, he hides himself.

Don Giovanni rushes into the room, followed by Donna Anna. She is angry with this stranger, but relents to a kiss. Anna’s father, the Commendatore comes in, demanding to know who Giovanni is. The two men fight and the Commendatore is killed. Don Giovanni and Leporello escape. Donna Anna returns with her fiancé, Don Ottavio. Both swear revenge on the dead body of her father.

Leporello protests against Don Giovanni’s immoral lifestyle. Giovanni berates his timidity. Giovanni is already looking forward to his next rendezvous.

An unknown lady appears, angrily lamenting her husband’s infidelity. Don Giovanni approaches to comfort (and seduce) her. At that moment, he realizes that the lady is Donna Elvira, whom he abandoned long ago after a brief dalliance. Elvira is, in fact, looking for revenge against Don Giovanni, whom she recognizes. He slips away, as Leporello distracts Elvira with a catalog of Giovanni’s extensive love life. Donna Elvira is determined to avenge the humiliation inflicted upon her.

In a small town, Leporello again meets up with his master just as a wedding is to take place. The young bride,

Severance Hall 2010-11

Don Giovanni

Zerlina, catches Don Giovanni’s interest.

He instructs Leporello to open his nearby castle to entertain her betrothed, Masetto, and the other wedding guests. Finally alone with Zerlina, Don Giovanni advances his plans, even promising to marry Zerlina if she will yield to him. Just in time, Donna Elvira arrives. She informs Zerlina about the real intentions of the cavalier Giovanni and leads her safely away.

Don Giovanni curses his missed opportunity with Zerlina. Donna Anna and Don Ottavio arrive, searching for the murderer of the Commendatore. They ask Don Giovanni for help, unaware that he is the villain from the night before.

Donna Elvira returns, accusing Giovanni of trying to seduce her. Don Giovanni declares that she is mad and departs. But Donna Anna has recognized Giovanni’s voice as the murderer of her father.

Donna Anna tells Don Ottavio details about the attack and asks him to help avenge her honor. Don Ottavio cannot believe that Don Giovanni is capable of such deceit and treachery. In an effort to calm his fiancée, he looks for a way to find the truth.

Leporello tells Don Giovanni about his efforts to entertain Masetto and the wedding party. Giovanni orders his servant to invite everyone back for a grand

39

SYNOPSIS continued

reception, filled with wine and dancing, to celebrate Zerlina and Masetto’s wedding. He wants a big party, so that he can expand his list of conquests by a dozen more women.

Zerlina and Masetto are arguing.

Zerlina tries to deny that she flirted with Don Giovanni. Just when Masetto is willing to reconcile with her, Don Giovanni is heard approaching. Zerlina’s animated reaction to Giovanni’s voice rekindles Masetto’s jealousy. Masetto hides in order to observe Zerlina’s behavior.

Giovanni again tries to sweet-talk Zerlina and finds himself unexpectedly confronted by Masetto. Don Giovanni plays on their jealousies and suggests that they all join in the dancing.

To reveal Don Giovanni’s crimes, Donna Elvira, Donna Anna, and Don Ottavio, wearing masks, are invited to the feast by Leporello. Amidst much partying, drinking, and dancing, Don Giovanni takes Zerlina into the next room. Her cries for help bring the party to a halt.

Everyone rushes to protect her. Don Giovanni accuses Leporello of attacking Zerlina, but no one believes him. The partiers remove their masks to identify themselves. Cornered, Don Giovanni flees from his enemies.

ACT TWO Donna Elvira predicts Don Giovanni’s downfall, at the same time confessing to herself that she still loves him. Leporello no longer wants to lead the dangerous life at the side of his master. But Don Giovanni persuades him to continue in his service. Giovanni exchanges clothes with Leporello in a scheme to seduce Elvira’s pretty maid for himself. As his master, Leporello announces his love for Donna Elvira. She is tricked by the scam and follows Leporello into the night.

Giovanni sings a serenade to the maid. Just as he finishes, Masetto and some friends interrupt him, looking for Don Giovanni. Continuing to play Leporello, Don Giovanni assures Masetto of his support, sending the companions off in different directions in false pursuit. He is alone with Masetto, who makes clear his determination to kill Don Giovanni.

Giovanni tricks Masetto into disarming himself, then beats the young man and flees. Zerlina finds Masetto and comforts him.

Donna Elvira and Leporello (still disguised as Don Giovanni) are suddenly confronted by Donna Anna, Don Ottavio, Masetto, and Zerlina. The four will finally take revenge on Giovanni. Elvira, still caught in the deception, begs for her lover’s life. The frightened Leporello reveals his disguise, and his pursuers realize

40

Don Giovanni

The Cleveland Orchestra

that they have been disappointed once more. Leporello escapes. Don Ottavio no longer has any doubts about Don Giovanni’s guilt and he decides to provide for harsh punishment. Despite the treason committed against her, Donna Elvira is fearful for Don Giovanni.

Leporello meets his master in the cemetery. Giovanni tells him how he had just been embraced by a girl, Chen, because she thought he was Leporello.

Only when she recognized her mistake did she run away. Leporello is terrified to confess that it must have been his wife. Don Giovanni laughs.

At that moment, the voice of the Commendatore threatens Don Giovanni, saying that despite his mirth, Giovanni shall die before dawn. Leporello looks around anxiously, trying to discover where the voice is coming from. Don Giovanni sees that there is a statue of the Commendatore next to them and orders Leporello to invite the statue to dinner.

Leporello is reluctant to commit such blasphemy. Don Giovanni must ask for himself. The statue accepts the invitation.

Alone together, Don Ottavio tells Donna Anna that Don Giovanni’s punishment will soon be accomplished. He again asks for her hand. Donna Anna begs for continued patience and asks

him to pray to heaven to ease their pain.

Don Giovanni comes to the table to be served a festive meal by Leporello.

Donna Elvira rushes in unannounced, begging Don Giovanni to mend his ways. He answers with a mischievous toast. Donna Elvira leaves. A scream is heard. Don Giovanni tells Leporello to see what’s going on. The servant is horrified to find that the statue has arrived.

Don Giovanni invites the statue to dine, but the voice of the Commendatore suggests an alternative, asking Don Giovanni to come with him instead. Fearlessly, Don Giovanni agrees. The Commendatore reaches for his hand as a pledge.

Giovanni extends his hand, suddenly feeling a cold, otherworldly power that he cannot escape. Yet he still refuses a final call to repent. His repeated answer of “no” is answered by invisible voices announcing the verdict of a hellish criminal court. Don Giovanni’s end has come.

Donna Anna, Donna Elvira, Don Ottavio, Zerlina, and Masetto find Leporello alone. The servant tells them about Don Giovanni’s terrible end.

They rejoice that their revenge against Giovanni has been accomplished, their work together is done. (from the Zurich Opera program book)

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Don Giovanni

41

It Ain’t Over Till...

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42

The Cleveland Orchestra

Mozart in 1783, probably painted by Joseph Hickel

‘‘

I cannot write in verse, for I am no poet.

I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer. But I can do so by means of sound, for I am a musician.

‘‘

—W. A. Mozart, November 1777

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43

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Don Giovanni: t h e op e r a composed 1787-88

music by

Wolfgang Amadè

MOZART

born January 27, 1756 Salzburg died December 5, 1791 Vienna

libretto by

Lorenzo

DA PONTE born March 10, 1749 near Venice died August 17, 1838 New York City

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T H E S U C C E S S O F The Marriage of Figaro — beginning with its premiere in Vienna in May 1786 and with a new production in Prague in December of that year — led directly to the creation of Don Giovanni. In Prague, Figaro continued into the new year, with Mozart himself conducting one performance in January 1787. Afterward, the composer wrote to his friend Baron Nicolaus Josef von Jacquin: “Here they talk about nothing but Figaro. Nothing is played, sung, or whistled but Figaro. No opera is drawing like Figaro. Nothing, nothing but Figaro.”

The overwhelming popularity of Figaro led to a commission for Mozart to write a new comic opera to be performed in Prague in October 1787 to celebrate the marriage of Emperor Joseph II’s niece, the Archduchess Maria Theresa. For the libretto, Mozart approached Lorenzo Da Ponte, who suggested the story of Don Juan and the stone guest (see page 47). In an era before real copyright protection — and in order to finish the project quickly — Da Ponte borrowed freely from several existing versions of the story, including Molina’s original play from 1613, Molière’s reworking from 1665, and an opera libretto by Giovanni Bertati that had been set to music in 1786 by Giovanni Gazzaniga and premiered in Venice at the beginning of February, just as Da Ponte began work on his own libretto. Da Ponte completed the text for Don Giovanni between March and May 1787.

Mozart, who often worked to deadline, sent some portions of the score to Prague in September, but left other sections to compose after he’d arrived in Prague on October 4 and had a better sense of what musicians and choristers would be available. The premiere was planned for October 14, but the opera was not ready; an encore performance of The Marriage of Figaro was presented instead. After complaints from baritone Luigi Bassi, Mozart wrote Don Giovanni’s Serenade for him in Act Two (adding a mandolin to the opera’s scoring). Mozart completed the overture in the early morning of October 28 and had the parts copied just in time for the dress rehearsal that day.

The premiere on October 29, 1787, conducted by Mozart, was a complete triumph, rivalling the success of Figaro the previous year. Many additional performances were soon scheduled.

News of Don Giovanni preceded Mozart back to Vienna

About the Music

45

A 19th-century drawing of the Estates Theatre in Prague, where Don Giovanni was premiered on October 29, 1787.

At a Glance The opera is in two acts, consisting of approximately 180 minutes of music plus intermission. Mozartâ&#x20AC;&#x2122;s score calls for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings, and fortepiano continuo. In addition, a mandolin is used in Act II, and there are several groups of onstage musicians â&#x20AC;&#x201D; in Act I, an ensemble of 2 oboes, 2 horns, and strings, and two additional string ensembles; in Act II, a chamber ensemble of 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and cello.

â&#x20AC;&#x201D; and the Emperor appointed him to the post of court chamber composer, succeeding Christoph Willibald Gluck but at a disappointingly lower salary.

At the Emperorâ&#x20AC;&#x2122;s request, the Vienna premiere of Don Giovanni was planned for the spring of 1788. For this, Mozart made a number of changes to the score, including adding Elviraâ&#x20AC;&#x2122;s recitative and aria â&#x20AC;&#x153;In quali eccessi . . . Mi tradi quellâ&#x20AC;? and substituting a new aria, â&#x20AC;&#x153;Dalla sua pace,â&#x20AC;? for the tenor singing Don Ottavio (many subsequent productions included both this and the roleâ&#x20AC;&#x2122;s original â&#x20AC;&#x153;Il mio tesoroâ&#x20AC;? aria, as Mozartâ&#x20AC;&#x2122;s changes and emendations were edited into a â&#x20AC;&#x153;finalâ&#x20AC;? score for publication). The Vienna premiere took place on May 7, 1788, with an additional 15 performances taking place that year.

Don Giovanni was quickly taken up by opera companies across Europe and was later hailed as an important precursor to the intensely Romantic operas of the 19th century. With its mixture of comic and tragic qualities, it has been produced with a wide range of interpretations and conceptions. All the while, Mozartâ&#x20AC;&#x2122;s music provides both beauty and commentary on the action and inner intentions of its all-too-human characters. â&#x20AC;&#x201D;Eric Sellen

! " # " $$ %%&%

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About the Music

The Cleveland Orchestra

Don Juan:

i n ar t & le g e n d THE CHARACTER

Giacomo Casanova (1725-1796), whose reputation for romantic adventure and daring have infused the legend of Don Juan with real-life detail. Da Ponte knew Casanova personally and may have had Casanova in mind when fleshing out the title role in Don Giovanni.

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of Don Juan first appeared onstage in 1613, in the religious drama El Burlador de Sevilla y convidado de piedra (“The Trickster of Seville and the Stone Guest”) by Tirso de Molina, a pseudonym used by the monk Gabriel Téllez. Across the ensuing four centuries, Don Juan’s complex character has kept not only writers and musicians plenty busy, but philosophers, artists, and scientists as well.

The Don’s origins are shrouded in mystery. Some consider the story to be a myth sprung from the Spanish popular imagination, combining two initially separate strands of material: on one hand, the amorous adventures of a young daredevil and, on the other, the punishment of a sinner by the appearance of a statue. Other sources point to the real-life character of Don Juan Tenorio from Seville, a reckless womanizer from the time of King Pedro the Cruel in the 14th century. After murdering the governor of Seville, this Don Juan was lured to a convent by a group of monks and secretly killed. Later, there circulated a legend about the governor’s statue at the cemetery coming alive and punishing the murderer.

From Spain, the story travelled to Italy, translated as Don Giovanni, where several comedies were based on it, focussing on the spectacular appearance of the statue and the antics of Don Juan’s manservant. In France, the emphasis was once again on the protagonist, especially in Molière’s Dom Juan ou le Festin de Pierre (1665), which invested the Don with some new character traits. Molière’s Don Juan is no longer simply a seducer who only follows his sensual desires, but rather a free spirit who flouts all social boundaries; he is an atheist who not only blasphemes God but denies His very existence.

The musical settings of the story, the first of which dates from 1713, are no less important than the numerous literary treatments. By the 1780s, there was a real boom in Don Juan operas, especially in Italy. One of Mozart and Da Ponte’s most prominent predecessors was Vincenzo Righini’s dramma tragicomico, premiered in Prague in 1776; another, Giuseppe Gazzaniga’s Venetian version (1787), contained several details that Lorenzo Da Ponte took into his libretto. Da Ponte also went back to the most important older strands in the literary tradition About the Music

47

Lord Byron (1788-1824) in a painting by Thomas Phillips, 1813.

48

and extracted from them a well-balanced mixture of comic and tragic moments. Restoring above all the gravitas of the governor (the Commendatore), he provided Mozart with a text that inspired the composer to write an incomparable score.

At the time of the opera’s premiere, a related romantic legend was also being created, in the form of the real-life Giacomo Casanova. He was born in Venice, like Da Ponte, and the two had more than passing acquaintance — and may well have shared tales of their own bedroom conquests. Mozart, too, was introduced on at least one occasion to Casanova, who may have served for both librettist and composer as a flesh-and-blood example of the Don Giovanni they were writing for the theater.

Indeed, in the two centuries since, the strands of Don Juan and Casanova have been mixed and separated, reformed and reworked for a variety of purposes — from symbolic punishment and anguished struggles to pure Hollywood entertainment. Lord Byron and Nikolaus Lenau wrote the story into lines of poetry of Romantic torment, Byron in a satiric vein (in which Don Juan is easy prey for women) and Lenau with more psychological depth (in which Don Juan dies defeated and unfulfilled). Art-

About the Music

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ists used Byron himself as a model, painting Don Juan lost in love and seduction. Richard Strauss used Lenau’s empty and bereft hero as the basis of his early tone poem, filled with ardor and ending in death magnificently sounded in orchestral angst.

At the start of the 20th century, George Bernard Shaw created an epic comic play of incisive commentary called Man and Superman. Its third act, Don Juan in Hell, offers a philosophical debate between Don Juan and the Devil, with Donna Anna, the Statue, and the Commendatore as expert witnesses.

Hollywood, too, has provided its own versions of the tale, emphasizing more swashbuckling adventure than sex in early versions, evolving into more recent offerings of stunning faces and naked skin as society (and the movie industry) have evolved.

The 19th-century Danish philosopher Søren Kierkegaard used Don Giovanni (and particularly Mozart’s version of him) as the basis for discussing basic tenets of man’s nature. “Don Juan can go on indefinitely,” he wrote in Either/Or. For Don Juan, “to see her and to love her is the same thing, it is in the moment. In the same moment, everything is over, and the same thing repeats itself endlessly.”

(adapted and expanded from the Zurich Opera program book)

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About the Music

49

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Stage director Sven-Eric Bechtolf discusses the conflicting ideas and complexities inherent in Don Giovanni — and whether Sex, Love, or Death wins in the end.

We’ve got Giovanni to deal with!

BY SVEN-ERIC BECHTOLF

ACCORDING TO

the 19th-century philosopher Søren Kierkegaard, Don Giovanni is an abstract essence — not a real person but rather a primal power, akin to Eros or Dionysus from Greek Antiquity. This primal urge for pleasure, in the morality plays of the late Middle Ages, morphed into a libertine who must be punished. In short, he is an emblematic figure.

Kierkegaard denied the similarity of Mozart’s character with Molière’s Don Juan, who is a very earthly creature; he also stressed the differences from Tirso de Molina, who created the first known written version of the story in the early 17th century. Kierkegaard called attention to a paradox of which Molina was almost certainly unaware: If the Church defines the “Spirit,” it also, necessarily, defines the extreme form of that spirit, namely Sensuality. Pleasure had always existed, but was given an entirely new meaning by Christianity when pleasure was framed as the counterpole to Spirituality. This duality is in the world.

So is sin. So, of course, is the devil. Kierkegaard saw Giovanni’s life as a hectic rush from one moment to the next, not bound to continuity or causality. Giovanni’s hunger can never be truly satisfied. Kierkegaard saw Giovanni as an eternal deity beyond all moral arguments. He cannot be undone by humans. Indeed, it takes a messenger from another world to destroy him.

One important aspect of the opera is Don Giovanni’s centrality, the way he overshadows everything. All the other characters exist only Severance Hall 2010-11

About the Opera

51

Giovanni’s hunger can never be truly satisfied.

He is beyond all moral arguments.

He cannot be undone by humans.

Indeed, it takes a messenger from another world to destroy him.

52

through Giovanni’s presence, as they step from the darkness into his light. One might say that these characters come into contact with the creative and destructive forces of Eros as embodied by Giovanni.

What does this theory mean in practical terms? Just as the Greek gods are reflections of the human essence, so, too, we might look for a psychological explanation of Mozart’s opera by following Kierkegaard.

Would a young woman, with a very strict Catholic upbringing, ever dream of what happens to Donna Anna? Someone bursts into her room while she happens to be alone. She first takes him for her fiancé, but then realizes that he is a stranger; she struggles with him, and follows him, shouting, involved in a kind of physical contact she has probably never experienced before. Her father challenges the stranger, but is defeated by him. She follows the man who has told her “You will never know who I am.” In her frenzy, she pays no heed to her fiancé, Don Ottavio; she doesn’t even hear him.

One may draw some conclusions from this. Donna Anna is fighting her own awakened sexuality, symbolized by the stranger Giovanni, who intruded into her room that, for once, was not guarded. But precisely by fighting her feelings, she experiences them with extreme physicality. She who was being pursued a moment ago, now becomes the pursuer. Her father, who had probably stood in the way of her happiness with Ottavio, has been killed by the intruder. The door to sexuality would thus be open, yet because of the father’s murder, sexuality has become associated with guilt and is sublimated in an emotional resistance that the loving Ottavio can hardly understand, no more than we can. By the end, she will completely renounce sensuality.

Anna’s tragedy is that she must hate what she loves, or rather, she must hate what she longs for. Can one put this on stage without doing violence to the opera? No. Then there is Donna Elvira, a foil for Anna’s complexes.

Elvira shows that a human being can be dominated in equal measure by love and by hate — and these two feelings may sometimes even presuppose one another. She hates Giovanni because he has spurned her, not because he had seduced her.

(For that, she only hates herself.) Once that has happened, she even gets mixed up with Leporello, thinking that he is Giovanni.

This mistake, which defies all realism, only shows that Elvira About the Opera

The Cleveland Orchestra

Scenery design for the graveyard scene in Don Giovanni, from a production in Mannheim in 1789,

by Giovanni Quaglio.

has awakened to something that contradicts reason and is not necessarily bound to any single object â&#x20AC;&#x201D; she has awakened to passion.

At the same time, Elvira believes that the sexual fire of Eros, embodied in Giovanni, can somehow be domesticated. When she realizes that this is impossible, she prefers to enter a convent. That is, she renounces love. That is the only way she can handle her own sexuality. In a way, as Kierkegaard argued, this is the most extreme form of capitulation to the power of Eros.

WE ARE NOT

supposed to know, but, watching the opera, we should be wondering anyway: What exactly were Elvira and Leporello doing in the dark in Act Two? Assuming things progressed beyond verbal declarations of love, what conclusions should Elvira draw from this? That she, like Giovanni himself, was able to have pleasure when she only thought she was with the man she loved? What a scandalous separation between LOVE and SEXUALITY! But it became real only through an error, a deception. The fact that she thought it was Giovanni matters only before, not after.

This means that Elvira might consider many other men sexually, not only Giovanni. She had just stumbled into him by mistake. It was a misunderstanding from the start. An Elvirian house of mirrors! Giovanni loves Love. Elvira loves a man, but only on condition that he be faithful!

Faithfulness is the Faustian pledge of her love and thus of her passion.

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About the Opera

53

Leporello is the eternal freeloader.

He wants something and doesn’t want it at the same time.

He is fearful and eager, submissive, stubborn, and lecherous.

He wants to have his cake and eat it too; he wishes for enjoyment without risks.

What is interesting about Elvira is what Eros has triggered in her: the psychology of her projection onto a stranger who spent three days with her in Burgos. That’s what is interesting, not her much-vaunted capacity for love. Yet through her, one might also understand the touching poverty of this concept of “love.”

“Vivan le femmine, viva il buon vino, sostegno e gloria d’umanità!” (“Long live women, long live good wine, sustenance and glory of humanity!”) The vital and cruel magnificence of this sentence turns the never-never land of our ideals of love into an image of living boredom. We feel it, disturbingly, in the music. Yet, can this be staged? Hardly, if one doesn’t want to do violence to the piece.

Leporello is us. The eternal freeloader. He wants something and doesn’t want it at the same time. He is dominated by base impulses and, in that, he may be usefully compared to Giovanni and his fundamental, major physicality. Leporello is fearful and eager, submissive, stubborn, and lecherous. He wants to have his cake and eat it too; he wishes for enjoyment without risks and, above all, without punishment — from church, the police, society, his wife, etc. Whereas Giovanni is whatever he wants to be, identical with his own desires.

Leporello is unable to will what he wants, like all of us.

Or, like most civilized people. Because, according to Freud, every civilization is based on the renunciation of desire. Can one stage this? No, not really.

D O N O T T A V I O is another male counterpart to Giovanni.

He embodies the ideal renunciation of desires. He loves one woman, not all women. He brings reason and consideration to Anna’s frenzied calls for vengeance. He concentrates his Eros and “transcends” it. And he is ennobled in the process, unlike Leporello. Leporello renounces out of fear of the consequences.

Ottavio does so out of love. What he gains are tenderness and spiritualization. What he loses are vitality and masculinity.

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54

About the Opera

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Pucciniâ&#x20AC;&#x2122;s

By avenging her father, Ottavio is supposed to become the only man Donna Anna is allowed to love. He is supposed to turn into a father figure — one who is forbidding sensuality.

Yet redemption can only come to her from a man who was not vengeful.

56

and women — how SHOULD men be? The signals they receive from women are ambivalent. Women long for a MASCULINE man on an archaic level, while on a civilized level they want a spiritualized, cultivated one.

Don Ottavio experiences this split in a painful way when Anna demands that he kill Giovanni. Ottavio doesn’t look like a villainous murderer. He is, rather, a sensitive, refined man.

But his fiancée’s dead father is stronger than he is! Donna Anna loves Ottavio as long as he doesn’t behave like Giovanni. But at the same time, she demands that he behave like him, when she demands that he become a murderer, promising to fulfill his wishes in return (are those wishes also her own?).

By avenging the father, Ottavio is supposed to become the only man Anna is allowed to love. He is supposed to turn into a father figure — one who is forbidding sensuality. Yet redemption could only come to her from a man who was not vengeful. Ottavio seizes upon this dichotomy when he says, standing next to the corpse of the Commendatore: “You shall have a husband and a father in me.” It is an insoluble, tragic conflict. Can you stage this? No. Not without doing violence to the opera.

A N D W H AT A B O U T

Don Giovanni himself? He is Eros, he is summer, he is strength, villainy, joy, pleasure, anarchy, desire.

He is no “realistic” stage character. In a certain sense, he is us, in a perfect form that is impossible in real life. He is us as we are never allowed to be (especially men). He can only be destroyed by a power from beyond. He is an antique principle that fell with Christianity. He is the old sexual god Eros in the wrong era. Can this be staged? No, no, no.

Zerlina and Masetto. What roles do they play? They are the average, they are predictable. Presumably, Zerlina always chooses whatever is best and most available at the moment.

Who could blame her? Even the fact that she does so on her wedding day is easily forgiven her by Mozart and Da Ponte, and with good reason. “We humans can even do this,” they say with a smile, and give her the enchantingly sad aria “Batti, batti” (“Beat me, beat me”), born of the depths of woe. Masetto is neither dumb nor stupid. It is the situation that makes him that way. His only mistake is loving! He is a slave of his own jealousy, to the point that he is ready to project Giovanni onto Leporello. This, too, is part of the craziness of love. Can this About the Opera

The Cleveland Orchestra

An early printed libretto for Don Giovanni, published

by Breitkopf & Härtel in 1801.

be staged? I’m afraid not.

Why not? The music says it all, but it does so while being intimately connected to each of the characters. Unlike me, or maybe even Da Ponte, Mozart’s genius didn’t feel the need to pass judgement or to create analytical distance. Instead, the composer draws us deep into the characters’ lives through the primal suggestive power of his music. He does so without taking sides, and he ultimately eludes all attempts at interpretation.

Kierkegaard himself thought that the opera could not be adequately played out on stage and wished to hear it from behind a thin wall. He felt that every locale, every psychological nuance, every summer night’s breeze, and every abyss of hell was already contained in the music. And he was right.

S O W H AT C O U L D

Mozart and Da Ponte possibly have intended? Their work on Don Giovanni was probably more prosaic than we would imagine. Here were two crafty and practical men of the theater. The libretto was written in a very short time, concurrently with two other commissions; work on it was perhaps sloppier than we are willing to envision or admit.

Don Giovanni is not a “wise” opera. It doesn’t try to “wise you up,” it

Severance Hall 2010-11

About the Opera

57

How should men be?

The signals they receive from women are ambivalent. Women long for a masculine man on an archaic level, while on a civilized level they want a spiritualized and cultivated one.

doesn’t try to prove anything, if one disregards that ridiculous line about all evildoers ending up this way. And yet, or perhaps because of this, it contains an incredible amount of food for thought, due in part, of course, to the very choice of subject.

What was it about the work that touched contemporary audiences so much, beyond “entertainment” and the quality of the music?

1. The entire piece is about sex: failed sex, sex that had taken place, sex that had been expected, coerced, wished for, hoped for, refused, promised, postponed.

2. It is about primal encounters between men and women, between male and female.

3. It is about freedom and individuality — a sensitive topic in those pre-revolutionary times. The liberalism of Joseph II is echoed in Giovanni’s “Viva la libertà” (“Long live liberty”), even if the way it appears in the opera is somewhat perverse.

4. It is about the sins of a feudal lord and at the same time (in an ideological contradiction) about the individuality of a free spirit . . . and a free body, which should really belong to the oppressed. What a devilish twist! And Mozart clearly presents it with an ambivalence that was all his own.

5. It is about religion. It is enough to think of Robespierre, the materialistic Enlightenment figure, revolutionary, and tyrant, who abolished God but worshipped a “Supreme Being,” or had to worship it.

6. Like Così fan tutte and The Marriage of Figaro, this opera is about the extent to which our entire lives are invested in “love.” We want to gain self-assurance in the most natural matters. So great is our mistrust in ourselves! In Figaro, a utopia of a human paradise emerges, if only for a moment, from the fusion of the most intimate sphere with the political. In Così, the cruelty of a human experiment à la Marivaux leads to the tragic loss of illusions about our nature.

THE OPERA

may be about the BARBARITY of liberation, about our fear of ourselves. Because every character in Don Giovanni seems deeply torn inside, vacillating between desire and order, freedom and punishment, celebration and ceremony, love and hate, reason and emotion, man and God, the hereand-now and eternity.

It is an entire era’s fear of itself. And it may well be the very last time the old theater of the Baroque rears its head and

58

About the Opera

The Cleveland Orchestra

shows us Hell, Earth, and Heaven.

All this must have been very disturbing to Mozart’s contemporaries. But what about us today, 250 years later, after the triumph of the Enlightenment? We are still disturbed by it today, at least I believe that we are. For, even though Mozart called Don Giovanni an opera buffa in his autograph work list, the opera has an eerie quality to it. Mozart does not present the return of the dead man ironically, or if so, then only in Giovanni’s initial reaction to the event. No, something profoundly archaic and really un-Christian is going on here. A puppet, a stone figure, comes alive as in animistic religions. It is not the intervention of an earthly power but a greater force from another world. The dark side of our lives enters the stage, because, starting with the overture, the piece is grounded not only in the night of our own emotions but also in the night of the Beyond.

LET’S ASSUME

for a moment that the libretto is nothing but second-hand stuff from a bankruptcy estate that Da Ponte accepted gratefully as it gave him a chance to hide the contraband of his libertinage under the mighty shadow of the stone guest (and the latter’s friends in the censorship bureau). Mozart gave him the invincible strength to do so. Did the composer act as the guilt-ridden son of a dead father? Or did he act as an epic poet who knew that all existence in the here-and-now, all realism only acquires greatness when grounded in eternity? Giovanni is constantly on the move, pursued by the furies of his misdeeds, drawn to new pleasures — in a total contrast to the marble statue, who can afford to wait for him at the cemetery until Judgement Day. Is it not a dark foreboding?

Everything we do when we are full of life appears sinful and ridiculous when we face the coldness of eternity. And doesn’t Giovanni rush headlong into the icy embrace of his final rendezvous? Here

The 19th-century Danish philosopher Søren Kierkegaard, who wrote about Mozart’s opera Don Giovanni in his book Either/Or and saw him as an emblematic character representing primal human desires.

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2 1 6 . 5 3 6 . 7 6 0 0 www.HeidiONeill.com design@HeidiONeill.com Severance Hall 2010-11

About the Opera

59

Eros meets Death.

It almost seems like they belong together, Eros and Death. The union of the sexes brings new life, while old life goes to the grave.

And Death itself constantly calls upon us to create new life. It is a dance whose outcome always remains the same; a dance that takes place in gilded ballrooms like a festive celebration.

A celebration where men and women gather, decked out in their best finery, only to meet Death at the end. We experience here all the psychological implications, described earlier, disguised as reality — but it is a special stage reality that calls for darkness, gloomy glitter, and enigmas of the soul. It is important to show both the external reality of the story, and its primal foundation — a foundation that, I believe, was already present in the Don Juan myth and that Mozart re-created, full of foreboding, as if from a dream.

The opera Don Giovanni is not an equation. It has no message. The apparent foreground of the plot, including the punishment of the evildoer, is not the treasure it conceals. Nor does the work’s uniqueness lie in the nature of the characters, those fully realized and distinctive personalities. The treasure is concealed in the conflict of the impulses — in what is concealed, as in a dream.

The alternative would be a strictly narrative performance, which would give us nothing beyond confirming the subtitle of the piece, and the dubious pleasure of seeing good triumph over evil. Yet, in the words of Elvira, “Bisogna aver coraggio, o cari amici miei!” (“We must be courageous, my dear friends!”) We’ve got Giovanni to deal with!

—Sven-Eric Bechtolf reprinted from the Zurich Opera program book

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About the Opera

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AN ARTIST’S LIFE

BY PETER LAKI

MOZAR T WAS A HIT FROM HIS EARLIEST YEARS AS A CHILD P R O D I GY. H I S C O M P O S I T I O N S R E F L E C T E D A G E N I U S F O R U N D E R S TA N D I N G N O T J U S T H OW M U S I C WO R K S , B U T H OW P E O P L E T H I N K .

NOT A SINGLE HOUR GOES BY

in the world without a work by Mozart being played in concert, on the radio, or on the CD players and iPods of millions of music lovers everywhere. Mozart is much more than a composer — he is an icon of Western culture, familiar to anyone who is even marginally cognizant of classical music.

How has Mozart come to enjoy such an exceptional status in the music world? Some of it certainly has to do with his biography. His extraordinary precocity — he wrote highly competent pieces of music at the age of six — was the subject of an experimental study in London in 1764 when Daines Barrington, a Fellow of the Royal Society, tested his abilities and was astonished by what he found. (Beyond his musical facility, however, Barrington also noted that Mozart’s behavior was in other respects quite expected for an 8-year-old — when a cat came into the room, the young boy immediately ran off to play with it.)

Mozart later became one of the first freelance musicians in Europe.

Breaking with his employer, the unsupportive Archbishop Colloredo in his native Salzburg, he moved to Vienna where he supported himself and his Severance Hall 2010-11

W. A. Mozart (1756-1791)

63

A favorite Mozart family portrait painted in 1780-81.

Wolfgang and his sister, Nannerl, are sitting at the fortepiano, father Leopold stands with his violin, and mother Anna (who died in 1778) is represented in the portrait on the wall.

family without steady employment, through concerts, publications, and teaching. His untimely death in particular became the stuff of legend through the famous, though entirely unfounded, rumor of his being poisoned by his rival Antonio Salieri.

The thirty-five years that had been given to Mozart on this earth are unusually well documented for an 18th-century musician. Not only do we possess a great deal of information about his external circumstances — his travels, his contacts, his finances — but we have good reason to feel as though we knew the man himself intimately. Over the years, Mozart wrote hundreds of letters to his father, violinist-composer Leopold Mozart, who had discovered and nurtured (and exploited) his son’s talents. Leopold was both a mentor and an extremely controlling, tyrannical presence in Wolfgang’s life.

Letters to other friends and family members have been preserved in large numbers as well. From these, we know that Mozart was extremely close to his mother. Her death while the two of them were in Paris in 1778 — exploiting Wolfgang’s talents as a performer — was a great emotional blow to the twentytwo-year-old Wolfgang, and became a psychological test as well, when he had to break the news to father Leopold, who had stayed behind in Salzburg.

Mozart’s older sister, Nannerl, was also a child prodigy on the piano; she travelled with their father and Mozart on a grand European tour that lasted over three years (1762-65). As a woman, she couldn’t have the musical career she would have deserved. Life separated Nannerl from her brother, but their close relationship is attested by many letters across the years and by the charm-

64

W. A. Mozart (1756-1791)

The Cleveland Orchestra

ing and profound poem Wolfgang sent her from Vienna on the occasion of her wedding.

Always a great admirer of women, Mozart early on became the talk of Salzburg when he turned the head of a local baker’s daughter who ended up in a convent. Soon afterwards, he departed for Mannheim, where he fell head over heels in love with a young singer named Aloisia Weber, whose sister Constanze he later married. He also enjoyed a playful and probably platonic relationship with his Augsburg cousin Maria Anna Thekla Mozart, recipient of some of the sauciest letters in his correspondence.

In his letters, Mozart can come across as playful and foul-mouthed and silly (which is where Peter Shaffer got his idea for the play and the movie Amadeus).

But he can also be a sharp-tongued critic of other musicians, a man passionately in love, and an artist fully conscious of his own worth, capable of articulating some profound philosophical truths about music and life.

Yet biography alone cannot explain the Mozartian magic. Anecdotes from his life would mean little without his work, which stands as the supreme embodiment of perfection and harmony in music. Mozart’s compositions reflect a golden age where music was regulated by a set of unchangeable rules — yet those rules were flexible enough, or Mozart understood just how far he could push ideas, to make sure the outcome was never entirely predictable.

Clear organization, together with an inexhaustible imagination and a dramatic understanding, are all large parts of his music’s communicative power.

Organization means shaping the music in a number of basic recognized forms (sonata, variation, rondo), each of which is a plan indicating how the themes should be developed and how they should follow one another. Imagination comes into play in the creation of the musical themes themselves — and we all know that the sheer beauty of Mozart’s melodies is unmatched. His sense of drama, not just in opera, but in the give-and-take contrasts within instrumental writing, is another clear hallmark of his genius.

Life and art often explain and reinforce one another. In addition to writing immortal symphonies, concertos, sacred music, and chamber works, Mozart was one of the world’s greatest opera composers because he was able to combine musical craft with a supreme understanding of the human soul. He portrayed his operatic characters with so much psychological detail that they become flesh-and-blood people rather than just vehicles for great melodies and virtuosic singing. This is especially true for the five mature works that represent the pinnacle of his theatrical achievements: the two German singspiele (operas in which music alternates with spoken dialog), The Abduction from the Seraglio (1782) and The Magic Flute (1791), which frame the three Italian works created with the brilliant librettist Lorenzo Da Ponte, The Marriage of Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790).

Almost all operas revolve around love relationships, but Mozart takes a Severance Hall 2010-11

W. A. Mozart (1756-1791)

65

harder-than-usual look at them. Love between two people is never a pure idyll, it is always examined and called into question. Yet Mozart was not a writer of tragedies; he treats the most serious subjects with a smile — although this doesn’t make them any less serious.

In The Abduction from the Seraglio, the two men simultaneously (and unjustly) accuse their girlfriends of infidelity. One woman reacts with anger, the other with deep sadness — and as the four sort out their differences, they learn some important lessons about love and human nature.

In The Magic Flute, the love of Tamino and Pamina is tested by the severe trials they have to undergo together.

In The Marriage of Figaro, we see the Count and the Countess having a marriage crisis, a young couple (Figaro and Susanna) facing major challenges in their relationship, and a teenage boy (Cherubino) trying to deal with his raging hormones.

In Così fan tutte, a seemingly frivolous premise calling for two men to woo each other’s girlfriends leads to a deep reflection, far ahead of its time, on the nature of human commitment.

And in Don Giovanni, the legendary seducer of women is surrounded by a whole panoply of characters, each of whom acts out his or her own love scenario, none of them simple.

Mozart would never have been able to portray such complex emotional issues if he hadn’t had a rich emotional life himself. And he certainly was not a shy and introverted person; on the contrary, he was fun-loving and gregarious.

He loved social games such as bowling and target shooting, and was always devoted to his many friends. His sense of humor is attested not only in his letters but also in many comic canons and other musical works, including the splendid Musical Joke, which pokes fun at incompetent village musicians.

And yet, two hundred and some years later, we have no trouble whatsoever understanding both Mozart’s jokes and his serious statements. His music is based on a set of rules that were clear enough to be universally comprehensible, and flexible enough to convey the most subtle personal messages. Such effortless musical communication is certainly one reason why the world doesn’t want to be without Mozart’s music — not even for an hour.

—Peter Laki © 2011 Peter Laki is a musicologist and frequent lecturer on classical music.

He is a visiting associate professor at Bard College and a contributing writer to The Cleveland Orchestra’s program books.

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W. A. Mozart (1756-1791)

The Cleveland Orchestra

MOZART T I M E L I N E 1756

Born January 27, in Salzburg, the seventh and last child of Leopold and Anna Maria. (Only two of their children survived infancy.)

Baptized “Johannes Chrysostomus Wolfgangus Theophilus Mozart.”

1759

At age 3, Wolfgang begins to play the harpsichord.

1761

At age 5, he begins to compose.

1762

His father takes Wolfgang (and his sister, Nannerl, four years older) on the road as child prodigies.

Over the next four years, they will visit and perform before royalty in Vienna, Paris, and London.

1767

He begins writing his first operas, completing four in two years.

1770

Wolfgang (age 14) and his father visit Italy for the first time, and are exposed to Italian opera in its native land.

1771

At age 15, he begins his service with his father’s employer, the Archbishop of Salzburg.

1778

While he and his mother are in Paris looking for lucrative employment for Wolfgang, Anna Maria is taken ill and dies. Wolfgang must bury her alone, and then tell his father and sister back in Salzburg the news.

1781

After looking for a job in Vienna, Wolfgang is dismissed from his post with the Archbishop and decides to become a freelance musician.

1782

Marries Constanze Weber on August 4. They will have six children, but (typical for the era) only two will survive to adulthood (neither of whom will have progeny of their own).

1783

Over the next several years, he writes and performs a series of mature piano concertos and creates six string quartets dedicated to Haydn, making for himself both a name and a good living.

1785

Meets Haydn, who praises Mozart as “the greatest living composer.”

Severance Hall 2010-11

Mozart Timeline

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1786

The Marriage of Figaro premieres in Vienna on May 1.

1787

He travels to Prague early in the year to see Figaro, where it is acclaimed a masterpiece. Prague asks him to write a new opera.

Father Leopold dies on May 28.

Don Giovanni, his second collaboration with librettist Lorenzo Da Ponte, is premiered in October in Prague.

Wolfgang is appointed to the relatively minor (and not very well-paid) post of “chamber composer” by Emperor Joseph II.

1788

Mozart composes what become his last three symphonies (Nos. 39, 40, and 41) in anticipation of a series of benefit concerts that never take place. His finances are increasingly limited and problematic, and he moves around Vienna several times in the next few years to find lodgings he can work in or afford.

1790

Così fan tutte is premiered in Vienna.

Mozart attends the coronation of Emperor Leopold II.

1791

Composes the operas The Magic Flute and La clemenza di Tito, and begins work on his Requiem Mass.

Dies on December 5 at the age of 35. After a simple funeral service, following customs of the time in Vienna, he is buried in an unmarked grave.

What’s his name?

Mozart was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saints’ names, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. Theophilus comes from Greek and can be rendered as “lover of God” or “loved

by God.” Amadeus is a Latin version of this same name. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving Amadeus only as an occasional joke. At the time of his death, scholars in all fields of learning were quite enamored of Latin naming and conventions (this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc.) and successfully “changed” his name to Amadeus. Only in recent years have we started remembering the middle name he preferred, Amadè.

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Mozart Timeline

The Cleveland Orchestra

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The Cleveland Orchestra

LORENZO

DA PONTE Helping Mozart Be Mozart B Y D AV I D W R I G H T

and did not leave it for twelve hours continuous — a bottle of Tokay to my right, a box of Seville to my left, in the middle an inkwell.” Thus, according to his memoirs, Lorenzo Da Ponte began work on the libretto for Don Giovanni, equipped with all the necessities for writing: wine, snuff, and a pen.

Oh, and one more thing: “A beautiful girl of sixteen — I should have preferred to love her only as a daughter, but alas . . . !”

It was only natural that the most important librettist of his generation would write his memoirs like an opera about his life. But because scholars have independently confirmed many of the details (although not the 16-year-old), we can say that Da Ponte’s 89 years were peppered with enough triumphs, disasters, intrigues, business enterprises, and amours for ten evenings in the theater.

Through it all, this prolific writer perfected his dramatic craft, lifting the popular opera buffa to a level of literary allusion and verbal wit comparable to the exalted opera seria favored by the nobility. Many of his 50-plus librettos — including the three for Mozart, The Marriage of Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790) — reflect the lively Vienna of the “enlightened” Emperor Joseph II, in which middle-class aspirations mingled socially with noble pretensions.

Although he was never made a baron like some other bourgeois men of that time — his life was far too scandalous for that — Da Ponte was a climber par excellence. Born Emmanuele Connegliano in a suburb of Venice in 1749, this son of a Jewish tanner adopted the name of the local bishop when his family converted to Christianity in 1763. His penchant for learning led him to seminary, where he embarked on a life as priest and teacher.

However, Da Ponte also had other penchants, including liberal politics and married women, which eventually got him banished from Venice in “ I SAT D OWN AT MY TA BLE

Severance Hall 2010-11

Lorenzo Da Ponte

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1779. Hoping for a court post in Dresden, he looked up a friend there, the poet and librettist Caterino Mazzolà, and discovered that he had a flair for translating and adapting words for the stage.

Da Ponte soon developed a characteristically opportunistic sense of stagecraft, as he recalls in his memoirs: “I realized that it was not sufficient to be a great poet to write a good play; that no end of tricks had to be learned” — for example, to fit the parts to the actors, and “to watch actual performances on the stage to note the mistakes . . . and then, after two or three thousand booings, find some way to correct them.”

Mazzolà thought enough of Da Ponte’s talent to recommend him to the imperial court composer in Vienna, Antonio Salieri. Da Ponte arrived in that city in 1781, the same year Mozart arrived there from Salzburg. Only a year later, having ingratiated himself with the right men (and women), Da Ponte was appointed Poet of the Imperial Theater, where he supplied librettos for the most celebrated composers of the day.

The Vienna of Joseph II was far less shockable than Venice. Among married people of the upper class, mistresses and lovers were accoutrements as necessary as a closetful of clothes. In fact, the aristocrats lived their emotional lives through these other people, not their spouses.

At the same time, the new thinking encouraged by the emperor pointed toward a more integrated ideal of marriage, typified by the love-match of Wolfgang Mozart and his wife, Constanze; the composer reminded her constantly of his fidelity, writing home from his business trips to report that he’d “been good.”

It isn’t known what Mozart made of Da Ponte’s intricate love life, particularly his liaison with the soprano Adriana Ferrarese, who created the role of Fiordiligi in Così fan tutte and demanded new arias from Mozart when she sang Susanna in the 1789 revival of Figaro. (Da Ponte’s scheming against Ferrarese’s husband shocked even his friend and amorous competitor, Giacomo Casanova.)

But Mozart knew a master of the stage when he met one, and the flexible Da Ponte filled the bill. “The best thing of all,” the composer wrote, “is when a good composer, who understands the stage and is talented enough to make sound suggestions, meets an able poet, that true phoenix.”

Mozart and Da Ponte made an odd couple — two temperaments, two outlooks on life, two artistic traditions, but with one goal: to create a terrific piece of theater. Their three collaborations were hits in their day, and while they may have encountered uncomprehending audiences during some periods of history, they are now firmly enshrined in the opera repertoire.

Controversy over what these operas “mean” continues to fill books. Their elements are so diverse — Italian pastoral poetry, buffa farce, social and political commentary, romance both tender and cynical — that one wonders whether, in the heat of creating them, the divine Mozart and the earthy Da Ponte weren’t, at times, each going his own way.

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Lorenzo Da Ponte

The Cleveland Orchestra

Sadly, this series of daring and enigmatic operas was fated to end at three.

The death of Joseph II in 1790 brought a more repressive political climate to Vienna, and Mozart died the following year. Incessant court intrigues, which both Mozart and Da Ponte complained about in their writings, left the poet out of favor with the new emperor and sent him on a decade of travels around Europe in search of theatrical opportunity.

Some of Mozart’s world view must have rubbed off on Da Ponte, however, because in 1792 he “married” an Englishwoman, Nancy Grahl — an impossibility for a priest, of course, but nevertheless he remained by her side the rest of his life. Together, they tried to promote Italian opera in Paris, London, Brussels, Rotterdam, and elsewhere; all these ventures eventually failed, owing to Da Ponte’s bad business judgment, the intrigues of his enemies, or both.

Today, students at Columbia University in New York may wonder why a portrait of Mozart’s librettist hangs near the offices of the Italian department.

The answer is that Lorenzo Da Ponte was a predecessor of the people who work there today. In 1805, he and his wife emigrated to New York, where he worked as a grocer, teacher, translator, book dealer, and tireless promoter of Italian culture. Appointed professor of Italian at Columbia College in 1825, Da Ponte held the post until his death in 1838.

Precious few reminders of the glory days with Mozart came his way here on the American frontier, but the romantic adventures of Don Giovanni held their place in the European repertoire, and Da Ponte was fêted at a New York performance of that opera by the Manuel García touring company in 1826. The following year, he published new editions of Don Giovanni and Figaro.

After more financial reverses and the blow of his wife’s death, Da Ponte ended his days feeling like a failure, not even bothering to finish the third volume of his memoirs. But he must have had considerable impact on his adopted city, because by all accounts his funeral was an elaborate affair.

If only we could save him a seat at the Metropolitan Opera or Severance Hall today, we’d show him the appreciation he deserves.

—David Wright © 2011 David Wright lives and writes in Wellesley, Massachusetts. He previously served as program annotator for the New York Philharmonic.

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Severance Hall 2010-11

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DON GIOVANNI LEADING MAN Simon Keenlyside discusses opera’s most notorious cad

by ELAINE GUREGIAN

The London Observer has called him “one of the definitive Don Giovannis of the day.” London’s Guardian newspaper proclaimed his performance a “tour de force” when he sang the role at the Royal Opera. But the Englishman whom the New York Times dubbed “the Ralph Fiennes of baritones’’ has never performed the role of opera’s most famous Lothario on an American stage . . . until now.

Beginning March 19, Keenlyside joins an international cast and The Cleveland Orchestra at Severance Hall for four fully staged performances of the Zurich Opera’s 2006 production of Mozart’s Don Giovanni conducted

by Franz Welser-Möst. The performances reunite many in the cast — including singers who performed together at Severance Hall in Così fan tutte in 2010 and The Marriage of Figaro in 2009. Finally, an American audience will be able to experience Keenlyside in a role that he has claimed for his own.

H O L D IN G UP A MIR RO R

From appearances in Zurich, Vienna, London, Tokyo and elsewhere, Keenlyside has sung in his share of approaches to Don Giovanni, including one where he took on the Commendatore bare-chested, sporting a wig of he-man hair down to his waist, as well as Severance Hall 2010-11

Leading Man

75

an update where he serenaded a prospective lover by phone at a bar.

“Who cares if he’s got a wig or not got a wig? It’s not about costumes. It’s about real human nature, about showing the cracked mirror of human nature to people,” the baritone said in a phone conversation from his home in London, where he lives with his wife, ballerina Zenaida Yanowsky, and their two children, Owen (age two) and Iona (age one).

Called “one of the most natural actors in opera” by the New York Times, the talkative and thoughtful Keenlyside can’t say enough good things about the acting instincts of Sven-Eric Bechtolf, the director of the Zurich Opera’s production of Don Giovanni coming to Cleveland.

“The joy of the difference between any one production and another is in the details — in the nuances, in the shadows.

What I loved about Sven was working with a highly intelligent actor who knew what he wanted in terms of the detail and the nuance. He’s not addressing anything differently. He’s still dealing with the main issues of the challenge to God, the challenge to authority, the abuse of power.”

“Sven could easily, with a giant arm, have swept the whole lot away and had exactly the same process with no sets. Sven is not interested in sets. He’s interested in theater.”

Not that the production’s simple scenery isn’t beautiful, with a gleaming Art Deco sophistication that raises Keenlyside’s depiction of the philandering Don Giovanni to a level of elegant hedonism. (As for the past Mozart/Da Ponte operas presented at Severance Hall in 2009 and 2010, the original Zurich sets were designed by Rolf Glittenberg, with costumes by Mari-

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anne Glittenberg and lighting by Jürgen Hoffmann.) Seen in a DVD of his Zurich Opera performances, Keenlyside’s Don Giovanni is a James Bond-like ladykiller who abuses his power every possible way.

It would be easy to take in Don Giovanni simply as beautiful music and “a wonderful, strap-yourself-in story,” but Keenlyside also looks to it for insights about freedom, or lack of it, through the cast of characters around him.

Giovanni is somebody who does “whatever the hell they want, when they want,” he notes.

N O EASY AN SWER S

Very little is black and white in Don Giovanni. Gradually the audience gets to know the characters, beginning with Donna Anna (sung by Eva Mei), whom Giovanni tries to seduce and whose father (the Commendatore, sung by Alfred Muff ) loses his life to the Don. “What woman could be attracted to Donna Anna’s upright Don Ottavio [sung by Shawn Mathey]? He’s boring,” notes Keenlyside, suavely managing to make it sound like a fact, not an opinion. Donna Elvira (Malin Hartelius), another of the Don’s traumatized but still-lovestruck conquests, along with Giovanni’s manservant, Leporello (Ruben Drole) and a betrothed pair of servants, Masetto (Reinhard Mayr) and Zerlina (Martina Janková), all help librettist Lorenzo Da Ponte make a variety of political points.

“The freedoms we have now, the shoulders of the people we stand on now, are more than just those of our fathers and grandfathers from the last war. The sexual, political, religious, and economic freedoms were bought hard. Mozart is Leading Man

The Cleveland Orchestra

shouting, but with so graceful a feather, about those injustices,” says Keenlyside, noting that a female servant in Mozart’s time didn’t even have the right to her own virginity; it could be taken by her master, according to the feudal concept of the droigt de seigneur.

Mozart’s unforgettable arias draw the listener’s attention to people, not politics. Bringing to life the relationships of these characters keeps Keenlyside fully engaged.

“You probably will do what you do because that’s your body and what you learned along the way — and made choices about along the way. But I really do passionately think that art and life are in the details, and that is the greatest joy,’’ he says. “On that count, every production is very different.” He takes pleasure in collaborating with conductor Franz WelserMöst, who — like him — is a stickler for details, yet who also looks for the artistry beyond what’s stipulated on the pages of a score.

“Arias don’t take place in real time in Don Giovanni — nor do soliloquies in Shakespeare. Time is a relative construct. . . . There’s this endless scope for spontaneity and that takes somebody who’s prepared to give you freedom,’’ says Keenlyside. Someone like Welser-Möst.

“He’s a stickler for correct note valSeverance Hall 2010-11

Leading Man

ues and details, as Charles Mackerras was, and I like that. If you’re ready on Day One to work, then you can play with things and tinker with things and experiment with things.’’

Over the years since Keenlyside first sang for Welser-Möst on a program in London, he has gotten to know him through performances at Severance Hall and in Europe. “On the face of it, he seems quite stern. He’s actually quite the opposite. If he trusts you . . . then it’s lovely because then he will give you plenty of scope to shift about within the parameters that one’s already agreed on. He’s got this impish sense of humor in music that I like a lot — particularly in Mozart.” Keenlyside says.

A FA MILY MAN

In demand for operas, recitals, and orchestral appearances, Keenlyside, 51, was named Musical America’s Vocalist of the Year for 2011. But having grown up a third-generation musician (his father, Raymond Keenlyside, was a violinist in the Aeolian Quartet; his grandfather was a concertmaster in London), he claims no need for the trappings of fame, and lately he has pared down his schedule in order to accommodate family life.

“I’m not an ambitious man. . . . As long as I can get good work, that’s what I want, and I’ve got that. When I’m out on the bicycle with my boy, none of it matters anyway,’’ says Keenlyside.

And when it comes to singing opera, Keenlyside concludes, “The joy for me is in the moment.” Get into your costume and go out there under the lights with “a gimlet eye, radar on,’’ fully aware of everything around you. Then, “it’s just fun, telling a story.”

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Mostly More About Mozart Mozart remains one of the most written about people of all time, both for the quality and quantity of his music, and for the interesting but short life that he lived. Thousands of books have been written over the years, with many new ones published surrounding observations of the bicentennial of his death in 1991 and the 250th anniversary of his birth in 2006. New facts and portraits continue to be discovered, and his art is constantly being re-evaluated. Here is a sampling of choice books for those wanting to learn more.

—Eric Sellen

ABOUT MOZART Mozart: A Life, by Peter Gay. 163 pages.

(Penguin, 1999). This brief, award-winning book provides a clear overview of Mozart’s life and his founding role in helping create and define what we today refer to as classical music. Gay, professor emeritus at Yale, also provides perspective on the world’s changing view of Mozart and his music.

Musical Lives: The Life of Mozart, by John Rosselli. 166 pages. (Cambridge University Press, 1998). Part of Cambridge’s well-received “Musical Lives” series, this short book offers a succinct and clear view of Mozart’s life and times. A good place to reacquaint yourself with his biography, or to learn the major achievements of his life and musical success.

Mozart’s Women: His Family, His Friends, His Music, by Jane Glover.

371 pages. (Macmillan, 2005). As the title suggests, this clearly written biography pays particular attention to Mozart’s relationships with and understanding of women throughout his life (and music) — beginning with

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his mother, sister, and wife. The book is divided into four sections, dealing first with life and loves, then with more detail and insights into his major musical works (the author is a noted British conductor). A final section presents a long look at Mozart’s family’s lives after the composer died at age 35 (his wife Constanze outlived him by more than half a century), part of the story left out of many Mozart biographies.

Mozart, The Golden Years, by H.C. Robbins Landon. 236 pages. (Schirmer Books, 1989.) This well-illustrated book delves exclusively into the final ten years of Mozart’s life, after he left Salzburg to live in Vienna — and when many of his mature masterpieces were written. The text does a good job of helping us understand some of the political and social issues from a very different time period.

The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart, edited by Neal Zaslaw with William Cowdery. 337 pages. (W.W. Norton, 1990). Created in conjunction with the Mozart Bicentennial at Lincoln Center, this handy companion provides brief historic musical commentary on (very nearly) every piece of music written by Mozart. Zaslaw was involved in helping coordinate Lincoln Center’s performances of “all” of Mozart’s music in 1991.

W. A. Mozart, by Hermann Abert, translated by Stewart Spencer, edited and updated by Cliff Eisen. 1,476 pages. (Yale University Press, 2007). If you are looking for lots of detail, here is an updated classic.

This is a thoroughly revised version of

More About Mozart

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Abert’s four-volume work from 1919-21, which itself was a complete reworking and updating of one of the most complete early Mozart biographies, by Otto Jahn, published in four volumes from 1855-59. The result is full of detail and depth, with all (or most of) its facts updated from research by the many people who continue to try to understand who Mozart was.

a man who bridged politics, the arts, and many practical aspects of life.

Wolfgang Amadeus Mozart: A Life in Letters, translated by Stewart Spencer, edited by Cliff Eisen. 570 pages. (Penguin Books, 2006). Mozart wrote a treasure trove of letters to family and friends — and a remarkable number of them have been preserved. A variety of translations and editions have been published over the years, some with a great deal of censorship or concern over certain issues and the composer’s free use of bawdy language. This newer volume presents a fairly complete and accurate rendering of the kind of e-mails Mozart would write were he alive today.

ABOUT THE ENLIGHTENMENT

ABOUT DA PONTE Two recent biographies of Da Ponte offer full-length looks at this fascinating renaissance man, who helped create three of Mozart’s greatest operas. Holden’s book may be slightly better researched, but both offer extraordinary storytelling and insight into

The Librettist of Venice: — The Remarkable Life of Lorenzo Da Ponte, by Rodney Bolt. 448 pages. (Bloomsbury, 2006).

The Man Who Wrote Mozart: The Extraordinary Life of Lorenzo Da Ponte, by Anthony Holden. 256 pages. (Phoenix, 2007).

Evening in the Palace of Reason: Bach Meets Frederick the Great in the Age of Enlightenment, by James R. Gaines. 273 pages. (Harper Perennial, 2005). This award-winning dual-biography uses a brief meeting between two great men to illuminate the Enlightenment’s changing ideas about humanity’s place in and understanding of the world. That Frederick’s life is more intensely interesting to read about is itself one of the differences.

Mozart and the Enlightenment, by Till Nicholas. 400 pages. (W. W. Norton, 1996). Stage director Nicholas attempts to sift through and explain the action and implied meanings inherent in Mozart’s operas against Enlightenment thinking, Masonic beliefs, and philosophical ideals.

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Simon Keenlyside Don Giovanni British baritone Simon Keenlyside has earned widespread critical acclaim on operatic, concert, and recital stages around the world. He made his Cleveland Orchestra debut at Severance Hall in 2000 and has performed with the Orchestra in Europe on several occasions since that time, most recently in 2009. Since his operatic debut at the Hamburg State Opera in 1987, Mr. Keenlyside has sung at the worldâ&#x20AC;&#x2122;s great opera houses and from Barcelona to Tokyo, from New York to Zurich. Recent and upcoming operatic engagements include appearances at the Vienna State Opera (Don Carlos, Rigoletto, and Wozzeck), Londonâ&#x20AC;&#x2122;s Royal Opera House (La Traviata, Macbeth, and The Marriage of Figaro), and the Salzburg Festival (The Marriage of Figaro). For Brittenâ&#x20AC;&#x2122;s Billy Budd at English National Opera and Maazelâ&#x20AC;&#x2122;s 1984 at the Royal Opera House, Mr. Keenlyside won the 2006 Olivier Award for outstanding achievement in opera. He was recently named Musical Americaâ&#x20AC;&#x2122;s Vocalist of the Year for 2011. For his artistry and contributions to the arts, Mr. Keenlyside was named a Commander of the Order of the British Empire in 2003.

Simon Keenlyside enjoys extensive concert work, appearing with many of Europeâ&#x20AC;&#x2122;s major orchestras, including the Berlin Philharmonic, City of Birmingham Symphony, London Symphony Orchestra, Vienna Philharmonic, and the Gustav Mahler Youth Orchestra. He is also a renowned recitalist and appears regularly in most of the worldâ&#x20AC;&#x2122;s major recital venues. Mr. Keenlyside has recorded recital albums with Malcolm Martineau of Schubert, Strauss, Brahms, and of English songs, as well as an album of Schumann songs with Graham Johnson. He is featured on a wide range of operatic and orchestral recordings for Chandos, Decca, Deutsche Grammophon, EMI, Harmonia Mundi, Hyperion, and Sony BMG. Simon Keenlyside was born in London. He studied zoology at Cambridge and singing at the Royal Northern College of Music in Manchester.

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Soloists

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Eva Mei Donna Anna Italian soprano Eva Mei has performed with many of Europe’s great opera companies, including London’s Royal Opera House, La Scala Milan, Paris Opera, Vienna State Opera, and Zurich Opera. She is praised for her interpretations of Mozart and Rossini, as well as roles in the operas of Bellini, Donizetti, Puccini, and Verdi. She also maintains an active concert schedule, including engagements with the National Academy of St. Cecilia, Chicago Symphony Orchestra, Orchestre de Paris, and Salzburg Festival, among others.

Recent and upcoming engagements include appearances in Istanbul, St. Petersburg, Tokyo, and Vienna. Ms. Mei’s discography includes Donizetti’s Don Pasquale and Verdi’s Requiem, as well as works by Beethoven, Handel, Mozart, Pergolesi, and Puccini.

She can be heard on the BMG, EMI, Philips, and Teldec labels, and is featured on several opera DVDs, including Mozart’s La Clemenza di Tito and Don Giovanni with Franz Welser-Möst. Eva Mei graduated from the Cherubini Conservatory in Florence and subsequently won the Caterina Cavalieri Prize. She is making her Cleveland Orchestra debut with these performances of Don Giovanni.

Malin Hartelius Donna Elvira Swedish soprano Malin Hartelius is known for her roles in the operas of Mozart, Johann Strauss, and Richard Strauss.

She first collaborated with Franz Welser-Möst at the 1996 Salzburg Festival, and since her Cleveland Orchestra debut in September 2002, has performed in many operatic and concert works under his direction. Her most recent engagement here was Mozart’s Così fan tutte. After studies at the Vienna Conservatory with Margarethe Bence, Malin Hartelius was a member of the Vienna State Opera. She subsequently joined the Zurich Opera, where she has sung in all three Mozart/Da Ponte operas under Franz Welser-Möst’s direction. Ms. Hartelius sings in the opera houses of Berlin, Frankfurt, Hamburg, Munich, and Paris. Since her 1992 Salzburg Festival debut, she has returned there regularly. Her concert performances have included engagements with the Leipzig Gewandhaus Orchestra, London Symphony Orchestra, Royal Concertgebouw Orchestra, Tonhalle Orchestra, and the Vienna Philharmonic. Her discography includes works by Bach, Brahms, Handel, and Haydn, as well as opera recordings at Zurich and Salzburg. The King of Sweden awarded her the Litteris et Artibus medal in 2010.

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Soloists

The Cleveland Orchestra

Martina JankovĂĄ Zerlina Czech-born soprano Martina JankovĂĄ began her musical training in Ostrava, later studied in Basel, and is currently working with Carol Smith. She was a prizewinner at Germanyâ&#x20AC;&#x2122;s Neue Stimmen International Singing Competition. She first worked with Franz Welser-MĂśst at the International Opera Studio in Zurich, and has been a member of the Zurich Opera since 1998. Ms. JankovĂĄ is a regular guest artist at the Salzburg Festival, and has also sung at the Chopin Festival at Marienbad, Festival de Saintes, JanĂĄÄ?ek Spring Festival, MartinĹŻ Festival, Rheingau Festival, Wiener Festwochen, and Prague National Opera. She has appeared in concert in Austria, Germany, Israel, Italy, Japan, Poland, and Switzerland, and also performs with the Berlin Philharmonic, Czech Philharmonic Orchestra, and Zurich Tonhalle Orchestra. Her recordings include a Bach cantata for DGG Archiv, Johann Strauss Jr.â&#x20AC;&#x2122;s Simplicius for EMI (with Franz Welser-MĂśst), and several discs of songs for Philips/Universal. Martina JankovĂĄ made her Cleveland Orchestra debut in March 2009, performing in The Marriage of Figaro, and returned last season for CosĂŹ fan tutte.

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Soloists

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Ruben Drole Leporello Swiss baritone Ruben Drole was born to Spanish-Slovenian parents. He studied voice at the Musikhochschule Zürich, graduating in 2005. Mr. Drole’s artistry has been recognized with prizes from the Pro Europa Foundation and the Carl Heinrich Ernst Kunststiftung Art Foundation. He has been engaged by Zurich Opera since 2005, following a season with the Zurich International Opera Studio. Ruben Drole’s concert highlights include performances with Ton Koopman and the Royal Concertgebouw Orchestra, a tour of Japan with Nikolaus Harnoncourt and the Concentus Musicus, and performances of Handel’s Israel in Egypt with Concerto Köln. Mr. Drole also sings many recitals under the auspices of Swiss Chamber Concerts. He can be seen on several opera DVDs, including Mozart’s The Magic Flute, Rossini’s L’italiana in Algeri, and Schubert’s Fierrabras, all conducted by Franz Welser-Möst, as well as Schumann’s Genoveva. Mr. Drole first performed with The Cleveland Orchestra in the March 2009 production of The Marriage of Figaro, and returned for Così fan tutte a year later.

Shawn Mathey Don Ottavio American tenor Shawn Mathey was born in Ohio and is making his Cleveland Orchestra debut with these opera performances. This season, he is also appearing in Britten’s A Midsummer Night’s Dream with the Chicago Lyric Opera, in Gluck’s Iphigenie en Tauride with Placido Domingo at Washington National Opera, and in Mozart’s The Magic Flute with Cincinnati Opera. He has sung regularly with the Frankfurt Opera and Zurich Opera, and has also appeared with the Bavarian State Opera, Boston Lyric Opera, Houston Grand Opera, London’s Royal Opera House, Minnesota Opera, Paris Opera, and Opera Theatre of St. Louis. Regarded as a Mozart specialist, Mr. Mathey also sings in operas by Berg, Britten, Puccini, Schubert, Schumann, and Verdi. In concert, he has appeared with the Bavarian and Berlin radio symphony orchestras and the San Francisco Symphony, at the Aix-en-Provence and Salzburg festivals, and in recitals in New York at Avery Fisher Hall and Weill Recital Hall. Mr. Mathey’s artistry can be viewed on DVDs in Mozart’s Così fan tutte and Schumann’s Genoveva.

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Soloists

The Cleveland Orchestra

Reinhard Mayr Masetto Austrian bass Reinhard Mayr was a member of the Vienna Volksoper prior to joining the Zurich Opera in 2001. There he has sung a variety of roles in operas by composers including Handel, Mozart, Rossini, and Johann Strauss. He has also appeared with the Florence Teatro Comunale and at the Vienna State Opera. Reinhard Mayr is active as a recitalist and guest artist, and regularly performs with several baroque ensembles, including L’Orfeo Barockorchester in Linz. He has appeared in concert in Amsterdam’s Concertgebouw, Leipzig’s Gewandhaus, London’s Royal Albert Hall, Stainz Parish Church, and Vienna’s Musikverein. Mr. Mayr studied voice at the Anton Bruckner Conservatory in Linz and subsequently attended the Academy of Music in Basel, Switzerland, and the University for Music and Performing Arts in Vienna, with a concentration in oratorio and song. Mr. Mayr made his Cleveland Orchestra debut in the March 2009 performances of Mozart’s The Marriage of Figaro.

Alfred Muff Commendatore Swiss bass-baritone Alfred Muff has been a member of the Zurich Opera for two decades, singing a range of roles in works by Beethoven, Berg, Mozart, Rimsky-Korsakov, Richard Strauss, and Wagner. He has also performed with the opera houses of Berlin, Buenos Aires, Cologne, Dresden, Hamburg, Milan, Paris, San Francisco, and Vienna, and at the Aix-en-Provence, Lucerne, Prague, Salzburg, and Vienna festivals. Singing a wide range of concert repertoire, Mr. Muff has appeared with the Bamberg Symphony Orchestra, Chicago Symphony Orchestra, Orchestre de la Suisse Romande, and Zurich’s Tonhalle Orchestra, as well as in the Brucknerhaus Linz, National Academy of St. Cecilia, and at Vienna’s Konzerthaus and the Musikverein. His discography features operas

by Berg, Britten, Mozart, Strauss, and Wagner, including DVDs recorded with the Zurich Opera and recordings of works by Bruckner, Dessau, and Schreker.

Mr. Muff studied at the Lucerne Conservatory and Musikhochschule Berlin. He made his Cleveland Orchestra debut in the 1992 performances of Wagner’s Die Walküre, and most recently appeared here in the 2007 presentation of Strauss’s Der Rosenkavalier.

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Soloists

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The Cleveland Orchestra

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The Cleveland Orchestra

Julia Mathes

Stage Director

Born in Hamburg, Germany, Julia Mathes studied stage management and technical theater at the Guildhall School of Music and Drama in London. Since graduating in 2001, she has worked as a stage manager or director’s assistant at theaters including the Birmingham Opera Company, Glyndebourne Festival, London Handel Festival, and English National Opera. In 2004, she became a staff member at the Zurich Opera in both capacities plus as revival director. In the past decade, she has worked with a range of directors including Grischa Asagaroff, Sven-Eric Bechtolf, Robert Carsen, John Copley, Giancarlo del Monaco, Claus Guth, Jens-Daniel Herzog, Guy Joosten, Martin Kusej, Moshe Leiser/Patrice Caurier, Jonathan Miller, David Pountney, Katharina Thalbach, and Graham Vick. Future engagements with Zurich Opera include assistant to Matthias von Stegmann for Wagner’s Lohengrin in Tokyo in 2012.

Christopher Shick

Lighting Design

Chris Shick currently serves as vice president of production services for Clevelandbased Vincent Lighting Systems. He has been the principal lighting designer for The Cleveland Orchestra since 2001, with recent credits including Elektra and the Lord of the Rings Symphony. He served as lighting director for the Orchestra’s DVD production of Bruckner’s Seventh and Eighth Symphonies and Mahler’s Des Knaben Wunderhorn. His professional work includes lighting for live theater, video, dance, rock concerts, opera, classical music performances, and special events.

Enrico Cacciari

Continuo / Fortepiano

Enrico Maria Cacciari began musical studies as a piano student at the conservatory in his hometown of Modena, Italy. He continued his education in Bologna and Milan, focusing on composition, harpsichord, and organ. After three years at the Teatro alla Scala in Milan, he joined the Zurich Opera in 2001. Mr. Cacciari has also served as musical assistant for opera productions with Claudio Abbado and as pianist for two of Abbado’s orchestras: the Lucerne Festival Orchestra and the Mahler Chamber Orchestra.

John S. Bukala

Scenery

John Bukala has over thirty years’ experience in theatrical stage work. He worked as shop foreman, master carpenter, and technical director for Cleveland San Jose Ballet and has also built scenery for feature films, including One Trick Pony, Harvest Home, Escape Artist, Welcome to Collinwood, A Christmas Story, and Those Lips, Those Eyes.

Severance Hall 2010-11

Production

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Robert Porco

Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleveland Orchestra in 1998, following in a line of distinguished Cleveland choral leaders that has included Boris Goldovsky, Robert Shaw, Margaret Hillis, Robert Page, and Gareth Morrell. Each year, in addition to overseeing choral activities, he conducts the Orchestra’s series of Christmas concerts at Severance Hall and leads subscription programs at Severance Hall and as part of each summer’s Blossom Festival. He is also a regular guest conductor and the director of choruses for the Cincinnati May Festival, and has guest-conducted orchestras in the United States and Europe. An Ohio native, Mr. Porco served as chairman of the choral department at Indiana University (1980-98), and currently teaches doctoral-level conducting there. He has directed the Cincinnati May Festival Chorus since 1989. He previously served as artistic director and conductor of the Indianapolis Symphonic Choir (1989-98).

Lisa Yozviak

Assistant to the Director of Choruses

In addition to her duties at Severance Hall, Lisa Wong Yozviak is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. Active as a clinician, guest conductor, and adjudicator, she holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

VERB BALLETS

Margaret Carlson, Director

“Imagination. Strength. Uniquely American.” This is the Verb Ballets signature.

The range of works presented draws from the classics in contemporary dance, commissions from leading current choreographers, and emerging work of high quality.

Verb Ballets also has a commitment to educating its audiences and maintains strong programming in youth engagement and wellness for seniors.

Margaret Carlson has been associated with the company since 2002. Prior to joining Verb Ballets, she worked with Les Ballets Trockadero de Monte Carlo, was a founding member and principal dancer with the Cleveland San Jose Ballet Company, and toured extensively in musical theater. She choreographed many operas for Cleveland Opera. Ms. Carlson holds a doctorate from Durham University in the United Kingdom. She previously served as dean of dance at the Hong Kong Academy for Performing Arts and director of the School of Dance at the University of Akron.

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Production

The Cleveland Orchestra

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Letâ&#x20AC;&#x2122;s talk.

contact John Moore 216.721.4300 jmoore@LPCpub.com

LPCpublishing.com

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216-721-4300 The Cleveland Orchestra

11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A NC E H A LL

RENTAL OPPORTUNITIES

CONCERT DINING AND CONCESSION SERVICE

Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Exclusive catering provided by Sammy’s. Premium dates are available.

Call the Facility Sales Office at (216) 231-7420 or email to hallrental@clevelandorchestra.com

Severance Restaurant at Severance Hall is open for concert dining. For reservations, call (216) 231-7373, or click on the reservations link at clevelandorchestra.com Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this fall on October 10 and November 28. For additional information or to book for one of these tours, please call the Cleveland Orchestra Ticket Office at (216) 231-1111. Private tours can be arranged for a fee by calling (216) 231-7421.

THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call (216) 231-7478 for more information, or visit the Store online at clevelandorchestra.com

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Parking can be purchased for $10 per vehicle when space in the Campus Center Garage permits.

However, the garage often fills up well before concert time; only ticket holders who purchase prepaid parking passes are ensured a parking space.

Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $14 per concert. This pre-paid parking ensures you a parking space, but availability of prepaid parking passes is limited. To order pre-paid parking, call the Cleveland Orchestra Ticket Office at (216) 231-1111.

FRIDAY MATINEE PARKING

For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, on the ground floor across from the Cleveland Orchestra Store.

Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of convenient off-site parking and round-trip shuttle services available from the Cleveland Play House (8500 Euclid Avenue) and the Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10.

QUESTIONS

CONCERT PREVIEWS

If you have any questions, please ask an usher or a staff member, or call (216) 231-7300 during regular weekday business hours, or email to info@clevelandorchestra.com

Concert Previews at Severance Hall are presented in Reinberger Chamber Hall on the ground floor, except when noted, beginning one hour before the start of most subscription concerts.

ATM — Automated Teller Machine

Severance Hall 2010-11

Guest Information

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AT T H E CO NC E R T COAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING For the safety of guests and performers, photography and videography are strictly prohibited during performances at Severance Hall.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind may be asked to leave the concert hall.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall staff are experienced in assisting patrons to find seats that meet their needs.

Wheelchair seating is available on the Orchestra Level, Box Level, and Dress Circle, and in Reinberger Chamber Hall at a variety of prices. For patrons who prefer to transfer from a wheelchair, seats with removable arms are available on the Orchestra Level in the Concert Hall. ADA seats are held for those with special needs until 48 hours prior to the performance, unless sell-out conditions exist before that time.

Severance Hall features seating locations for people with mobility impairments and offers wheelchair transport for all performances. To discuss your seating requirements, please call the Ticket Office at (216) 231-1111.

TTY line access is available at the public pay telephone located in the Security Office. Infrared Assistive Listening Devices are available from a

76-P

Head Usher or the House Manager for all performances. If you need assistance, please contact the House Manager at (216) 231-7425 in advance if possible.

Service animals are welcome at Severance Hall.

Please notify the Ticket Office when purchasing tickets.

IN THE EVENT OF AN EMERGENCY Contact an usher or a member of the house staff if you require medical assistance. Emergency exits are clearly marked throughout the building.

Ushers and house staff will provide instructions in the event of an emergency.

SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search.

Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

CHILDREN Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Season subscription concerts are not recommended for children under the age of eight. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

T IC K ET SE RV IC ES TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program.

Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges.

If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket can be used as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Guest Information

The Cleveland Orchestra

â&#x20AC;&#x153;Cultivate the habit of being grateful for every good thing that comes to you, and to give thanks continuously. And because all things have contributed to your advancement, you should include all things in your gratitude.â&#x20AC;? ~ Ralph Waldo Emerson

Ken and Linda Lanci Be a part of one of Northeast Ohioâ&#x20AC;&#x2122;s classic summer traditions. Reserve your space in the 2011 Blossom Festival programs.

Call John Moore at 216-721-4300 for a proposal tailored to your unique advertising needs.

Larchmere Boulevard Clevelandâ&#x20AC;&#x2122;s Art and Antique District (one block north of Shaker Square) A remarkable assortment of more than 50 shops â&#x20AC;&#x201C; art, antique, and craft galleries; restaurants; services; designer and vintage clothing; and specialty shops.

! " # $ % & ! '!' "''"

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FROGâ&#x20AC;&#x2122;S LEGS,

inc.

12807 Larchmere Blvd.

Shaker Hts., OH 44120 (Located in gentlemanâ&#x20AC;&#x2122;s quarters)

216-229-4660 â&#x20AC;&#x153;toad-lyâ&#x20AC;? committed to your legs...and the rest of your body.

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WEARABLE ART CONTEMPORARY CRAFT GIFTS /NE OF A KIND AND LIMITED EDITION CLOTHING

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#ALL FOR UPCOMING EVENTS

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For ďŹ ne dining in the Larchmere District please see the Guide to Fine Dining on page 76-M.

Severance Hall 2010-11

76-Q

76-R

The Cleveland Orchestra

Meet Robert Conrad Cleveland Orchestra Trustee, Heritage Society member, co-founder of classical radio station WCLV, and Heritage Society ambassador on WCLV How many years have you been attending Orchestra concerts?

Jean and I have been attending since about 1962, the year C. K. “Pat” Patrick and I co-founded WCLV. Your favorite symphony?

Sibelius Symphony No. 1 When did you start broadcasting The Cleveland Orchestra on WCLV? We’ve been broadcasting concerts since 1965. Now it’s 2010, and we’re still broadcasting Orchestra concerts as well as streaming them live over the internet. WCLV will be celebrating its 50th anniversary in 2012, and I’ve been commentator for what’s become the longest running continuous orchestra broadcast series in the history of American radio!

And, in Bob’s own words, from his WCLV invitation to Orchestra lovers everywhere . . .

This is Robert Conrad. As a Cleveland Orchestra Trustee and member of the Orchestra’s Heritage Society, I’d like to invite you to join my wife, Jean, and me in support of this wonderful Cleveland treasure. The Orchestra provides all of us with world-class music right here in our hometown and represents Cleveland at its finest throughout the world. And one of the ways that we support the Orchestra is through a charitable gift annuity. A gift annuity allows us to make a generous gift and at the same time receive income for life. Please join Jean and me, and the many other Heritage Society members who have created a Cleveland Orchestra Gift Annuity.”

To learn how you can become a member of the Heritage Society, contact Jim Kozel, Director of Legacy Giving, by calling 216-231-7549 or via email to jkozel@clevelandorchestra.com or visit clevelandorchestra.com and click on Support, then Heritage Society THE CLEVELAND ORCHESTRA

H ER I TAGE SO C I ET Y Severance Hall 2010-11

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CUYAHOGA ARTS & CULTURE IS PROUD TO SUPPORT APOLLO'S FIRE BAYARTS BECK CENTER FOR THE ARTS CLEVELAND BOTANICAL GARDEN CLEVELAND INTERNATIONAL FILM FESTIVAL CLEVELAND MUSEUM OF ART CLEVELAND MUSEUM OF NATURAL HISTORY THE CLEVELAND ORCHESTRA CLEVELAND PLAY HOUSE CLEVELAND PUBLIC THEATRE DANCECLEVELAND GREAT LAKES SCIENCE CENTER GREAT LAKES THEATER FESTIVAL

SHAKER LAKES OPERA CLEVELAND ROCK AND ROLL HALL OF FAME AND MUSEUM SPACES WESTERN RESERVE HISTORICAL SOCIETY & MANY OTHERS

WWW.CACGRANTS.ORG 216 515 8303

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

GROUNDWORKS DANCETHEATER HEIGHTS YOUTH THEATRE IDEASTREAM KARAMU HOUSE MALTZ MUSEUM OF JEWISH HERITAGE MUSEUM OF CONTEMPORARY ART CLEVELAND NATURE CENTER AT

The Cleveland Orchestra

Supporting The Cleveland Orchestra THE CLEVELAND ORCHESTRA

Project Sponsors

2010 -11

listing as of September 2010

The Cleveland Orchestra gratefully acknowledges the following donors for their project support of $25,000 and more. Through the leadership of these corporations, foundations, and government agencies, important new and continuing initiatives are funded in four areas central to the Orchestra’s mission and future. The ongoing success of these projects is making a difference for tomorrow in today’s world.

Artistic Excellence

Education Programs

The Cleveland Foundation

The Abington Foundation

The Mary S. and David C. Corbin Foundation Cuyahoga County residents through Cuyahoga Arts & Culture GAR Foundation

Education Concerts

Giant Eagle Family Concert Series

Martha Holden Jennings Foundation Cleveland Orchestra Youth Orchestra, Learning Through Music, Education Concerts

The George Gund Foundation Kulas Foundation

JPMorgan Chase Foundation

John P. Murphy Foundation

Learning Through Music

David and Inez Myers Foundation National Endowment for the Arts The Kelvin and Eleanor Smith Foundation Ohio Arts Council

Ohio Arts Council Education initiatives

PNC PNC Musical Rainbow Concerts, PNC Grow Up Great with the Arts

Access and Audience Development

Community Engagement

The Andrew W. Mellon Foundation

Cleveland Clinic

Fridays@7 Series, Musically Speaking Series, Opera performances, Severance Access, Blossom Festival ballet performances

William J. and Dorothy K. O’Neill Foundation Fridays@7 Series, Musically Speaking Series

Community initiatives

Cuyahoga County residents through Cuyahoga Arts & Culture Public Square Concert and Festival

KeyBank Martin Luther King Jr. Celebration Concert

Forest City Enterprises Severance Access

Medical Mutual of Ohio

Margaret Clark Morgan Foundation

Community Open House

Blossom Festival audience development initiatives

The Plain Dealer

For further information about project sponsorship please contact Nadine Stafford, Director of Institutional Giving, by calling (216) 231-7548.

Audience development initiatives

The J. M. Smucker Company Compact disc

Severance Hall 2010-11

Project Sponsors

76-U

Endowed Funds

funds established as of November 2010

Generous contributions to the endowment have been made to support specific artistic initiatives, ensembles, educational programming and performances, facilities maintenance costs, touring and residencies, and more. These funding opportunities currently represent new gifts of $250,000 or more.

For information about making your own endowment gift to the Orchestra, please call (216) 231-7549.

ARTISTIC endowed funds support a variety of programmatic initiatives ranging from guest artists and American conductors to Friday Morning Matinee concerts and the all-volunteer Cleveland Orchestra Chorus.

American Conductors Fund

Guest Artist

Douglas Peace Handyside Holsey Gates Handyside

The Eleanore T. and Joseph E. Adams Fund Mrs. Warren H. Corning The Gerhard Foundation Margaret R. Griffiths Trust The Virginia M. and Newman T. Halvorson Fund The Hershey Foundation The Humel Hovorka Fund Kulas Foundation The Payne Fund Elizabeth Dorothy Robson Dr. and Mrs. Sam I. Sato The Julia Severance Millikin Fund The Sherwick Fund Mr. and Mrs. Michael Sherwin Sterling A. Spaulding Mr. and Mrs. James P. Storer Mrs. Paul D. Wurzburger

Artist-in-Residence Malcolm E. Kenney

Young Composers Jan R. and Daniel R. Lewis

Cleveland Orchestra Chorus Jerome and Shirley Grover Meacham Hitchcock and Family

Concert Previews Dorothy Humel Hovorka

Friday Morning Concerts Mary E. and F. Joseph Callahan Foundation

International Touring Frances Elizabeth Wilkinson

EDUCATION endowed funds help support programs that deepen connections to symphonic music at every age and stage of life, including training, performances, and classroom resources for thousands of students and adults each year.

Education

Education Programs

Anonymous, in memory of Georg Solti Hope and Stanley I. Adelstein Kathleen L. Barber Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Alice B. Cull Memorial Frank and Margaret Hyncik Junior Committee of The Cleveland Orchestra Mr. and Mrs. David T. Morgenthaler

The William N. Skirball Endowment

Cleveland Orchestra Youth Orchestra The George Gund Foundation Christine Gitlin Miles, in honor of Jahja Ling

Classroom Resources Charles and Marguerite C. Galanie

Musical Rainbows Pysht Fund

Education Concerts Week The Max Ratner Education Fund, given by the Ratner, Miller, and Shafran families and by Forest City Enterprises, Inc.

76-V

Endowed Funds

The Cleveland Orchestra

Supporting The Cleveland Orchestra THE CLEVELAND ORCHESTRA

SEVERANCE HALL endowed funds support performance initiatives for the Orchestra’s winter season in Cleveland and maintenance of Severance Hall: Severance Guest Conductor

Organ

Roger and Anne Clapp James and Donna Reid

D. Robert and Kathleen L. Barber Arlene and Arthur Holden Kulas Foundation Descendants of D.Z. Norton Oglebay Norton Foundation

Keyboard Maintenance William R. Dew The Frederick W. and Janet P. Dorn Foundation Mr. and Mrs. Richard A. Manuel Vincent K. and Edith H. Smith Memorial Trust

Severance Hall Preservation William McCoy, family members, and friends

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the Orchestra’s summer performances and maintenance of Blossom Music Center.

Blossom Festival Guest Artist

Landscaping and Maintenance

Dr. and Mrs. Murray M. Bett The Hershey Foundation The Payne Fund Mr. and Mrs. William C. Zekan

The Bingham Foundation Emily Blossom family members and friends The GAR Foundation John S. and James L. Knight Foundation

Blossom Festival Family Concerts David E. and Jane J. Griffiths

CENTER FOR FUTURE AUDIENCES — Announced in October 2010, the Center for Future Audiences will transform the way The Cleveland Orchestra attracts and welcomes audiences to Severance Hall, throughout Northeast Ohio, and around the world. The Center was created with a generous naming lead gift of $20 million from the Maltz Family Foundation providing onethird of the $60 million endowment that will eventually help fully fund these activities.

T H E C L E V E L A N D

O R C H E S T R A

CENTER FOR FUTURE AUDIENCES Endowed by the Maltz Family Foundation

Severance Hall 2010-11

Endowed Funds

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PHOTO BYPHOTO ROGER MASTROIANNI

BY ROGER

MASTROIANNI

Imagine your picture-perfect event at Severance Hall.

Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is perfect for business meetings and conferences, pre-concert pre-concertor orpost-concert post-concertdinners dinnersand andreceptions, receptions,weddings, weddings,and and social socialevents. events.

Exclusive catering by Sammy's

Premium dates still available!

Call the Manager of Facility Sales at (216) 231-7421 or email hallrental@clevelandorchestra.com

100

The Cleveland Orchestra

Institutional Support THE CLEVELAND ORCHESTRA

Corporate Honor Roll

gifts of $2,500 and more as of January 31, 2011

The Cleveland Orchestra and Musical Arts Association gratefully acknowledge the members of the Corporate Honor Roll, recognizing those corporations contributing $2,500 or more each year to The Cleveland Orchestra through the Corporate Fund and special gifts. For further information about the Corporate Honor Roll, please contact Wanda Scott, Manager of Corporate Sponsorships, by calling (216) 231-7558.

PARTNERS IN EXCELLENCE

$150,000

AND MORE

$50,000

TO

$99,999

Forest City Enterprises, Inc. KeyBank Raiffeisenlandesbank Oberösterreich (Europe) The Plain Dealer PNC

Baker Hostetler Eaton Corporation FirstEnergy Foundation Medical Mutual of Ohio NACCO Industries, Inc. Parker Hannifin Corporation The Sage Cleveland Foundation The J. M. Smucker Company

PARTNERS IN EXCELLENCE

$30,000

$100,000

TO

$149,999

Jones Day

The Orchestra’s Partners in Excellence program recognizes those companies contributing more than $100,000 annually through the Corporate Fund and special gifts. These organizations exemplify visionary leadership and commitment to artistic excellence at the highest level.

We are extremely grateful for their commitment to the Orchestra and the greater Cleveland community.

TO

$49,999

FirstMerit Bank Giant Eagle JPMorgan Chase Foundation The Lubrizol Foundation Mercedes-Benz of Bedford Thompson Hine LLP

$20,000

TO

$29,999

Anonymous Conn-Selmer, Inc. Dix & Eaton Ernst & Young LLP Fifth Third Bank The Goodyear Tire & Rubber Company Northern Trust Bank of Florida (Miami) Quality Electrodynamics (QED)

$15,000

TO

$19,999

Consolidated Graphics Group, Inc. Continental Airlines Dominion Foundation Frantz Ward LLP Olympic Steel, Inc. Park-Ohio Holdings The Sherwin-Williams Company Squire, Sanders & Dempsey L.L.P.

$10,000

TO

$14,999

American Greetings Corporation Buyers Products Company Feldman Gale, P.A. (Miami) Ferro Corporation Keithley Foundation Miba AG (Europe) RPM International Inc. Summa Health System White & Case (Miami)

Severance Hall 2010-11

Institutional Support

$7,500

TO

$9,999

Anonymous Calfee, Halter & Griswold LLP MTD Products, Inc. Northern Haserot

$5,000

TO

$7,499

Anonymous AutoNation (Miami) Bank of America Behnke and Company Brush Engineered Materials Inc. Chubb Group of Insurance Companies The Cleveland-Cliffs Foundation Community Behavioral Health Center Dealer Tire LLC Developers Diversified Realty Corporation Great Lakes Brewing Company Gross Builders The Lincoln Electric Foundation C. A. Litzler Co., Inc. Macy’s North Coast Container Corp.

Oatey Co. Ohio CAT The Prince & Izant Company Swagelok Company Tour Arts, Inc. Tucker Ellis & West LLP Westlake Reed Leskosky

$3,500

TO

$4,999

Brouse McDowell Genovese Vanderhoof & Associates Heidelberg Distributing Co. LPC Publishing Company MindCrafted Systems SIFCO Industries, Inc. TriMark S.S. Kemp

$2,500

TO

$3,499

Akron Tool & Die Company Arnstein & Lehr LLP (Miami) BDI Eileen M. Burkhart & Co LLC Evarts-Tremaine-Flicker Company Hahn Loeser & Parks LLP Higer Lichter & Givner LLP (Miami) Houck Anderson P.A. (Miami) Nordson Corporation Novelis Corporation Oswald Companies Richey Industries, Inc. Stern Advertising Agency Towers Watson

77

We believe that when it comes to air travel, it’s time to pick up the tempo.

CLE already has one of the best on-time records in the country, and now, we’re doing even more—like a new web site that provides real-time tracking of flights, and valet parking that makes traveling as easy as pulling up to the curb. Add to this, more non-stops than any other airport in Ohio, and well, you’ve got travel built around getting you where you need to go faster. And that should be music to any traveler’s ears. www.clevelandairport.com

Going places.

Institutional Support THE CLEVELAND ORCHESTRA

Foundation and Government Honor Roll

gifts of $2,000 or more during the past year, as of January 31, 2011

The Cleveland Orchestra and Musical Arts Association are grateful to the many private foundations and government agencies, at the local, state, and federal levels, whose grant support sustains a wide range of programs. Grants provide vital support for the Orchestra as a whole, as well as for new artistic initiatives, education and community engagement programs, and capacity building. The Cleveland Orchestra could not exist without these key partnerships.

To join the Foundation and Government Honor Roll, or for further information, please contact the Philanthropy & Advancement Department, by calling (216) 231-7521. $500,000

AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Maltz Family Foundation State of Ohio $250,000

TO

$499,999

The George Gund Foundation Kulas Foundation Andrew W. Mellon Foundation John P. Murphy Foundation David and Inez Myers Foundation Ohio Arts Council The Kelvin and Eleanor Smith Foundation $100,000

TO

$249,999

Sidney E. Frank Foundation The GAR Foundation Martha Holden Jennings Foundation The Miami Foundation, from a fund established by John S. and James L. Knight Foundation (Miami) William J. and Dorothy K. Oâ&#x20AC;&#x2122;Neill Foundation

Severance Hall 2010-11

$50,000

TO

$99,999

The Louise H. and David S. Ingalls Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Margaret Clark Morgan Foundation National Endowment for the Arts Surdna Foundation

$20,000

TO

$49,999

The Abington Foundation Akron Community Foundation The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Dunspaugh-Dalton Foundation, Inc. (Miami) The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Elizabeth Ring Mather and William Gwinn Mather Fund The Nonneman Family Foundation The Payne Fund Peacock Foundation, Inc. (Miami) The Sisler McFawn Foundation

$10,000

TO

$19,999

The Batchelor Foundation, Inc. (Miami) The Eva L. and Joseph M. Bruening Foundation Mary and Dr. George L. Demetros Charitable Trust Funding Arts Network (Miami) Helen Wade Greene Charitable Trust The Nord Family Foundation Paintstone Foundation The Reinberger Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Lloyd L. and Louise K. Smith Memorial Foundation The S. K. Wellman Foundation The Edward & Ruth Wilkof Foundation

Institutional Support

$5,000

TO

$9,999

The Ruth and Elmer Babin Foundation Bicknell Fund The Collacott Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation Albert G. & Olive H. Schlink Foundation The South Waite Foundation The Taylor-Winfield Foundation The George Garretson Wade Charitable Trust

$2,000

TO

$4,999

Anonymous (2) James Deering Danielson Foundation (Miami) Richard H. Holzer Memorial Foundation The Kangesser Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation The Moffitt Foundation Jean C. Schroeder Foundation The Sherwick Fund The Wuliger Foundation

79

Individual Giving THE CLEVELAND ORCHESTRA

Crescendo Patron Program gifts as of January 31, 2011

Barbara Robinson, chair Robert Gudbranson Sr., vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Judith Ernest Nicki Gudbranson

Jack Harley Iris Harvie Brinton L. Hyde David C. Lamb Raymond T. Sawyer

Annual support from generous patrons is imperative to sustaining The Cleveland Orchestra. Ticket revenues throughout the season provide only a small portion of the funding needed to support the outstanding performances, educational activities, and community projects that the Orchestra presents and performs each year.

As a measure of gratitude, the Crescendo patron program honors those generous donors who have made a gift of $2,500 or more in annual operating support to The Cleveland Orchestra.

For more information on how you can impact The Cleveland Orchestraâ&#x20AC;&#x2122;s artistic excellence and community partnerships, please contact Hayden Howland, Manager of Leadership Giving, by calling (216) 231-7545.

Leadership Council The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. This year, new and increased Leadership Council gifts qualify for a one-to-one match thanks to the Walter and Jean C. Kalberer Foundation.

Leadership Council donors are recognized in the Crescendo listings with the Leadership Council symbol next to their name:

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The Founders

Society

INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami) INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

Francie and David Horvitz (Miami) Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Norma Lerner Mr. and Mrs. Herbert McBride Mr. and Mrs. Albert B. Ratner Ms. Ginger Warner (Cleveland, Miami) Janet and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $75,000 TO $99,999

The Honorable and Mrs. John Doyle Ong INDIVIDUAL GIFTS OF $50,000 TO $74,999

Anonymous (2) Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Hector Fortun (Miami) James D. Ireland III Mr. and Mrs. Dennis W. LaBarre R. Kirk Landon and Pamela Garrison (Miami) Peter B. Lewis and Janet Rosel (Miami) Toby Devan Lewis Ms. Nancy W. McCann Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson INDIVIDUAL GIFTS OF $30,000 TO $49,999

Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Womenâ&#x20AC;&#x2122;s Committee Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler

Crescendo Patron Program

The Cleveland Orchestra

Individual Giving THE CLEVELAND ORCHESTRA

Maxeen* and John Flower George Gund Mr. and Mrs. Michael J. Horvitz Junior Committee of The Cleveland Orchestra Mr. and Mrs. Douglas A. Kern Dr. Vilma L. Kohn Charlotte R. Kramer Sally S. and John C. Morley Mr. and Mrs. Terrence P. Morris Mrs. Alfred M. Rankin, Sr. Brian and Patricia Ratner Charles and Ilana Horowitz Ratner Luci and Ralph Schey Mr. and Mrs. Franz Welser-Möst David A. and Barbara Wolfort Women’s Committee of The Cleveland Orchestra INDIVIDUAL GIFTS OF $25,000 TO $29,999

Sheldon and Florence Anderson (Miami) Mrs. William Hay Bemis Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Mr. and Mrs. David J. Carpenter Robert and Jean Conrad Mr. Geoffrey D. Gund Tati and Ezra Katz (Miami) Giuliana C. and John D. Koch Foundation (Cleveland, Miami) Mrs. Jane B. Nord Julia and Larry Pollock Mr. and Mrs. Thomas A Quintrell Dr. James and Karyn Schwade (Miami) Richard and Nancy Sneed Judy and Sherwood Weiser (Miami) Jody Wolfe (Miami)

The Presidents

Society

INDIVIDUAL GIFTS OF $20,000 TO $24,999

Anonymous Gay Cull Addicott Mr. and Mrs. Harro Bodmer (Europe) Martha and Bruce Clinton (Miami) Mr. and Mrs. Richard T. Garrett Mr. and Mrs. Jon A. Lindseth Mrs. Elliot L. Ludvigsen William J. and Katherine T. O’Neill Rennie and Marc Saltzberg Dr. E. Karl and Lisa Schneider Hewitt and Paula Shaw Paul and Suzanne Westlake

INDIVIDUAL GIFTS OF $15,000 TO $19,999

Anonymous Mr. and Mrs. William W. Baker Randall and Virginia Barbato Colleen and Richard Fain (Miami) Mr. Allen H. Ford Andrew and Judy Green Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest Mrs. Marguerite B. Humphrey Trevor and Jennie Jones Elizabeth B. Juliano Mrs. Stanley L. Morgan Lucia S. Nash Mr. and Mrs. James A. Ratner Dr. and Mrs. Ronald J. Ross Mr. and Mrs. James A. Saks Raymond T. and Katherine S. Sawyer David and Harriet Simon Mr. and Mrs. Richard K. Smucker R. Thomas and Meg Harris Stanton Dr. Kenneth F. Swanson Mr. Joseph F. Tetlak

The George

Szell Society

INDIVIDUAL GIFTS OF $12,500 TO $14,999

Brennan Family Foundation George* and Becky Dunn Robert M. Maloney and Laura Goyanes Dr. and Mrs. William P. Steffee Mr. and Mrs. Alfred Umdasch (Europe) INDIVIDUAL GIFTS OF $10,000 TO $12,499

Anonymous Mr. and Mrs. George M. Aronoff Mr. and Mrs. Daniel M. Bell (Miami) John P. Bergren* and Sarah M. Evans Jayusia and Alan Bernstein (Miami) Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. Dr. Thomas Brugger and Dr. Sandra Russ Mr. and Mrs. Eugene A. Buehler Scott Chaikin and Mary Beth Cooper Richard J. and Joanne Clark Judith and George W. Diehl Mr. and Mrs. Robert P. Duvin Mr. Bruce P. Dyer Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Jeffrey and Susan Feldman (Miami) Ms. Dawn M. Full Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie listings continue

Severance Hall 2010-11

Crescendo Patron Program

81

Individual Giving THE CLEVELAND ORCHESTRA The George

Szell Society continued

Gary Hanson and Barbara Klante Sondra and Steve Hardis Henry R. Hatch and Robin Hitchcock Hatch David and Nancy Hooker Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Mr. and Mrs. Richard A. Janus Mr. and Mrs. Ferdinand Jereb Janet and Gerald Kelfer (Miami) Jonathan and Tina Kislak (Miami) Mrs. Elizabeth R. Koch Mr. and Mrs. Edward A. Lozick Mr. and Mrs. Alex Machaskee Mr. and Mrs. Richard A. Manuel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. Arch J. McCartney Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Mr. Walter N. Mirapaul Robert Moss (Miami) Elisabeth and Karlheinz Muhr (Europe) Noble Foundation Claudia and Steven Perles (Miami) Mr. and Mrs. George M. Rose Muriel S. Rosen* (Miami) Mr. and Mrs. David A. Ruckman David M. and Betty Schneider Rachel R. Schneider, PhD Mrs. David Seidenfeld Mr. and Mrs. Alfredo Sesana (Miami) Kim Sherwin Mrs. Mary M. Spencer (Miami) Mr. and Mrs. Roe Stamps (Miami) Lois and Tom Stauffer Mrs. Jean H. Taber Dr. Russell A. Trusso Dr. Paul J. Vignos, Jr.* Mr. Norman E. Wells, Jr.

The John

L. Severance Society

INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. and Mrs. Quentin Alexander Mr. William Berger Ellen E. and Victor J. Cohn Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard Dotson Dr. Edward S. Godleski Kathleen E. Hancock Dr. and Mrs. Shattuck W. Hartwell, Jr. Iris and Tom Harvie Mrs. Sandra L. Haslinger In memory of Philip J. Hastings Pamela and Scott Isquick Mr. and Mrs. Donald M. Jack, Jr. Allan V. Johnson Joela Jones and Richard Weiss

82

Tim and Linda Koelz Mrs. Robert H. Martindale Mr. Donald W. Morrison Brian and Cindy Murphy Mr. and Mrs. Stephen E. Myers Mr. Gary A. Oatey Mr. and Mrs. William M. Osborne, Jr. Rosskamm Family Trust Mr. Larry J. Santon Patricia J. Sawvel Carol and Albert Schupp Mr. and Mrs. Oliver E. Seikel Naomi G. and Edwin Z. Singer Family Fund G. Michael and Kathy Mead Skerritt Mrs. Gretchen D. Smith Mr. and Mrs. Donald W. Strang, Jr. Sandy and Ted Wiese INDIVIDUAL GIFTS OF $5,000 TO $7,499

Anonymous (4) Susan S. Angell Mr. and Mrs. Albert A. Augustus Mr. and Mrs. Dean Barry Mrs. Bunny Bastian (Miami) James and Reita Bayman Fred G. and Mary W. Behm Dr. and Mrs. Nathan A. Berger Dr. and Mrs. Norman E. Berman* Dr. and Mrs. Eugene H. Blackstone Laurel Blossom Mr. Robert W. Briggs Dr. and Mrs. Jerald S. Brodkey Mr. and Mrs. William C. Butler Mr. and Mrs. R. Bruce Campbell Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Mrs. Lester E. Coleman Mr. and Mrs. Gerald A. Conway Corinne L. Dodero Trust for the Arts and Sciences Mr. and Mrs. Evan R. Corns The Honorable and Mrs. William A. Currin Dr. and Mrs. Richard C. Distad Mr. and Mrs. Terry C. Z. Egger Dr. and Mrs. Robert Elston Mary and Oliver Emerson Dr. D. Roy and Diane A. Ferguson Irving and Gloria Fine Niety and Gary Gerson (Miami) Mrs. Joan Getz (Miami) Mr. David J. Golden Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham David and Robin Gunning Mary and Jon Heider (Cleveland, Miami) Janet D. Heil* Mr. Clifford Hill Mr. Mark Hoegler Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde listings continue

Crescendo Patron Program

The Cleveland Orchestra

W.A. Mozartâ&#x20AC;&#x2122;s

DON GIOVA NNI

love. murder. revenge.

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KEENLYSIDE

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Individual Giving THE CLEVELAND ORCHESTRA The John

L. Severance Society continued

INDIVIDUAL GIFTS OF

$5,000 TO $7,499

CONTINUED

Judith* and Clifford Isroff Rudolf D. and Joan T. Kamper Andrew and Katherine Kartalis Milton and Donna* Katz Josephine and David Kenin (Miami) Dr. and Mrs. William S. Kiser Mrs. Justin Krent Mr. and Mrs. Arthur J. Lafave, Jr. Robert and Judie Lasser Judy and Donald Lefton (Miami) Mr.* and Mrs. Leo Leiden Judith and Morton Q. Levin Mr. Jeff Litwiller Drs. Alex and Marilyn Lotas Heinz Luedeking (Miami) Sandi M. A. Macdonald and Henry J. Grzes (Miami) Mr. and Mrs. Robert P. Madison Ms. Jennifer R. Malkin Dr. and Mrs. James S. Marshall Mr. and Mrs. Leonard Marshall Alexander and Marianna C. McAfee Edith and Ted* Miller Mr. and Mrs. William A. Mitchell Curtis and Sara Moll Mr. and Mrs. Herbert Newman Richard and Kathleen Nord John and Margi Oâ&#x20AC;&#x2122;Brien Mr. Henry Ott-Hansen Pannonius Foundation Douglas and Noreen Powers Lois S.* and Stanley M. Proctor Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. James E. Rohr Steven and Ellen Ross

Drs. Michael and Judith Samuels (Miami) Nancy and Neil Schaffel (Miami) Linda B. Schneider Larry and Sally Sears Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Dr. Gerard and Phyllis Seltzer Dr. and Mrs. Neil Sethi Mrs. Frances G. Shoolroy Mrs. William I. Shorrock Laura and Alvin A. Siegal David Kane Smith Drs. Ronald and Nancy Sobecks Jim and Myrna Spira George and Mary Stark Sue and Alan Steinberg (Miami) Mrs. Marie S. Strawbridge Charles B. and Rosalyn Stuzin (Miami) Mrs. Blythe Sundberg Bruce and Virginia Taylor Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Kimberly Thurston and Don Funk (Miami) Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Lyman H. Treadway Mr.* and Mrs. Robert N. Trombly Robert A. Valente Tom and Shirley Waltermire Tom and Betsy Wheeler Mrs. Janet A. Wright member of the Leadership Council (see page 80)

* deceased

The Conductorâ&#x20AC;&#x2122;s Circle gifts as of January 31, 2011 INDIVIDUAL GIFTS OF $3,500 TO $4,999

Anonymous (3) Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. Robert H. Baker Mr. Nicholas Bastin Mr.* and Mrs. Russell Bearss Mr. and Mrs. Jules Belkin Dr. Ronald and Diane Bell Dr. Robert Benyo Suzanne and Jim Blaser Mr. and Mrs. Dennis A. Block Paul and Marilyn* Brentlinger Dr. Ben H. and Julia Brouhard Frank and Leslie Buck Dr. and Mrs. William E. Cappaert Ms. Mary E. Chilcote Ms. Joyce Clark Dr. William & Dottie Clark Drs. Mark Cohen and Miriam Vishny Marjorie Dickard Comella Mr. and Mrs. David Crandall

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Mrs. Barbara Ann Davis Peter and Kathryn Eloff Mr. J. Gilbert and Mrs. Eleanor Frey Mr. Richard E. Geye and Dr. Maura Berkelhamer Mrs. Cora C. Gigax Mr. Paul Greig Robert N. and Nicki N. Gudbranson John and Virginia Hansen Mr. Robert D. Hart Cavour H. Hauser* Ms. Mary Beth Hedlund Hazel Helgesen and Gary D. Helgesen Anita and William Heller Arthur* and Arlene Holden Dr. and Mrs. Scott R. Inkley Dr. Donald and Mrs. Constance Kellon Mr. and Mrs. Robert M. Koch

Crescendo Patron Program

Mr. and Mrs. Peter A. Kuhn Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Dr. and Mrs. David Leshner Robert G. Levy Mrs. Emma S. Lincoln Mr. Charles and Mrs. Lisa Loper Anne R. and Kenneth E. Love Robert and LaVerne Lugibihl Elsie and Byron Lutman Joel and Mary Ann Makee Ms. Alice D. Malone Mr. and Mrs. Morton L. Mandel Martin and Lois Marcus Dr. Gerald E. and Mrs. Denise S. Marsh William and Eleanor McCoy Mr. and Mrs. Thomas B. McGowan Dr. Susan M. Merzweiler listings continue

The Cleveland Orchestra

?C@9D1<C MERCY MEDICAL CENTER, PROVIDENCE HOSPITAL, PROVIDENCE HOSPITAL NORTHE AST, ST. JOHN MEDICAL CENTER*, ST. VINCENT CHARIT Y MEDICAL CENTER

#9CC9?> DE VOTED TO HE ALING INDIVIDUALS, FAMILIES AND COMMUNITIES

#9>9CDBI ?6 D85 )9CD5BC ?6 81B9DI ?6 )D E7ECD9>5 C9CD5BC?6381B9DI851<D8 ?B7 1>D?> %89? s <5F5<1>4 %89? s )?ED8 1B?<9>1 :?9>D<I ?G>54 G9D8 +>9F5BC9DI ?C@9D1<C

Individual Giving THE CLEVELAND ORCHESTRA The Conductor’s INDIVIDUAL GIFTS OF

Circle

continued $3,500 TO $4,999 CONTINUED

Claudia Metz and Thomas Woodworth Drs. Terry E. and Sara S. Miller Ann Jones Morgan Mr. and Mrs. Peter R. Osenar Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue Dr. and Mrs. John N. Posch Dr. and Mrs. Robert W. Reynolds Mrs. Charles Ritchie Amy and Ken Rogat

Carol Rolf and Steven Adler Mr. and Mrs. Robert C. Ruhl Ginger and Larry Shane Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Mr. Omer Spurlock Mr. Victor and Mrs. Marjorie Strimbu Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Leonard K. Tower Robert J. and Marti J. Vagi

Don and Mary Louise Van Dyke Mr. and Mrs. Mark Allen Weigand Mr. Peter and Mrs. Laurie Weinberger Robert C. Weppler Nancy V. and Robert L. Wilcox

Mrs. Lois Joan Davis Ms. Nancy J. Davis (Miami) Andrew dePass and William Jurberg (Miami) David and Janet Dix Pete and Margaret Dobbins Ms. Maureen A. Doerner and Mr. Geoffrey T. White Mr. and Mrs. Alfred M. Eich, Jr. Mr. Kenneth P. English Mrs. Margaret Estill Mr. Brian L. Ewart and Mr. William McHenry David and Margaret Ewart Harry and Ann Farmer Michael Flick (Miami) Scott Foerster, Forester and Bohnert Joan Alice Ford Mrs. Mary Elizabeth Ford Mr. Monte Friedkin (Miami) Georgia A. Froelich and Russell O’Rourke Arthur L. Fullmer Peggy and David* Fullmer Richard L. Furry Barbara and Peter Galvin Joy E. Garapic Mrs. Georgia T. Garner Ms. Lynn Gattozzi Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Joyce and Ab Glickman Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Cynthia and David Greenberg The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson Mr. and Mrs. Alfredo D. Gutierrez (Miami) Dr. Andrew and Mrs. Mary Jayne Haas Dr. Phillip M. and Mrs. Mary Hall Ronald M. and Sallie M. Hall (Miami) Norman C. and Donna L. Harbert Thomas Harris and Pace Barnes (Miami) Mr. George P. Haskell Dr.* William L. and Lucille L. Hassler Virginia and George Havens Ms. Barbara L. Hawley

Matthew D. Healy and Richard S. Agnes Oliver and Sally Henkel Mr. and Mrs. Jerry Herschman Dr. and Mrs. Fred A. Heupler Mr. Robert T. Hexter Dr. and Mrs. John D. Hines Dr. Robert L. Hinnes Dr. Feite F. Hofman Thomas and Mary Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Ms. Phoebe J. Hostetler Xavier-Nichols Foundation — Robert and Karen Hostoffer Robert F. and Edith Hudson, Jr. (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Charlotte L. Hughes Mr. James J. Hummer Ms. Luan K. Hutchinson Mr. and Ms. Charles S. Hyle Ruth F. Ihde Carol Lee and James Iott Donna L. and Robert H. Jackson Helen and Erik Jensen Mr. Daniel Kamionkowski Barbara and Michael J. Kaplan Rev. William C. Keene Elizabeth Kelley Mr. Karl W. Keller Mrs. Rita G. Kelly The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James and Mrs. Gay Kitson Fred and Judith Klotzman Cynthia Knight (Miami) Drs. Jill Korbin and Lawrence Greksa Jacqueline and Irwin Kott (Miami) E. J. Kovac Dr. Ronald H. Krasney and Ms. Sherry Latimer David C. Lamb Mrs. Carolyn Lampl Kenneth M. Lapine Mr. and Mrs. Donald A. Latore Bonnie and Stephen Lau, PhD

INDIVIDUAL GIFTS OF $2,500 TO $3,499

Anonymous (13) Ms. Nancy A. Adams Stanley I. and Hope S. Adelstein Norman and Rosalyn Adler Family Philanthropic Fund Mr. Gerald O. Allen Norman and Helen Allison Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Ms. Ana L. Arellano (Miami) Mr. and Mrs. Stanley H. Arkin (Miami) Mrs. Raymond Q. Armington* Agnes Armstrong Geraldine and Joseph Babin Mr. and Mrs. Dean C. Bardy Ms. Delphine Barrett Mr. and Mrs. Mike Belkin Ms. Pamela D. Belknap Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Julia and David Bianchi (Cleveland, Miami) Mrs. Robert M. Biggar Carmen and Karl Bishopric (Miami) Bill and Zeda Blau Mr. John and Mrs. Robyn Boebinger Mrs. Mary Wick Bole John and Anne Bourassa Ms. Barbara E. Boyle Mrs. Ezra Bryan Ms. Mary R. Bynum and Mr. J. Philip Calabrese Mrs. Gerald N. Cannon Mr. and Mrs. Frank H. Carpenter Leigh and Mary Carter Do Unto Others Trust (Miami) Dr. Kenneth W. Chalker Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. Robert A. Clark Mr. David S. Clements Ms. Phyllis J. Coladangelo Diane Lynne Collier Mr. Owen and Mrs. Victoria Colligan Dr. Dale and Susan Cowan Michael d’Amico Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis

86

Crescendo Patron Program

listings continue

The Cleveland Orchestra

Individual Giving THE CLEVELAND ORCHESTRA The Conductor’s INDIVIDUAL GIFTS OF

Circle

continued $2,500 TO $3,499 CONTINUED

Anthony T. and Patricia A. Lauria Jeffrey and Ellen Leavitt Dr. Hasoon Lee Dr. and Mrs. Jai H. Lee Joe and Sue-Min Lee Ivonete Leite (Miami) Michael and Lois A. Lemr Dr. Edith Lerner Mr. Lawrence B. and Christine H. Levey Dr. Stephen B. and Mrs. Lillian S. Levine Dr. Alan and Mrs. Joni Lichtin Isabelle and Sidney* Lobe Martha Klein Lottman The Milton and Tamar Maltz Family Foundation Herbert L. and Rhonda Marcus Mrs. Kathleen Markus Dr. and Mrs. Sanford E. Marovitz Mr. and Mrs.* Duane J. Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Frederick W. Martin Henry H. and June D. Marvin Mr. Julien L. McCall Mrs. Alice Mecredy Mr. and Mrs. James Meil Dr.* and Mrs. Hermann Menges, Jr. Stephen and Barbara Messner Mr. Stephen P. Metzler Donald D. Miller Ronald L. Morrow, III Dr. Joan R. Mortimer Bert and Marjorie Moyar Mr. Raymond M. Murphy Richard B. and Jane E. Nash Mr. David V. Newell Mr. Lester and Mrs. Joyce Nichols North Coast Logistics Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan James P. Ostryniec (Miami) Mr. and Mrs. Christopher I. Page Mr. J. William and Mrs. Suzanne Palmer Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Mr. Thomas Peterson John R. Petrenchik and Virginia Poirier Mrs. Ingrid Petrus Drs. John Petrus and Sharon DiLauro Nancy and Robert Pfeifer Dr. Roland S. Philip and Dr. Linda M. Sandhaus

88

Dr. Marc and Mrs. Carol Pohl In memory of Henry Pollak Dr. and Mrs. Norberto E. Priu (Miami) Mr. Richard and Mrs. Jenny Proeschel Pysht Fund Derek and Judy Raghavan Mrs. C.A. Reagan Dr. John W. Uribe and Dr. Nancy Reierson (Miami) David and Gloria Richards Michael Forde Ripich Dr. Barbara Risius Mr. Timothy D. Robson Ms. Marjorie A. Rott Mr. and Mrs. John E. Rupert Mrs. Florence Brewster Rutter Fred Rzepka and Anne Rzepka Family Foundation Dr. Harry S. and Rita K. Rzepka Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say Mr. Paul H. Scarbrough Mr. and Mrs. Robert Scheuer Mr. and Mrs. Herbert A. Schneider Mr. James Schutte Ms. Freda Seavert Dr. John Sedor and Ms. Geralyn Presti Mr. Charles Seitz Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. Richard Shirey Dr. Howard and Mrs. Judith Siegel Donald Singer and Helene Love Mr. and Mrs.* Jeffrey H. Smythe Pete and Linda Smythe Mrs. Virginia Snapp Mr. John C. Soper and Dr. Judith S. Brenneke Mr. John D. Specht Howard Stark M.D. and Rene Rodriguez (Miami) Mr. and Mrs.* Lawrence E. Stewart Ms. Barbara Stiefel (Miami) Mr. and Mrs. G. W. Stuelpe Mr. and Mrs. Daniel C. Sussen Mr. Nelson S. Talbott Mr. Karl and Mrs. Carol Theil Colin Blades Thomas Mr. and Mrs. Robert J. Tomsich Mr. Erik Trimble Drs. Anna* and Gilbert True Miss Kathleen Turner Mr. Livingston Hunter Ulf Mrs. H. Lansing Vail, Jr.

Crescendo Patron Program

Chris Wallace and Bill Appert (Miami) Mr. and Mrs. Joseph F. Wasserbauer Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Mr. and Mrs. Fred A. Watkins Dr. and Mrs. Leslie T. Webster, Jr. Mr. and Mrs. Jerome A. Weinberger Dr. Edward L. and Mrs. Susan Westbrook Richard Wiedemer, Jr. Helen Sue* and Meredith Williams Mr. Peter and Mrs. Ann Williams Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Drs. Nancy Wolf and Aric Greenfield Kay and Rod Woolsey Ms. Judith H. Wright Fred and Marcia Zakrajsek Mr. and Mrs. Allan J. Zambie Mr. Kal Zucker and Mrs. Mary Frances Haerr member of the Leadership Council (see page 80)

* deceased

The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons, including members of the Crescrendo Patron Program listed on these pages. Listings of all donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA.COM For information about how you can play a supporting role for The Cleveland Orchestra’s artistic excellence and community partnerships, please contact our Philanthropy & Advancement Office by calling (216) 231-7545.

The Cleveland Orchestra

The Cleveland Orchestra RECORDINGS

great gift ideas

New!

New!

New!

Listen Now!

The Cleveland Orchestra’s catalog of recordings continues to grow. The newest CDs include selections by Richard Wagner recorded with Music Director Franz Welser-Möst at Severance Hall last winter and released over the summer. Two additional recordings, under the baton of Pierre Boulez, were released in October. The Boulez recording of Mahler’s Des Knaben Wunderhorn is BBC Music Magazine’s disc of the month for December 2010. The Wagner album features soprano Measha Brueggergosman singing Wagner’s Wesendonck Songs, and has garnered high praise from the press. Audiophile Audition says: “A grandly moving collaboration. . . . Few orchestras can compete with the gossamer sheen that Cleveland possesses.” And ArkivMusic.com writes that “The Cleveland Orchestra, with its tight, piercing brass and soaring strings, plays fabulously throughout.”

Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.

11001 Euclid Avenue Cleveland, Ohio 44106

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SEVERANCEHALL.COM

of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant HAILED AS ONE

Severance Hall 2010-11

Severance Hall

Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and gala events each year.

91

of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world. In concerts at its winter home at Severance Hall and at each summer’s Blossom Festival, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative programming, and community engagement.

The partnership with Franz Welser-Möst, now in its ninth season, and with a commitment to the Orchestra’s centennial in 2018, has moved the ensemble forward with a series of new and ongoing initiatives, including: UNDER THE LEADERSHIP

the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base, including an ongoing residency at the Vienna Musikverein (the first of its kind by an American orchestra); an annual Miami Residency involving three weeks of concerts, community activities, and educational presentations and collaborations; concert tours from coast to coast in the United States, including regular appearances at Carnegie Hall; regular concert tours to Europe (including biennial residencies at the Lucerne Festival) and Asia (including a residency at Tokyo’s Suntory Hall in the autumn 2010); ongoing recording activities, including new releases under the direction of Franz Welser-Möst and Pierre Boulez as well as a series of DVD concert presentations of four of Bruckner’s symphonies; additional new residencies at Indiana University and at New York’s Lincoln Center Festival; an expanded offering of education and community programs through the comprehensive Community Music Initiative, to make music an integral and regular part of everyday life in Northeast Ohio; continuing and expanded educational partnerships with schools, colleges, and universities from across Northeast Ohio and in the Miami-Dade community; creative new artistic collaborations, including staged works and chamber music performances, with arts institutions in Northeast Ohio and across the Miami-Dade community; the return of staged opera to Severance Hall with the presentation of acclaimed Zurich Opera productions of the three Mozart/Da Ponte operas;

94 116

A Remarkable Story

The Cleveland Orchestra

an array of new concert offerings (including Fridays@7 and Celebrity Series at Severance Hall as well as movie, themed, and family presentations at Blossom) to make a wider variety of concerts more available and affordable; the return of ballet to Blossom, with performances by The Joffrey Ballet.

The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s ranks of major symphony orchestras. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. The opening of Severance Hall as the Orchestra’s home in 1931 brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States.

CLEVELAND ORCHESTRA ARCHIVES

IN THE SPOTLIGHT

APRIL 1935: Act Three, Scene One from Wagner’s opera Die Meistersinger at Severance Hall.

During his tenure as music director of The Cleveland Orchestra (1933-43), Artur Rodzinski used the hall’s orchestra pit to feature staged opera productions in five of his ten seasons — including the American premiere of Shostakovich’s Lady Macbeth of Mzensk in 1935. Staged opera continues this month at Severance Hall with Mozart’s Don Giovanni.

Severance Hall 2010-11

The Cleveland Orchestra

117 93

The Cleveland Orchestra

Next

Upcoming Concerts

Saturday March 19 at 7:00 p.m.

Tuesday March 22 at 7:00 p.m.

Thursday March 24 at 7:00 p.m.

Sunday March 27 at 1:30 p.m.

DON GIOVANNI music by Wolfgang Amadè Mozart libretto by Lorenzo Da Ponte ZURICH OPERA PRODUCTION with Simon Keenlyside as Don Giovanni Eva Mei as Donna Anna Malin Hartelius as Donna Elvira Ruben Drole as Leporello Shawn Mathey as Don Ottavio Martina Janková as Zerlina Reinhard Mayr as Masetto Alfred Muff as the Commendatore and THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst

(Sung in Italian with projected English supertitles)

Thursday March 31 at 8:00 p.m.

Friday April 1 at 7:00 p.m. * Saturday April 2 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Jiří Bělohlávek, conductor Horacio Gutiérrez, piano

HAYDN Symphony No. 96 (“Miracle”) * RACHMANINOFF Piano Concerto No. 2 DVOŘÁK Symphony No. 7 * not part of Fridays@7 concert

Thursday April 21 at 8:00 p.m.

Friday April 22 at 8:00 p.m.

Saturday April 23 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Kurt Masur, conductor David Fray, piano

MENDELSSOHN Overture: The Hebrides BEETHOVEN Piano Concerto No. 2 BRAHMS Symphony No. 4 Concert Sponsor: The Sage Cleveland Foundation

BAROQUE & BEYOND

A Festival — April 28 to May 8 In collaboration with other local institutions, The Cleveland Orchestra presents a festival of music centered on the Baroque. For details, visit clevelandorchestra.com.

Thursday April 28 at 8:00 p.m.

Saturday April 30 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Ton Koopman, conductor

BACH Suite No. 1 in C major, BWV 1066 HANDEL Music for the Royal Fireworks HAYDN Symphony No. 104 (“London”) Friday May 6 at 11:00 a.m.

Sunday May 8 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Ton Koopman, conductor Steven Isserlis, cello

C.P.E. BACH Sinfonia No. 4 in G major C.P.E. BACH Cello Concerto in A major C.P.E. BACH Sinfonia No. 1 in D major* HAYDN Symphony No. 98 * not performed on Friday Matinee concert CLEVELAND ORCHESTRA TICKETS PHONE

(216) 231-1111 800-686-1141

For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts, visit www.clevelandorchestra.com Cleveland Orchestra Radio Broadcasts: Radio broadcasts of current and past concert performances

by The Cleveland Orchestra can be heard as part of regular weekly programming on WCLV (104.9 FM), with programs broadcast on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

Program Notes for each concert are posted at www.clevelandorchestra.com as galley proofs, which may differ from the final printed program. These are usually posted in advance.

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Upcoming Concerts

The Cleveland Orchestra

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