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M A H L E R ’ S S E C O N D SY M P H O N Y — page 11 J A N U A R Y 2 5 . 2 6 2 O1 9

BARBARA HANNIGAN G E R S H W I N & M O R E — page 35 F E B R U A R Y 1 . 2 2 O1 9

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PHOTO BY CARL JUSTE / IRIS COLLECTIVE

2018-19 The Cleveland Orchestra

C L E VAND E L AORCHESTR ND THE CLEVEL A O R C H E ST R A

Dear Friends, Welcome to the thirteenth season of The Cleveland Orchestra in Miami, presented in partnership with the Adrienne Arsht Center for the Performing Arts of Miami-Dade County. This annual series of concerts offers the South Florida community performances by one of the world’s finest symphony orchestras — in a celebrated concert hall that is Miami’s own. We kick off the Orchestra’s two-week residency here in South Florida this year with Mahler’s Second Symphony (“Resurrection”), conducted by Franz Welser-Möst, now in his seventeenth year as music director of The Cleveland Orchestra. The second weekend includes a program of contrasting musical styles, from Debussy to Gershwin, featuring acclaimed soprano Barbara Hannigan as a singer, conductor — or both simultaneously. As the Orchestra enters our second century, we remain committed to a singular mission — sharing unforgettable musical experiences with audiences of all ages. We believe in the power of music to inspire and move people, to enrich lives and bring us together. We are pleased and proud to showcase the Orchestra’s acclaimed artistry each year here in Miami. We foster connections by delivering extraordinary musical experiences — and more. In addition to performing for music-loving communities around the world, The Cleveland Orchestra has always stayed true to its original mandate as an educational resource at home by reaching out in order to touch the lives of young people. We’ve presented free daytime concerts for Miami-Dade County Public School students every year since 2007, and we continue to engage them with mentorships and special musical programs. Many thanks for your enthusiasm and encouragement — we’re deeply grateful for this annual opportunity to share these gifted musicians with you. But we can’t do this without your support; we hope you will consider joining our list of Miami-area donors (see pages 4-5). We look forward seeing you again next year. Enjoy the music.

André Gremillet President & CEO The Cleveland Orchestra

The Cleveland Orchestra 2018-19

Welcome

THE CLEVELAND ORCHESTRA IN MIAMI The Cleveland Orchestra gratefully acknowledges the donors listed here for their contributions toward perfor mances and programming in Miami. Listing as of January 10, 2019.

LEADERSHIP DONORS $50,000 and more

Miami-Dade County Department of Cultural Affairs Dr. M. Lee Pearce Foundation, Inc. $25,000 to $49,999

The Batchelor Foundation, Inc. Irma and Norman Braman Mary Jo Eaton The Kirk Foundation (Miami) Daniel R. Lewis Donna E. Shalala $10,000 to $24,999

The Clinton Family Fund The Cowles Charitable Trust Joseph Z. and Betty Fleming Patti Gordon Mary and Jon Heider Joy P. and Thomas G. Murdough, Jr. Northern Trust Ver Ploeg & Lumpkin Barbara and David Wolfort $5,000 to $9,999

Martha and Bruce Clinton Alfredo and Luz Maria Gutierrez Richard Horvitz and Erica Hartman-Horvitz Foundation Maribel A. Piza Mr. and Mrs. Ben Pyne Barbara S. Robinson Dr. and Mrs. Michael Rosenberg Drs. Michael and Judith Samuels Sidney Taurel $2,500 to $4,999

Jayusia and Alan Bernstein Irving and Joan M. Bolotin Douglas S. Cramer / Hubert S. Bush III Nancy J. Davis James Deering Danielson Foundation Jacqueline and Irwin* Kott Ivonete Leite Georgia and Carlos Noble Rosanne and Gary Oatey Mr. Kevin Russell Larry and Renee Rustin Charles E. Seitz Mr. and Mrs. Jonathan Tisch Brenton Ver Ploeg Teresa Galang-Viñas and Joaquin Viñas

$1,000 to $2,499

Christine Allen Paula and Carlos Alvarez Mr. and Mrs. C. Clarke Ambrose Rodney and Linda Benjamin Rachel Bloomfield John and Christine Carleton James Carpenter 2 seats (In memory of Christina) The Dascal Family Andrea and Aaron Edelstein Mr. and Mrs. Steven Elias Mr. George Feldenkreis and Ms. Marita Srebnick Morris and Miriam Futernick Lenore Gaynor Dr. and Mrs. Edward C. Gelber Roberto and Betty Horwitz Jonathan and Tina Kislak Cynthia Knight Dr. and Mrs. Frederick Knoll Michael Kutsch and Tammy Coselli Pamela Garrison Lassin Family Foundation Judy and Donnie Lefton Raul and Juanita Lopez Mr. and Mrs. Carlos Lopez-Cantera Ronald Magers Guillermo and Eva Retchkiman Richard and Nancy Sneed Michalis and Alejandra Stavrinides Mr. Eduardo Stern Jaime and Sylvia Sznajder Joni and Stanley Tate Fernando A. Torres Dr. Takeko Morishima Toyama Mr. and Mrs. Robert H. Traurig Dr. and Mrs. Michael B. Troner Betty and Michael Wohl Dr. and Mrs. Jack Wolfsdorf Mrs. Henrietta de Zabner Anonymous (4)

FRIENDS up to $999

Marjorie H. Adler Margarita Abello Mr. and Mrs. Cecil Abraham Marjorie H. Adler Angela Alfonso James Allen Emerson Allsworth Claudio Almeida Jose and Claudia Garcia Moreno Lori Angus Ms. Maria Anillo Ms. Kristin C. Baird Ted and Carolann Baldyga Karla M. Barnes Christopher Bates Don and Jackie Bercu

Miami Annual Fund Contributors

Mrs. Elaine Bercu Robert Berrin Rhoda and Henri Bertuch Robert Bickers Sam Boldrick Mrs. and Mr. Elda Brouwer Bernard Bullock Brent Burdick Mrs. and Mr. Rita Butterman Marilyn Cagin Mr. Richard Cannon Manuel Carreira Espido Tatyana Carvajal Richard Casselman Erich Cauller Lydia Chelala Katherine Chouinard Jordan Cohn George and Maureen Collins Mrs. Bonnie Craiglow-Clayton William R. Cranshaw Millard Cummins Maria Ines Dal Borgo Wesley Dallas Jennie Dautermann Shaun Rogers and Nadine Davey-Rogers Berta Del Pino Christelle Dhaiti Do Unto Others Trust Richard Dominguez Shahnaz and Ranjan Duara Ms. Jeanie Duck Bill Durham Bernard Eckstein Eduardo Erana Mr. and Mrs. Luis Ezra Ms. Melissa Ezra Murray H. Feigenbaum Dr. Lawrence E. Feldman J. Field Ingrid Fils and Benson Rakusin Bruce and Martha Fischler Mr. Marcus Flanagan and Mr. William Flanagan Mary Francis Mr. and Mrs. Richard I. Furman Sue Gallagher Christa Garavito Joan Getz Perla Gilinski Mr. and Mrs. Salomon Gold Aldo Gonzalez William Gonzalez Rafael and Maria Del Mar Gosalbez Robert Govaerts Barbara Gray Sky Hackett George and Vicki Halliwell John Hanek Alan Harriet Leslie Hauser Mr. Carlos Heighes Barbara L. Hobbs Lydia Hollander Gregory T. Holtz Lydia Howard listing continues

2018-19 The Cleveland Orchestra

listing continued Melvin and Vivien Howard Lawrence R. Hyer Nancy Jaimes Laura-Lee Jones Thomas M. Jones Rita Kaplan Phyllis Katz Harold G. and H. Iris Katzman James Kaufman Gilbert Klajman Buddy Klein Dorothea Klein Mr. Steven Knox Lisa Kornse and August Wasserscheid Kathleen Kowalski Salvatore La Rosa Rodney Laham Robert D.W. Landon, III Mr. and Mrs. Israel Lapciuc Alvin Lapidus Wendy G. Lapidus Mr. and Mrs. Elliot Lemelman Robert and Barbara Levenson Mr. Enrique Lopez and Mrs. Monica Padilla-Lopez Arthur A. Lorch Edward and Kay Lores Christopher Lunding Richard Mahfood John Makemson Anthony Manganaro Mrs. Sherrill R. Marks Joan A. Marn Georgina and Luis Marquez Mr. John Martin Paul Martin and Maria Abreu Pedro Martinez Carlos Martinez-Christensen Beatriz Martinez-Fonts Edward Mast Ms. Masha B. Mayer Robert Mayer Ms. Sara Maymir Robert and Judith Maynes Thomas and Geraldine McClary Ms. Debra McLaughlin Drs. Douglas Feltman and Gwenn McLaughlin Thomas McLeod David Melo Alice and Oded Meltzer Pauline Menkes Evelyn H. Milledge Michael Miller Ms. Zoe Miller In Memory of Yetta Mintz Mr. Geronimo Montes Mr. Theodore Moran Stephen and Terri Lazarus Samuel and Charlotte Mowerman Karen Nicholls Ms. Adelle Nicholson Gilbert B. Norman Dr. and Mrs. Larry K. Page Mrs. Shirley Pardon Ruth M. Parry Harold and Ivy Lewis Stephen F. Patterson Marilyn Pearson

The Cleveland Orchestra 2018-19

Mrs. Beatriz Perez and Mr. Paul Knollmaier Varisa Perlman Diane G Person Michael Peskoe Ferdinand and Barbara Phillips Dr. Ronald Picur Peter Pilotti and Joseph Rodano Suzan and Ronald Ponzoli Thomas J. Porto and Eugene P. Walton Mrs. and Mr. Tina Portuondo Edward Preston Ms. Jean Pritchard Ms. Tracy Putnam Alexis Quijano Albert Ray Robert Rearden Carole and Burt Redlus Ms. Carolee Reiber Ms. Betty Rice Mr. and Mrs. S. Michael Rogers Revalle B. Robbins Daniel Rodriguez Horacio Rodriguez Miriam Rodriguez Jacques Rollet Robert Rouch Leslie Rowe Stephen and Heidi Rowland Karen Rumberg Christian Salinas Gonzalo Sanchez and Maria Gabriela Slik Saul and Mary Sanders Mr. Robert Scardino Sydney and David Schaecter Mrs. Gloria G. Scharlin Mr. Arnold Schiller Dr. Markus Schmidmeier Reuben Schneider Margaret Searcy Esme Segel Dr. Jaime Sepulveda Mr. and Mrs. David Serviansky Brenda Shapiro and Javier Bray Robert I. Shapiro Elizabeth Sharkey Stewart and Gina Shull Lois H. Siegel Mr. Norris Siert Ms. Mary Silverman Vicki and Bob Simons Henry and Stania Smek Ms. Linda M. Smith Mark Snyder Alex Soriano Clara Sredni DeKassin Mr. and Mrs. Isaac Sredni Nedgie Stanis Marilyn Mackson Stein Holly Strawbridge Ms. Carol Stuchins Mr. Richard P. Sugg Mrs. Sonali Talsania Maria Helena Thornburgh Mr. and Mrs. Bert Traeger Harvey Traison Alicia M. Tremols Mr. and Mrs. Russ Trenary Miguel Triay

Mr. and Mrs. Art Trotman Tali and Liat Tzur Rita Ullman Carolyn Van Duzer John C. Vaughn Esther Vidaurreta Ms. Luiza Vladescu Gabriel Wachs William Walker James Weber Mr. and Mrs. Arthur Whittaker Brant Wigger Mr. Bob Williams Jennifer Williams Martha Wolfgang Mr. Roman Wong Christian Wunsch Sora Yelin, in memory of Cary F. Yelin Douglas Yoder Allan Yudacufski Mr. Henry Zarb and Ms. Marie Elena Angulo Eloina D. Zayas-Bazan Anonymous (9) * deceased

The Cleveland Orchestra in Miami relies on the generosity of patrons for our continuing success. Your contribution enables The Cleveland Orchestra to present concerts, education programs, and community ac tivities for thousands of citizens across Miami-Dade County. Please consider making a gift today. Call 216-231-7551 or contact us by email at miami@clevelandorchestra.com

THE

CLEVELAND ORCHESTRA

Miami Annual Fund Contributors

IN MIAMI

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

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

Franz Welser-Möst is among today’s most distinguished conductors in the world. The 201819 season marks his seventeenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. During The Cleveland Orchestra’s centennial last season — dedicated to the hometown community that created it — Franz Welser-Möst led two ambitious festivals, The Ecstasy of Tristan and Isolde, examining the power of music to portray and create transcendence, followed by a concentrated look at the philosophical and political messages within Beethoven’s music in The Prometheus Project (presented around the world on three continents, in Cleveland, Vienna, and Tokyo). As a guest conductor, Mr. Welser-Möst enjoys a close and productive relation ship with the Vienna Philharmonic. His recent performances with the Philharmonic have included a series of critically-acclaimed opera productions at the Salzburg Festival, as well as appearances on tour at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. Performances with the Philharmonic this season include appearances at the Salzburg, Grafenegg, and Glyndebourne festivals, and, in November, at Versailles and Tokyo’s Suntory Hall. He returns to Vienna in the spring to lead Mahler’s Eighth Symphony. He also leads performances of Mozart’s The Magic Flute in a new production directed by Yuval Sharon with the Berlin State Opera, and Strauss’s Ariadne auf Naxos at Milan’s Teatro alla Scala. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions. He had previously led the Zurich Opera for a decade, culminating in three seasons as general music director (2005-08). Mr. Welser-Möst was awarded the Pro Arte Europapreis in 2017 for his advocacy and achievements as a musical ambassador. Other honors and awards include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.

Franz Welser-Möst

2018-19 The Cleveland Orchestra

THE CLEVELAND ORCHESTRA IN MIAMI

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

Saturday evening, January 26, 2019, at 7:00 p.m.

Sonata in D minor for Cello and Piano

by CLAUDE DEBUSSY (1862-1918)

1. Prologue: Lent, sostenuto e molto risoluto 2. Sérénade: Modérément animé — 3. Finale: Animé, léger et nerveux

Brian Thornton, cello Carolyn Gadiel Warner, piano

About the Music — During World War One, the continuing news of carnage and death and ongoing hostilities affected Debussy greatly. With encouragement from publisher Jacques Durand, the composer decided to write a series of six sonatas to “affirm French culture” in the face of the war’s madness. Each of the first five would feature a different instrument or instruments, with the final work bringing together all of the instruments. In these years, Debussy was having difficulty finding his own inspiration, and looked to ideas and ideals from French Baroque music of two centuries earlier. The Sonata for Cello and Piano was the first of the set completed and premiered. It was influenced by musical stylings of François Couperin (1668-1733), filtered through Debussy’s more modern sensibilities. By the time of his death in March 1918, more than half a year before the war’s end, Debussy had completed only three of the six sonatas.

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

The Cleveland Orchestra 2018-19

January 26 — Concert Preludes

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THE CLEVELAND ORCHESTRA IN MIAMI John S. and James L. Knight Concert Hall

Sherwood M. and Judy Weiser Auditorium

Presented in partnership with the

Adrienne Arsht Center for the Performing Arts of Miami-Dade County

The Cleveland Orchestra Franz Welser-Möst, conductor Friday evening, January 25, 2019, at 8:00 p.m. Saturday evening, January 26, 2019, at 8:00 p.m.

2O18 SEASON 2O19

gustav mahler (1860-1911)

Symphony No. 2 in C minor

1. Allegro maestoso 2. Andante moderato 3. Scherzo: In ruhig fliessender Bewegung — [In quietly flowing motion] 4. Urlicht (Primeval Light): Sehr feierlich, aber schlicht — [Very solemn, but simple] — 5. Finale:

Im Tempo des Scherzos. Wild herausfahrend. [In the tempo of the scherzo. Excitedly moving forward] — Allegro energico — Der Grosse Appell [The Grand Summons] — Langsam, misterioso [Slow, mysteriously] “Aufersteh’n” [Rise Again, resurrection hymn by friedrich klopstock]

JOÉLLE HARVEY, soprano SASHA COOKE, mezzo-soprano CLEVELAND ORCHESTRA CHORUS Lisa Wong, director

The symphony is presented without intermission and will run about 80 minutes in performance.

Saturday’s concert is sponsored by Ver Ploeg & Lumpkin.

The Cleveland Orchestra 2018-19

Program: January 25, 26

January 25, 26

INTRODUCING THE CONCERT

Life, Faith & Mahler

M A H L E R F A M O U S LY S A I D : “My time will come.” He was right, and his

Painting of Mahler, sitting one evening near a fireplace, by the Finnish artist Akseli Gallen-Kallela, 1907

time is now. While Mahler’s music confused audiences during his own lifetime and was banned by the Nazis, his work was championed by musicians as visionary. Embraced by audiences after World War II, Mahler’s music found its place in our complex, complicated modern world. If Beethoven and Mozart were quickly made musical gods, IN A NUTSHELL it took Mahler decades beyond his own lifetime to rise to olympian stature. Movement 1 (20 minutes) Although the Second Symphony C-minor = funeral march caused Mahler much difficulty in the A searching, searing, and anguished writing — he finished it more than six look at life now past — filled with de years after starting — it also proved to spair, triumph, and uncertainty. be one of his first great public successes Movement 2 (10 minutes) as a composer. With its joyous ending A-flat major = emotional reverie employing full chorus and two soloists, it A gentle Ländler dance is challenged also became something of a calling card with distant, ominous feelings. for Mahler as a conductor-composer. He Movement 3 (10 minutes) programmed it among his first and last C-minor = spiritual uncertainty orchestral concerts with the Vienna Phil A humorous and sarcastic portrayal harmonic, in 1899 and 1907 respectiveof life’s naive fumblings and joys. ly, and programmed it again among his first orchestral concerts in New York City, Movement 4 (5 minutes) where he led its United States premiere D-flat major = anguished resignation on December 8, 1908, at Carnegie Hall. A furtive and determined call This symphony’s meaning (what it’s for answers to life’s questions. “about”) wrestles directly with big quesMovement 5 (30 minutes) tions of value and worth, striving and E-flat major = idealism and triumph accomplishment — things that Mahler Introduction plus ten episodes — (and most of us) wrestle and struggle with sounding a call to judgement and pro throughout our lives. That Mahler came claiming hope, eternal life, triumph. to a triumphant conclusion within this music gives testament to an enduringly optimistic and hopeful strain of outlook within humanity — and a grand potential for every generation that hears its musical arguments, battles, and ultimate victory. —Eric Sellen

Mahler 2 . . .

The Cleveland Orchestra 2018-19

Introducing the Concerts

About the Manuscript: The manuscript score to Mahler’s Second Symphony made news in re cent years by being one of the few such manuscripts to come up for auction. Mahler had kept the score (which includes corrections and alterations he made) during his lifetime, after which his widow, Alma Mahler, gifted it to his friend the Dutch conductor Willem Mengelberg at the first Mahler Festival in Am sterdam, in 1920. Following Mengelberg’s death in 1951, ownership passed to the Mengelberg Founda tion. In 1984, it was sold to Mahler enthusiast and U.S. entrepreneur Gilbert Kaplan. After Kaplan’s death in January 2016, the manuscript was offered for sale on the open market and sold for a record price.

January 25, 26

Symphony No. 2 in C minor composed 1888-94

At a Glance

Gustav

MAHLER born July 7, 1860 Kalischt, Bohemia (now Kalište in the Czech Republic) died May 18, 1911 Vienna

Mahler composed his Second Sym phony between 1888 and 1894, al though a few idea sketches date from 1886. It was premiered on December 13, 1895, with the Berlin Philharmonic conducted by Mahler. (The first three movements of the symphony, without the final two, had been first performed the previous March, also with the Berlin Philharmonic led by Mahler.) Mahler also introduced this symphony to the United States, conducting its first performance here on December 8, 1908, at a concert of the New York Symphony at Carnegie Hall. Although it is commonly given the nickname “Resurrection” from the hymn text of the fourth movement, Mahler did not name it that. This symphony runs about 80 minutes in performance. Mahler scored it for a large orchestra of 4 flutes (all four doubling piccolo), 4

oboes (third and fourth doubling eng lish horn), 3 clarinets (third doubling bass clarinet), 2 E-flat clarinets, 4 bas soons (one doubling contrabassoon), 8 horns, 6 trumpets, 4 trombones, tuba, 2 sets of timpani, percussion (snare drums, bass drum, cymbals, 2 tam-tams, triangle, glockenspiel, 3 bells, rute [a bundle of twigs or a birch-broom]), 2 harps, organ, and strings, plus soprano and alto soloists, and mixed chorus. In the final move ment, there is an offstage band of 2 horns, 4 trumpets, timpani, bass drum, cymbals, and triangle. The Cleveland Orchestra first per formed Mahler’s Second Symphony in January 1936 at Severance Hall, con ducted by Artur Rodzinski. Prior to this season, the most recent performances were given in Cleveland and on tour in Europe in the autumn of 2007, led by Franz Welser-Möst.

About the Music

G U S TAV M A H L E R ’ S M U S I C , and his life, are full of contrasts.

His very person and every day were filled with juxtapositions of the refined with the coarse — of big and small, of rapid mood swings and peaceful contentment, of transcendent meditation and crass humor, of joy and wonderment together with sadness and the commonplace. He was an exacting and mesmerizing conductor sometimes filled with grave self-doubt. He was raised a Jew and then became a Catholic (at age 37), but was strongly attracted to Buddhist beliefs in reincarnation. During his own lifetime Mahler was best known, and most admired, as a conductor. His music was less favorably reviewed. Although it appealed to some (Richard Strauss was an early advocate), it found many audiences quite unprepared for the startling juxtaposition of sounds that Mahler frequently wrote — massive orchestras in which a passage for only a few The Cleveland Orchestra 2018-19

About the Music

instruments might be suddenly swamped by the entire ensemble welling up excitedly, followed by something equally different and bewildering. His music, which to 21st-century ears sounds so normal in its churning, was often a perplexing “curtain of chaos” to 19thcentury audiences raised on Beethoven and Brahms, or even Berlioz and Wagner. As a conductor, Mahler was largely self-taught. There was, in fact, little choice in the matter. He couldn’t take conducting courses during his time at the Vienna Conservatory because none were offered — no one then thought conducting was something you could teach. Nor had he apprenticed with an experienced pracMahler’s music, titioner, although he was eventually able to watch and gain insight from some well-known colleagues. Mostly which to many he worked himself up through the ranks with very pracof us in the tical (and tiring) work, starting with his first job conduct21st century ing at a summer resort. Next came a series of municipal theaters and then ever bigger opera houses, learning by sounds so normal quick trial and error how best to communicate his intenin its churning, tions to the assembled musicians. was often a That Mahler came to be regarded as one of the perplexing great conductors of his era is testament to his willingness to try, learn from his mistakes, and try again, as well as an “curtain of chaos” extraordinary ability to read and understand a musical to 19th-century score. His strangely charismatic appeal on the podium, audiences raised as much for the orchestra members as to the audience, also electrified performances and spurred musicians to on Beethoven uncanny ensemble work and inspired playing. and Brahms, Mahler earned his livelihood as a conductor all his or even Berlioz life. But doing so kept him very busy and left precious little time to compose. Certainly at first, the busyness was and Wagner. helpful, for Mahler came to understand a great deal from the many works he conducted, watching how the printed pages of other composers’ works sounded in performance. A S A C O M P O S E R , Mahler created his earliest works for chamber

groups, or for voice and piano, and then for voice and orchestra. But eventually he began writing — and wrestling with — his First Symphony, created between 1884 and 1888. It was a rough road and a difficult birth. And Mahler’s fumbling attempts to explain that the symphony was “about” a hero didn’t help early audiences understand what he was trying to say. The connection between the music and the storyline — a hero supposedly triumphant, but battered,

About the Music

2018-19 The Cleveland Orchestra

and then dying — wasn’t immediately obvious to most listeners. Mahler later withdrew his “explanations” about the Symphony No. 1 and tried to let the music speak for itself. He was similarly minded about later symphonies, including the Second — providing written explanations and then dismissing them. A letter to his wife in 1901 talks about his description of the Second as “a crutch for a cripple. It gives only a superficial indication, all that any written program can do for a musical work, let alone this one, which is so much all of a piece that it can no more be explained than the world itself. I’m quite sure that if God were asked to draw up a program of the world he created, he could never do it. At best, it would say as little about the na ture of God and life as my analysis says about my C-minor Symphony.” (See page 21 for what Mahler did say about his Second Symphony — and further discussion of his later disavowal.) With the First Symphony written (but not yet performed), Mahler immediately began writing a new orchestral piece. In his mind, he was starting exactly where the First had ended, with the strangely dead hero figure still in his mind. And so he wrote a long funeral march or Totenfeir. But eventually, in September 1888, he set the score aside, uncertain whether it was part of a new symphony or an independent work. In retrospect, Mahler’s First Symphony was indeed a learning experience. At its premiere in Budapest in 1889, the composer realized almost at once that he had failed. It was the first of his big orchestral writings to be performed, and he simply had gotten the balancing between instruments and sections wrong. The music may indeed have sounded like a “curtain of chaos” at its premiere. But Mahler, always striving for perfection, set about revising the The Cleveland Orchestra 2018-19

About the Music

MAHLER the Conductor During his lifetime, Mahler was best known as a superstar conductor — and only incidentally as a composer of strange new music. Above, caricatures of Mahler on the podium, from a set of postcards drawn by Otto Böhler (1873-1913).

score, and tinkered with it for over a decade (including jettisoning an entire “extra” movement) before fashioning it into what audiences know today. In the summer of 1893, he took up the Totenfeir again, certain that it was the start of his Second Symphony, and wrote a second and third movement to go with it, and then added a short orchestra song for solo voice as a fourth movement. But, he was at a loss about how to continue. What sort of ending would satisfactorily bring this expansive work to a close? In January 1894, one of his colleague conductors in Hamburg, Hans von Bülow, died. And, strangely enough, The Second this gave Mahler the inspiration he needed to complete Symphony’s the Second Symphony. At von Bülow’s funeral, a choeventual message rus sang out the words of a resurrection hymn text by Friedrich Klopstock — and, according to Mahler, he could of Eternal Life suddenly see how to finish the symphony, with a grand helped Mahler movement for soloists and full chorus singing a hymn understand what about Resurrection and Eternal Life. More importantly, Mahler also suddenly better unhe was trying to derstood what he was trying to write about in all of his write about in all music. Not that he had the answers immediately at hand, of his music — if ever. But he was now able to verbalize the fact that about the big his music was about the big questions in life, about the meaning and value of life itself — in the big picture and questions in life, for each individual. His First Symphony wasn’t just about about the meaning a hero, it was about the heroic struggles of life on earth. and value of life “Goethe said immortal things on this subject,” Mahler wrote, referring to humanity’s place in the universe. “What itself, in the big I want to say I am naturally only able to express fully in mu picture and for sic. . . . That is what has been given to me and for that I will each individual. be called to account.” THE MUSIC The Second Symphony begins with the long funeral march that

Mahler had written at the same time as the First Symphony. Perhaps this first movement is for the everyman hero in Mahler’s mind, or perhaps for humanity as a whole. After some stuttered opening measures, a grand march of strings and winds moves forward, slowly building, and time and again welling up within anguished cries and stabbing chords, surrounded by calmer and serenely foreboding passages. (Among musical motifs is the kernel for what will become the “resurrection” hymn in the last movement.)

About the Music

2018-19 The Cleveland Orchestra

The movement’s conflict, between the underlying march and portrayals of idyllic calm, keeps us on edge. From within each respite, the music marches on, ultimately leading us to a climactic stuttering chord cluster about ten minutes in. And then . . . the march starts all over again. While mourning our fallen hero, we simultaneously seem to recall his triumphs in brightly ecstatic declarations. The episodes eventually resolve into more introspective music of remembrance. At the very end, the mood is shattered, with a quick and sudden reminder that the hero is dead. We are left in silence. Mahler marked very specific instructions in the score at this point, stating that a pause of several minutes should occur after the opening movement, before continuing. Such lengthy time for silent introspection may be less necessary — or possible — in our fast-paced modern world, and conductors today, balancing between adequate reflection and noisy restlessness in the audience, choose varying lengths for Mahler’s requested period of silence. The second movement is in the “tempo of a minuet.” It is mostly gentle, peaceful music, set as an Austrian Ländler dance. It begins with strings only, quietly and lovingly. Then, the music turns uncertain, perhaps menacing, as though a distant storm cloud has appeared on the horizon, but the threat seems off in the distance, and the music regains its equanimity. Threatening gestures recur, louder. The timpani rumbles, then gallops. The feeling of danger increases, but the strings softly, in pizzicato, pluck us back to a calmer state. All sense of care melts to quiet tranquility. The bucolic reverie is broken with the timpani strokes that open the third-movement Scherzo. This is an orchestral rendition of one of Mahler’s songs, about St. Anthony and the Fishes, which he was writing at the same time. The movement is full of conflicting musical ideas, as if a multitude of St. Anthony’s fishes (bigger, smaller, snapping, peaceful, etc.) are swimming within one vast, steadily moving current. There are playful currents and undercurrents, along with anxious moments of splashing and unanswered questions. It is tempting (and possibly quite accurate) to read meaning into the music from the unvocalized song text, with the foolishly selfish fishes swimming happily but uncomprehendingly against St. Anthony’s words for a better life. The short, quiet fourth movement follows immediately. Scored for chamber orchestra, it introduces a solo voice singing about humanity’s desire for meaning (a ray of light) from God. Although Mahler at least twice considered asking for another significant pause at the end of this movement, the published score includes instrucThe Cleveland Orchestra 2018-19

About the Music

tion to continue attacca (“at once”) into the finale. The fifth movement opens with thunderous noise, which dissolves into quiet expectancy. Then come ten episodes, clearly marked in the score, building from and commenting on the opening thunder — and carrying us forward with a message of hope and certainty. Brass are heard from offstage. Their tune is picked up onstage, dissected and questioned, then brought gradually to a magnificent full-throated salute in the orchestra, reiterated and repeated. It continues into a triumphant march, vanquishing all opposition. Suddenly, the music turns to terror and uncertainty. Offstage again, we hear new ideas in opposition, which boil over and then subside toward stillness. Just over fifteen minutes into this final movement, from pairs of trumpets arranged outside the auditorium come “the Grand Call” [der grosse Appell] echoed against birdcalls from flute and piccolo onstage, followed by the chorus’s quiet intoning of the Resurrection Hymn. For some listeners, this is the Christian Day of Judgement. For Mahler, it was less specific and more universal — and more forgiving. Among the many changes and additions he made to the original hymn text, Mahler removed the words “Jesus Christ” altogether. Yet, within that context and understanding, the symphony’s ending is a tangible reckoning of Mahler’s own life values, told in music — terrifying at times, but also expectant, wondering, uncertain, daring to hope. And then exhilaratingly reassuring, as the symphony comes to a fully triumphant ending, whole orchestra and chorus, with soloists soaring and bells pealing. “We will all return,” Mahler said to Richard Specht, one of his first biographers. “Our life only has sense if it is shot through with this certainty, and it is wholly unimportant whether in later reincarnation we recall an earlier one. What counts is not the individual and his memory . . . but only that great movement towards perfection, that purification that progresses with each reincarnation. That is why I have to live ethi cally, to spare my Self a part of the same road when it returns.” And what can be better, for Mahler-the-composer’s belief in reincarnation and eternal life, than to have his “Resurrection” Symphony performed today — again and again — captivating and thrilling audiences all over the world more than a century after its creator’s death. Mahler does indeed live on! —Eric Sellen © 2019 This season marks Eric Sellen’s twenty-sixth year serving as program book editor for The Cleveland Orchestra.

About the Music

2018-19 The Cleveland Orchestra

Mahler, in a photograph taken in 1907 in Vienna.

If a composer could say what he had to say in words, he would not bother trying to say it in muisc. â&#x20AC;&#x192;

â&#x20AC;&#x201D;Gustav Mahler

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Mahler’s own words about composing, and music as a language vs. words . . . 1893: “Creation, bringing a work into the world . . . is essentially mystical. . . . I be lieve it is this way for most men, except perhaps for the greatest geniuses, whose names could be written on one fingernail. Artistic creation reminds me of the birth of a pearl, that treasure offered to the world only after having caused the oyster severe pain. Spiritual and physical birth have much in common: what struggles, what torture, what anguish accompany them — what rejoicing too, if the infant be healthy and vigorous. . . . The artist . . . carries the seed in his innermost being, nour ishing it as it comes to maturity, until the completed work can be born into the light. . . . Sometimes, to one’s own astonishment, inspiration coming from elsewhere may impel one to do something that later one no longer understands. I often feel like a blind hen discovering a grain of wheat. This mysterious unconscious force is the more remarkable in that it appears in individual passages, usually the most important and difficult, rather than in a whole movement or an entire piece. Most of the time, they are precisely the passages on which I have no inclination to work, those I would love to avoid, but which take possession of me and finally demand to be expressed.” 1896: “We are faced with the essential question of knowing how, or even why, the content of a musical work should be defined in words. . . . Allow me to state briefly my point of view: I know, for my part, that as long as I am able to express my experi ence in words, I would never do so in music. My need to express myself musically, symphonically, begins only in the realm of obscure feelings, at the gate leading to the ‘other world,’ where things are no longer destroyed by time and space. Just as I find it trite to invent music to fit a program, in the same way I find it unsatisfactory and fruitless to try to invent a program for a musical work. . . . Here we have reached, and of this I am certain, the great fork where the two paths of symphonic and dra matic music diverge. . . . If you compare a Beethoven symphony and a work by Wag ner, you will sense the essential difference immediately. . . . I have composed a few symphonies that were born amid veritable labor pains — and, after always encountering the same questions, the same misunder standings, I have worked out this conception of things myself. Nevertheless, it is useful at first, when my manner is still strange to a listener, for him to receive for his voyage some milestones and signposts — or let us better say, a star map, so that he can orient himself in the nocturnal sky with its shining worlds. But such an explana tion will never offer more. People must proceed from something known, otherwise they will get lost!” —Gustav Mahler

Musical Creation and Understanding

2018-19 The Cleveland Orchestra

January 25, 26

I F M A H L E R H A D H I S WAY , you wouldn’t be reading this.

Before, during, or after the concert. Maybe. When he led a performance with the New York Philharmonic of his First Symphony in 1909, he banished from the printed program book any kind of written commentary about the work — both his own words about the piece, long since withdrawn, and anyone else’s thoughts. The writer for that printed program book, Henry Krehbiel, who was (commonly for the time) also a music critic for one of New York’s newspapers, instead filled the book’s pages with an inconclusive essay about the value of program notes. And yet, Mahler really did like to talk about what his GUSTAV MAHLER symphonies meant — what was in his mind behind the muDrawing by Enrico Caruso sic. And long after he’d stopped doing so publicly, or having his thoughts printed (as he did for early performances of the First Symphony), he talked and wrote to friends and colleagues about all his later works. Most probably, for Mahler, talking about what he was composing was, in fact, part of the process — trying to look at his music through the filter of a different sort of language. Mahler’s first language was music. He sang before he could talk, he was picking out tunes before he could walk. And, although he became very skillful with words and language (as his many letters and writings attest), he remained frustrated at the impossibility of translating music into words — of the inadequacy of words to describe music fully. Much of what Mahler said about his music can (or should) be understood metaphorically. His thoughts are not always what the music is about. Rather, his words were an attempt to convey some essence of the music to the people around him, by describing a situation or feeling similar to what his music was saying more directly (to him). His changing and conflicting feelings about program notes were like much else in his life, including religion and politics. Ambivalence reigned. For Mahler, life was a compromise (not wholly successful) of keeping competing ideas and needs in forced balance. With all of that in mind — and the fact that Mahler disavowed any explanations for the Second Symphony (but not the sung text itself, which The Cleveland Orchestra 2018-19

Mahler Talks About Symphony No. 2

obviously has direct meaning), the following paragraphs are a compendium of how Mahler described his Symphony No. 2. Taken from several discussions, they are combined together here, as compiled by Mahler enthusiast and conductor Gilbert Kaplan for his own first recording of the work. —Eric Sellen

Mahler’s descriptive words about the Second Symphony:

Death of a Hero: At 5 p.m. in the afternoon of May 22, 1911, Mahler’s casket is placed into the horse-drawn hearse, for the trip to the parish church and then to the gravesite in Vienna’s Ginzing Cemetery.

Movement I. — “We stand by the coffin of a person well loved. His whole life, his struggles, his passions, his suf ferings, and his accomplish ments on earth once more for the last time pass before us. And now, in this solemn and deeply stirring moment, when the confusions and distrac tions of everyday life are lifted like a hood from our eyes, a voice of awe-inspiring solem nity chills our heart — a voice that, blinded by the mirage of everyday life, we usually ig nore: ‘What? What is life and what is death? Why did you live? Why did you suffer? Is it all nothing but a huge, frightful joke? Will we live on eternally? Do our life and death have a meaning?’ We must answer these questions in some way if we are to go on living — indeed, if we are to go on dying! He into whose life this call has once sounded must give an answer. And this answer I give in the final movement.” Movement II. — “A memory, a ray of sunlight, pure and cloud less, out of the departed’s life. You must surely have had the experi ence of burying someone dear to you, and then, perhaps, on the way back some long-forgotten hour of shared happiness suddenly rose before your inner eye, sending as it were a sunbeam into your soul not overcast by any shadow — and you almost forgot what had just taken place.” Movement III. — “When you awaken from that blissful dream and are forced to return to this tangled life of ours, it may easily hap

Mahler Talks About Symphony No. 2

2018-19 The Cleveland Orchestra

pen that this surge of life ceaselessly in motion, never resting, never com prehensible, suddenly seems eerie, like the billowing of dancing figures in a brightly lit ballroom that you gaze into from outside in the dark — and from a distance so great that you can no longer hear the music! Then the turning and twisting movement of the couples seems senseless. You must imagine that, to one who has lost his identity and his happiness, the world looks like this — distorted and crazy, as if reflected in a concave mirror. Life then becomes meaningless. Utter disgust for every form of existence and evolution seizes him in an iron grip, and he cries out in a scream of an guish.” Movement IV. — “The moving voice of naive faith sounds in our ears. ‘I am from God and will return to God. The dear God will give me a light, will light me to eternal blessed life!’” Movement V. — “Once more we must confront terrifying ques tions. The movement starts with the same dreadful scream of anguish that ended the Scherzo. The voice of the Caller is heard. The end of every living thing has come, the last Judgement is at hand, and the horror of the day of days has come upon us. The earth trembles; the last trumpet sounds; the graves burst open; all the creatures struggle out of the ground, moan ing and trembling. Now they march in a mighty procession: rich and poor, peasants and kings, the whole church with bishops and popes. All have the same fear, all cry and tremble alike because, in the eyes of God, there are no just men. The cry for mercy and forgiveness sounds fearful in our ears. The wailing becomes gradually more terrible. Our senses desert us; all consciousness dies as the Eternal Judge approaches. The trumpets of the Apocalypse ring out. Finally, after all have left their empty graves and the earth lies silent and deserted, there comes only the long-drawn note of the bird of death. Even it finally dies.” “What happens now is far from expected: Everything has ceased to exist. The gentle sound of a chorus of saints and heavenly hosts is then heard. Soft and simple, the words gently swell up: ‘Rise again, yea, you shall rise again.’ Then the glory of God comes into sight. A wondrous light strikes us to the heart. All is quiet and blissful. Lo and behold: There is no judgement, no sinners, no just men, no great and no small; there is no pun ishment and no reward. A feeling of overwhelming love fills us with blissful knowledge and illuminates our existence.” —Gustav Mahler

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Mahler Talks About Symphony No. 2

Symphony No. 2 (“Resurrection”) Movement 4

Urlicht [Primal Light]

text adapted by Gustav Mahler from Des Knaben Wunderhorn [The Youth’s Magic Horn] as collected and adapted by Achim von Arnim and Clemens Brentano alto soloist

O Röschen rot! Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein! Je lieber möcht’ ich im Himmel sein!

O tiny red rose! Humanity lies in greatest need! Humanity lies in greatest pain! I would much rather be in Heaven!

Da kam ich auf einen breiten Weg, Da kam ein Engelein und wollt’ mich abweisen. Ach nein! Ich liess mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!

Once I came onto a broad path, and an angel came and wanted to turn me away. But no, I would not be turned away! I am from God and would return to God! Dear God will give me a light, — will light my way to eternal, blissful life!

Movement 5

Finale: Auferstehung (“Resurrection”) text by Friedrich Klopstock (1724-1803) as adapted and extended by Mahler chorus and soprano soloist

Aufersteh’n, ja, aufersteh’n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben! Unsterblich Leben Wird der dich rief dir geben!

Rise again, yes, you will rise again, my dust, after a brief rest! Immortal life! Immortal life will be granted by the One who calls you!

Wieder aufzublüh’n wirst du gesät! Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben!

To bloom again you were sown! The Lord of the Harvest goes forth and gathers like sheaves, those of us who have died!

Mahler Second Symphony: Sung Text

2018-19 The Cleveland Orchestra

alto soloist

O believe, my heart, O believe: nothing will be lost to you! Yours is . . . yours . . . yes, yours is what you longed for! Yours is what you loved, what you fought for!

O glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, Dein, ja Dein, was du gesehnt! Dein, was du geliebt! Was du gestritten! soprano soloist

O believe! You were not born in vain! You have not lived in vain, nor suffered!

O glaube: Du wards nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten! chorus and soloists

What has come into being, must perish! What has perished must rise again! Cease from trembling! Prepare to live!

Was entstanden ist, das muss vergehen! Was vergangen, auferstehen! Hör’ auf zu beben! Bereite dich zu leben! soprano and alto soloists

O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heissem Liebesstreben Werd’ ich entschweben Zum Licht, zu dem kein Aug’ gedrungen!

O Pain, you who pierce all things, from you I have been taken! O Death, conqueror of all things, now you are conquered! With the wings I have won for myself, in love’s ardent struggle, I shall fly upward to that light which no eye has penetrated!

chorus and soloists

Mit Flügeln, die ich mir errungen, In heissem Liebesstreben Werd’ ich entschweben Zum Licht, zu dem kein Aug’ gedrungen! Sterben werd’ ich, um zu leben!

With wings I won for myself, in love’s ardent struggle, I shall fly upward to that light which no eye has yet seen! I shall die so as to live!

Aufersteh’n, ja, aufersteh’n wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen!

Rise again, yes, you will rise again, My heart, in an instant! Your own beating will take you to God!

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Sung Text: Mahler Second Symphony

More About

MAHLER

about Mahler and his music have appeared in recent decades, quite reminiscent of the avalanche of books about Wagner that came out in the first two-thirds of the 20th century. If Mahler hasn’t yet overtaken Wagner as the subject of the most books about any composer, he’s certainly been gaining — and taking up more and more shelf space. Here are a few choice titles for further reading: MANY NEW BOOKS

The Real Mahler, by Jonathan Carr. 254 pages. (Constable Press, London, 1997). This very readable and reasonably-lengthed biography by journalist Jonathan Carr is a good place for many people to start. Carr keeps his musical discussions to an understandable minimum and does a good job of trying to explain away certain legends that still too often crop up as fact in discussions of Mahler’s life. Why Mahler? How One Man and Ten Symphonies Changed Our World, by Norman Lebrecht. 336 pages / also available as an ebook. (Pantheon, 2010). This book is one man’s very personal view of how Mahler’s music has helped shape his life and mind. It has gotten decidedly mixed reviews, but if you like — or love — Mah ler’s music, this book can help you sort through why and how. As with much of Lebrecht’s writings in print or online, he is intent on challenging and startling you. Be open to connections. Let yourself be surprised. The Mahler Album, by Gilbert Kaplan. 340 pages. (Abrams, 2011). Published to coincide with the 100th anniversary of Mahler’s death, this expanded edition is the definitive collection of all the known Mahler photographs. Mahler, by Henry-Louis de La Grange. 4 volumes; somewhere over 3,500 pages. (Oxford University Press, I:1973, II:1995, III:1999, IV: 2008). A major milestone for English readers occurred in 2008 with the publication of the fourth and final volume of de La Grange’s nearly dayby-day discussion (originally in French) of Mahler’s life and art. An updated Volume One was in the works when de La Grange died in January 2017 (and may yet appear). While others have delved deeper on specific symphonies or aspects, or come to differing conclusions here and there, this is a choice source for detail. The Dent Master Musicians Series: Mahler, by Michael Kennedy. 220 pages. (J.M. Dent, London, rev. ed. 2001). Although a few more recently uncovered facts cloud a number of pages, this clearly written book provides a solid entry-level view of Mahler and his music. Some readers will be particularly pleased at the book’s division into halves — the first half about his life and, quite separate, a second half about his major musical works. —Eric Sellen

More About Mahler

2018-19 The Cleveland Orchestra

January 25, 26

Joélle Harvey

Sasha Cooke

American soprano Joélle Harvey is regarded among the best and most interesting singers of her generation, praised for artistry across varying repertoire including new music. She made her Cleveland Orchestra debut in 2014. Ms. Harvey is the recipient of a 2011 first prize from the Gerda Lissner Foundation, along with honors from the George London Foundation and the Richard Tucker Foundation. She earned bachelor’s and master’s degrees in vocal performance from the University of Cincinnati College-Conservatory of Music, and was a member of Glimmerglass Opera’s 2007 Young American Artists Program and San Francisco Opera’s Merola Program. Recent and upcoming engagements include appearances with the orchestras of Kansas City, Los Angeles, New York, San Francisco, and Washington D.C., as well as performances with the English Concert, Glyndebourne Festival Opera, Handel and Haydn Society, and Pittsburgh Opera. She has also has sung with the London Symphony Orchestra, Amsterdam’s Royal Concertgebouw, and Les Violons du Roy, and at the BBC Proms and with London’s Royal Opera house. For more information, visit www.joelleharvey.com.

American mezzo-soprano Sasha Cooke sings with leading orchestras, opera companies, and chamber ensembles and is known for her wide-ranging repertoire and commitment to new music. She made her Cleveland Orchestra debut in 2012. Ms. Cooke is a graduate of Rice University and New York’s Juilliard School, and also attended the young artists’ programs of Aspen, Marlboro, the Metropolitan Opera, and Ravinia. Her honors include first place in the 2010 Gerda Lissner and José Iturbi International Music competitions, and the Kennedy Center’s Marian Anderson Award. Sasha Cooke has performed with major orchestras and opera companies in the United States, in Asia, with summer festivals, and in recital in London, New York, and throughout the U.S. Her current season includes a recital presented by New York’s Carnegie Hall. In new music, she has sung world premieres of works by Mohammed Fairouz, Mark Grey, Marc Neikrug, and Augusta Read Thomas. Her portrayal of Kitty Oppenheimer in the Metropolitan Opera’s production of John Adams’s Doc tor Atomic is captured on DVD, which won the 2012 Grammy Award for best opera recording.

The Cleveland Orchestra 2018-19

Guest Soloists

January 25, 26

Lisa Wong

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

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018, after serving as acting director throughout the 2017-18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010-11 season, assisting in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. In 2012, she took on added responsibilities as director of the Cleveland Orchestra Youth Chorus, leading that ensemble for five seasons. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at The College of Wooster, where she conducts the Wooster Chorus and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work in Nairobi, Kenya, and Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

The Cleveland Orchestra and Chorus performing Mahler’s Second Symphony at Severance Hall in Cleveland, October 2018, conducted by Franz Welser-Möst.

Cleveland Orchestra Chorus

2018-19 The Cleveland Orchestra

January 25, 26

Cleveland Orchestra Chorus Lisa Wong, Director Daniel Singer, Assistant Director Joela Jones, Principal Accompanist

The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 25,000 volunteer hours each year.

MAHLER Symphony No. 2 soprano

Amy Foster Babinski Laurel Babcock Claudia Barriga Yu-Ching Ruby Chen Susan Cucuzza Anna K. Dendy Emily Engle Molly Falasco Lisa Rubin Falkenberg Lisa Fedorovich Rebecca S. Hall Karen Hazlett Ashlyn Herd Lisa Hrusovsky Shannon R. Jakubczak Nina Kapusta Hope Kay Olivia Lawrence Kate Macy Madelaine Matej* Jessica M. May Clare Mitchell S. Mikhaila Noble-Pace Jennifer Heinert O’Leary Lenore M. Pershing Jylian Purtee Meghan Schatt Monica Schie Cicely Schonberg Megan Tettau Isabella V. Tuma Sharilee Walker Mary Wilson

alto

Emily Austin Laura Avdey Debbie Bates Andrea Bliscik* Barbara J. Clugh Carolyn Dessin Marilyn Eppich Diana Weber Gardner Betty Huber Karen Hunt Sarah N. Hutchins Melissa Jolly Kate Klonowski Cathy Lesser Mansfield Danielle S. McDonald Karla McMullen Holly N. Miller Peggy A. Norman Dawn Ostrowski Marta Perez-Stable Ina Stanek-Michaelis Rachel Thibo Jane Timmons-Mitchell Martha Cochran Truby Gina L. Ventre Laure Wasserbauer Leah Wilson Debra Yasinow Lynne Leutenberg Yulish

tenor

Frederick Allen Vincent L. Briley Robert Hutson Daniel M. Katz Peter Kvidera Adam Landry Tod Lawrence Shawn Lopez Rohan Mandelia James Newby Ryan Pennington Matthew Rizer Ted Rodenborn Matt Roesch John Sabol Lee Scantlebury James Storry Michael J. Ward Allen White Peter Wright bass

Christopher Aldrich Tyler Allen Jack Blazey Sean Cahill Kevin Calavan Serhii Chebotar Peter B. Clausen Nick Connavino

Kyle Crowley Christopher Dewald Jeffrey Duber Richard Falkenberg Brian Fancher Kurtis B. Hoffman Dennis Hollo Jason Howie James Johnston Joshua Jones David C. Keller Matthew Kucmanic Jason Levy Scott Markov Tyler Mason Robert Mitchell Stephen Mitchell Tom Moormann Keith Norman Tremaine Oatman Francisco Prado Brandon Randall John Riehl Robert Seaman John Semenik Jarod Shamp James B. Snell Charles Tobias Nicolas Turnberrez

R= Shari Bierman Singer Fellow

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses

The Cleveland Orchestra 2018-19

Cleveland Orchestra Chorus

T H E

C L E V E L A N D

Franz Welser-Möst M U S I C D I R E C TO R

CELLOS Mark Kosower*

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose * FIRST VIOLINS Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani

ASSISTANT CONCERTMASTER

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

James and Donna Reid Chair

Bryan Dumm

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Tanya Ell

Emilio Llinás 2

Eli Matthews 1

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook

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

Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins*

Chaillé H. and Richard B. Tullis Chair

Trevor and Jennie Jones Chair Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan Zhan Shu

Muriel and Noah Butkin Chair Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton

William P. Blair III Chair

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

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune

Charles Barr Memorial Chair

Charles M. and Janet G. Kimball Chair

Jean Wall Bennett Chair

HARP Trina Struble *

Stanley Konopka 2 Mark Jackobs

Mark Dumm

Helen Weil Ross Chair

Charles Carleton Scott Dixon Derek Zadinsky

Yu Yuan

Isabel Trautwein

Charles Bernard 2

Lynne Ramsey

Patty and John Collinson Chair

The GAR Foundation Chair

Alfred M. and Clara T. Rankin Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Louis D. Beaumont Chair

Richard Weiss 1

Arthur Klima Richard Waugh Lisa Boyko

Richard and Nancy Sneed Chair

Lembi Veskimets

The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Musicians

Alice Chalifoux Chair

This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

2018-19 The Cleveland Orchestra

2O18 SEASON 2O19 O R C H E S T R A FLUTES Joshua Smith *

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Jessica Sindell 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf *

Robert Marcellus Chair

Robert Woolfrey

Victoire G. and Alfred M. Rankin, Jr. Chair

Daniel McKelway 2

Robert R. and Vilma L. Kohn Chair

E-FLAT CLARINET Daniel McKelway

Stanley L. and Eloise M. Morgan Chair

HORNS Michael Mayhew §

Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman 2

James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Shachar Israel 2 Richard Stout

Alexander and Marianna C. McAfee Chair

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

BASSOONS John Clouser *

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2

Sandra L. Haslinger Chair

Jonathan Sherwin

TIMPANI Paul Yancich * S

Otto G. and Corinne T. Voss Chair

Tom Freer 2

CONTRABASSOON Jonathan Sherwin

Mr. and Mrs. Richard K. Smucker Chair

PERCUSSION Marc Damoulakis*

Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien

Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair George Szell Memorial Chair

* Principal § Associate Principal 1 2

First Assistant Principal Assistant Principal On sabbatical

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Vinay Parameswaran ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

The Cleveland Orchestra 2018-19

The Musicians

The Cleveland Orchestra Under the leadership of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world, setting standards of extraordinary artistic excellence, creative programming, and community engagement. The New York Times has declared it “. . . the best in America” and “America’s most understatedly amazing orchestra” for the group’s virtuosity, humility, self-confidence, elegance of sound, variety of color, and chamber-like musical cohesion. Strong community support from across the ensemble’s home region is driving the Orchestra forward with renewed energy and focus, increasing the number of young people attending concerts, and bringing fresh attention to the Orchestra’s legendary sound and committed programming — including annual opera performances. Recent acclaimed presentations have included Debussy’s Pelléas and Mélisande (May 2017), a doublebill of Bartók’s Miraculous Mandarin and Bluebeard’s Castle (April 2016) presented in collaboration with Chicago’s Joffrey Ballet, and an innovative mixed-media production of Janáček’s The Cunning Little Vixen (May 2014, with encore performances in Cleveland and Europe during the autumn of 2017). The 2017-18 season featured in-concert performances of Wagner’s Tristan and Isolde (April 2018), while the current season features a made-for-Cleveland production of Strauss’s Ariadne auf Naxos (January 2019). The partnership with Franz Welser-Möst, begun in 2002 and now in its 17th year, has earned The Cleveland Orchestra unprecedented residencies in the U.S. and around the world, including at the Musikverein in Vienna, the first of its kind by an American orchestra. It also performs regularly in New York and Miami, and at the Salzburg and Lucerne Festivals. They travel to China in spring 2019, and then return to Europe in future seasons. The Cleveland Orchestra has a long and distinguished recording and broadcast history. A series of DVD and CD recordings under the direction of Mr. Welser-Möst continues to add to an extensive and widely praised catalog of audio recordings made during the tenures of the ensemble’s earlier music directors. In addition, Cleveland Orchestra concerts are heard in syndication each season on radio stations throughout North America and Europe. Seven music directors — Nikolai Sokoloff, Artur Rodzinski, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — along with nearly a half-century working with famed conductor Pierre Boulez, have guided and shaped the ensemble’s growth and sound since its founding in 1918. Through concerts at home and on tour, via radio broadcasts and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a broad and growing group of fans around the world. For more information, visit clevelandorchestra.com.

The Orchestra

2018-19 The Cleveland Orchestra

THE CLEVELAND ORCHESTRA IN MIAMI

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

Friday evening, February 1 , 2019, at 7:00 p.m. Saturday evening, February 2, 2019, at 7:00 p.m.

Divertissement, Opus 6 — for wind quintet and piano by ALBERT ROUSSEL (1869-1937) Sextet for Winds and Piano by FRANCIS POULENC (1899-1963)

1. Allegro vivace 2. Divertissement: Andantino 3. Finale: Prestissimo

Mary Kay Fink, flute Frank Rosenwein, oboe Robert Woolfrey, clarinet Barrick Stees, bassoon Jesse McCormick, horn Carolyn Gadiel Warner, piano About the Music — This Prelude program features two works for wind quintet and piano, by two leading French composers of the first half of the 20th century. After some years in the French Navy, Albert Roussel chose a musical career as an adult. He was early on influenced by the impressionism of Debussy and Ravel, but later works veered toward neo-classicism. Between the world wars, he was a greatly influential teacher. He wrote his Divertissement in 1905. It is built in four sections that flow directly from one to the next, highlighting each instrument in combinations and with moving solo moments. Francis Poulenc rose in the generation after Roussel to be France’s highest regarded composer. His father was a well-to-do industrialist who prevented his only son from enroll ing in music courses, thus forcing Poulenc to be self-taught to a certain extent. He was great ly influenced by Erik Satie’s musical ideas, but created his own unique voice. He wrote his Divertissement in 1931-32, and then revised it extensively in 1939. Its musical stylings include classical, jazz, and ragtime references.

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

The Cleveland Orchestra 2018-19

February 1, 2 — Concert Prelude

THE BEST ARRANGEMENTS AREN’T ALWAYS FINANCIAL ONES. Northern Trust is proud to support The Cleveland Orchestra. For more than 125 years, we’ve been meeting our clients’ financial needs while nurturing a culture of caring and a commitment to invest in the communities we serve. Our goal is to help you find perfect harmony. FOR MORE INFORMATION CONTACT

John Fumagalli President – Florida Alexander Adams Senior Market Executive – Miami Dade County 600 Brickell Avenue, Suite 2400, Miami, FL 33131 305-372-1000 northerntrust.com

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THE CLEVELAND ORCHESTRA IN MIAMI John S. and James L. Knight Concert Hall

Sherwood M. and Judy Weiser Auditorium

Presented in partnership with the

Adrienne Arsht Center for the Performing Arts of Miami-Dade County

The Cleveland Orchestra Barbara Hannigan, vocalist and conductor Friday evening, February 1 , 2019, at 8:00 p.m. Saturday evening, February 2, 2019, at 8:00 p.m.

claude debussy

(1862-1918)

2O18 SEASON 2O19

Syrinx (for solo flute)

JOSHUA SMITH, flute

jean sibelius

Luonnotar, Opus 70 soprano and orchestra)

(tone poem for (1865-1957)

BARBARA HANNIGAN, soprano

f. joseph haydn

(1732-1809)

Symphony No. 86 in D major

1. Adagio — Allegro spiritoso

2. Capriccio: Largo 3. Menuet: Allegro — Trio 4. Finale: Allegro con spirito

INTERMISSION

alban berg

Five Symphonic Pieces from Lulu and orchestra)

(suite for soprano (1885-1935)

1. Rondo: Andante (Introduzione) — Hymn: Sostenuto

2. 3. 4. 5.

Ostinato: Allegro Lulu’s Song: Comodo Variations: Moderato Adagio: Sostenuto — Lento — Grave

BARBARA HANNIGAN, soprano

gershwin & Suite from Girl Crazy gershwin (music by George Gershwin, lyrics by Ira Gershwin) — arranged by Bill Elliott and Barbara Hannigan

BARBARA HANNIGAN, soprano

Friday’s concert is sponsored by Northern Trust.

The Cleveland Orchestra 2018-19

Program: February 1, 2

George Gershwin working on his opera Porgy and Bess in 1935.

True music must repeat the thought and inspirations of the people and the time. My people are Americans and my time is today.

—George Gershwin

2018-19 The Cleveland Orchestra

February 1, 2

INTRODUCING THE CONCERT

Myths, Masters& Musicals T H I S W E E K E N D ’ S C O N C E R T is a little different, a little more than usual,

filled with contrasts. It features five works written across a century and a half, beginning with a short work for a solo flute, followed by four pieces for smaller or larger orchestra. Some feature a vocal soloist, with the conductor herself singing. The musical emotions range from calm to spirited, from anger to hopeful, and onward to delighted happiness. The evening begins with an ethereal work for solo flute, played by The Cleveland Orchestra’s principal flute, Joshua Smith. The Frenchman Claude Debussy wrote it to represent the final music of Pan — the Greek god of flocks and shepherds, of the tamed and untamed wildnerness. This is beautiful and serene music, tender and focused, calmingly impressionistic. Listen as it cleanses our ears (and minds) for everything yet to come. Next comes a tone poem for soprano and orchestra by the Finnish composer Jean Siblieus. Premiered in 1913 (the same year as Syrinx), this setting of poetry tells an origin and ancenstral tale of Finland. Of sky created from an egg’s shell, of tears becoming stars, of ocean and moon and wind placed as a setting for the world and humanity. The first half closes with Joseph Haydn’s Symphony No. 86, written when this Austrian “father of the symphony” had reached his mature powers of creativity and sureness. Premiered in Paris in 1787, these four movements offer contrasts in tempo, feeling, and texture — and deliver a unified whole in a very Classical way, quite different from Debussy and Sibelius. After intermission, the soundworld stretches wide. First, we experience Alban Berg’s suite from the incomplete opera Lulu, in Five Symphonic Pieces from 1934. This emotional tale of abuse, murder, misery, heartache, and love’s searching is one of the 20th century’s most powerful operas — written in a style that Franz Welser-Möst aptly describes as “full-on Romantic music, but with a few wrong notes.” As in life, it is the exceptions to the norm, those “wrong notes,” that define the limits in reality, powering this work forward, built within Berg’s singular sense of creative artistry. To close the evening, guest conductor (and singer) Barbara Hannigan leads a memorable suite from the Gershwin musical Girl Crazy. This tuneful score was written in the same year as the Lulu Suite, but with a very different soundworld. What marvelous contrasts music offers. We can very nearly taste the difference . . . with our ears! —Eric Sellen

The Cleveland Orchestra 2018-19

Introducing the Concerts

February 1, 2

Barbara Hannigan Canadian soprano and conductor Barbara Hannigan is a unique performer with a profound commitment to contemporary music. As a singer or conductor — or both simultaneously — she has presented world premieres of more than 85 musical scores. Ms. Hannigan made her Cleveland Orchestra debut singing in Oliver Knussen’s Higglety Pigglety Pop! in April 2002; she most recently sang with the Orchestra in 2016, performing Hans Abrahamsen’s let me tell you. Ms. Hannigan has sung in many of Europe’s top opera houses and festivals, including productions of Berg’s Lulu at La Monnaie and Hamburg State Opera, in Debussy’s Pelléas and Mélisande at the Festival d’Aix-enProvence and the Ruhrtriennale, and in Brett Dean’s Hamlet at the Glyndebourne Festival. She has been particularly praised for her performances in Ligeti’s Mysteries of the Macabre. Since her conducting debut leading Stravinsky’s Renard at the Théâtre du Châtelet in Paris, she has conducted orchestras across Europe and in North America. In 2014, she served as Artiste Étoile to the Lucerne Festival, and the following season was artist-in-residence with the Gothenburg and Bamberg symphony orchestras, as soprano and conductor.

In addition to her performances this week here in Miami, Ms. Hannigan’s conducting schedule this season includes appearances with the Danish National Symphony Orchestra, Gothenburg Symphony, Juilliard Orchestra, London Symphony Orchestra, Munich Philharmonic, Orchestre Phiharmonique de Radio France, and the Toronto Symphony Orchestra. Her new mentorship project, Equilibrium Young Artists, was launched earlier this season. Involving 21 personally-chosen musicians and 15 performances with four partner orchestras, the program will also see Ms. Hannigan make her opera conducting debut with Stravinsky’s The Rake’s Progress. In addition, she is serving as artistic director for this coming summer’s Ojai Festival in California, and next season begins her tenure as principal guest conductor of Sweden’s Gothenburg Symphony Orchestra. Ms. Hannigan’s first album as singer and conductor, Crazy Girl Crazy, was recorded by Alpha Classics and features works by Berg, Berio, and Gershwin. Adding to her prize-winning discography, it garnered 2018 Grammy, Opus Klassik, Klara, and Juno awards. Ms. Hannigan’s honors include the 2018 Rolf Schock Prize for Musical Arts, a multi-disciplinary award across science and the arts that recognizes trailblazing figures within their respective fields. Barbara Hannigan earned bachelor and master of music degrees from the University of Toronto. She makes her home in Paris. For more information, please visit www.barbarahannigan.com.

Guest Artist

2018-19 The Cleveland Orchestra

February 1, 2

Syrinx (for solo flute) composed 1913

At a Glance Debussy wrote this piece while at tempting to collaborate with the theater writer Gabriel Mourey. They discussed concepts for a variety of works across several years, before the composer offered to write this piece for solo flute as “incidental music” for

Mourey’s play Psyché, representing the final melody mythical Pan plays before dying. It was first performed during a private reading of the play in Paris in 1913, played by Louis Fleury. Syrinx, for solo flute, runs about 3 minutes in performance.

About the Music by

Claude

DEBUSSY born August 22, 1862 St. Germain-en-Laye, France died March 25, 1918 Paris

D E B U S SY WA S I N T E N S E LY interested in the theater and was

throughout his life contemplating, planning, or writing operas or incidental music for plays. Very few of them were ever completed, and many were not even started, at least in terms of anything actually being written out on paper. One of his collaborators was a versatile literary character named Gabriel Mourey, who had known Debussy since 1889, though the two did not discuss working together until 1907. Their first project was Le Roman de Tristan, using a version of the Tristan story somewhat different from Wagner’s. That idea was soon abandoned, however, and three more ideas were tried, but also eventually went nowhere — Huon de Bordeaux, Le Marchand de rêves, and Le Chat botté (aka Puss in Boots). Finally, Mourey offered Debussy his three-act play Psyché on the Greek myth, but all that Debussy agreed to compose was a piece to be played from the wings on a flute, representing “the last melody that Pan plays before his death.” Even this proved difficult to bring to reality, but it was finally played by Louis Fleury at a private performance of the play in the house of Louis Mors in Paris on December 1, 1913. Its title was then La Flûte de Pan. It was renamed Syrinx when it was published in 1927, after Debussy’s death. The music beautifully exploits the flute’s capacity for arabesque and ornament, mostly low in the instrument’s range, and full of exotic intervals suggestive of an imagined Greek culture. Mourey called it “a real jewel of restrained emotion, of sadness, of plastic beauty, of discreet tenderness and poetry.” —Hugh Macdonald © 2019

The Cleveland Orchestra 2018-19

About the Music

February 1, 2

Joshua Smith

Principal Flute Elizabeth M. and William C. Treuhaft Endowed Chair The Cleveland Orchestra

Firmly established as one of America’s outstanding flutists, Joshua Smith is equally at home as a soloist, chamber musician, and educator. He was appointed as The Cleveland Orchestra’s principal flute at age twenty, joining the ensemble in 1990. He appears regularly as soloist with the Orchestra, in repertoire ranging from Bach and Mozart to Penderecki and Widmann. In September 2014, he was featured with the Orchestra on tour in Europe, playing Jörg Widmann’s flute concerto at the BBC London Proms, Lucerne Festival, Berlin Philharmonie, Vienna Musikverein, and Amsterdam Concertgebouw. Most recently, he played Mozart’s Concerto for Flute and Harp with the Orchestra and guest soloist Yolanda Kondonassis in 2016, and this past summer he was among featured performers for the Orchestra’s Blossom 50th Anniversary benefit concert. Mr. Smith received a Grammy nomination for his Telarc recording, Air, and has recorded two discs with harpsichordist Jory Vinikour dedicated to the Sonatas of J.S. Bach. He appeared on a Live from the Marlboro Music Festival recording and can be heard on more than 100 Cleveland Orchestra recordings. Intrigued with exploring new ways of connecting with audiences, Joshua Smith leads the chamber group Ensemble HD, which features Cleveland Orch estra members and guests. The artists perform in concert halls as well as nontraditional venues. Ensemble HD released its first double vinyl album in May 2013,

Live at The Happy Dog. It was recorded at The Happy Dog, a local bar-restaurant in Cleveland’s Gordon Square Arts District. Joshua Smith was invited to speak to the National Endowment for the Arts Council about community engagement efforts spearheaded by Ensemble HD. Mr. Smith appears as a chamber musician throughout the United States, including recent and ongoing appearances with the Philadelphia Chamber Music Society series, at the Marlboro and Santa Fe Music Festivals, and with the Israeli Chamber Project. He has performed in collaborative concerts at the Cleveland Museum of Art, Pensacola Museum of Art, Museum of Contemporary Art in Miami, and the 92nd Street Y in New York City. Joshua Smith is a Powell Artist and performs most often on a new grenadilla Powell or on an old Rudall-Carte. A native of Albuquerque, New Mexico, he worked closely with renowned pedagogue Frank Bowen before attending Philadelphia’s Curtis Institute of Music, where he studied with Julius Baker and Jeffrey Khaner. For additional information, please visit www.soloflute.com.

Soloist

2018-19 The Cleveland Orchestra

February 1, 2

Luonnotar, Opus 70

(tone poem for soprano and orchestra) composed 1910-13

At a Glance

Jean

Sibelius completed Luonnotar, his tone poem for soprano and orchestra, in 1913, having promised the Finnish soprano Aino Ackté a work for her as early as 1910. It was premiered on September 10, 1913, in Gloucester, England, at that year’s Three Choirs Festival, conducted by Herbert Brewer. This pieces runs about 10 minutes in performances. Sibelius scored it for 2 flutes (both doubling piccolo), 2

oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, 2 sets of timpani, 2 harps, and strings, plus the soprano soloist. The Cleveland Orchestra has pre sented this piece on one previous set of concerts, for a weekend in April 2002 at Severance Hall in Cleveland, with soloist Rosemary Hardy and conductor Oliver Knussen.

SIBELIUS

About the Music

born December 8, 1865 Hämeenlinna, Finland

T H E “ K A L E VA L A” I S T O T H E F I N N S what the Iliad was to

died September 20, 1957 Järvenpää, Finland

the Greeks or the Lusiad is to the Portuguese, or what Beowulf might have been to early peoples of the British Isles. It is, in fact, a series of epic poems about heroes and battles, gods and maidens, and not a single narrative, handed down in oral tradition from generation to generation. The Kalevala were collected and published in 1835 by a Finnish country doctor, Elias Lönnrot, with an expanded edition — 22,000 lines long — in 1849. A German translation was read by the poet Longfellow, whose Hiawatha is manifestly intended to echo the tone and verse of the Kalevala. And the first English translation, by W. F. Kirby, published in 1907, deliberately adopted Longfellow’s style and meter. The Kalevala was enthusiastically invoked by nationalists promoting Finnish culture in opposition to Russian tsarist rule, under which the country labored throughout the 19th century. Sibelius stood out as a composer of this persuasion. He mined the Kalevala as inspiration or storyline for a dozen of his pieces, and although he did not exploit folksong itself, his attachment to these folk legends gave a strongly national flavor to much of his vocal and orchestral music. The rhythms of the poem became, in some of his works, the musical rhythms. In 1892, Sibelius composed Kullervo, a very long “symphonic poem for soloists, chorus, and orchestra,” ignoring the convention that the symphonic poem was supposed to represent a

The Cleveland Orchestra 2018-19

About the Music

drama or narrative without the use of words. Later symphonic (and non-vocal) symphonic poems based on the Kalevala include Sibelius’s four Lemminkäinen Legends (one of which is the well-known Swan of Tuonela), Pohjola’s Daugh ter, and Tapiola, the last of his completed orchestral works. In between these last two came Luonnatar, a symphonic poem in which he again ignored convention by setting lines from the Kalevala for a soprano soloist. Luonnatar (also often called Immatar) is the “spirit of nature” and “mother of the seas” in the Finnish creation legend, and Sibelius narrates the story with a starkness shared with his Fourth Symphony, composed in 1911. Already in 1910 a “new tone-poem written for the Finnish soprano Aino Ackté” was promised from Sibelius’s pen, but it was not ready until 1913. It was premiered that same year, in England, where Sibelius already enjoyed great popularity. From the first 250 lines of the epic, Sibelius selected 40 lines that explain the creation of the moon and the stars, strangely omitting the creation of the sun from the yolk of the egg. In the final lines, where one would expect an element of grandeur or majesty in the appearance of the fundamental elements that surround us, the music remains predominantly gloomy, with an angular rising melody over the steady rumble of harps and timpani. Only at the end does the voice give leave to the violins to celebrate with a major chord held high and long in wonder and embrace of what has been created. —Hugh Macdonald © 2019

Finnish Kalevala text:

Verse translation by W. J. Kirby (1907):

Olipa impi Ilman tyttö, kave, Luonnotar korea.

Air’s young daughter was a virgin, Fairest daughter of Creation. Long did she abide a virgin, All the long days of her girlhood, In the Air’s own spacious mansions, In those far extending regions.

Ouostui elämätään aina yksin ollessansa avaroilla autioilla. Laskeusi lainehille, aalto impeä ajeli, vuotta seitsemänsataa.

After this the maid descending, Sank upon the tossing billow,

About the Music

2018-19 The Cleveland Orchestra

Vieri impi, veen emona. Uipi luotehet, etelät. Uipi kaikki ilman rannat. Tuli suuri tuulen puuska. Meren kuohuille kohotti. ”Voi poloinen päiviäni. Parempi olisi ollut Ilman impenä elää. Oi, Ukko Ylijumala, käy tänne kutsuttaissa.” Tuli Sotka suora lintu, lenti kaikki ilman rannat, lenti luotehet etelät. Ei löyä pesän sioa. ”Ei, ei, ei. Teenkö tuulehen tupani, aalloille asuinsijani. Tuuli kaatavi, aalto viepi asuinsijani.” Niin silloin veen emonen nosti polvea lainehesta. Siihen sorsa laativi pesänsä. Alkoi hautoa. Impi tuntevi tulistuvaksi. Järkytti jäsenensä. Pesä vierähti vetehen. Katkieli kappaleiksi. Muuttuivat munat kaunoisiksi. Munasen yläinen puoli ylhäiseksi taivahaksi. Yläpuoli valkeaista kuuksi kuumottamahan. Mi kirjavaista tähiksi taivaalle. Ne tähiksi taivaalle.

The Cleveland Orchestra 2018-19

Seven long centuries together, Thus she swam, the Water-Mother, Swam to northwest and to southwest, And around in all directions. Then a storm arose in fury, On the crest of foaming billows, “O how wretched is my fortune! Better were it had I tarried, Virgin in aërial regions. Ukko, thou of Gods the highest, Hasten here, for thou art needed.” Then a beauteous teal came flying, Seeking for a spot to rest in, Flew to northwest and to southward, Searching for a home to dwell in. “Ah!... Ah!... Ah!... If my nest in wind I ’stablish Or should rest it on the billows, Then the winds will overturn it, Or the waves will drift it from me. Then the Mother of the Waters From the waves her knee uplifted. Gently on the knee alighting, Bird her nest she there established. Mother thought her knee was burning And her limbs convulsive shaking, Rolled the eggs into the water, And to splinters they were broken. From the cracked egg’s lower fragment Rose the lofty arch of heaven. From the white, the upper portion, Rose the moon that shines so brightly; Whatso in the egg was mottled, Now became the stars in heaven.

Luonnotar: Sung Text

February 1, 2

Symphony No. 86 in D major composed 1786

At a Glance Haydn wrote this symphony in D major (later designated as “No. 86” in, coincidentally, 1786, as one of six symphonies prepared at the invita tion of Count Claude d’Ogney in Paris. It was premiered at the Concerts de la Loge Olympique in Paris in 1787, conducted by Joseph Boulogne. This symphony runs about 25

F. Joseph

HAYDN

born March 31, 1732 Rohrau, Austria died May 31, 1809 Vienna

minutes in performance. Haydn scored it for flute, 2 oboes, 2 bas soons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first played this symphony in the autumn of 1952, under George Szell’s direc tion.

About the Music

F O R T H E F I R S T sixty years of his life, Haydn never moved

outside of Vienna and its immediate eastern provinces. These initial decades were spent in the area where Austria, the Czech Republic, and Hungary now converge. The son of a wheelwright, Haydn rose to world eminence and the patronage of kings and emperors solely through his musical gifts. The single element of luck in his career was the chance that brought the organist of Vienna’s St. Stephen’s Cathedral to the small village where the eight-year-old Haydn was at school. The young boy’s talent for music and his pleasing voice were sufficient to literally transport him to St. Stephen’s, the leading church in Vienna, within the ambience of the great notabilities of the Hapsburg Empire. In 1761, at the age of 31, Haydn joined the Esterházy household as Kapellmeister, and a year later the Prince who engaged him, Prince Paul Anton, was succeeded by Prince Nikolaus, a patron for whom music was of paramount importance in the life of a civilized court. Nikolaus was proud of the gifted composer in his service and attracted a steady stream of distinguished visitors from all over Europe. The concerts and operas they attended were always a major attraction. This is how Haydn’s reputation spread, for he had no agent and no publicity office working in his behalf. Music publishers in distant cities became interested in acquiring his works, so much so that many of them were prepared to put the Haydn name on pieces he did not write. In the precarious state of copyright practice in the 18th century, there was little a composer could do about it, especially if he was not there when such theft was About the Music

2018-19 The Cleveland Orchestra

occurring. It was Haydn’s fame that suggested to the young Count d’Ogney in Paris to commission some new music for the series of Concerts de la Loge Olympique, of which he was a leading backer. Count d’Ogney was a passionate music lover and the owner of an immense music library. Although he knew that Haydn’s music would be well received in Paris, where public concerts were rapidly coming into popularity, he didn’t expect that Haydn would be able to attend or supervise the musical preparation in person. That was because Prince Nikolaus seemed unable to even contemplate being without his star composer for the lengthy period such a trip to Paris would require. It was not until after the Prince’s death in 1790 that Haydn could finally accept invitations from abroad (including to London), his new patron at Esterházy being much less interested in music at home. In the years 1785 and 1786, Haydn composed six symphonies for Paris, numbered 82 to 87 in modern lists and designations, with more to follow later. These first “Paris” works established his leading stature among symphonists in Europe. The dozen symphonies he later wrote for London took that development a stage further and consolidated the foundations on which later composers worked, including, of course, Beethoven, who created his nine famous and unsurpassed structures starting from Haydn’s models. Haydn had heard about the proficiency and size of French orchestras, especially their woodwinds, so the Paris Symphonies keep the winds well occupied. No. 86 has a claim to importance by including a slow introduction to the first movement, which Haydn was beginning to do more frequently — and which became one standard method of starting a symphony. In addition,

THE CLEVELAND ORCHESTRA IN MIAMI

2018-19 Advisory Council The Cleveland Orchestra extends special thanks to these members of the Miami-Dade community, whose council and advice are helping steer our programs and service forward for the future.

The Cleveland Orchestra 2018-19

Michael Samuels, Co-Chair Mary Jo Eaton, Co-Chair Betty Fleming Joseph Fleming Alfredo Gutierrez Luz Maria Gutierrez

About the Music

Kevin Russell Judy Samuels Maribel Piza Breton Ver Ploeg

here Haydn filled in a full structure for the Menuetto, which is here much more than the then-expected interlude between slow movement and finale. The slow movement is perhaps the most unusual part of the symphony, for Haydn called it a “Capriccio” and treated the form with great freedom, almost as if it were a fantasia without many rules at all. The pensive first four bars act as an anchor, returning many times and in many forms. The remaining ideas are all very short and can therefore be presented in surprising permutations, which creates the tension of not knowing what’s coming next, with some silences to intensify the uncertainty. Haydn’s supreme skill is the creation of satisfying wholes out of seemingly incompatible parts. Both first and last movements are directed to be played “with spirit,” and it is difficult to imagine how any Parisian audience in 1787 or any contemporary audience today could ever miss the spirit — of invention and vitality — which drives this irresistible music. —Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus at Washing ton University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

About the Music

2018-19 The Cleveland Orchestra

February 1, 2

Five Symphonic Pieces from Lulu (suite for soprano and orchestra)

composed 1934, from the unfinished opera begun in 1929

At a Glance

Alban

BERG born February 9, 1885 Vienna died December 24, 1935 Vienna

Berg began composing his opera Lulu in 1929, basing its story on two plays by Frank Wedekind: Erdgeist (“The Earth Spirit”) and Büchse der Pandora (“Pandora’s Box”). He continued work on the opera until his death, at which time some portions of the orchestra tion for Act Three remained incom plete. In 1934, Berg extracted the five Symphonic Pieces — widely known as the Lulu Suite — from the unfinished opera. The Pieces were premiered in Berlin on November 30, 1934, with the Berlin State Opera orchestra con ducted by Erich Kleiber, with soprano Lili Claus as soloist in the middle movement. The Lulu Suite runs about 35

minutes in performance — 30 minutes without “Lulu’s Song.” Berg’s score calls for 3 flutes (1 or more doubling piccolo), 3 oboes (1 doubling english horn), 3 clarinets, bass clarinet, alto saxophone, 3 bassoons (1 doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percus sion (bass drum, cymbals, snare drum, tam-tams, and triangle), vibraphone (optional), piano, harp, and strings. The Cleveland Orchestra first pre sented Berg’s Symphonic Pieces from Lulu in 1964 under the direction of Lukas Foss. Franz Welser-Möst and the Orchestra performed this work in 2010, at home in Cleveland and at Carnegie Hall.

About the Music A L B A N B E R G ’ S F I R S T O P E R A , Wozzeck, aroused deep

controversy when first performed in Berlin in 1925. But it was rapidly taken up by other opera houses, both in Germany and abroad, and it has since become a 20th-century classic. Berg’s second opera, Lulu, which he started in 1929, had no chance of performance in Germany after the Nazis took power in 1933. Berg had almost completed the draft score at that time and he pressed ahead with orchestrating the opera. The only way it could be performed, however, would be in the form of symphonic extracts, and so, urged by his publisher, he arranged a suite of five movements in the summer of 1934. This was first performed that November in Berlin under the direction of Erich Kleiber, one of Berg’s most stalwart champions. Orchestration of the rest of the opera was still incomplete when Berg died at the end of 1935, aged 50, as the result of an insect sting that led to septicemia. The premiere therefore not only had to take place abroad, in Zurich in 1937, but was also limited to only the first two acts. The final act was not made public until 1979, when the full work was heard at the Paris Opéra, The Cleveland Orchestra 2018-19

About the Music

A 19th-century newspaper illustration of Jack the Ripper killing one of his victims. The infamous murderer invisibly takes part in the action of the opera Lulu, killing the title character offstage in the final act.

conducted by Pierre Boulez. Lulu has never attained the critical favor accorded to Wozzeck, nor have productions been more than rare. This is partly due to the extraordinary requirements of the score, starting with the role of Lulu herself, who has to have the appeal of an irresistible twenty-year-old prostitute and a coloratura soprano’s range and technique. There is also a large cast of extraordinary characters and some unusual effects, including a film sequence. The vocal demands on all the singers are unusual, and the music is extremely difficult to sing. The story itself — the cautionary tale of a young woman who traffics in men and murders some of them, being finally herself murdered by Jack the Ripper — is not to everyone’s taste. The degradation and exploitation of the Lulu story, taken to a higher degree than similar themes in Wozzeck, called for music of extreme intensity, and this is what Berg was uniquely able to supply. He has been called a Romantic Modernist, because he enthusiastically embraced the new language forged by his teacher Schoenberg and applied twelve-note principles in the composition of Lulu with considerable rigor. At the same time, he never wrote music without a powerful emotional core, so that one is never in doubt as to the tension, mood, or state of mind of the protagonists, and the climaxes have a cathartic effect. No one need know anything about serial technique to grasp the spell of the music, nor is it important to know that Berg was fond of complex contrivances such as the palindromic construction of scenes, or writing the second part of a passage with the music of the first part reversed. The orchestral sound often rests on a bed of familiar chords in the lower instruments, so that even when the upper voices are moving at all angles, the overall effect has an element of familiarity and comfort. What is often known as the Lulu Suite does not tell the story of the opera in sequence. Berg called it “symphonic pieces” on the title page of the score. Berg has transferred the vocal line to a solo instrument such as the saxophone or a trumpet, and sometimes he leaves the vocal line out, with the orchestra carrying the main musical dialogue. The first movement, Rondo, is a condensation of two About the Music

2018-19 The Cleveland Orchestra

scenes in the second act between Lulu and one of her lovers, Alwa, who is also her husband’s son. It begins with Alwa’s entrance and some strong melodic lines in the violins and the alto saxophone. This leads to a climax when Alwa (represented by the vibraphone) confesses “Ich liebe dich . . .” (“I love you . . .”). The second part of the Rondo is the final scene of the act when Lulu, having “accidentally” shot her husband (Alwa’s father), is alone with Alwa, celebrating the couple’s freedom. A surprising held chord of B-flat major precedes their final love scene, with solos for violin and cello. There is a lighter passage marked grazioso followed by the “Hymn” (with pizzicato accompaniment). As the couple settle onto the sofa, Lulu remembers that this is the spot where Alwa’s father bled to death, and the curtain falls heavily. The Ostinato movement is the forceful and noisy interlude between the two scenes of the second act, constructed as a palindrome around a central pause (vibraphone again, pianissimo). It was designed to accompany a film showing Lulu’s arrest for the murder of her husband in the first part, and plans for her escape in the second. Lulu’s Song is taken from the first scene of Act Two. She is explaining to her husband, in more and more elaborate fioriture, that she is not responsible for the men who have died for love of her, and that certainly her husband knew her character all along. No one has ever taken her, she insists, for something other than what she is: Wenn sich die Menschen um meinetwillen umgebracht haben, so setzt das meinen Wert nicht herab. Du hast so gut gewußt, weswegen Du mich zur Frau nahmst, wie ich gewußt habe, weswegen ich Dich zum mann nahm. Du hattest Deine besten Freunde mit mir betrogen, Du konntest nicht gut auch noch Dich selber mit mir betrügen. Wenn du mir Deinen Lebensabend zum Opfer bringst, so hast Du meine ganze Jugend dafür gehabt. Ich habe nie in der Welt etwas anderes scheinen wollen, als wofür man mich genommen hat; und man hat mich nie in der Welt für etwas anderes genom men, als was ich bin. The Cleveland Orchestra 2018-19

If men have killed themselves for my sake, that does not lower my value. You know just as well as me why you made me your wife as I know why I took you for my husband. You deceived your best friend for me, and yet you cannot go on deceiving yourself. If you hold me as a sacrifice for your last days, remember that you are the one who took away my entire youth. I have never in the world wished to seem to be anything other than to be what I am taken for and I have never in the world been taken for anything other than what I am.

About the Music

The Variations form the interlude between the two scenes of Act Three. The tune is a cabaret song from the 1880s by Frank Wedekind, the author of the plays on which the opera is based (another of Wedekind’s plays is the basis for the recent Broadway musical Spring Awakening). After some swift brass chords, the first variation includes the tune coarsely presented on four horns. In the second, it moves from section to section in heterophony — being played out of sync by different groups. The third variation is marked funèbre (“funereal”), with long notes on the trombones. The fourth features trumpet, then oboe, then horn, and finally we hear the tune itself as it appears in the opera, representing the barrel organ on a London street where the story comes to its gruesome end. The Adagio is an abbreviation of the final scene of the opera. Lulu is murdered (offstage) by Jack the Ripper, who also stabs the Countess Geschwitz, Lulu’s lesbian lover, who has come to her aid. The end, like the close of Wozzeck, is abrupt, as if someone has just switched off the music at random. —Hugh Macdonald © 2019

Sketch of Alban Berg by German artist Emil Stumpp (1886-1941).

About the Music

2018-19 The Cleveland Orchestra

February 1, 2

Suite from the musical Girl Crazy

suite created by Bill Elliot and Barbara Hannigan from the show composed 1934

At a Glance

music by

George

GERSHWIN born September 26, 1898 Brooklyn, New York died July 11, 1937 Hollywood, California with lyrics by

Ira

GERSHWIN born December 6, 1896 Brooklyn, New York died August 17, 1983 Beverly Hills, California

Above, self portrait painted by George Gershwin;

The Gershwins wrote Girl Crazy in 1930, working with book writers Guy Bolton and John McGowan. The show opened on October 14, 1930, at New York’s Alvin Theatre, directed by Alex ander Leftwich, with choreography by George Hale and sets by Donald Oenslager. The cast included Ethel Merman, Ginger Rogers, Allen Kearns, and Willie Howard. This suite from Girl Crazy runs just over 10 minutes in performance. The score calls for 2 flutes, 2 oboes, 2 clari

nets, alto saxophone, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (including cym bals, glockenspiel, and vibraphone), celesta, piano, harp, and strings, as well as vocalist/s. The Cleveland Orchestra has frequently performed musical songs or excerpts from Girl Crazy, beginning as early as 1945. The complete show was presented in-concert at the Orchestra’s summer home, Blossom Music Center, in June 1987.

About the Music A S E L E C T I O N O F numbers from Gershwin’s musical Girl Crazy

of 1930 provided the centerpiece for Barbara Hannigan’s 2017 DVD/CD album “Crazy Girl Crazy,” in which this artist’s versatility and virtuosity as a singer and conductor are displayed. The recorded pieces also include the Lulu Suite and a work by Luciano Berio. Bill Elliott, who has written and arranged extensively for film and television, took three Gershwin standards from the musical and concocted an irresistible suite for Hannigan with a symphony orchestra backing. All three tunes have lyrics by George’s brother Ira and have enjoyed constant popularity since the day they were first heard on Broadway, with Ethel Merman singing “I Got Rhythm” and Ginger Rogers singing “But Not For Me.” “Embraceable You” was the main song for Allen Kearns, the show’s tenor lead. It is remarkable to reflect that four great musicians were playing in the pit orchestra in that show (at least for opening night): Benny Goodman, Gene Krupa, Glenn Miller, and Jimmy Dorsey. That does seem, well, crazy. —Hugh Macdonald © 2019

at right, playbill cover, 1934.

The Cleveland Orchestra 2018-19

About the Music

PERFORMING ARTS

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THE

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CLEVELAND ORCHESTRA

ADRIENNE ARSHT C

IN MIAMI

Ronald Esserma

RESIDENT COMPANIE Sheldon Anderson Adrienne Arsht Diane de Vries Ashley Robert T. Barlick, Jr. Fred Berens Sia Bozorgi Norman Braman Sheila Broser Robert S. Brunn M. Anthony Burns Donald Carlin

Barbara Dis Jean M Dis Audrey M Dis Sally A. Dis

Harvey Clerk of 10

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. Sheer urer

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County young people and their families. When you join the ACCESSIBILITY Center as a member, you give the gift of culture to Miami – Mike Eidson Officers of theisBoard Adrienne Arsht Center fully accessible. When now, and for generations to come. The Culturist membership purchasing tickets, patrons who have special needs Mike Eidson or (866) 949-6722 Chairman program is designed to enhance your experience at the should call (305) 949-6722 and Arsht Center with special benefits ranging from advance inform theirAlan customer 468-M. Herron, H. Chairman Feinservice representative. (786) James J. Ricky Arriola, notice of performances to invitations to exclusive receptions. 2011 (TTY). Audio description and assistive listening Chair-Elect Secretary Immediate Past Chair Membership through James by M. Mary Herron, Arriola, begins at just $100, with giving levels equipment is funded & Sash Spencer and the J. Ricky $5,000. join the Culturist movement, please call 786Miami-Dade County Mayor and the Board of County Emery B. Secretary Sheer Penny Thurer, Parker D. Thomson, Immediate PastToChair 468-2040, email: membership@arshtcenter.org or visit Commissioners, the Miami-Dade County Department of Treasurer Secretary Founding Chair www.arshtmembers.org. Cultural Affairs and the Cultural Penny Thurer, Affairs Council. Assistant Parker D. Thomson,

MEMBERSChair GET IT FIRST! Assistant Secretary Founding DINING of Directors As a member of the Adrienne Arsht Center–a Culturist– BRAVA By Brad Kilgore, one of Zagat’s 10Board hottest you have exclusive access Ronald to members-only ticket restaurants in Miami, is the Center’s on-site fine dining A. Silver Beverly A. Parker The Honorable Donald L. Graham Matilde Aguirre Board of Directors pre-sales and so much more! today, online at experience floor of the Ziff Ballet The Join Honorable Jorge A. Plasencia Evelyn Greer Pierre R. Apollon located on the second www.arshtmembers.org or by calling 786-468-2040. Opera House. Led by acclaimed Chef Brad Kilgore, Ronald A. Silver Beverly A. Parker The Honorable Donald L.Austin Graham Michelle Spence-Jones Abigail Pollak Mitchell Kaplan Magalie Desroches serves European-inspired cuisine with a strong The Jesus Honorable A. 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Mayor WEBSITE HEARING AIDS AND OTHER HEARING-ENHANCEMENT DEVICES Carlos A. Gimenez Visit www.arshtcenter.org for the most up-to-date Please reduce the volume on hearing aids and other Mayor MIAMI-DADE OF COUNTY COMMISSIONERS performance schedule. Also, join our mailing list and devices that may produce a noise that would disturbBOARD other we will send performance notices directly to you. patrons or the performers. Assistive Listening Devices are MIAMI-DADE BOARD OF COUNTY COMMISSIONERS When you join, you may choose the types of shows available in the lobby;Joe please an usher for assistance. A.ask Martinez Audrey M. Edmonson about which you want to be notified, and update those LATE SEATING Chairman Vice Chairwoman choices at any time. If you’ve already signed up, make Joe A. Martinez Audrey M. Edmonson Adrienne Arsht Center performances begin promptly as sure you add email@arshtcenter.org to your address scheduled. As a courtesy to the performersVice and Bruno audience Chairman Chairwoman A. Barreiro book and/or safe list. Visit www.arshtcenter.org today. members already seated, patrons who arrive late will be 5 J.A. Jordan JavierPiano D. Souto Steinway & Sons, The Official of the Adrienne asked toBarbara waitBruno in the lobby until a suitable break in District the Barreiro Arsht Center. to beDistrict determined the District 1 5 in consultation with District 10 Rebeca Sosa a J. Jordan performance Javier D. Souto performing artists. Until the seating break, latercomers Adrienne EcoArtFashion District 6 10 Arsht Center Uniforms, Jean Monestime Joe A.anMartinez strict 1 District may watch theRebeca performance via closed-circuit monitors Sosa project by Luis Valenzuela, www.luisvalenzuelausa.com District District 11 conveniently situated in2the 6lobbies. To confirmXavier startingL. Suarez District Monestime times for Adrienne Arsht Center performances please check Joe A.PHONE Martinez NUMBERS District 7 11 Audrey M. Edmonson José “Pepe” Diaz strict 2 District Accessibility (786) 468-2011(TTY) L. Suarez or call (305) 949-6722. your ticket, visitXavier www.arshtcenter.org, 3 7 District 12 Advertising (786) 468-2232 Lynda Bell District M. Edmonson LOST AND FOUND District José “Pepe” Diaz Administration Offices Esteban Bovo, (786) 8 12 Heyman Jr.468-2000 Patrons Sally should A. check with the House Manager in District theDistrict strict 3 Lynda Bell Box Office (305) 949-6722 or (866) 949-6722 theater lobby prior to leaving the theater, otherwise please C. Moss District 4 District 13 Dennis M – F 10am – 6pm; Sat. – Sun. noon to Curtain 8 main security number . Heyman call the Adrienne District Esteban Bovo, Jr. Arsht Center Facilities Rental (786) 468-2292 District 9 (786) 468-2081. Lost articles will be held for 30 days. strict 4 District 13 Dennis C. Moss Advancement (786) 468-2040 Group Sales (786) 468-2326 MEMBERSHIP – BE A CULTURIST District Harvey Ruvin 9 Pedro J. Garcia Robert A. Cuevas Jr. Membership (786) 468-2040 Members matter at the Adrienne Arsht Center. Your Clerk of Courts Property Appraiser County Attorney Parking (305) 949-6722 or (866) 949-6722 philanthropy makes our world-class performances possible, Ruvin Pedro J. Garcia Robert A. Cuevas Jr. or visit www.arshtcenter.org and helps to provide free arts education and meaningful Courts County Attorney Security (786) 468-2081 community Property engagementAppraiser for thousands of Miami-Dade 10 PLAYBILL 40

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ADRIENNE ADRIENNE ARSHT ARSHT CENTER CENTER FOR FOR THE THE PERFORMING PERFORMING ARTS ARTS OF OF MIAMI-DADE MIAMI-DADE COUNTY COUNTY M. Richard ADRIENNE ARSHT CENTER FOR THE PERFORMING ARTS OF MIAMI-DADE COUNTY M. John John Richard President & Johann Zietsman President & CEO CEO President & CEO Scott Scott Shiller Shiller Executive Trish Brennan Andrew Goldberg Ken Harris Executive Vice Vice President President

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Assistant Assistant Vice Vice President, President, Information Information Technology Technology Director, Director, Applications Applications Information Information Systems Systems Manager Manager Developer Developer IT Systems IT Systems Administrator Administrator IT IT Support Support Technician Technician

Marketing Cynthia Putnam Senior Director, Marketing Priyanka Sinha Senior Director, Creative Services Marketing Marketing Gino Campodonico Public Relations Director Suzette Assistant Vice President, Suzette Espinosa Espinosa Fuentes Fuentes Assistant Vice President, Jeanne Monks Director, Marketing Relations Laura White Director Public of Marketing Public Relations Crystal Brewe Senior Director of Ryan McAlinden Manager, Crystal Brewe Senior Digital DirectorMarketing of Marketing Marketing Luis Palomares Director, Creative Craig Stedman Director,Creative Group Services Sales Luis Palomares Director, Services John Director David Chang Graphic Designer John Copeland Copeland Director of of Marketing Marketing Alexander Group Sales Manager Sam Hall Ramos Graphic Designer Alexander Ramos Group Sales Manager Morgan Stockmayer Promotions Manager Raul Vilaboa Graphic Designer Morgan Stockmayer Promotions Manager Fernando Olalla e-Marketing Mariah Forde Executive Assistant Manager to the Fernando Olalla e-Marketing Manager David Chang Graphic Designer Vice President, Marketing David Chang Graphic Designer Raul Graphic Designer Adam Garner Group Sales Coordinator Raul Vilaboa Vilaboa Graphic Designer Sam Graphic Designer Stephanie Digital Marketing Specialist Sam Hall Hall Hollingsworth Graphic Designer Gino Publicist Grace Padrón Creative Services Coordinator Gino Campodonico Campodonico Publicist Claudia Tuck Public Relations Coordinator Carmen Rodriguez Marketing and Public Promotions Coordinator Claudia Tuck Relations Coordinator Nicole Smith Marketing Coordinator Alexandra Medina Public Relations Assistant Nicole Smith Marketing Coordinator Nicole Group Sales Assistant Natalia Ortiz Creative Services Coordinator NataliaRodriguez Ortiz Creative Services Coordinator Keidy Group Keidy Diaz Diaz Group Sales Sales Assistant Assistant Operations Natalie Perez e-Marketing Assistant Natalie Perez e-Marketing Assistant Daniel Alzuri Assistant Vice President of Operations

Dean Dorsey Senior Director, Engineering Operations Operations Shawn O’Reilly Director of Security and PublicOperations Safety Daniel Senior Director, Daniel Alzuri Alzuri Senior Director,Manager Operations Alberto Vega Engineering Nick Tigue Senior Engineering Nick Tigue Senior Director, Director, Engineering Dana Gonzalez Executive Assistant toManger the Thomas Engineering Thomas McCoy McCoy Engineering Manger Vice President, Operations Lucy Executive Vice Operations Lucy Hargadon Hargadon Executive Assistant Assistant to to the the Vice President, President, Operations Ashley Perdigon Operations Coordinator Jack Engineer Jack Crespo Crespo Engineer Jack Crespo Engineer Carlos De Engineer CarlosDominguez De la la Torre Torre Engineer Isaac Engineer Isaac Dominguez Engineer Isaac Dominguez Engineer Gabriel Ferrero Engineer Alfredo Horta Engineer Alfredo Horta Engineer Jorge Garcia Engineer Jose Engineer Jose Hurtado Hurtado Engineer Jose Hurtado Engineer Wilner Montina Engineer Wilner Montina Engineer Fernando Leiva Engineer Jimmy Engineer Jimmy Panchana Panchana Engineer Wilner Montina Engineer Xavier Engineer Xavier Ross Ross Engineer Jimmy Panchana Engineer Alberto Engineer Johnny Sweidan Engineer Alberto Vega Vega Engineer Pedro Villalta Engineer Pedro Chief Engineer Pedro Villalta Villalta Engineer

Production Production Production Jeremy Curtis Hodge JeremyV.Shubrook Shubrook Lauren Herman Montero Lauren Acker Acker Janice Lane Morris Janice Beasley Lane Michael Matthews Kim Grose Michael Matthews Andres Melissa Santiago Andres Puigbo Puigbo Melissa Santiago-Keenan Daniel McMenamin Melissa Santiago-Keenan Daniel Daniel McMenamin McMenamin John John Mulvaney John Mulvaney Mulvaney

Director, Production Director, Production Director, Production Technical Director Production Manager Technical Director Technical Director Technical Director Technical Director Technical Director Technical Director Technical Director Technical Director Production Services Manager Technical Director Assistant Technical Director Head Carpenter, Assistant Technical Director Head Ziff Opera House Ziff Ballet Opera House Head Carpenter, Carpenter, Ziff Ballet Ballet Opera House Assistant Carpenter/Head Flyman Assistant Carpenter/Head Flyman, Assistant Carpenter/Head Flyman Ziff Ballet Opera House Ziff Ballet Opera House Ziff Ballet Opera House Ralph Cambon Head Audio Video, Ziff Audio BalletVideo Opera House Ralph Head Technician, Ralph Cambon Cambon Head Audio Video Technician, Michael Matthews Head Electrician, Ziff Ballet Opera House Ziff Opera House Ziff Ballet Ballet Opera House Frederick Schwendel Head Carpenter, Knight Concert HallHall Frederick Schwendel Head Carpenter, Concert Frederick Schwendel HeadVideo,Knight Carpenter, Knight Knight Concert Jared Ullman Head Audio Concert HallHall Michael Feldman Head Audio Video Technician, Michael Feldman Head Audio Video Technician, Tony Tur Head Electrician, Knight Concert HallHall Knight Concert Knight Concert Hall Brandye Bias-Lemont Head Audio Video, Tony Head Knight Concert Hall Tony Tur Tur Head Electrician, Electrician, Knight Concert Hall Carnival Studio Theater Jon Goss Head Electrician, Ziff Ballet Opera House Jon Goss Bryant Electrician, Ziff Ballet Opera House Quanikqua Head Head Electrician, Carnival Studio Theater Luke Head Luke Klingberg Klingberg Head Electrician, Electrician, Studio Studio Theater Theater Ross Head Ross LaBrie LaBrie Head Audio Audio Engineer, Engineer, Studio Studio Theater Theater Programming Jairo Ontiveros Assistant Vice President, Programming Programming Education and Vice Community Engagement Liz Assistant President, Programming Liz Wallace Wallace Assistant Vice President, Programming Ellen Rusconi Senior Director, Programming Ed Director, Programming Ed Limia LimiaBenko Director, Programming Joanne Director, Programming Brian Moore Director, Programming Brian Moore Director, Programming Wendy DeLucca Director of Rental Events Jairo Director, Community Engagement Jairo Ontiveros Ontiveros Director, Education Education and andManager Community Engagement Lakeisha Frith of Education Esther Director, Programming Esther Park Park Director, Programming Yamely Valido Manager of Community Engagement LisaMichelle Eigler Engagement Manager Bridget Stegall Programming Manager LisaMichelle Eigler Engagement Manager Ann Koslow Engagement Manager Jan Engagement Manager AnnMelzer KoslowThomas Engagement Manager Jan Melzer Thomas Engagement Manager Kristen Pieski Engagement Manager Jan Melzer Thomas Engagement Manager Renei Facility Rental Manager Oscar Quesada Manager Renei Suarez Suarez Facility and andProgramming Rental Schedule Schedule Manager Tessa Administrative Programming Manager Christopher Wood Engagement Manager Tessa Schultz Schultz Administrative Programming Manager Albert Campillo Programming Assistant Facility Facility Management Management Performing Arts Facility Management Performing Arts Catering Catering AlliedBarton Spectra Food Services AlliedBarton Pritchard Sports AlliedBarton Pritchard Sports and and Entertainment Entertainment Goldstein Schechter Pritchard andKoch Entertainment Goldstein Sports Schechter Koch

Arsht Center

2018-19 The Cleveland Orchestra

ADRIENNE ARSHT CENTER TRUST PERFORMING ARTS CENTER TRUST, INC. ADRIENNE ARSHT CENTER TRUST Officers of of thethe Board ADRIENNE ARSHT CENTER TRUST Officers Board ADRIENNE ARSHT CENTER TRUST Officers of the Board ADRIENNE ARSHT CENTER TRUST Aileen Ugalde Ira D. Hall Officers of the Board Mike Eidson of Aileen Ugalde Ira D. HallOfficers Chair-Elect OfficersChairman of the the Board Board ADRIENNE ARSHT CENTER TRUST Chairman Aileen Ugalde Ira D. D. Hall Hall Chairman Chair-Elect Aileen Ugalde Ira Matilde Aguirre Richard C. Milstein Alan FeinArriola Aileen Ugalde Ira D. Hall Alan H. Fein Richard C. Milstein J. H. Ricky ChairmanOfficers of the BoardChair-Elect Chair-Elect Chairman Matilde Aguirre Richard C. Milstein Chair-Elect Alan H. FeinChair Treasurer Secretary Immediate Past Chairman Chair-Elect Secretary Immediate Past Chair Matilde Aguirre Richard C. Milstein Alan H. Fein Treasurer Secretary Immediate Past Ira D. Hall Richard Matilde Aguirre C.Greer Milstein Aileen Ugalde Alan H. FeinChair Pierre R. Apollon Evelyn Parker D. Thomson* Matilde Aguirre Richard C. Milstein Alan H. Fein Treasurer Secretary Immediate Past Chair Emery B. Sheer Evelyn Greer Parker D. Thomson Chairman Chair-Elect Treasurer Secretary Immediate Past Chair Pierre R.Treasurer Apollon Evelyn Greer Parker D. Thomson* Assistant Assistant Secretary Founding Chair Treasurer Secretary Immediate Past Chair Treasurer Assistant Secretary Founding Chair Pierre R. Apollon Evelyn Greer Parker D. Matilde Aguirre Richard C.Secretary Milstein Alan Fein Assistant Assistant Founding Chair Pierre R.Treasurer Apollon Evelyn Greer Parker D.H.Thomson* Thomson* Pierre R. Apollon Evelyn Greer Parker D. Thomson* Board of Directors Assistant Treasurer Assistant Secretary Founding Chair Ira D.Treasurer Hall Treasurer Secretary Immediate Past Chair Assistant Assistant Secretary Founding Chair Board of Hillit Directors Assistant Treasurer TreasurerMike Eidson Assistant Secretary Founding Chair Alexander I. Tachmes Meidar-Alfi Christia E.Assistant Alou Board of Beverly Directors Pierre Apollon Laurie Evelyn Greer Parker Carole AnnD.Taylor A. Parker Flink The Honorable J. RickyR.Arriola Alexander I. Thomson* Tachmes Hillit Meidar-Alfi Mike Eidson Christia E. Alou Board of Directors Board of Directors Alexander Tachmes Hillit Meidar-Alfi Mike Eidson Christia E. Alou Assistant Founding Chair Penny Thurer Jorge A. Plasencia Karen The Honorable BendrossCarole AnnI.I.Taylor Beverly A. Parker Laurie Flink The Honorable J. RickyTreasurer Arriola Board ofSecretary Directors Alexander Tachmes Hillit Meidar-Alfi Mike Fryd Eidson Christia E.Assistant AlouDorothy Carole AnnI.Taylor Taylor Beverly A.Plasencia Parker Laurie Flink J. Ricky Ricky Arriola Arriola Alexander Tachmes Hillit Meidar-Alfi Judy Weiser Mike Eidson Kristin Podack Christia E. Alou J. Gordon Penny Thurer Jorge A.A. Karen Fryd TheMindingall Honorable Dorothy Bendross- Seth Carole Ann Beverly Parker Laurie Flink The Honorable The Honorable Gilberto Neves Rosie Gordon-Wallace Matilde Aguirre Board of Directors Penny Thurer Jorge A. Plasencia Karen Fryd Dorothy BendrossCarole Ann Taylor Beverly A. Parker Miles Wilkin Laurie Flink Michael Anthony Remy The Honorable J. Ricky Arriola Gerald Grant, Jr. The Honorable Oscar Braynon II Judy Weiser Kristin Podack Seth Gordon Mindingall Penny Thurer JorgeBeverly A. Plasencia Fryd The Honorable Dorothy Bendross- Karen A. Parker TheJernigan Honorable Pierre R.Brown Judy Kristin Podack Seth Gordon Penny Thurer Jorge A.Robinson Plasencia Lucille Zanghi Karen Fryd D.Meidar-Alfi The Mindingall Honorable BendrossJulia M. Miles Wilkin Michael Anthony Remy Gerald Grant, Jr. Donald L. Graham Neill Oscar Braynon II Kristi Alexander I.Michelle TachmesSpence-Jones Hillit Mike Eidson Christia E.Apollon Alou Dorothy Judy Weiser Weiser Kristin Podack Seth Gordon Mindingall Alexander I. Tachmes Jorge A. Plasencia Javier Hernandez-Lichtl Magalie Desroches Austin Miles Wilkin Michael Anthony Remy Gerald Grant, Jr. Oscar Braynon II Judy Weiser Kristin Podack Seth Gordon Carlos Rosso Mindingall Nathan Leight Adrianne Cohen Lucille Zanghi Neill D. Robinson Kristi Jernigan Julia M. Brown Carole Ann Taylor Beverly A. Parker Laurie Flink The Honorable J. Ricky Arriola Miles Wilkin Michael Anthony Remy Gerald Grant, TheHonorable HonorableOscar Oscar Braynon Braynon IIII Carole Pollak James HerronJr. The LucilleWilkin Zanghi Ann Taylor NeillAbigail D. Robinson Kristi Jernigan Julia M. Brown Brown Miles Michael Anthony Remy Gerald Grant, Jr. Mario Ernesto Sanchez OscarM.Braynon II Florene Litthcut Nichols The Honorable Audrey Edmonson Carlos Nathan Leight Adrianne Cohen Penny Thurer Jorge A.Rosso Plasencia Karen Fryd The Honorable Dorothy BendrossLucille Zanghi Neill D. Robinson Kristi Jernigan Julia M. Penny Thurer The Honorable Raquel RegaladoJudy Mitchell KaplanNichols Armando J.Cohen Bucelo, Carlos Rosso Nathan Leight Adrianne LucilleWeiser Zanghi Neill D.Ernesto Robinson Kristi Jernigan Julia M. Brown Mario Sanchez Florene Litthcut The Honorable AudreyJr.M. EdmonsonStanley Podack Seth Gordon Mindingall Carlos Rosso Nathan Leight Adrianne Cohen Emeritus Directors: Arkin*, Stuart Blumberg, James Kristin Herron, I. Stanley Levine*, Parker Thomson*, David Wilson Raul G. Valdes-Fauli Adriana Sabino Hank Klein Robert Furniss-Roe Mario Ernesto Sanchez Florene Litthcut Honorable Audrey M. Edmonson Carlos Rosso Nathan Leight Adrianne Cohen Miles Wilkin Michael Anthony Remy Gerald Grant, Jr.Nichols The Honorable Oscar Braynon II Stanley Mario Ernesto Sanchez Florene Litthcut Nichols The Honorable Audrey M. Edmonson Emeritus Directors: Arkin*, Stuart Blumberg, James Herron, I. Stanley Levine*, Parker Thomson*, David Wilson Judy Weiser Mario Ernesto Sanchez Nathan Leight Felix Garcia Mario Ernesto Sanchez Florene Litthcut Nichols The Honorable Audrey M. Edmonson Lucille Zanghi Neill D. Robinson Kristi Jernigan Julia M. Brown Emeritus Directors: Stanley Arkin*, Stuart Blumberg, James Herron, Stanley Levine*, Levine*, Parker Thomson*, David Wilson Emeritus Directors: Stanley Arkin*, Stuart Blumberg, Herron, I.I. Stanley David Wilson ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OFJames DIRECTORS Miles C. Wilkin TheRosso Honorable Marc D. Parker SarnoffThomson*, Florene Litthcut Nichols The Honorable Rene Garcia Carlos Nathan Leight Adrianne Cohen Emeritus Directors: Stanley Arkin*, Stuart Blumberg, James Herron, I. Stanley Levine*, Parker Thomson*, David Wilson ADRIENNE ARSHTM.CENTER INC. BOARD OF DIRECTORS Silver Carlos Litthcut C. Lopez-Cantera Sergio M. Gonzalez MarioRonald ErnestoA.Sanchez Florene Nichols The Honorable Audrey EdmonsonFOUNDATION, Adrienne Arsht ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OF DIRECTORS ADRIENNEEmeritus ARSHT Directors: CENTER FOUNDATION, INC. BOARD OF DIRECTORS Stanley Arkin*, Stuart Blumberg, James Herron, Adrienne ArshtI. Stanley Levine*, Parker Thomson*, David Wilson ADRIENNEARSHT ARSHT CENTER FOUNDATION, INC. OF ADRIENNE FOUNDATION, INC.BOARD BOARD OFDIRECTORS DIRECTORS Founding Chairman

Adrienne Arsht Founding AdrienneChairman Arsht Officers of the Board Barlick, Jr. Tony Argiz Robert Founding Chairman AdrienneTony Arsht RichardJr.E. Schatz Officers of the Board Adrienne Arsht Argiz Robert Barlick, Officers of the Chairman Treasurer Officers ofChairman the Board Board Founding Chairman Chairman Tony Argiz Robert Barlick, Jr. Founding Chairman Treasurer Tony Argiz Robert Barlick, Jr. Nancy Batchelor Swanee DiMare Andrea Guerreri Robert Ira D. Hall** David Rocker Tony Argiz Barlick, Jr. Chairman Treasurer Nancy Batchelor Ronald Esserman Frances A. Sevilla-Sacasa Jason Williams Chairman Treasurer Officers of the Board Nancy Batchelor Swanee DiMare Andrea Guerreri Ira D. Hall** David Sevilla-Sacasa Rocker Trish Bell Ronald Esserman Jeff Haines Jim Kaufman Frances Aldrich Chairman Treasurer Swanee DiMare David Rocker Sherwood M. Weiser* Nancy Batchelor Swanee DiMare Andrea Guerreri Ira D. Hall** David Trish Bell Ronald Esserman Jeff Haines Jim Kaufman Frances AldrichRocker Sevilla-Sacasa Tony Argiz Andrea Lee E. Batchelor Caplin Kimberly Green Eric Johnson Nancy Swanee DiMare GuerreriRobert Barlick, Ira D.Jr. Hall** David Rocker **Ex Officio Nancy SwaneeEsserman DiMare Andrea Guerreri Ira D. Hall** Bell Ronald Jeff Haines Jim Kaufman Frances Aldrich Sevilla-Sacasa LeeTrish E.Batchelor Caplin Kimberly Green Eric Trish Bell Ronald Esserman JeffJohnson Haines Jim Kaufman Frances David AldrichRocker Sevilla-Sacasa Chairman Treasurer **Ex Officio RESIDENT COMPANIES ALLIANCE Trish Bell Ronald Esserman Jeff Haines Jim Kaufman Frances Aldrich Sevilla-Sacasa Officers the Board Adrienne Arsht Founding Chairman ADRIENNE ARSHT CENTER FOUNDATION, INC. BOARD OFof DIRECTORS Officers of the Board Founding Chairman

Lee E. Caplin Kimberly Green Eric RESIDENT **Ex Officio Officio LeeCOMPANIES E.Batchelor Caplin ALLIANCESwanee KimberlyDiMare Green Eric Johnson Johnson **Ex Nancy Andrea Guerreri RockerEsq. Lee COMPANIES E. Caplin Kimberly Eric Johnson RESIDENT ALLIANCE **Ex Officio Aaron David S. Podhurst, Robert F. Hudson,IraJr.D. Hall** JeromeGreen J. Cohen Sheldon Anderson Trish Bell Ronald Esserman Jeff HainesDaryl JimL. Kaufman Frances Aldrich Sevilla-Sacasa Richard E. Schatz George Lindemann Jerrold F. Goodman * M. Anthony Burns Sheldon Anderson RESIDENT COMPANIES ALLIANCE Charles Porter L. Jones Stanley Cohen Adrienne Arsht RESIDENT ALLIANCE E.COMPANIES Caplin Kimberly Eric JohnsonEdie Sherry Spalding-Fardie C. L.Lopez-Cantera Rose Ellen Donald Carlin * T.Green Adrienne Arsht Richard E. Schatz**Ex Officio George Lindemann Jerrold F. Greene Goodman * LaquerCarlos M. Anthony Burns Sheldon Anderson RESIDENT COMPANIES ALLIANCE Jane A. Robinson Susan Danis Diane deLee Vries Ashley Richard E. Schatz George Lindemann Jerrold Goodman M. Burns Sheldon Anderson Robert Pedro A.C.L. Martin, Esq. Arthur J. F.F.Halleran, Jr.** E. Lefton Jerome J.Carlin Cohen Diane deT. Vries Sherry Carlos Lopez-Cantera Rose Ellen GreeneDonald Donald *J. Davis Adrienne ArshtAshley Richard E.H.Spalding-Fardie Schatz Nancy Richard E.Traurig, Schatz Esq.* Robert Barlick, Jr. George L. Lindemann Jerrold Goodman M. Anthony Anthony Burns Sheldon Anderson Sherry Spalding-Fardie Carlos C. Lopez-Cantera Rose Ellen Greene Donald Carlin * Adrienne Arsht Richard E.M.Traurig, Schatz George L. Lindemann Sherwood WeiserEsq.* * Jerrold F. Goodman * Arlene Mendelson M. Anthony Burns Howard Herring Sheldon Anderson Stanley Cohen Robert T. Barlick, Jr. Robert H. Pedro A. Martin, Esq. Arthur J. Halleran, Jr. Jerome J. Cohen Diane de Vries Ashley RESIDENT COMPANIES ALLIANCE Sherry Spalding-Fardie Donald Carlin * Esserman Rose Ellen GreeneRhoda LevittCarlos C. Lopez-Cantera Sherry Adrienne Arsht Spalding-Fardie Ronald Fred Berens Robert H. Traurig, Esq.* PedroOren A. Martin, Esq. ArthurEllen J.Hudson, Halleran, Jr.* L. Lindemann Jerome J. Cohen Cohen Diane deT. Barlick, Vries Ashley Sherry Spalding-Fardie Carlos C.Mendelson Lopez-Cantera Lynn Wolfson* Rose GreeneJr. Nedra Donald Carlin *Feldenkreis Robert F.J. Adrienne Arsht Ashley Susan T. Danis Fred Berens Sherwood M. Weiser * Arlene Howard Herring Stanley Cohen Robert Jr. Robert H. Traurig, Esq.* Pedro A. Martin, Esq. Arthur Halleran, Jr. Jerome J. Diane de Vries Robert H. Traurig, Esq. George Oscar Sia Bozorgi Sherwood M. Weiser ** Arlene Mendelson Howard Herring Stanley Cohen Robert T. Barlick, Jr. Robert H. Esq.* Pedro Arthur Halleran, J.George DavidA. Peña, Esq.Esq. Jerome J.Danis Cohen L. J.F.Jones Diane deT.Braman Vries Ashley Nancy J.T.Davis Sia Bozorgi Lynn Wolfson* Nedra Oren Robert Hudson, Jr.Jr. Susan Fred Berens Richard E. Traurig, Schatz L.Martin, Lindemann Jerrold GoodmanCarlos * * C. Lopez-Cantera M. Anthony BurnsGardiner Daryl Sheldon Anderson Sherwood M. Weiser Arlene Mendelson Howard Herring Stanley Cohen Robert Barlick, Jr. Sherwood M. Weiser* Pamela Norman Lynn Wolfson* Nedra Oren Robert F. Hudson, Jr. * Susan T. Danis Fred Berens Sherwood M. Weiser * Arlene Mendelson *deceased Howard Herring Aaron S. Podhurst, Esq. Stanley Cohen Edie Laquer Robert T. Barlick, Jr. Ronald Esserman Norman Braman J. David Peña, Esq. Daryl L. Jones Nancy J. Davis Sia Bozorgi Sherry Spalding-Fardie Carlos C. Lopez-Cantera Rose Ellen Greene Donald Carlin * Adrienne Arsht Lynn Wolfson* NedraEsq. Oren Jr. * A. Martin, Susan T.Jerrold Danis F. Goodman Robert F. Hudson,Pedro Fred Berens Lynn Wolfson Sheila Broser J. Peña, Esq. Daryl L. Nancy Davis Sia Lynn Wolfson* Nedra Oren Robert Hudson, Jr.Jr.* Charles Porter Susan T.J. Danis Donald Lefton Fred Berens Oscar Sheila Broser *deceased Aaron Podhurst, Edie Ronald Norman Braman Robert H. Traurig, Esq.* Pedro A.S. Martin, Esq.Esq. Arthur J.F.Jones Halleran, Jerome J.Rose Cohen Diane de Vries Ashley J. David David Peña, Esq. DarylLaquer L.E. Jones NancyFeldenkreis J.Esserman Davis Sia Bozorgi Bozorgi Arlene Mendelson Ellen Greene Robert S. Brunn *deceased Aaron S. Podhurst, Esq. Edie Laquer Laquer RonaldFeldenkreis Esserman Norman Braman J. David Peña, Esq. Esq. Daryl L.E.Herring Jones Jane A. S. Robinson Nancy J.Gardiner Davis Rhoda Levitt Sia Bozorgi Pamela Robert S.Broser Charles Porter Donald Lefton Oscar Sheila Sherwood M. *deceased Weiser * Arlene Mendelson Howard Stanley Cohen Robert T. Brunn Barlick, Jr. Aaron Podhurst, Edie Ronald Esserman Norman Braman *deceased Nedra Arthur M.Fred Anthony Burns Charles Donald E. Lefton Oscar Sheila Broser Aaron S.Porter Podhurst, Esq. Edie Ronald Norman Jane A.Oren Robinson RhodaLaquer PamelaFeldenkreis Gardiner Robert S.Braman Brunn Lynn Wolfson**deceased F.Levitt * Oren Nedra Susan T.Esserman Danis J. Halleran, Jr.Robert Berens Charles Porter Donald E.Hudson, Lefton J.Jr.David Oscar Feldenkreis Sheila Broser Peña, Esq. Howard Herring Donald Carlin* Jane A. Robinson Rhoda Levitt Pamela Gardiner Robert S. Brunn Charles Porter Donald E. Lefton Oscar Feldenkreis Sheila Broser J. David Peña, Esq. Daryl L. Jones Nancy J. Davis Sia Bozorgi Jane A. Robinson Rhoda Levitt Pamela Gardiner Robert S. Brunn Carlos A. Gimenez Jane A.S.Robinson Rhoda Levitt PamelaEsserman Gardiner Robert S.Braman Brunn *deceased Aaron Podhurst, Esq. Edie Laquer Ronald Norman CarlosMayor A. Gimenez Charles Porter Donald E. Lefton Oscar Feldenkreis Sheila Broser Carlos A. Gimenez Carlos A. Gimenez A. Jane A. Robinson Rhoda LevittCarlos Pamela Gardiner Robert S. Brunn CarlosMayor A. Gimenez Gimenez

MIAMI-DADE BOARD OFMayor COUNTY Mayor COMMISSIONERS MIAMI-DADE BOARD OFMayor COUNTY COMMISSIONERS Mayor Carlos A. GimenezCOMMISSIONERS MIAMI-DADE COUNTY COMMISSIONERS MIAMI-DADEBOARD BOARDOF OFCOUNTY COUNTY COMMISSIONERS MIAMI-DADE Audrey M. Edmonson Rebeca Sosa MIAMI-DADE BOARD BOARD OF OF COUNTY COMMISSIONERS Mayor Audrey M. Edmonson Rebeca Sosa Chairwoman Vice Chairwoman Audrey M. Edmonson Rebeca Sosa Rebeca Sosa Lynda Bell Audrey M. MIAMI-DADE Edmonson Rebeca Sosa BOARD OF COUNTY COMMISSIONERS Chairwoman Vice Chairwoman Audrey M. Edmonson Rebeca Sosa Eileen Higgins Chairwoman Vice Chairwoman Chairwoman Vice Chairwoman Chairwoman Vice Chairwoman Eileen Higgins Chairwoman Vice Chairwoman District 5 BarbaraAudrey J. Jordan Sen. Javier M. Edmonson Eileen Rebeca Sosa D. Souto Higgins District 5 Eileen Higgins Bruno A. Barreiro Barbara J. Jordan Sen.District Javier D. District 1Chairwoman 10 Souto Rebeca Sosa Eileen Higgins Vice Chairwoman District 5 Barbara J. Jordan Sen. Javier D. District 55 District 1 District 10Souto District Barbara Jordan Sen. Javier D. Souto Rebeca Sosa Barbara J. Jordan Sen. Javier D. Souto District 6 Jean Monestime Joe A. Martinez District 5 Barbara J. Jordan Sen. Javier D. District 1 District 10Souto Rebeca Sosa Eileen Higgins District 1 District 10 District 6 Rebeca Sosa District District 10 Jean Monestime Joe A. Martinez Rebeca Sosa District 21 District 11 Xavier L. Suarez District District 10 Rebeca DistrictSosa Jean Monestime Joe A. District 56 Barbara J. Jordan Sen. D.11 Souto 66 2 District JeanDistrict Monestime JoeJavier A. Martinez Martinez Xavier L. Suarez District Jean Monestime Juan C. Zapata District 7 Audrey M. Edmonson José “Pepe” Diaz District 6 Jean Monestime Joe A. Martinez District 12 2 District 10 11 Xavier L. District District Rebeca Sosa 11 District 7 Cava Xavier L.L.Suarez Suarez Audrey M. Edmonson José “Pepe” District 2 District 11 Xavier Suarez District 32 District 12 Daniella Levine District District 11Diaz Xavier L. Suarez District 7 Audrey M. Edmonson José “Pepe” District 6 Jean Monestime Joe A. Martinez 7 District 3 District 12Diaz Audrey M. Edmonson José “Pepe” Diaz Daniella Levine Cava District 7 District 8 Audrey M. Edmonson José “Pepe” Diaz SallyDistrict A. Heyman Esteban L. Bovo, District 7 Audrey M. Edmonson José “Pepe” Diaz 3 District 11 12 Jr. Daniella Levine District District Xavier L. 12 District 8 Cava Daniella Levine Cava Sally A. Heyman Esteban L. Bovo, District District District 423 District 13 Lynda Bell Dennis C.Suarez Moss District 3 District 12 12Jr. Daniella Levine Cava District 8 Sally A. Heyman Esteban L. Bovo, District 78 Audrey M. Edmonson JoséDistrict “Pepe” DiazJr. 4 13 SallyDistrict A. Heyman Heyman Esteban L. Bovo, Jr.Jr. Dennis C. 9Moss District District District 88 Sally A. Esteban Bovo, Sally Heyman Esteban L. Bovo, Jr. District 4 District 13 Dennis C. Moss Moss District 34 District 12 Daniella Levine Cava 13 District 9 Dennis C. District District 13 District 4 District 13 Dennis C.Moss Moss Dennis C. District 9 Harvey Ruvin Pedro J. Garcia Abigail Price-Williams District 8 Sally A. Heyman Esteban L. Bovo, Jr. 9 District 99 District Harvey Ruvin Pedro J. Garcia Abigail Price-Williams Clerk of Courts Property Appraiser County Attorney District 4 District 13 DennisJ. C.Garcia Moss Harvey Ruvin Pedro Abigail Price-Williams Harvey Ruvin Pedro J. Garcia Abigail Price-Williams Clerk of Courts Property Appraiser County Attorney Harvey Ruvin Pedro J. Garcia Abigail Price-Williams District 9 Harvey Carlos Lopez-Cantera Robert A. Cuevas Jr. Clerk of Courts Property Appraiser County Attorney Clerk of Courts Property Appraiser County Attorney Clerk of Courts Courts Property County Attorney PLAYBILL Clerk of Property Appraiser County Attorney Harvey Ruvin Pedro J.Appraiser Garcia Abigail Price-Williams

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The Cleveland Orchestra 2018-19

Arsht Center

THE

CLEVELAND ORCHESTRA IN MIAMI

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2018-19 The Cleveland Orchestra