The Cleveland Orchestra January 2019

COMIC OPERA BY

RICHARD STRAUSS

THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST JANUARY 2O19 — SEVERANCE HALL

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THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

2O18 SEASON 2O19

Welcome . . . . . . . . . . . . . . . . . . . . . . . . page 7 WEEK 12 — January 13, 17, 19 Ariadne auf Naxos . . . . . . . . . . . . page 12 WEEK 12a — January 18 Mozart & Strauss . . . . . . . . . . . . . . page 63

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THE CLEVELAND ORCHESTRA

PROGRAM BOOK

OF

CONTENTS

Week

2O18 SEASON 2O19

12 a

About the Orchestra

PAGE

TA B L E

Perspectives from the President & CEO . . . . . . . . . 7 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 9 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 About The Cleveland Orchestra . . . . . . . . . . . . . . . 89 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Copyrightt © 2019 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

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ARIADNE AUF NAXOS Week 12: January 13, 17, 19 . . . . . . . . . . . . . . . . . . . 12 Introducing the Opera . . . . . . . . . . . . . . . . . . . . . . . . 17 Who’s Ariadne? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

From the Directorr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Q&A with Franz Welser-Möstt . . . . . . . . . . . . . . . . . . .

18 21 22 25

About the Composer: Richard Strauss . . . . . . . . . . . 29 About the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Music Director: Franz Welser-Möst . . . . . . . . . . . . . 41 Opera Castt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

NEWS

Cleveland Orchestra News . . . . . . . . . 55

MOZART AND STRAUSS Week 12a: January 18. . . . . . . . . . . . . . . . . . . . . . . . . 63 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 65

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

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

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

MOZART

Divertimento in B-flat major, K287 . . . . . . . . . . . 67 50%

STRAUSS

Sonatina No. 2 (for winds) . . . . . . . . . . . . . . . . . . . 71

Support Annual Support Individuals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Foundations/Government . . . . . . . . . . . . . . . . . .

Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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This program is printed on paper that includes 50% recycled content.

All unused books are recycled as part of the Orchestra’s regular business recycling program.

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

74 82 83 85 96

Table of Contents

The Cleveland Orchestra

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Perspectives January 2019 Welcome to the New Year. In these opening weeks of 2019, we showcase The Cleveland Orchestra with two unique programs. First comes this season’s opera, a brand-new made-for-Cleveland production of Richard Strauss’s Ariadne auf Naxos. We also offer a special program featuring two extended chamber works, one by Strauss and one by Mozart. Both programs highlight some of this Orchestra’s unique artisAndré Gremillet tic strengths: unrivalled playing, an extraordinary collaborative spirit, and an intense passion to communicate through music’s ability to enhance human understanding. The opera tells a story, and at the same time reveals the many personal stories of its characters and creators. And, in a very different way, the concert works by Mozart and Strauss similarly give us new perspectives on being human.

Joining with Franz Welser-Möst for Ariadne auf Naxos is a creative team led by stage director Frederic Wake-Walker and an international cast of singers for the opera’s many, varied, and entertaining roles. As Wake-Walker discusses on page 21, our made-for-Cleveland production takes the rather hodge-podge nature of this opera as a given, in which comedy and tragedy are blissfully and blithely mixed together, and jealous artists furiously fight for the limelight. From this, his team builds a production designed to illuminate the universality of the human interactions played out onstage and off. As audience members, we are sure to find the interplay of music and message, of art and artifice, to be both funny and rewarding — and the kind of singularly moving musical experience that The Cleveland Orchestra is so uniquely capable to perform and present. Ariadne auf Naxos once again demonstrates Franz’s great affinity with and understanding for the music of Richard Strauss; this is the fifth Strauss opera he has led here as music director — joining with earlier presentations of Elekk tra (2004), Der Rosenkavalier (2007), Salomé (2012), and Daphne (2015).

The Cleveland Orchestra has a long history of performing operas, dating back almost to the ensemble’s founding a hundred years ago. It is only under Franz’s leadership, however, during the past decade and a half, that we have made a sustained commitment to featuring an opera as part of each Severance Hall season. As Franz discusses in the Q&A on pages 25-26 of this program book, he believes — and has ably demonstrated — how presenting opera on a regular basis, and performing a series and sequence of varied masterpieces, continues to enhance and strengthen The Cleveland Orchestra’s already-renowned artistry.

Opera pushes these musicians artistically, individually and as an ensemble, and raises the bar at each concert, offering truly special experiences for the Northeast Ohio community.

Such unique presentations also focus new levels of international attention on the incredible vitality of and depth within the Welser-Möst/Cleveland Orchestra partnership.

We have also learned over the years how significant the resources needed for opera can be, requiring more time, funds, and planning than a regular week of concerts. With the generosity of many of you, we have presented a variety of approaches to our operatic offerings. With some, like this year’s Ariadne, we have chosen to invest in theatrical resources, to continues

Severance Hall 2018-19

From the President

7

continued

enhance and amplify the experience. While other operas can be equally — or possibly more — compelling as stand-alone in-concert presentations and/or as part of a larger festival, as we did with last year’s performances of Wagner’s Tristan and Isolde.

We continue to take tremendous pride in our opera offerings and remain committed to exposing more people in Cleveland and around the world to the extraordinary experience of The Cleveland Orchestra playing opera under Franz’s leadership.

Performing opera is one of the ways that we are working to refine and define The Cleveland Orchestra’s relevance in the 21st century. I hope you share in our passion for this singular art form and appreciate the exceptional planning and preparation, the efforts and effects required for these extraordinarily moving musical experiences. Thank you for your ongoing interest, enthusiasm, and support.

André Gremillet President & CEO P. S. To learn more about The Cleveland Orchestra’s history (in opera and other matters), please visit displays in the Humphrey Green Room or MagicBox exhibit case outside the Concert Hall, or visit our archives online at clevelandorchestra.com.

History. Music. Community. Silver Hall Concert Series.

Case Western Reserve University presents 19 community concerts at one of the city’s most historic landmarks—The Milton and Tamar Maltz Performing Arts Center at the Temple-Tifereth Israel.

Now through May 2019 Reserve your free tickets at case.edu/maltzcenter/silverhallseries or email mpacinfo@case.edu

8

From the President

The Cleveland Orchestra

MUSICAL ARTS ASSOCIATION

as of January 2 O19

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival OFFICERS AND EXECUTIVE COMMITTEE Richard K. Smucker, Chair André Gremillet, President & CEO Dennis W. LaBarre, Immediate Past Chair Richard J. Bogomolny Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz RESIDENT TRUSTEES Robin Blossom Richard J. Bogomolny Yuval Brisker Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert Glick Robert K. Gudbranson Iris Harvie Dee Haslam Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Betsy Juliano

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

Douglas A. Kern Virginia M. Lindseth Nancy W. McCann Larry Pollock Alfred M. Rankin, Jr.

Audrey Gilbert Ratner Barbara S. Robinson Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr.

Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch Richard Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller Katherine T. O’Neill Larry Pollock Alfred M. Rankin, Jr.

Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner Zoya Reyzis Barbara S. Robinson Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Richard Stovsky Russell Trusso Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort

NATIONAL AND INTERNATIONAL TRUS TEES Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria) Mary Jo Eaton (Florida)

Richard C. Gridley (South Carolina) Herbert Kloiber (Germany) Paul Rose (Mexico)

TRUSTEES EX- OFFICIO Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University

Patricia Sommer, President, Friends of The Cleveland Orchestra Beverly J. Warren, President, Kent State University

TRUSTEES EMERITI George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Raymond T. Sawyer PA S T BOA R D PR E S ID E N T S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

HONORARY TRUSTEE S FOR LIFE Alex Machaskee Gay Cull Addicott Robert P. Madison Charles P. Bolton The Honorable John D. Ong Jeanette Grasselli Brown James S. Reid, Jr. Allen H. Ford Robert W. Gillespie

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

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17

THE CLEVEL AND ORCHESTR A F R A N Z W E L S E R - M Ö S T, Mu sic D irec tor

Severance Hall 2018-19

Musical Arts Association

9

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan Zhan Shu

10

Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Emilio Llinás 2 James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin Chair

Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss 1

1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

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

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra.

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

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

BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia 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

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 § 1

TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

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

Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair

2 S

Associate Principal 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

Severance Hall 2018-19

The Musicians

11

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

M U S I C D I R E C TO R

Severance Hall Sunday afternoon, January 13, 2019, at 4:00 p.m.

Thursday evening, January 17, 2019, at 7:30 p.m.

Saturday evening, January 19, 2019, at 8:00 p.m.

2O18 SEASON 2O19

COMIC OPERA in ONE ACT with PROLOGUE

“ARIADNE ON THE ISLAND OF NAXOS” music by Richard Strauss (1864-1949) libretto by Hugo von Hofmannsthal (1874-1929)

production by Frederic Wake-Walker projection, lighting, and set design by Alexander V. Nichols collage, animation, and video content design

by Dominic Robertson and Lottie Bowater costume design by Jason Southgate hair and makeup design by Mallory Pace with The Cleveland Orchestra conducted by Franz Welser-Möst

Sung in German with projected English supertitles.

Supertitles by Christopher Bergen.

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Concert Program — Week 12

The Cleveland Orchestra

C A S T featuring

Prima Donna / Ariadne . . . . . . . . . . . . . . . . . . . . . . . TAMARA WILSON, soprano Tenor / Bacchus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANDREAS SCHAGER, tenor Zerbinetta (leading lady of the Italian comedians) . . . . . DANIELA FALLY, soprano Composer (pupil of the Music Master) . . . . . . . . . . KATE LINDSEY, mezzo-soprano Major Domo (head of the house staff) . . . . . . . . . WOLFGANG BRENDEL, speaking with

Music Master . . . . . . . . . . . . . . . . . HANNO MÜLLER-BRACHMANN, bass-baritone Dance Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JONAS HACKER, tenor Companions to Ariadne in the opera

Naiad . . . . . . . . . . . . . . . . . . . . . . . . JULIE MATHEVET, soprano Dryad . . . . . . . . . . . . . . . . DARYL FREEDMAN, mezzo-soprano Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . YING FANG, soprano

Players in the troupe of comedians

Harlequin . . . . . . . . . . . . LUDWIG MITTELHAMMER, baritone Scaramuccio . . . . . . . . . . . . . . . . . . . JAMES KRYSHAK, tenor Truffaldino . . . . . . . . . . . . . . . . . ANTHONY SCHNEIDER, bass Brighella . . . . . . . . . . . . . . . . . . . . . MILES MYKKANEN, tenor

and with

Wigmaker . . . . . . . . . . . . . . . . . . FRANCISCO X. PRADO, baritone Lackey (member of the house staff) . . . . . . SHAWN ROTH, baritone An Officer . . . . . . . . . . . . . . . . . . . . . . . . CONOR BRERETON, tenor

Time:

In a time not too long ago, nor too recent, — not quite today, but with only some nostalgia for yesterday.

Place:

At the residence of the richest man in Vienna, and in performance at Severance Hall.

The opera is presented with one intermission.

Saturday’s concert is sponsored by RPM International Inc. The Thursday evening performance is dedicated to Mrs. Norma Lerner and The Lerner Foundation in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

Severance Hall 2018-19

Opera — Ariadne auf Naxos

13

PRODUCTION Franz Welser-Möst, conductor Frederic Wake-Walker, director Alexander V. Nichols, projection, lighting, and set design Dominic Robertson and Lottie Bowater, collage, animation, and video content design Jason Southgate, costume design Mallory Pace, hair and makeup design Rosabel Huguet, assistant director Brett Finley, production stage manager Tracy Hofmann, assistant stage manager Mary Kate Osick, hair and makeup assistant John S. Bukala, technical director Joseph Short, orchestra stage manager Miloš Repický, répétiteur and pianist Vinay Parameswaran, assistant conductor Alicja Basinska, supertitle operator

With special thanks to: NPi Audio Visual Solutions Steinway Piano Gallery Cleveland Vincent Lighting Systems

For The Cleveland Orchestra: Mark Williams, Chief Artistic Officer Julie Kim, Senior Director, Operations and Facilities

THE OPERA

At a Glance Strauss wrote his first version of Ariadne auf Naxos in 1911, working with librettist Hugo von Hofmannsthal. The concept was to create an opera to serve as a third act for (and commentary on) a new production of Molière’s Le Bourgeois gentilhomme [“The Bourgeois Gentleman”] in a new German translation (by Hofmannsthal), for which Strauss was creating some instrumental numbers to serve as incidental music. Premiered on October 25, 1912, in Stuttgart, the production proved unwieldy and confusing, with its length serving as an endurance contest for the audience. (Strauss’s incidental music for the play was based in part on ideas from the Baroque composer Jean-Baptiste Lully, in contrast to the opera itself, where Strauss more closely adhered to his own lush orchestral style. Strauss later created an orchestral suite from the play’s incidental music for concert performance, including actual Lully pieces, reorchestrated, as new movements.)

Over the next several years, Strauss and Hofmannsthal reworked Ariadne auf Naxos to create a self-standing opera consisting of an act (a revised version of their earlier operatic storytelling) preceded

14

by a “backstage prologue,” which introduces the comedians and opera company who are commanded to present their two shows (a comedy and a serious opera) simultaneously. That version — being utilized in this 2019 Cleveland production — was premiered on October 4, 1916 , by the Vienna State Opera.

Ariadne auf Naxos runs about 130 minutes in performance, plus intermission, with 45 minutes for the prologue, and 85 minutes for the ensuing act.

Strauss scored it for an orchestra of 2 flutes, 2 oboes, 2 clarinets (second doubling bass clarinet), 2 bassoons, 2 horns, trumpet, trombone, timpani, percussion (tambourine, triangle, snare drum, bass drum, glockenspiel), 2 harps, piano, celeste, harmonium, and strings (6 violins, 4 violas, 4 cellos, 2 double basses).

The Cleveland Orchestra is presenting the full Ariadne auf Naxos for the first time with these 2019 performances. One aria, “Grossmachtige Prinzessin,” has been presented previously, in 1925 and again in 1969, and the suite of incidental music to the Molière play connected to the opera’s first version has been presented several times since 1935, most recently in 1997 led by Franz Welser-Möst.

Ariadne auf Naxos — Opera

The Cleveland Orchestra

Their worlds.

Their way.

Two exhibitions. One price.

Renaissance Splendor: Catherine de’ Medici’s Valois Tapestries

Georgia O’Keeffe: Living Modern

NOW OPEN

NOW OPEN

The Uffizi Galleries and the Cleveland Museum of Art are profoundly grateful to Friends of the Uffizi and their major benefactor, Mrs. Veronica Atkins, for their generous support of the restoration of the Valois Tapestrie

Georgia O’Keeffe: Living Modern is organized by the Brooklyn Museum with guest curator Wanda M. Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University and made possible by the National Endowment for the Arts.

PRESENTING SPONSORS Joyce and Bill Litzler Textile Art Alliance

PRESENTING SPONSORS Brenda and Marshall Brown Cheryl L. and David E. Jerome

SUPPORTING SPONSORS A Gift in Memory of Emma Lincoln Mrs. Joseph T. Zingale

ClevelandArt.org

Portrait of Catherine de’ Medici (detail), c. 1547–59. Germain Le Mannier (French, active c. 1537–59).

Oil on canvas; 212 x 118 x 9 cm. Gallerie degli Uffizi, Galleria Palatina di Palazzo Pitti, deposit, Florence, 1890, n. 2448 Georgia O’Keeffe e (detail), c. 1920–22. Alfred Stieglitz (American, 1864–1946). Gelatin silver print; 11.4 x 9 cm.

Georgia O’Keeffe Museum, Santa Fe, NM, Gift of the Georgia O’Keeffe Foundation, 2003.01.006

SUPPORTING SPONSORS Cindy and Dale Brogan Tim O’Brien and Breck Platner Anne H. Weil

MEDIA SPONSOR

January 13, 17, 19 OPE RA PE RFORMANCE S Restaurant opens: SUN 1:00 THUR 4:30 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: SUN 4:00 THUR 7:30 SAT 8:00

Severance Restaurant Reservations (suggested) for dining:

216-231-7373 or via www.UseRESO.com

C O N C E R T P R E V I E W in Reinberger Chamber Hall

“Ariadne auf Naxos: Tragedy or Comedy?” with Bryan Gilliam of Duke University (January 13) or Rose Breckenridge, Cleveland Orchestra Music Study Groups (January 17 and 19)

PROLOGUE Preparations Offstage (45 minutes)

More About . . .

INTERMISSION (25 minutes)

ACT The Performance (85 minutes)

begins on page

Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Cast and Production Team . . . . . . . . . . . . . . . . 12 About Ariadne . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 About the Characters . . . . . . . . . . . . . . . . . . . . . 19 Director’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Conductor’s Q&A . . . . . . . . . . . . . . . . . . . . . . . . . 25 About the Composer . . . . . . . . . . . . . . . . . . . . . 29 About the Opera . . . . . . . . . . . . . . . . . . . . . . . . . 33 Performers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Opera and The Cleveland Orchestra . . . . . . . 94

Duration times shown for musical pieces (and intermission) are approximate.

Concert ends: (approx.)

SUN 6:35 THUR 10:05 SAT 10:35

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Opus Lounge This season, stop by our newlyredecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE OPERA

Love, Life, Comedy& Opera O P E R A A S A N A R T F O R M is, obviously, a type of theater, yet

some operas are certainly more theatrical than others. Richard Strauss’s Ariadne auf Naxos is one of these, with an onstage drama built in as part of the action. In the prologue, we see preparations for the performance of a new opera. And, suffice it to say, everything performan is nott going according to plan. Human folly, jealousy, ineeptitude, and petty disagreements get in the way.

Which, as audience members, is all to our benefit, as W the comedy grows and grows. After intermission, the new opera is premiered, greatly (or artfully?) compromised by the disturbances and quarrels we have already witnessed.

As stage director Frederic Wake-Walker disscusses in his comments (page 21), this made-forCleveland production builds on the inherent juxtapositions of right and wrong, good and bad, ridiculous position and sublime — and mixes in references to Severance Hall and other familiar visualizations, to keep us thinking and entertained. Franz Welser-Möst, one of the world’s foremost Strauss conductors, leads these Cleveland Orchestra performances — and discusses his views on Strauss, opera, and our Orchestra’s operatic artistry (pages 25-26).

Elsewhere in this book, you can also read about Strauss himself (page 29), and about how such an oddly funny and at times awkwardly human opera as Ariadne came to be created (page 33). Its birth was itself the combining of different ideas — and the first version was something like a flop, caused by a general lack of understanding. So, Strauss and his librettist rethought and reworked it all over again.

Additionally in this book, there’s a kind of “who’s who” guide to the characters (page 19), followed by both a short and long synopsis (pages 22-23). Evenso, be forewarned that things get a little hectic onstage. Tempers flare, artists despair, suitors serenade and woo their love interests, gods become mortal, and life looks both bleak and pretty darn good. Laugh, ponder, and enjoy!

—Eric Sellen Above: An ancient Greek plate showing Bacchus and Ariadne joined by Eros, the god of love.

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Introducing the Opera

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Com ic E ffec t

Commedia dell’arte

s er ious a rt

Who is Ariadne? and what is she doing on the island of Naxos?!

Ariadne is a woman from ancient Greek storytelling and mythology.

She was born daughter to Minos, the King of Crete. As a young woman, she helps Theseus, son of King Aegeus, kill the menacing Minotaur. She had fallen in love with Theseus at first sight, and, once he manages to find his way back out of the Labyrinth (where many before him had lost their way and died or been trapped), the couple decide to elope. Together, they settle on Naxos, a small barren island in the Aegean Sea. There, however, Theseus soon tires of Ariadne. He departs, abandoning her and leaving her in the company of her three attendant nymphs: Naiad, Dryad, and Echo. Ariadne longs for nothing but death. When Bacchus (Dionysus in Greek mythology) stops at the island, he falls in love with Ariadne and they are married. Ariadne bears him many children.

Commedia dell’arte was an early form of professional theater, originating from Italy, and having great popularity across Europe from the 16th and on up into the 19th centuries. A set of common or stock characters was developed, with these stereotypes placed in a variety of recurring situations to produce comic juxtapositions — involving love, jealousy, heroism, rescue, stupidity, indifference, etc. — and often featuring the physical comedy of pratfalls or disasters averted through choregraphed split-second timing. Improvised situations were often incorporated that might draw on local stories or members of the audience.

Commedia dell’arte is also known as commedia alla maschera, commedia improvviso, and commedia dell’arte all’improvviso. Infused with human foibles and follies, some of the form’s older stereotypes can feel as problematic for today’s audiences as is blackface in American minstrel show traditions or certain sexist characters in British pantomime.

Above: “Ariadne on the island of Naxos” by the British painter Evelyn De Morgan, 1877.

At right: 19th century illustration of Harlequin.

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About the Opera

The Cleveland Orchestra

charac ter s and ro les . . .

A few details about . . .

THE HOUSEHOLD

RICHEST MAN — the richest person in Vienna, owner of the mansion, never seen or heard; he has requested that the opera company and comedy troupe perform for his guests (after dinner but before the evening’s closing fireworks display)

Richest Man (unseen) Major Domo Lackey Officer Guests

MAJOR DOMO — oversees the rich man’s mansion; he is a pompous yes-man who couldn’t care less about art or music; he is supposedly tone-deaf and Strauss thus chose to have him played by an actor (not a singer)

OPERA COMPANY

PRIMA DONNA — leading soprano for the opera company, egotistical and self-absorbed, she portrays the role of the Greek princess Ariadne, whose lover (Theseus) abandoned her on the island of Naxos

Prima Donna / Ariadne Tenor / Bacchus Composer Music Master Naiad Dryad Nymphs Echo Wigmaker

TENOR — quick-tempered but perhaps dull-witted, who plays Bacchus, the god of wine, in the Composer’s opera COMPOSER — an idealistic, impatient, emotional young genius who deplores the frivolity and vulgarity of the world; because he is very young, he is played by a woman to give him a higher voice MUSIC MASTER — the Composer’s teacher; older, wiser, and much more practical-minded NYMPHS — Ariadne’s only companions on Naxos; Naiad is a water spirit, Dryad a forest spirit, and Echo is, quite literally, an echo

THE COMEDIANS Dancing Master Zerbinetta Harlequin (a.k.a. Arlecchino) Scaramuccio Truffaldino Comics Brighella

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DANCING MASTER — a sly producer of fun-filled, silly Italian comedies ZERBINETTA — a sexy and flirtatious actress who stars in the Dancing Master’s shows; Strauss uses the role’s fiery soprano voice to grab attention HARLEQUIN — a likeable, lovesick clown THE COMICS — this trio of comic actors form a quartet of characters with Harlequin, performing comedic bits around and with Zerbinetta

About the Opera

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politics and practicalities A R I A D N E AU F N A XO S is an opera about opera — the highs

and lows, the artistic dreams and the harsh realities. It is about a theater, full of egos and eccentrics, divine divas, and clumsy clowns, backstage intrigue and last-minute rehearsals. Yet ultimately, it is about how opera is able to transcend politics and practicalities — and transport us to the land of the gods.

When building a new production, I am always keen to think about the context within which I’m working. It is therefore little surprise that Severance Hall itself quickly came to play such a major inspiration for our production of Ariadne. To me, the architecture and interior design of this specc tacular building seemed, almost from first arrival, to be the very physical representation of Strauss’s music. This realization led to specific results. Our version of Ariadne’s wedding dress costume, for example, is directly inspired by the interior pattern of the Concert Hall ceiling — referring to the apparently apocryphal (but romantically wonderful) story that the Concert Hall’s pattern design was itself inspired by Mrs. Severance’s wedding dress. In turn, Zerbinetta’s Cleopatra costume is inspired by the neo-Egyptian ideas and inferences of Severance’s Grand Foyer. And . . . so on.

from the director

Our production is a collage of the profound and the profane — bringing together the mythological with the popular. The opera is such a glorious combination of so many different musical styles, mirroring the main kernel of a storyline propelled by the command that comedy and tragedy must be performed together. This assemblage of disparate elements led me to the idea of working with my dear colleagues Dominic Robertson and Lottie Bowater on creating a filmed collage to accompany the producc tion. We have drawn together images from the silent movie era, comedy including classics such as the Marx Brothers, Charlie Chaplin, and Buster Keaton, and added in constructed footage highlighting Severance Hall’s detail and beauty.

Studying Ariadne auf Naxos, I find that there are so many multiple and opposing layers to this work, so much sincerity and irony, so much nostalgia and yet the characters also feel so very contemporary. Thus, I felt the need to create a production that overwhelms the senses while allowing for everyone to find their own path or meaning within this multi-faceted work.

Ultimately, everything I do is intended and designed to serve the music. And what an incredible joy and honour it has been to serve this music, c, when it is being played and performed by surely the greatest conductor, orchestra, and cast of singers for this piece in the world today.

—Frederic Wake-Walker, r January 2019

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About the Production

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ARIADNE AUF NAXOS

“ARIADNE ON THE ISLAND OF NAXOS”

STORYLINE The Story IN BRIEF

A troupe of clown-comedians (driven by humor, antics, and interaction) and an opera company (premiering a serious new work) are forced to share the stage together and present their entertainments simultaneously — so as not to interfere with an after-dinner fireworks display scheduled for precisely nine o’clock. The Composer is distraught, but enchanted by the comedy troupe’s flirtatious Zerbinetta. Zerbinetta interacts with Ariadne (played by the opera company’s prima donna), who is weeping for lost love and longing for death.

Zerbinetta suggests that the only antidote is another lover — and the worldly Bacchus arrives just in time. After exchanging arias, he and Ariadne gather themselves for ever-after happiness. The two troupes, having wildly misinterpreted one another’s art (and intentions), have nonetheless discovered commonality in human realities and hopes, dreams and desires.

SYNOPSIS Prelude Preparations Offstage At the mansion of the richest man in Vienna, two theatrical troupes are preparing to present their musical entertainments immediately following the lavish

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evening dinner. One troupe is a group of opera singers employed to perform a brand-new serious opera about the legend of Ariadne on the Island of Naxos — written by a young Composer. The other is a commedia dell’arte troupe led by the high-spirited comedienne Zerbinetta.

The Major-Domo announces the order of events for the evening: dinner, followed by the opera, then the comedy, after which the night ends with fireworks in the garden. There begins an ongoing quarrel over which performance should be presented first. The Composer arrives, hoping for one last rehearsal. Unfortunately, many of the orchestral musicians are unavailable, as they are inside playing music at dinner.

The opera’s tenor bursts out of his dressing room, arguing about the wig that he is to wear. Meanwhile, the opera’s Prima Donna complains about the comedy troupe’s leading lady, Zerbinetta.

To add to the growing tumult, the Major-Domo returns to say that dinner for the assembled guests has run longer than planned and, therefore, the serious and comedic performances must take place at the same time. The live entertainment must not run one minute later than scheduled, because the fireworks must start exactly at nine o’clock.

The impetuous Composer refuses to discuss making changes to his opera

Ariadne auf Naxos: Synopsis

The Cleveland Orchestra

— although he continues to find random inspiration toward writing new arias. His teacher, the Music Master, points out that everyone’s pay depends on accepting the situation, and counsels him to accept the new terms.

The cast of the opera seria maneuver against one another, each demanding that their own roles remain intact — but that time be saved by cutting the other performers’ parts. The Dance Master suggests adding Zerbinetta into the opera’s plot, which she understands and explains from her own unique perspective. She flirts shamelessly with the Composer, who is enchanted and eventually agrees to revise the opera. After writing a new ending, the Composer realizes that he has sullied his own art and leaves in despair.

INTERMISSION

Act 1

The Performance

The curtain rises on Ariadne abandoned by her former lover, Theseus, on the desert island of Naxos. Her only companions are three nymphs: Naiad, Dryad, and Echo. Ariadne bemoans her fate, mourns her lost love, and longs for death.

Zerbinetta and her troupe arrive. Each of the four comedians tries to cheer Ariadne by singing and dancing, but without success. With each attempt to lighten her mood, Ariadne becomes more enchanted by her wish for death. Zerbinetta steps forward and — in a sustained and dazzling coloratura aria — tells Princess Ariadne to leave the past in the past.

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She tells Ariadne that the simplest way to get over a broken heart is to find another man. In a comic interlude, each of the comedians pursues Zerbinetta. Eventually, she chooses Harlequin, a baritone, and the two sing a love duet while the other clowns express frustration and envy.

The three nymphs return to announce that a ship is approaching the island. Ariadne believes it must be Hermes, the messenger of death. It is actually Bacchus, the young (and handsome) god of wine and love, who is fleeing from the sorceress Circe.

For a time Bacchus and Ariadne are confused, for their own expectations lead them to mistake the other for someone else. When she first sees him on the shore, she mistakes his figure for Theseus. Face to face, however, she realizes her mistake, now yearning him to be the god of death who has come to take her away. Bacchus declares his godliness and immortality.

She agrees to board his ship to deliver her from exile on the island. He is charmed by Ariadne’s beauty and expresses his undying love for her. Telling Ariadne he’d rather see the stars in the sky fall than lose her love, he promises to give her an eternity with him among the constellations. Ariadne is enthralled by this revised outlook and agrees to live anew with Bacchus. As the two are captivated by the night sky, Zerbinetta returns to announce that her philosophy of love was surely correct all along — one does not need a god in order to discover happiness, merely a new lover.

Ariadne auf Naxos: Synopsis

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In Rehearsal PHOTOGRAPH BY ROGER MASTROIANNI

Q&A

Franz Welser-Möst talks about Strauss, opera, and Cleveland Q: Please talk about Ariadne auf Naxos?

Franz: Ariadne auf Naxos is part of a series of operas which I have programmed to expand and challenge The Cleveland Orchestra as we continue to grow artistically. This opera is scored for a chamber group of 35 musicians. After the dark seriousness — and very large orchestra — of Wagner’s Tristan and Isolde last season, Ariadne is quite a contrast. The smaller orchestra and with many comic elements. It is a wonderful opera, funny and serious at the same time, with beautiful music. In essence, it is a contest between classical art and comedy. There is a play within the play, or really an opera within an opera. The similarities and contrasts — what is happening and what the characters want to happen, and how they explain to one another what is happening — are very telling.

I really love this opera, and I am eager to hear the musicians of The Cleveland Orchestra interpret this music. Strauss’s writing includes marvelous solos — for flute and oboe and cello, for instance — that will be truly vibrant and meaningful when played by the principal players in Cleveland. The music is unbelievably beautiful, so much so that some passages literally bring me to tears. I have always admired and enjoyed Strauss’s musical genius. As time passes, I find that I appreciate his approach to music-making more and more. This opera spans, as the saying goes, ‘from the sublime to the ridiculous — from beauty to humor.’ And audiences will respond to this and love it. In this opera, Strauss slyly looks at the value of the arts in our lives, and how serious art and comic art complement and comment on one another.

Q: How is this opera being presented and staged?

Franz: Ariadne is the newest of our made-for-Cleveland productions. With it, we are introducing a new stage director, Frederic Wake-Walker. I worked with him in Milan a couple years ago, and he is exactly the kind of director that we look for — with a creative mind that brings new ideas, who wants to re-examine old works and to discover new meaning or perhaps to find the original meaning but from the perspective of being alive today, to shine light on the core meanings written into a work. Also, his ideas incorporate Severance Hall itself — and its classic beauty — into the staging, embracing the fact that we are presenting this opera here in this beautiful hall.

We have a superb cast, with Andreas Schager singing the all-but-impossible role for tenor. Tamara Wilson is incredible as Ariadne. Daniela Fally’s artistry is amazing in the challenging vocal gymnastics written for the role of Zerbinetta.

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Franz Welser-Möst Q&A

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Q&A And, of course, we have a great orchestra, who will be involved onstage, too. All of this comes together to offer audiences something very special and unique. Opera in performance can be so very meaningful and engaging. With Ariadne, there are also many great touches of humor. And, as I’ve said, the music is just incredibly beautiful, some of the most beautiful that Strauss wrote.

Q: How does opera fit into The Cleveland Orchestra’s offerings each year?

Franz: The Cleveland Orchestra has a long tradition with opera, going almost back

to the Orchestra’s founding. There was a famous presentation of Wagner’s Siegfried early on, in a baseball park. And in the 1930s, under Artur Rodzinski, several operas were presented each season here at Severance Hall. Lotte Lehmann, who was perhaps the most famous soprano of her time, sang Wagner here at Severance Hall. But those staged productions were expensive and were discontinued after several years, even though everyone loved them. More recently, in my time here, I have advocated that we make opera a focus again. Because playing this kind of dramatic music makes the Orchestra better, and, of course, because audiences respond to the emotional depth of opera. From the time I started here, I thought that opera would be a fantastic addition to the schedule, and would help this Orchestra’s artistry to grow even more. Just by listening to great singers, musicians of an orchestra learn to breathe and be more flexible, to respond to a given moment not just in your head but also with your heart.

Q: What comes next, after Ariadne auf Naxos?

Franz: Of course, we are constantly looking ahead and planning into the future.

The Orchestra’s schedule is developed several years in advance, and we must balance many aspects. Especially with an opera, it is a logistical puzzle to bring all these guests artists together at the same time — although, quite frankly, so many singers are eager to come and work with us. Next season, we are doing what I think is one of the greatest operas of the 20th century, with performances of Alban Berg’s Lulu. This will be a telling contrast from this year’s Strauss opera. Berg was one of the earliest and most successful practitioners of what is called twelve-tone music, and Lulu is one of his greatest creations. But let me say, first and foremost, that audiences should not be afraid of this music. This is not ugly music, it is powerful and romantic music.

I like to say, perhaps a little disrespectfully but quite seriously, that Berg’s music — and Schoenberg’s and Webern’s — is late Romantic music, but with some “wrong” notes added in. They did not set out to write ugly music, but instead they had a new understanding of how to use unexpected notes, which Mozart and Verdi and everyone had been doing for a long time, but here they use the unexpected notes with new purpose and in new ways. I find Lulu to be one of the strongest, most powerful pieces that I’ve ever conducted. It is truly an example of how art can trigger your emotions and your fantasies about aspects of life that perhaps you have not directly experienced. The music tells a powerful story, of a woman who endures so much and who is so vivid in the way she lives and reacts to those around her.

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Franz Welser-Möst Q&A

The Cleveland Orchestra

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Who was

RICHARD STRAUSS?

by Eric Sellen

born June 11, 1864 died September 8, 1949

A C E N T U R Y A G O , Richard Strauss was often known as “the other

Strauss.” He was, in fact, no relation at all to Johann Strauss Jr. and that wildly popular Viennese musical family.

For some, he was also known as “the third Richard,” the first being opera composer Richard Wagner, “after whom there could be no second,” or so said those who coined the term and who cared passionately about the first Richard yet liked Strauss enough to offer him a genuine bronze medal of praise.

More than a half-century after his death, he has outgrown these comparison nicknames and, with the farsight of history, can today be seen as his own artist. He was a composer of great insight and creative gifts. A man curious and open to new music and technological innovation.

He was a scholar of ancient ideas, fascinated by Greek mythology and ideas of classical learning.

He was a prolific composer — first as a daring young man, and many years later as a sentimental old man. He was a hard-edged artistic collaborator and an obstinate perfectionist. He was a flawed human being, who understood the strength of human emotions, and able to craft music to reflect his understanding.

He was a creative genius, with music as his currency — spending it widely and wisely to help us feel out humanity deep within his music, in the soaring highs of triumph, in the challenging depths of despair. He invested Severance Hall 2018-19

About the Composer

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his skills into observing and commenting on human love and life.

Strauss lived to the ripe old age of 85, composing masterpieces throughout his lifetime and experiencing firsthand a variety of music’s many different possibilities.

He shares with Mozart the distinction of being one of only two composers to write operatic and symphonic works that are regularly performed standards in both fields.

He was equally admired as a conductor and as a composer, was acknowledged to be a formidable pianist, and also played the violin.

Strauss shares In his early years, he was hailed as a revolutionary in new music. A half-century later, critics railed with Mozart the against him as a bulwark of conservative, old-style distinction of bemusical ideas. ing one of only two Strauss was born in Munich in 1864 and had composers to write an invigorating, supportive, and thoroughly musical upbringing by solidly middle-class parents. multiple operas and He began piano lessons at age four, started comsymphonic works posing at six, and took up the violin at eight. His that are regularly father, Franz, was the principal horn player in the performed stanMunich Court Orchestra — and widely acknowledged as the best horn player in all of Germany dards in both fields. (called “the Joachim of the horn” in a reference to the great violinist Joseph Joachim). Franz Strauss also served as conductor of a respected amateur orchestra and, although his own tastes were conservative, exposed his son to a broad range of music and helped premiere a number of Richard’s earliest compositions.

Richard Strauss’s professional career rose first as a conductor. He apprenticed under Hans von Bülow, one of the greatest baton wielders of the 19th century, serving as Bülow’s assistant and then briefly taking over the Meiningen Orchestra upon Bülow’s resignation. Additional posts followed at the Munich Opera and in Weimar, as well as guest conducting engagements across central Germany and assisting with the Wagnerian summer festival at Bayreuth. Indeed, until his success as an opera composer after the age of forty could guarantee him sufficient earnings to live on, a significant portion of Strauss’s income derived from ongoing work as a guest conductor, often including one of his own pieces at symphonic concerts. He led many opera performances during two decades in Berlin, and undertook a conducting tour to the United States in 1904, where his appearances included a performance in Cleveland of his tone poem Till Eulenspiegel’s Merry Pranks with the visiting Pittsburgh Symphony Orchestra.

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About the Composer

The Cleveland Orchestra

Although he was intensely interested in writing his own operas, Strauss’s first great successes as a composer came with orchestral tone poems. Building on the concept of Beethoven’s walk-by-the-brook “Pastoral” Symphony, Franz Liszt had already evolved this idea of orchestral storytelling into its own musical genre, wanting to share all that he experienced in other arts such as literature through music, but it was Richard Strauss who raised it into high symphonic art.

He created half a dozen masterpieces, each of which can be held up as a definitive example of what a tone poem should be, including Don Juan, Till Eulenspiegel, Also sprach Zarathustra, and An Alpine Symphony. In each, his exceptional abilities as an orchestrator allowed him to masterfully color, depict, and portray an astonishingly wide range of topics, ideas, and dramatic action.

Strauss’s wife, Pauline Like his father, Strauss was famously outspoken, about — and even in — his own music. He wrote tone poems about himself (Ein Heldenleben or “A Hero’s Life”) and his family life (Symphonia domestica or “Domestic Symphony”). He happily poked fun at music critics in Heldenleben, portraying them as mortal enemies of the work’s hero, who, of course, wins in the ensuing musical battle. He chose to turn Oscar Wilde’s daringly risqué play Salomé (banned from performance in England) into an opera, securing his first great operatic success. And he tried to openly express his desire to continue working with Jewish colleagues after the Nazi rise to power in Germany.

Richard Strauss Strauss had a long and happy marriage, to soprano Pauline de Ahna, whom he had met while conducting Wagner’s Tannhäuser in Munich. It is said that they became engaged one day after a particularly big fight during a rehearsal — he had told her how he thought she should sing her role and she had not agreed, but in her dressing room they made up and joined up for life. While both were strong-willed and Strauss suffered the reputation as a hen-pecked husband, they were also able to provide criticism, structure, and support for one another through fifty-five years of marriage.

With a string of operatic successes, Strauss moved from Berlin to Vienna after World War I to become co-director of the Vienna State Opera, and he was among the influential forces that helped found the annual summer concert series at Salzburg in 1920, working to re-enforce that now-prestigious festival’s strong identity with the music of Mozart that he so loved. His favorite librettist collaborator, Hugo von Hofmannsthal, with whom he wrote Elektra, Der Rosenkavalier, Ariadne auf Naxos, and Die Frau ohne Schatten, died in 1929 after completing a first draft of Arabella. Strauss eventually found other writSeverance Hall 2018-19

About the Composer

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ers to work with, for another half-dozen operas, but not without going through a difficult transition period with each new collaborator.

Although he had strong opinions, Strauss tried not to involve himself too publicly with day-to-day politics. While unhappy with many of the policies of the German republic that had been formed after the First World War, he was scornful of the National Socialists and didn’t expect them to win power — or to be able to directly affect his life and art. In 1933, he accepted appointment as first president of the Reichsmusikkammer, a governmental body created by the Nazis to review salary standards and work rules. The government’s intent, in fact, was to create new guidelines that would proscribe who could (and couldn’t) work as a musician. Strauss took the opportunity to use his influence to win full copyright protection for composers, something he’d been advocating with the previous democratic government, before being forced to resign over his desire to continue working with a Jewish writer on one of his operas. He worked variously in Vienna and Munich up to and during World War Two, expending much of his energy developing relationships with officials who could ensure the safety of his daughter-in-law, a Jewish woman who remained unharmed, but who spent much of the War under house arrest. He kept as low a profile as possible, conducting when the government asked him to, but walking a fine line between being left alone and caring about political matters he felt he could do little to change.

Although his health declined steadily in his final decade, Strauss composed almost to the day he died, including the bittersweet Four Last Songs, a moving tribute to living a good life filled with love. On his deathbed, he was reported by his daughter-in-law to say that “dying is just the way I composed it in Death and Transfiguration,” a tone poem he had written more than sixty years earlier.

A memorial concert was played at the Munich Opera, at which a young Georg Solti led excerpts from Strauss’s Der Rosenkavalier, an opera about many things, including love and aging gracefully.

—Eric Sellen © 2019

Strauss in a happy mood, later in life.

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The Cleveland Orchestra

by David Wright

Gods & goddesses,

At top of page: “Ariadne on the Island of Naxos” painted in 1913

by German artist Lovis Corinth (1858-1925).

Severance Hall 2018-19

and all the rest!

comedy, tragedy,

H O W E X A C T LY did an opera like Ariadne auf Naxos come into existence? At first blush, it can seem a very odd mixture indeed — of music and theater, of comedy and tragedy, of onstage and off, of story-lines reinterpreted and mangled, of street comedians and gods, of the sublime with the ridiculous. In first impressions, it can feel like little more than impassioned music filled with an ever-flowing river of non-sequiturs.

Yet composer Richard Strauss and librettist Hugo von Hofmannsthal had a plan and many ideas. And worked their way, step by step, learning as they witnessed the script’s first production in 1912 — which juxtaposed without mixing genres. Here, in one long evening, they presented a spoken comedy (with incidental music) followed by a brand-new serious opera. For attendees, the concept was big and boring all at the same time. The opera fans twiddled their thumbs throughout the play, and the theater audience wondered if the opera — filled with philosophy and high art — would ever come to an end.

Together, composer and librettist rethought their concept entirely and created a fully-revised version, tossing out the spoken play and filling in the backstory for the opera by means of a prologue. Shorter, smarter, full of wit and wisdom, exquisite music, and deft commentary on human foibles, the new Ariadne auf Naxos premiered in 1916. Experiencing it just more than a cenAbout the Opera

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“The Triumph of Bacchus and Ariadne,” ceiling fresco, Farnase Gallery, Rome, by artist Annibale Carracci (1560-1609).

tury later, its virtues far outweigh its rough birth and mashed-together anachronisms.

AN ODD COUPLE

They seemed like the oddest of couples.

The placid, plain-spoken Bavarian composer who wrote a symphony about his life at home with wife and child. And the hypersensitive, semi-reclusive poet from Vienna whose brain was teeming with metaphors. One dealt in love scenes, battle scenes, and visceral emotion — while the other obsessively sought the meaning of life in philosophy and allegory.

Yet they found themselves working together and, on January 26, 1911, they had a hit on their hands. The hugely successful Dresden premiere of Der Rosenkavalier was quickly followed by productions in other cities on the continent, in London and New York, and the names of composer Richard Strauss and librettist Hugo von Hofmannsthal were suddenly on the lips of every opera fan.

The two men moved in different social circles, and never formed what one would call a personal friendship. But in artistic terms, each recognized in the other a personality complementing his own, capable of raising

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his work to a level it wouldn’t reach on its own.

It wasn’t simply another case of (as was said of a famous movie couple) “Fred gave Ginger class, and Ginger gave Fred sex.” Afterall, Strauss was well-versed in literature, and the urbane Viennese Hofmannsthal knew a thing or two about human psychology. But as a team, their combination of intellectual heft and theatrical instinct proved potent indeed. Early in their relationship, before they had produced anything together, Strauss was already writing to the poet, “We were born for one another and are sure to do fine things together if you remain faithful to me.”

After their first meeting, in Berlin in 1900, it had been Hofmannsthal who first put a hook in the water, suggesting to the composer — who was then much more famous than he — that they collaborate on a ballet scenario he had in mind. Strauss didn’t bite, but a few years later he attended a performance in Berlin of Sophocles’s Electra, as adapted by Hofmannsthal using the latest psychoanalytical ideas, and vividly staged by the great director Max Reinhardt. In the poet’s text, Strauss smelled blood, lust, obsession, revenge — in short, an opera!

About the Opera

The Cleveland Orchestra

Strauss also liked the directness of Hofmannsthal’s language — no flights of rhetoric or flowery similes, just strong, everyday German. It reminded him of Oscar Wilde’s play Salomé, which he had set to music directly (in German translation), omitting the usual step of first having it converted to an opera libretto. Early in 1906, he wrote to Hofmannsthal, asking permission to do the same with Electra.

C O LL A B O R AT I O N S

Permission was eagerly granted, and the Dresden premiere of Elektra (as the opera title is usually spelled) in January 1909 went over well, though somewhat short of the earlier sensation created by Salome.

While the public and critics debated whether Elektra was too much like Salome — or not enough like Salome — the composer and poet moved on to another project, a comic opera this time, inspired by Mozart’s The Marriage of Figaro, for which they would develop words and music together from the ground up. The result was Rosenkavalier, and overnight Strauss and Hofmannsthal became as linked in musical history as Rodgers & Hammerstein or Lennon and McCartney.

Strauss took no time to bask in their triumph. His summer vacation, prime time for composing, was approaching, and he lacked a substantial project. There was only a little thank-you gift for Max Reinhardt, who had helped with Rosenkavalier: Strauss was to write some incidental music for a Molière comedy in a new German translation by Hofmannsthal.

Hofmannsthal was also thinking about a half-hour-long chamber opera, just an intermezzo with Strauss, to enable the two of them to polish their words-and-music collaboration — and, the poet hoped, adSeverance Hall 2018-19

About the Opera

just the balance more toward the words.

(Hofmannsthal felt that Strauss’s symphonic conception had dominated the creation of Rosenkavalier, at the expense of the poet’s literary ideas.)

The mini-opera’s plot would derive from a scene in Greek mythology, the plight of the Minoan princess Ariadne, who, having saved the life of the hero Theseus in the Labyrinth, was abandoned by him on the island of Naxos. Hofmannsthal proposed to mingle tragic and comic elements in a very modern (but also Shakespearean) way, with “heroic mythological figures in 18th-century costumes, dressed in crinolines and ostrich feathers, with figures from the commedia dell’ arte, Harlequins and Scaramouches.” Apparently the spirit of “creative anachronism” in Rosenkavalier was still bearing fruit.

T WO PROJECTS INTO ONE

In a subsequent letter — the two creators collaborated almost entirely by mail, leaving future generations a superb picture window on their work process — Hofmannsthal proposed a way to hitch together their two projects: He would translate Molière’s Le Bourgeois gentilhomme [The Bourgeois Gentleman or The Middle-Class Aristocrat], which ends with the comical M. Jourdain inviting his dinner guests to witness a “Turkish ceremony.” He would then substitute their short opera for the Turkish ending. Reinhardt would direct the play in Berlin’s German Theater, and orchestra members of the Berlin Court Opera, onstage and in costume as M. Jourdain’s house band, would play the incidental music and the opera.

Strauss pointed out that the prestigious musicians of the Opera would never consent to dress up and become actors; there would have to be another way to combine

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the play and the opera. Furthermore, the prospect of composing for Hofmannsthal ‘s two-dimensional, symbolic opera characters left Strauss cold.

The composer did, however, have the idea of plucking the traditional character Zerbinetta out of the commedia troupe, promoting her to a principal role, and composing a show-stopping coloratura aria for her — the sort of thing that might attract a superstar soprano such as Selma Kurz or Luisa Tetrazzini to the production.

This aria was still another kind of anachronism; by way of example, the composer referred Hofmannsthal back a hundred years to the bel canto operas of Bellini and Donizetti.

The poet was at first alarmed at the prospect of such showy stuff in the middle of his much more classical opera seria. But he quickly warmed to the idea, writing to Strauss that the contrast between flighty, promiscuous Zerbinetta and the long-suffering but faithful Ariadne was just what he needed to make his philosophical point, which he proceeded to explain at length: “We have the group of heroes, demigods, gods — Ariadne, Bacchus (Theseus) — facing the human, the merely human group consisting of the frivolous Zerbinetta and her companions, all of them base figures in life’s masquerade.” Zerbinetta may drift “out of the arms of one man and into the arms of another,” but Ariadne understands how to hold fast to that which is lost, to cling to it even unto death — or to live, to live on, to overcome it, to transform oneself, to sacrifice the integrity of the soul and yet in this transmutation to preserve one’s essence, to remain a human being and not to sink to the level of the beast, which is without recollection. . . . One thing, however, is still left even for her: the miracle, the God Bacchus. To him she gives herself, for she believes him to be Death: he is both Death

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and Life at once; he it is who reveals to her the immeasurable depths in her own nature, who makes of her an enchantress, the sorceress who herself transforms the poor little Ariadne; he it is who conjures up for her in this world another world beyond, who preserves her for us and at the same time transforms her . . .”

And so on for several pages more.

In his reply, Strauss tactfully suggested that if he, the composer, was having trouble understanding the meaning of the work, how did Hofmannsthal expect the public — and worse still, the critics — to do so? The poet wrote back at even greater length, stoutly defending the right of a work of art not to be fully comprehensible at first sight, but then offering a possible solution. What if M. Jourdain decides to have the comedy and the tragedy performed simultaneously, with Zerbinetta enlisted to explain the situation to her troupe. “This offers us the opportunity,” he wrote, “of stating quite plainly, under cover of a joke, the symbolic meaning of the antithesis between the two women.”

Strauss accepted that idea, wryly suggesting that an even better solution might be just to stop the action and read Hofmannsthal’s letter aloud. For his part, the poet also managed to fit quite a bit of his philosophy into the words of Zerbinetta’s extravagant aria later in the opera. (Fortunately, today, in the age of supertitles, we can actually understand what she is saying.)

As Strauss had feared, Reinhardt’s home theater in Berlin, lacking an orchestra pit, proved unsuitable for presenting a spoken play followed by an opera with an orchestra of thirty players. After much searching and arm-twisting, Strauss persuaded the Court Opera of Stuttgart to host Reinhardt and his company for the production, stepping on some local toes in the process. But in About the Opera

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spite of countless annoyances — scarce rehearsal time, stagehands sent off to work at another theater during the dress rehearsal — the premiere performance in October 1912 was more than satisfactory, with the young Maria Jeritza, later one of opera’s greatest stars, making her Strauss debut as Ariadne, Margarethe Siems a glittering Zerbinetta, and the composer presiding on the podium.

A HO -HUM PREMIERE

For all that, Strauss encountered something he’d never experienced before — a ho-hum reaction to a new piece of his. He was used to inducing ecstasy or outrage in audiences. But boredom? True, the evening had been inordinately long. Even with severe cuts, Molière’s play lasted nearly two hours, and the “little” one-act opera, with its added coloratura and literary ambitions, went on The Cleveland Orchestra

About the Opera

rpminc.com

more than an hour itself. During the intermission, King Wilhelm of Württemburg held a reception that itself lasted nearly an hour, so that the entire evening was somewhere over four hours long!

Furthermore, in that era, before the words “interdisciplinary” or “multimedia” had ever been uttered, theater fans in the audience found the opera tedious, while the opera fans fidgeted through the play as they waited to hear the echt Strauss. In addition, the difficulty of just getting this production on the boards was prophetic — how many theaters could afford to engage a company of first-class actors and another cast of Strausscapable singers on the same night?

Nevertheless, this was the latest opus from the dynamic Rosenkavalier duo, and somehow productions were mounted in several cities. The most successful with the

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public was the one in London led by Thomas Beecham, who later admired the Molière/Ariadne work in his memoirs as blessed with “a greater spontaneity and variety of invention, together with a subtler and riper style, than anything that [Strauss’s] pen had yet given to the stage.”

REBUILDING A MASTERPIECE

Strauss and Hofmannsthal had no time for such minority opinions from Beecham and other fans. The work needed help.

They decided the Molière play had to go entirely, in favor of a new comic Prologue depicting the tumult backstage as the commedia and opera casts, on orders of an unseen “great nobleman” who is just as clueless as M. Jourdain, scramble to combine their performances. A new character, an exasperated young Composer dealing with enormous changes at the last minute, would be the Prologue’s protagonist.

Strauss even granted Hofmannsthal permission to write a love scene for Zerbinetta and the Composer — “provided the Composer does not resemble me too much,” added the creator of Sinfonia Domestica (which had been lambasted by critics simply for portraying Strauss’s own life in music). In part, he was expressing concern that composing an opera about a composer might be too much of an inside joke.

He needn’t have worried. As written

by Hofmannsthal, the Composer became a portrait less of Strauss than of the poetlibrettist himself, pouring all his idealism and frustration as an artist into the Composer’s lines.

When conductor Leo Blech suggested that the part of the young Composer be assigned to a soprano, à la the amorously teen-aged Octavian in Rosenkavalier, Strauss’s

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interest in the character rekindled. Strauss sold the idea to a dubious Hofmannsthal by ruling out a deep baritone voice for the Composer, then painting a mental picture of an older, roundly-built tenor trying to depict fresh, youthful idealism.

Strauss took his time returning to this troublesome project, but by the summer of 1916 Ariadne auf Naxos was reborn as a shortened one-act opera with prologue. In the premiere on October 4 that year, Maria Jeritza again sang the role of Ariadne, and the formidable Selma Kurz appeared as Zerbinetta. The opera proved a success. If the applause was not quite on the scale of Der Rosenkavalier, clearly no one was bored.

The role of the Composer in that production was sung not by the famous soprano originally engaged but by the understudy, a little-known singer just arrived from Hamburg. When he heard her singing the part in rehearsal, Strauss intervened and awarded her the role for the premiere and the rest of the run. After that fairytale beginning, Lotte Lehmann went on to become the leading interpreter of Strauss’s soprano roles in the first half of the 20th century (some will say “the greatest Strauss interpreter ever”).

Certainly, in the end — after all the silliness and high-minded art, inside the lovely music and beyond the stage artifice, no matter what one thinks of its tangle of princesses and floozies, clowns and gods, flirtations and transfigurations — Ariadne auf Naxos has always been good news for singers, and for those who love what singers do.

—David Wright David Wright lives in New Jersey and writes about music. He previously served as program annotator for the New York Philharmonic. © 2019 BY DAVID WRIGHT

About the Opera

The Cleveland Orchestra

Composer, Librettist, and Director

1 2

3 4 Richard Strauss and his collaborators for Ariadne auf Naxos: 1. Librettist Hugo von Hofmannsthal; 2. set drawing for the premiere in 1912, designed by Ernst Stern; 3. Hofmannsthal and Strauss circa 1910; 4. theater director Max Reinhardt and Hofmannsthal, circa 1928 in Salzburg.

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About the Opera

39

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

Franz Welser-Möst is among today’s most distinguished conductors in the world. The 2018-19 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 WelserMöst’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 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 on three continents, in Cleveland, Vienna, and Tokyo).

As a guest conductor, Mr. WelserSeverance Hall 2018-19

Conductor

Möst enjoys a close and productive relationship 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 has also built impressive relationships with other great symphonic ensembles and opera houses. 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 WelserMöst served as general music director of the Vienna State Opera, and, prior to that, 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.

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Tamara Wilson ARIADNE / PRIMA DONNA

Andreas Schager BACCHUS / TENOR

American soprano Tamara Wilson is gaining widespread recognition for singing roles by Mozart, Strauss, Verdi, and Wagner. A graduate of the University of Cincinnati College-Conservatory of Music, she is also an alumna of the Houston Grand Opera Studio and was a finalist in the 2004 Metropolitan Opera National Council Auditions. Ms. Wilson’s recent and upcoming schedule includes performances with the Canadian Opera Company, English National Opera, Barcelona’s Gran Teatre del Liceu, Los Angeles Opera, Lyric Opera of Chicago, New York’s Metropolitan Opera, Frankfurt Opera, Teatro alla Scala, and Zurich Opera.

In concert, she has performed with the orchestras of Amsterdam, Atlanta, Baltimore, Chicago, Cincinnati, Los Angeles, New York, St. Louis, and Washington D.C., and at the BBC Proms, Edinburgh International Festival, and the Oregon Bach Festival.

Ms. Wilson made her Cleveland Orchestra debut in July 2015 as soloist in Beethoven’s Ninth Symphony. Following this week’s performances, she sings Ariadne again in a new production with Franz Welser-Möst at Teatro alla Scala in March 2019. For additional information, please visit www. tamarawilsonsoprano.com.

Acclaimed for his performances of the heldentenor repertoire, Austrian tenor Andreas Schager studied at Vienna’s University for Music, and, while still in school, made his debut in Mozart’s Così fan tutte at the Schlosstheater Schönbrunn. Since then, Mr. Schager has performed in theaters and festivals across Europe, including in Amsterdam, Bologna, Cologne, Frankfurt, Hamburg, Paris, Salzburg, and Vienna. He has appeared as Siegfried in Wagner’s Götterdämmerung with the BBC Proms, Berlin State Opera, Canadian Opera Company, Dresden State Opera, Leipzig Opera, and Teatro alla Scala, and makes his Metropolitan Opera debut in that role in May 2019.

Mr. Schager returns to the Bayreuth Festival in July 2019 in the title role of Wagner’s Parsifal. His portrayal of Wagner’s Tristan has been featured in productions in Antwerp, Bayreuth, Berlin, Paris, Rome, and Tokyo. In addition, he has sung roles

by Richard Strauss throughout Europe. His concert appearances have included performances in Bamberg, Berlin, Tokyo, and Vienna. Mr. Schager made his Cleveland Orchestra debut in May 2015 in Strauss’s Daphne. For more information, please visit www.andreas-schager.info.

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Guest Artists

The Cleveland Orchestra

Daniela Fally

Kate Lindsey

ZERBINETTA

THE COMPOSER

Austrian soprano Daniela Fally has been on stage since the age of 19, first in theater and musical comedy, and then in her career in opera singing roles by Mozart, Rossini, Donizetti, Britten, Verdi, and Richard Strauss. She is a graduate of the Vienna University of Music, where she was a student of Helena Lazaraska and Edith Mathis. Ms. Fally was a member of the Vienna Folk Opera (2005-09), prior to joining the ensemble of the Vienna State Opera in 2009. She had made her debut with the State Opera in 2006 in Richard Strauss’s Arabella; that performance, conducted by Franz Welser-Möst, is available on DVD. She is making her Cleveland Orchestra debut this month in one of her best-known roles — as Zerbinetta in Ariadne auf Naxos. She has appeared at many European festivals, including Bregenz, Grafenegg, Lucerne, Munich, and Salzburg, and sung with many of the continent’s leading opera companies, including Berlin, Cologne, Dresden, Dusseldorf, Frankfurt, Hamburg, Munich, Paris, and Zurich. Ms. Fally regularly performs in concert and recitals around the world.

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

Severance Hall 2018-19

Guest Artists

American mezzo-soprano Kate Lindsey performs widely in opera and with orchestras across North America and Europe.

Recent and upcoming appearances include performances with the Los Angeles Opera, London’s Royal Opera House, Orchestre de Paris, Vienna State Opera, and the Philadelphia Orchestra. The current season features a recital program on both sides of the Atlantic, partnering with pianist Baptiste Trotignon. Her opera performances have included roles with the Bavarian State Opera, Glyndebourne Opera Festival, Metropolitan Opera, Santa Fe Opera, Seattle Opera, and at Paris’s Théâtre des Champs-Élysées. Her orchestral performances have included appearances with the orchestras of Amsterdam, Boston, New York, Paris, and St. Louis. An advocate for new music, Ms. Lindsey has premiered new works by Daron Hagen and John Harbison. The Virginia native earned a bachelor’s degree in music from Indiana University and is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program. Ms. Lindsey made her Cleveland Orchestra debut in November 2006. For more information, visit www.katelindsey.com.

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Wolfgang Brendel MAJOR DOMO

Hanno Müller-Brachmann MUSIC MASTER

Born in Munich, Wolfgang Brendel became one of the leading baritones of his generation. His artistic home for the greater part of his career was with the Bavarian State Opera in Munich, where in 1977 he was named the youngest Kammersänger in the company’s history. He has sung with all of Germany’s leading opera houses, and also appeared at Glyndebourne, London’s Royal Opera House, Milan’s Teatro alla Scala, and the Salzburg Festival singing major roles in works by Mozart, Puccini, Verdi, and Wagner — including Germont in La Traviata, Scarpia in Tosca, Hans Sachs in Die Meistersinger, and the title roles in The Flying Dutchman and Don Giovanni. In the United States, he has sung with New York’s Metropolian Opera, Lyric Opera of Chicago, Los Angeles Opera, and San Francisco Opera. Mr. Brendel taught for many years at the Munich Hochschule für Musik und Theater and, since 2011, has served as a voice faculty member at Indiana University’s Jacobs School of Music. His honors include the Order of Merit of the Federal Republic of Germany. He is making his Cleveland Orchestra debut with these performances of Ariadne auf Naxos.

German bass-baritone Hanno MüllerBrachmann began his musical studies in Basel and Freiburg, attended Dietrich Fischer-Dieskau’s artsong classes, and worked with Rudolf Piernay. Mr. MüllerBrachmann was a member of the ensemble of the Berlin State Opera, 1998-2011.

He has also performed with the opera companies of Hamburg, Madrid, Milan, Modena, Munich, San Francisco, and Vienna. In concert, he has appeared with the orchestras of Amsterdam, Berlin, Boston, Chicago, Leipzig, London, Los Angeles, New York, Munich, Paris, San Francisco, and Vienna, singing a range of roles, including operas by Mozart, Strauss, Telemann, and Wagner. He regularly performs in recital, working with pianists including Hartmut Höll, Malcolm Martineau, and András Schiff. His discography includes albums for Decca, Deutsche Grammophon, Harmonia Mundi, Hyperion, and Naxos Records. He debuted here in 2014, and his most recent Cleveland Orchestra appearance was in May 2017 as Golaud in Debussy’s Pelléas and Mélisande. For more information, visit www.mueller-brachmann.com.

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Guest Artists

The Cleveland Orchestra

MainStage series 7:30 p.m. at Akron’s EJ Thomas Hall $45 / $40 / $25 / free for students

Jonas Hacker DANCE MASTER

American tenor Jonas Hacker recently completed his studies at Philadelphia’s Academy of Vocal Arts. He also holds a bachelor’s degree in voice performance from the University of Wisconsin and a master’s degree from the University of Michigan. He was a Grand Finalist in the Metropolitan Opera National Council Auditions in 2016. During the summers of 2016 and 2017, he was a Filene Young Artist with Wolf Trap Opera, where he sang the role of Roderick Usher in Philip Glass’s The Fall of the House of Usher. He is making his Cleveland Orchestra debut with these performances of Ariadne auf Naxos. Other recent and upcoming engagements include singing in Handel’s Messiah with the Columbus Symphony and Philadelphia Orchestra, his debut with Lyric Opera Chicago in Fellow Travelers by Gregory Spears, and his San Jose Opera debut in an operatic version of Cinderella by 12-year-old British prodigy Alma Deutscher. This coming March, he sings Edmondo with Dallas Opera. For additional information, please visit www. jonashackertenor.com.

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Guest Artists

Tuesday, January 22 Calidore String Quartet with Inon Barnatan, piano

Tuesday, February 12 Lawrence Brownlee, tenor Eric Owens, bass-baritone

Tuesday, March 12 “Russian Mastery” Chamber Music Society of Lincoln Center

330-761-3460 tuesdaymusical.org 45

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For more information call 216-816-1411 or visit theclevelandopera.org

Julie Mathevet as Naiad French soprano Julie Mathevet sings across a broad repertoire — from Mozart and French works to new music and performing in recital, concert, and opera. She is a graduate of Paris Opéra’s Atelier Lyrique, and has also appeared regularly with the Théâtre Royal de la Monnaie in Brussels. Her portrayal of the Queen of the Night in Mozart’s The Magic Flute has been featured in many opera houses. Ms. Mathevet made her Cleveland Orchestra debut in May 2017 as Yniold in Debussy’s Pelléas and Mélisande.

This coming June, she makes her New York Philharmonic debut in Prisoner of the State, a new opera by David Lang. For more information, see please visit www.juliemathevet.com.

Ying Fang as echo Soprano Ying Fang is an alumna of the Metropolitan Opera’s Lindemann Young Artist Development Program. Recent seasons have witnessed her growing career in concert and opera across the United States, Europe, and beyond. Highlights of her current schedule include Mahler’s Second Symphony with the Boston Symphony Orchestra, Messiah with the San Francisco and Houston symphonies under Jane Glover’s direction, a role debut at the Metropolitan Opera, and her Salzburg Festival debut in summer 2019. She makes her Cleveland Orchestra debut with these performances of Ariadne auf Naxos. Ms. Fang earned a master’s degree and artist diploma from Juilliard, and a bachelor’s degree from the Shanghai Conservatory of Music. For more information, please visit www.yingfangsoprano.com.

Daryl Freedman as dryad American mezzo-soprano Daryl Freedman is a graduate of the Washington National Opera’s Domingo-Cafritz Young Artist Program. Highlights of her 2018-19 schedule include covering Santuzza in Mascagni’s Cavalleria Rusticana with San Francisco Opera and a return to the Santa Fe Symphony and Boise Philharmonic for Handel’s Messiah. She also makes her debuts with the Lexington Philharmonic in the Verdi Requiem and as Amneris in Verdi’s Aïda with Opera Idaho. Ms. Freedman first sang with The Cleveland Orchestra in September 2017, playing the role of Lapák the Dog in The Cunning Little Vixen. She holds degrees from the Manhattan School of Music and Temple University.

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Performers

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Ludwig Mittelhammer as HArLEQUIN Following two years with Frankfurt Opera Studios, German baritone Ludwig Mittelhammer joined the Nuremberg State Opera in 2017, where he can be heard in such leading roles as Figaro in Rossini’s The Barber of Seville and Danilo in Lehár’s The Merry Widow. In concert, his performances have included engagements with the Swedish Radio Symphony Orchestra, Orchestre de Paris, Bamberg Symphony, and Concerto Köln. Mr. Mittelhammer completed his vocal studies at Munich’s Hochschule für Musik und Theater. He received first prize at the Hugo Wolf Academy’s 2014 International Art Song Competition. He is making his Cleveland Orchestra debut with Ariadne auf Naxos. For more information, please visit www.ludwig-mittelhammer.de.

James Kryshak as scaramuccio American tenor James Kryshak is an ensemble member of the Deutsche Oper Berlin, where his work has included creating the role of Lightborn in Andrea Lorenzo Scartazzini’s new opera Edward II in 2017. He earlier sang as an ensemble member with the Vienna State Opera (2013-15). Recent and upcoming engagements include appearances with Glyndebourne Tour, Théâtre Royal de la Monnaie in Brussels, Britain’s Birmingham Opera, and Teatro Nacional de São Carlos. Mr. Kryshak earned a bachelor’s degree with a double major in music and German from Elmhurst College and a master’s degree from the University of WisconsinMadison. He made his Cleveland Orchestra debut in May 2012.

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

Anthony Schneider as truffaldino Bass Anthony Schneider is a graduate of the Houston Grand Opera Studio and Philadelphia’s Academy of Vocal Arts. Recent and upcoming performances include his debut with Santa Fe Opera (as Truffaldino in Ariadne auf Naxos and the Baron/Grand Inquisitor in Bernstein’s Candide), as the Ghost in Berlioz’s Les Troyens with the Vienna State Opera, and in Beethoven’s Ninth with the New Zealand Symphony Orchestra. Mr. Schneider was a semifinalist for the 2016 Metropolitan Opera National Council Auditions, and is the recipient of a Kiri Te Kanawa Foundation Scholarship and 2018 Sullivan Foundation grant. He is making his Cleveland Orchestra debut with Ariadne auf Naxos. For more information, please visit www.anthonyrobinschneider.com.

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Performers

The Cleveland Orchestra

Miles Mykkanen as BRIGHELLA American tenor Miles Mykkanen is a graduate of New York’s Juilliard School. His schedule this season includes his debuts with Minnesota Opera as Lieutenant Sprink in Silent Night by Kevin Puts and Mark Campbell, with Philadelphia Opera as Flute in Britten’s A Midsummer Night’s Dream, and with the Bavarian State Opera. This past summer, he sang the title role in Bernstein’s Candide at Tanglewood. Mr. Mykkanen’s concert appearances have included engagements with the orchestras of Atlanta, New York, Pittsburgh, and Washington D.C. He is making his Cleveland Orchestra debut with these performances of Ariadne auf Naxos. For more information, visit www.milesmykkanentenor.com.

Conor Brereton as an OFFICER Tenor Conor Brereton is a fourth-year voice student at Oberlin Conservatory of Music, where he is a student of Salvatore Champagne. His various stage roles at Oberlin have included Prunier in Puccini’s La Rondine (Oberlin in Italy) and Filandro in Cimarosa’s Le astuzie femminili; this coming March he appears in Poulenc’s The Dialogue of the Carmelites. Concert work has included the tenor solo part in Mozart’s Vesperae solennes de confessore.

Shawn Roth as the LACKEY (a.k.a. Butler) Baritone Shawn Roth is a third-year voice performance student at Oberlin Conservatory of Music, where he studies with Salvatore Champagne. At Oberlin, he has sung a variety of stage roles including Mr. X.E. in Du Yun’s chamber opera Angel’s Bone, Bartolo in Mozart’s The Marriage of Figaro, and Sam in Bernstein’s Trouble in Tahiti. He has also participated in masterclasses taught by George Shirley, Roger Vignoles, and Lawrence Brownlee.

Francisco X. Prado as the WIGMAKER A graduate of the Cleveland Institute of Music, baritone Francisco Prado was last heard with The Cleveland Orchestra as the Steersman in Tristan and Isolde in 2018. He has been a member of the Cleveland Orchestra Chorus since 2016. Recent engagements include the role of Maciej in the Cleveland premiere of The Haunted Manor by Polish composer Stanisław Moniuszko this past summer and concerts with Apollo’s Fire in the autumn.

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Performers

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Frederic Wake-Walker DIRECTOR

Frederic Wake-Walker is a director and producer of opera, musical theater, and multi-discipline performance. He is artistic director of Mahogany Opera, with whom he has created a number of innovative new works. Recent opera productions include The Marriage of Figaro at Teatro alla Scala in Milan, La Finta Giardiniera for the Glyndebourne Festival, and his debut at Opéra national du Rhin for a new production of Tchaikovsky’s Eugene Onegin. His initiatives with Mahogany Opera involve working with children, where he is currently nearing the culmination of a major project called “Snappy Operas” — creating ten new ten-minute operas for young children. He has also directed UK tours of Hans Krasa’s opera Brundibar and a new version of Rumplestiltskin called The Rattler.

He runs “Mica Moca,” a multi-disciplinary performance project founded in Berlin.

Recent and upcoming engagements include new productions of Britten’s Peter Grimes for Opera Cologne, a staged version of Messiah at the Berlin Philharmonie, and a return to Teatro alla Scala for Mozart’s La Finta Giardiniera and a new production of Ariadne auf Naxos. For more information, visit www.fredericwake-walker.com.

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Alexander V. Nichols PROJECTION, LIGHTING, SET

This opera marks Alex Nichols’s second production at Severance Hall, following his visual designs for Bartók’s The Miraculous Mandarin and Bluebeard’s Castle in 2016. The California native’s design work spans artforms from dance and theater to opera and architectural lighting. Broadway credits include Wishful Drinking, Hugh Jackman — Back on Broadway, Nice Work If You Can Get It, and Latin History For Morons.

Off-Broadway productions include Los Big Names, Bridge and Tunnel, In Masks Outrageous and Austere, and Ernest Shackleton Loves Me. Regional theater credits include designs for Mark Taper Forum, Oregon Shakespeare Festival, and Arena Stage. Mr. Nichols has worked extensively in lighting and scenery design for dance, including productions for American Ballet Theatre, Pennsylvania Ballet, Hartford Ballet, American Repertory Ballet, and Margaret Jenkins Dance Company. Recent projects include Elizabeth Cree with Opera Philadelphia and Nixon in China for the Los Angeles Philharmonic. For more information, visit www. alexandervnichols.com.

Creative Team

The Cleveland Orchestra

Dominic Robertson

Lottie Bowater

Dominic Robertson is an artist, composer, theater director, opera maker, filmmaker, radio playwright, and performer. His credits include The Faust Cycle (a fifteen-hour sonic drama), the operas Mozart vs Machine (Mahogany Opera Group), Gala (Tête à Tête Opera), and UOEIA: The Histories of Yodelling (Operadagen Rotterdam), as well as the radio plays Animalium Kepler 22B, Hollywood: A Bestiary, and Die Bayerischer Prinzessin (Bayerischer Rundfunk), along with the large-scale political community theater production The United Kingdom of Earth (Worm Avantgardistiisch Staat).

Under the name Ergo Phizmiz (PLC), Mr. Roberston is active in avant-garde theater, film and music, and has released hundreds of hours of creative commons music, online and on labels including Discrepant, Gagarin, Care in the Community, Touch, and Megaphone Records.

Lottie Bowater is an interdisciplinary artist, pianist, and activist working across filmmaking, curating, songwriting and composition, music, and writing. Notable projects have included working as principal documentary maker-editor on Iraq Out Loud, a reading of the Iraq Inquiry presented continuously, night and day, across nearly twelve days (Edinburgh Comedy Awards “Spirit of the Fringe” winner 2016).

Since 2011, she has curated Depresstival Presents, one of the longest-running monthly platforms for experimental and multidisciplinary performance in London and presented on Canal+, AdultSwim, Balcony TV, and Channel 4. Bowater performs regularly across Great Britain and Europe under the name Depresstival, and is also involved in multiple music and artistic projects.

collage, animation, video

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Creative Team

collage, animation, video

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Jason Southgate COSTUMES

American designer Jason Southgate studied at London’s Central St. Martin’s College of Art and Design and was awarded an Arts Council design scholarship. He has designed sets and costumes for classic and modern plays for leading theaters across Great Britain, and has also worked at many European opera houses including the Royal Academy of Music and Royal Opera House in London, Frankfurt Opera, Welsh National Opera, and Komische Oper Berlin. His work has been exhibited at the V&A museum in London for the Society of British Theatre designers Exhibition “Make/Believe” and in the Prague Quadrennial. Mr. Southgate is also well-known as an illustrator, and as a puppet designer and maker. Recent projects include sculpture park design in Vallåsen Vardshus, Sweden, and a short movie titled Quercus released by Honeyfly films.

For more information, please visit www. cargocollective.com/jasonsouthgate.

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Mallory Pace HAIR, MAKEUP

Mallory Pace is a versatile hair and makeup artist based out of New York City. She provides services for a range of formal and informal events while also maintaining a busy schedule in the fashion and theater world. She works regularly with beauty company Birchbox, providing hairstyle tips and on-set styling for online and social media. She has also worked with top model agencies, including Major, Wilhelmina, Elite, and New York Models. She made her Broadway debut as assistant hair and makeup design for Roundabout Theater’s Old Times. She has worked as a wig stylist for Broadway’s The Band’s Visit, Groundhog’s Day, Hello Dolly!, Bright Star, and On Your Feet, as well as for Lincoln Center’s Global Exchange, Mostly Mozart Festival, and the Julliard School. For more information, please visit www.mallorypacenyc. com

Creative Team

The Cleveland Orchestra

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orchestra news

THE CLEVELAND ORCHESTRA

Franz Welser-Möst and Cleveland Orchestra look toward Asia tour in spring 2019 . . .

T H E C L E V E L A N D O R C H E S T R A and Franz

Welser-Möst embark on their nineteenth international tour together in spring 2019, with eleven performances scheduled across Asia in seven cities: Taipei, Macau, Shenzhen, Shanghai, Nanjing, Wuhan, and Beijing. The tour’s repertoire showcases four musical works, two from the 19th century and two from the 20th, with Beethoven’s “Emperor” Piano Concerto (No. 5) featuring soloist Daniil Trifonov and Tchaikovsky’s Fifth Symphony, alongside Richard Strauss’s tone poem Ein Heldenleben and Prokofiev’s Third Symphony.

The 2019 Asia Tour will be the Orchestra and Welser-Möst’s third trip together to Asia and features their first joint appearances in China. The tour includes the first Cleveland Orchestra performances in Macau, Shenzhen, Wuhan, and Nanjing, along with return visits to Beijing and Shanghai (which the Orchestra first visited in 1998) and to Taipei (where the Orchestra played in 1987).

“The Cleveland Orchestra has toured internationally almost every season for the past half century,”” says André Gremillet, Cleveland Orchestra President & CEO, “and we are very proud to represent Cleveland and Ohio around the world. Touring is also an essential part of our season both from an artistic and an audience development perspective.”

“We are very fortunate to be able to share our music-making with people from all around the world,” continued Gremillet. It’s been over two decades since The Cleveland Orchestra last appeared in China — and we are excited to return to a country that is now one of the most important music markets in the world and to perform for audiences that are so enthusiastic and appreciative of classical music.”

Praise for The Cleveland Orchestra’s collaborative partnership with Franz Welser-Möst continues to grow each season. Recently, the New York Times called the ensemble “… America’s most brilliant orchestra.” Two tours during its 100th season, to Europe in 2017 and to Europe and Japan in 2018, demonstrated the Cleveland/ Welser-Möst partnership to sold-out houses.

“Whenever we go to a part of the world, to a place we haven’t been for a long time, or in this case to some cities where The Cleveland Orchestra

Severance Hall 2018-19

BEIJING

CHINA

NANJING SHANGHAI WUHAN

TAIPEI

SHENZHEN

MACAU

has never been before, I believe it is important to present a range of repertoire that showcases the Orchestra’s abilities and lets the artistry of this ensemble really shine,” said Franz Welser-Möst.

“I can’t claim this idea, but live music is one of the only art forms that can truly travel the world,” commented Richard K. Smucker, Cleveland Orchestra Board Chair. “In our case, the Orchestra spreads the reputation and quality of Cleveland itself — not only domestically but internationally.

Founded in 1918, The Cleveland Orchestra’s first tour took place the next year, when the ensemble’s musicians traveled by train to perform in nearby cities, including Pittsburgh, Pennsylvania, and Youngstown, Ohio. They crossed an international border for the first time in 1922, to perform in Canada, and also made their first appearance at New York City’s famed Carnegie Hall in 1922. The Orchestra first crossed ocean waters in 1927 to perform in Cuba. Major overseas and international touring began in 1957, with the ensemble’s first trip to Europe, featuring 29 concerts across more than five weeks that spring.

As the Orchestra’s fame spread — fanned by recordings and radio broadcasts — new and lengthy concert tours of Europe followed in the 1960s, as well as the first trip to Asia in 1970, featuring 12 concerts in Japan and Korea.

Touring expanded in the following decades, with Cleveland’s first tour to Australia and New Zealand (1973), and South America and Mexico (1975), along with increasingly frequent visits to Europe and appearances across the United States.

“Music is the most universal language,” adds André Gremillet. “While we come from different cultures and live in different environments, experiencing great music together reminds us that what we all have in common is greater than what might separate us.”

Cleveland Orchestra News

55

orchestra news

THE CLEVELAND ORCHESTRA

Martin Luther King Jr. celebrated in music on January 20 and in afternoon open house on Monday, January 21 On Sunday, January 20, The Cleveland Orchestra performs its 39th annual concert celebrating the spirit of Dr. King’s life, leadership, and service in music and community recognition.

The performance will be conducted by Cleveland Orchestra assistant conductor Vinay Parameswaran, leading musical selections with the Martin Luther King Jr. Celebration Chorus, a group of volunteer singers from across Northeast Ohio assembled and prepared each year by William Henry Caldwell. This year’s concert also features tenor Lawrence Brownlee as soloist.

The concert begins with the presentation of the annual Martin Luther King Jr. Community Service Awards, given jointly by The Cleveland Orchestra and the City of Cleveland in cooperation with the Greater Cleveland Partnership to individuals who are positively impacting Cleveland in the spirit of the teachings and example of Dr. King.

All tickets to the free concert were distributed via a public ticket lottery. Those without tickets can experience the concert’s music and celebration by live radio broadcast over stations WCLV (104.9 FM) and WCPN (90.3 FM).

The next day, Monday, January 21, Severance Hall holds its seventeenth annual Martin Luther King Jr. Day Community Open House from 12 noon to 5 p.m.

This day of free activities and live music features performances by a variety of Northeast Ohio community performing arts groups. For more complete details, visit clevelandorchestra.com.

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

Comings and goings As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

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

THE CLEVELAND ORCHESTRA

I.N M.E .M.O.R.I. A .M The Cleveland Orchestra notes the death of Trustee Emeritus Donald W. Morrison on November 2, 2018, at the age of 92, and extends condolences to his family and friends. Mr. Morrison was elected to the board in 2010 and became a Trustee Emeritus in 2016. He served in the U.S. Navy in World War Two before earning a law degree from Stanford University and spending most of his career in the telephone industry. He served on a variety of non-profit boards, including as president of the Cleveland Botanical Garden.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians

New solo album features Cleveland Orchestra trumpeter Jack Sutte

Upcoming local performances by current and forr mer members of The Cleveland Orchestra include:

A new album was released in 2018 featuring Cleveland Orchestra musician Jack Sutte (trumpet). The solo album was recorded on the Schilke family of instruments at Baldwin Wallace University Conservatory of Music and features works written

by Andriessen, Dinsecu, Fennelly, Henze, Persichetti and Sutte himself.

The album/CD is titled Bent, t whcih Sutte suggests is connected to many meanings, including the trumpet being a brass instrument folded around d on it itself. lf Th The album showcase’s Sutte’s artistry and interest in expanding the repertoire for solo trumpet.

Available through a number of online retailers, including cdbaby.com.

Cleveland Orchestra trumpeter Jack Sutte is presenting a series of recitals in January with pianist Christine Fuoco. The four concerts, titled “Mettle — Sonatapalooza 2019,” feature twelve different sonatas for trumpet and piano written across a timespan of just under a hundred years, including works by Antheil, Ewazen, Hindemith, Kennan, Pilss, and Stevens The concerts — which are free and open to the public — take place on Wednesday, January 9 at 7 p.m., Saturday, January 12 at 3 p.m., Sunday, January 13 at 7 p.m., and Saturday, January 19 at 7 p.m. The performances are in Gamble Auditorium (Kulas Musical Arts Building, 96 Front Street, Berea 44107) on the Baldwin Wallace University campus.

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Severance Hall 2018-19

Cleveland Orchestra News

57

orchestra news

THE CLEVELAND ORCHESTRA

Orchestra digitizes its history to share with public online The Cleveland Orchestra has teamed up with Cleveland Public Library to preserve and share with the public materials from the Orchestra’s archive collection. An initial selection of digitized materials from the Orchestra’s Archives “news and reviews” collection was released online during National Archives Month in October. The materials can be viewed free of charge online at cplorg.contentdm.oclc.org.

The Cleveland Orchestra Archives houses materials from across the institution’s 100-year history, including scrapbooks, paper files, recordings, photographs, meeting minutes and business papers, as well as publications and brochures. This initial digitization focuses on scrapbooks containing articles and reviews.

Following a nationwide vendor screening and search, the Orchestra contracted with Cleveland Digital Public Library to digitize its entire collection of 354 scrapbooks totaling approximately 40,000 pages, as well as an additional 28

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linear feet of clippings. By digitizing its archives, the Orchestra is able to increase free public access to its collection while reducing the handling of physical materials.

“We W were very excited that we could fulfill our digitization needs right here at home by working with Cleveland Public Library, one of our nation’s great public research libraries,”” says Andria Hoy, the Orchestra’s archivist. “We’re excited to release the first portion of materials to the public.”

The entire digitization project is estimated to take between three and four years to complete, with additional scrapbooks released on the Library’s Digital Gallery in future years. The content is being processed for Optical Character Recognition (OCR) to allow text searching of the online collection.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

THE CLEVELAND ORCHESTRA

I.N M.E .M.O.R.I. A .M The Cleveland Orchestra notes the death of former principal percussionist Richard Weiner, r on December 30, 2018, at the age of 82, and extends condolences to his family and friends.

Mr. Weiner received The Cleveland Orchestra’s Distinguished Service Award in 2011, the year he retired, after serving for forty-eight years as a percussionist in the Orchestra — and forty-three years as the section’s leader, holding the title Principal Percussion for longer than any player in the Orchestra’s history.

Mr. Weiner participated in more than a hundred world or United States premieres with The Cleveland Orchestra. On tour with the Orchestra, he performed in 44 countries, and played on more than a hundred recordings.

He served with passion and interest on many Cleveland Orchestra committees, including the Negotiation Committee, which he chaired for many years, and on the Severance Hall Renovation Committee (1997-2000).

A native of Philadelphia, Rich Weiner was the first percussionist to be awarded a performer’s certificate from Indiana University, where he earned a master of music degree. Later in life he also earned a Juris Doctor degree from Cleveland State University.

At the time of his death, Mr. Weiner was a faculty member at the Cleveland Institute of Music, where he taught and influenced generations of young musicians for fifty-five years and had chaired the timpani and percussion department for more than four decades.

“Richard Weiner was a role model to all of us during our school days in Cleveland,” said Robert van Sice, chair of percussion studies at Yale University. “He was a man who played the way he lived — with tons of class.”

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Severance Hall 2018-19

70 YEARS OF REBUILDING LIVES THROUGH ADDICTION TREATMENT AND RECOVERY

Cleveland Orchestra News

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Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values.

Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.

L’dor V’dor.

From Generation to Generation.

Create Your Jewish Legacy www.jewishcleveland.org

orchestra news

THE CLEVELAND ORCHESTRA

M . U . S . I .C . I . A . N S . A . L . U .T. E

The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians offer performance and coaching time in support of Orchestra’s education, community engagement, fundraising, and audience development activities. We are pleased to recognize these musicians, listed below, who offered their talents and artistry for such presentations during the 2017-18 season.

Mark Atherton Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Marc Damoulakis Vladimir Deninzon Maximillian Dimoff Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Dane Johansen Joela Jones Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Massimo La Rosa Jung-Min Amy Lee Jessica Lee Yun-Ting Lee Emilio Llinás Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller

Ioana Missits Sonja Braaten Molloy Eliesha Nelson Robert O’Brien Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune William Preucil Lynne Ramsey Jeffrey Rathbun Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Thomas Sherwood Sae Shirajami Emma Shook Joshua Smith Saeran St. Christopher Corbin Stair Lyle Steelman Barrick Stees Richard Stout Trina Struble Yasuhito Sugiyama Jack Sutte Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Richard Waugh Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Afendi Yusuf Derek Zadinsky Jeffrey Zehngut

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Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra.

“We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, President & CEO. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensuring our ability to take advantage of opportunities to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”

Cleveland Orchestra News

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A portrait of Wolfgang Amadè Mozart, painted circa 1783 by Joseph Hickel.

We live in this world in order always to learn industriously and to enlighten each other by means of discussion and to strive vigorously to promote the progress of sciences and the fine arts.

—Wolfgang Amadè Mozart

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

M U S I C D I R E C TO R

Severance Hall

Friday evening, January 18, 2019, at 8:00 p.m.

Franz Welser-Möst, conductor WOLFGANG AMADÈ MOZART (1756-1791)

2O18 SEASON 2O19

Divertimento in B-flat major, K287 (“Loudron No. 2”) for horns and strings 1.

2.

3.

4.

5.

6.

Allegro Tema con variazioni: Andante grazioso Menuetto — Trio Adagio Menuetto — Trio Andante — Allegro molto

INTER MISSION RICHARD STRAUSS (1864-1949)

Sonatina No. 2 for Winds in E-flat major 1.

2.

3.

4.

Allegro con brio — Moving along, somewhat Andantino, very leisurely Menuet, rather lively Introduction and Allegro: Andante — Allegro

This performance is dedicated to Mrs. Alfred M. Rankin, Sr. in recognition of her extraordinary generosity in support of The Cleveland Orchestra.

CLEVELAND ORCHESTRA RADIO BROADCASTS

Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV Classical 104.9 FM, on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

Severance Hall 2018-19

Concert Program — Week 12a

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January 18 THI S WE E KE ND’S CONCE RT Restaurant opens: FRI 5:00

Severance Restaurant Reservations (suggested) for dining:

216-231-7373 or via www.UseRESO.com

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: FRI 8:00

C O N C E R T P R E V I E W in Reinberger Chamber Hall

“Divine Mozart and Grateful Homage” with Rose Breckenridge , Cleveland Orchestra Music Study Groups

MOZART Divertimento in B-flat major, K287 . . . . . . . . . . . page 67 (40 minutes)

Share your memories of the performance and join the conversation online . . .

INTERMISSION (20 minutes)

facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch

(Please note that photography during the performance is prohibited.)

STRAUSS Sonatina No. 2 (for sixteen winds) . . . . . . . . . . . page 71 (40 minutes)

Duration times shown for musical pieces (and intermission) are approximate.

Concert ends: (approx.)

FRI 9:40

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Opus Lounge This season, stop by our newlyredecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.

TThis his Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Mozart Strings & Strauss Winds

T H I S C O N C E R T features two works for small ensembles, one largely for

strings (plus two horns), the other for woodwinds (plus four horns). These chamber works, rarely heard in an orchestral context, offer unique perspectives on two of classical music’s most imaginative and skilled practitioners.

Mozart and Strauss were each remarkable talents. They did everything, musically speaking. They wrote in many genres — orchestral, chamber music, solo works, and opera. Mozart did a lot of church music, while Strauss as much as defined the modern idea of the orchestral tone poem.

They were both industrious and imaginative (and sometimes lazy and tempermental). Mozart died young (at the age of 35), while Strauss lived a half century longer (to age 85). The Mozart divertimento on this concert was written when the composer was just twenty-one. Strauss’s Sonatina No. 2, in contrast, was penned when he was nearly eighty.

Mozart was a brilliant pianist, and also quite capable as a violinist (or violist, when needed — and would happily substitute in as a percussionist, too). Strauss was as sought-after as a conductor as he was for his own compositions. Both men married singers, and had good, if at times feisty, marriages. Mozart was sloppy with his financial affairs, while Strauss was shrewd and careful.

One thing they shared, however, was not just a love for music, but an innate understanding of what it can do or might do — of how to manipulate the notes, the textures, the rhythms, the harmonies — to make the music speak to audiences of human sensibility and understanding, of sadness and joy. Mozart’s Divertimento K287 is a magnificent work of a man filled with ideas. Strauss’s Sonatina No. 2 is the work of a man who lived a good long life — and survived the difficulties of Nazi Germany and World War Two. Each speaks to us, lovingly focused and attuned to life’s beauty.

—Eric Sellen Above: 18th-century illustration of a wind ensemble.

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Introducing the Concert

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Divertimento in B-flat major, K287 (“Loudron No. 2”) for two horns and strings composed 1777

At a Glance

by

Wolfgang Amadè1

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

Mozart wrote a pair of divertimentos for the Countess Antonia Loudron (some sources spell her lastname as Lodron) of Salzburg — one in F major in 1776 and a second, in B-flat major, in 1777. They were each performed soon after being written.

In the 19th century, the B-flat major work was given the catalog number K287 along with the designation of being “No. 15” among Mozart’s twenty or so divertimentos.

(In the 20th century, it was given supplementary catalog numbering under K271, as K271b and then

K271h, to account for a clearer

understanding of the chronology of its composition among all of the composer’s works.)

This divertimento runs about 40 minutes in performances. Mozart scored it for a string ensemble, plus 2 horns.

The Cleveland Orchestra has performed this work once previous to this week, in August 1980 as accompaniment to Balanchine’s ballet titled “Divertimento No. 15,” performed at Blossom Music Center with the San Francisco Ballet, conducted by Jean-Louis LeRoux.

About the Music I N S E P T E M B E R 1 7 7 7 , Mozart came to the conclusion that there was no advancement open to his career by staying in Salzburg and that, in fact, his employer, the Archbishop Colloredo, was doing everything to hinder his success.

And so Mozart set off with his mother to look for openings in southern Germany, beginning in Munich. There he had an audience with the Elector of Bavaria, who advised the twentyone-year-old to study in Italy. Mozart replied that he had been to Italy three times and had completed the Bologna Academy test with unprecedented speed. “Yes, my dear boy,” replied the Elector, “but I have no vacancy.”

Nevertheless, young Mozart found good music-making in Munich. “At Count Salern’s,” he wrote to his father, “I played sev1 Mozart

was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saint’s name, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. His third name, Theophilus, comes from Greek and can be rendered as “lover of God” or “loved by God.” Amadeus is a Latin version of this same name, while Amadè is a more modern rendition. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving Amadeus only as an occasional joke. However, after his death,19th-century scholars in all fields of learning were completely enamored of Latin naming and conventions (this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc.) and successfully “changed” his name to Amadeus.

Only in recent years have we started remembering the Amadè name he preferred.

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About the Music

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eral things out of my head, and then the two Cassations I wrote for the Countess and finally the Finalmusik with the Rondo, all from memory. You cannot imagine how delighted Count Salern was. He really understands music, for all the time he kept shouting ‘Bravo!’ where other noblemen would take a pinch of snuff, blow their noses, clear their throats or start a conversation. I said I only wished the Elector had been there, for then he might hear something. As it is, he knows nothing whatever about me. He has no idea what I can do.”

Of course there was scarcely anyone alive in 1777 who knew what Mozart could (or eventually would) really do. It was still four years before such great masterpieces as Idomeneo and the Sinfonia concertante for violin and viola were to appear. Nonetheless, it was humiliating for Mozart that a suitable position as Kapellmeister or Konzertmeister was so difficult to secure.

The Countess he referred to was not Count Salern’s wife, but Antonia, the wife of Count Loudron (sometimes spelled “Lodron”), one of his Salzburg patrons, and the “Cassations” (Mozart also called them “Divertimenti”) were later catalogs as K247 and K287. The first of these was composed in 1776 and the second in 1777, perhaps for the Countess’s name-day on June 13 of those years. From the autograph manuscript of K287 (now in Kraków, Poland), someone has cut off the composer’s name and the date, which is reported to have been February 1777.

Mozart again played this Divertimento two days later, leading from the first violin desk: “I played it as though I were the finest fiddler in all Europe.” From Munich, the composer and his mother set off on their long journey to Mannheim and then to Paris, where they received constant exhortations from father Leopold back in Salzburg.

The Divertimento, later given the nickname of “Loudron No. 2”, is mentioned in historical documents several times, noting that it was featured in Salzburg concerts during the composer’s absence, sometimes at the house of the Countess Loudron for whom it was written.

In this era, the titles Cassation, Divertimento, and Serenade were interchangeable, always used as the label for entertainment music and usually extending to more than the three or four movements that would normally make up a symphony. Across his lifetime, Mozart composed a great number of such works. Many of them are for wind instruments only. The Divertimention K287 is for strings and two horns, and features six movements.

The horns are not given much prominence, mainly reinforcing the strings, and they are, for much of the time, playing on the high

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B-flat horn to match the key of the work. In some of the movements, the violins too are required to play as high as in any of Mozart’s violin concertos.

The first movement has the dimensions and variety of themes that we would find in a symphony, with a coda at the end. This is followed by a movement of theme and variations, built on a folksong “Heissa, hurtig, ich bin Hans und bin ohne Sorge” [“Heigh-Ho, I’m Hans with not a care in the world!”]. The six variations bring different sections into the limelight in turn — initially the first violins, then the second violins and violas rippling beneath a high statement of the tune, then the horns (still playing their basic notes). In the fourth and fifth variation, Mozart shows off his skill as an inventive composer, and the sixth appears to double the tempo.

The beautiful Adagio movement, in which the horns do not take part, is framed by two sets of Minuet and Trio (a “Trio” is a specific style of movement section, often featuring three solo-like instruments in chamber-like conversation).

The finale is unusual in having a declamatory introduction, much like a free-style vocal recitative before a more regular and tuneful aria. Its purpose is surely to underline the irony of using another popular tune in its main Allegro molto section, especially when that tune is “D’Bäuerin hat d’Katz verlorn” [“The Farmer’s Wife Has Lost Her Cat”]. In Mozart’s day, many if not most of the audience would have known such folksongs — and been suitably amused by the words involved. Modern audiences, especially outside Germanic-speaking central Europe, still catch Mozart’s captured fun in the music, which pauses before the end to hear the recitative once more. Then, in a final burst of virtuosity from the first violins, this divertimento is brought to a truly diverting close.

—Hugh Macdonald © 2019

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Sonatina No. 2 (for winds) composed 1943-45

At a Glance

by

Richard

STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

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Strauss began writing his Sonatina No. 2 for winds soon after complett ing No. 1 during the winter of 194344. He completed two movements

by March 1944, then set the work aside to compose his Metamorphosen for strings. He wrote the Second Sonatina’s middle two movements in the summer of 1945, following the end of European hostilities in World War II. He added a subtitle at that time: Fröhliche Werkstatt [Happy Workshop] — in contrast to the subtitle he had given Sonatina No. 1, which was “composed by an invalid” because of the ongoing physical maladies (including influ-

enza) Strauss had suffered while writing that work.

The Second Sonatina was first performed on March 25, 1946, in Wintherthur, Switzerland, played

by Winterthur Musikkollegium conducted by Hermann Scherchen.

This work runs about 40 minutes in performance. Strauss scored it for an ensemble of 16 players: 2 flutes, 2 oboes, 5 clarinets (1 in C, 2 in B-flat, a basset horn, and a bass clarinet), 2 bassoons, contrabassoon, and 4 horns.

The Cleveland Orchestra is presenting this work for the first time with concerts this week.

About the Music I N H I S Y O U T H , while still a schoolboy in fact, Strauss composed

a Serenade in one movement for thirteen wind instruments, evidently in homage to Mozart’s famous Serenade for thirteen wind instruments, K361.

Being the son of Munich’s leading horn player, he was able to use his father’s connections to get the Serenade performed in Dresden in 1882 and again in Meiningen. Conductor Hans von Bülow was so impressed that he persuaded Strauss to compose another piece of the same kind. He also asked him to conduct it.

That occasion was young Richard’s initiation into what would be another major element of his career, as, eventually, a renowned and very capable conductor.

Strauss composed the requested new Suite, for a similar group of winds and in four movements. It was first performed in Munich in 1884.

What, exactly, do these two youthful works have to do with his Sonatina No. 2, written sixty years later. To begin, it was the memory of the two earlier works that came back to Strauss in truly the dark times, in the midst of World War II, in 1943. The tide was turning against Germany and Strauss’s delicate relations — at times deft, at time clumsy — with the Nazi regime were under considerable strain. Having completed his Second Horn About the Music

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Concerto at the end of 1942, he began a piece for wind instruments without any particular purpose in mind — other than to keep himself busy. Playing cards and writing music were, for him, relaxations that rarely failed to keep his mind occupied, and both amusements took his mind off the grim realities all around.

Writing this time for sixteen instruments in four movements, he called the completed work “First Sonatina for sixteen wind instruments from the workshop of an invalid.” It was completed in 1943 and first performed in June 1944 in Dresden as a tribute to the first performance in that city of his Serenade sixty-two years earlier. He called himself an “invalid” in the titling because he had been intermittently unwell while writing it. He called it a “Sonatina” for no clear reason (it is not a brief work, as one might expect a sonatina to be).

It was labelled “First,” perhaps, because he intended to keep going in the medium and compose one or more additional.

And, in fact, he immediately began writing a second Sonatina, this time in the form of an “Introduction and Allegro” (eventually to become the finale) and then an Allegro (the first movement), which was completed in March 1944.

Strauss devoted the early months of 1945, while conditions in Germany were daily deteriorating, to one of his greatest works, the Metamorphosen for twenty-three solo strings, completed a few weeks before Germany’s final collapse. The two missing middle movements of the Sonatina No. 2 were, thus, the first pieces to be written after the conclusion of the war in Europe, which explains the work’s subtitle, the “Cheerful Workshop” [Fröhliche Werkstatt]. In fact, the end of the war brought certain happiness, but life and living was anything but cheerful for the eighty-year-old Strauss and his wife. After the war, they took refuge in Switzerland as the only way to receive composer’s royalties from abroad. The first performance of the Second Sonatina was thus undertaken by a Swiss group, the Winterthur Musikkollegium, conducted by Hermann Scherchen (better known for his championship of avant-garde music than for any association with Strauss). the music

The sixteen instruments Strauss chose for the two Sonatinas expand Mozart’s model, while still having a preponderance of clarinets, featuring five members of that family. The topmost clarinet is the clarinet in C, commonly used in Beethoven’s time but quite unusual by 1945; then two “standard” B-flat clarinets; a basset-horn (which is a tenor clarinet in the key of F); and the familiar bass clarinet, which shares the duty of sustaining the bass line with the bassoons

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About the Music

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and the contrabassoon. Another oddity is writing for one pair of horns in F (the standard horn) and one pair in E-flat (full of historical reference, even though Strauss knew that players of his time always played the part on the F horn).

The sense of sheer joy in the act of composing is easily felt in this music, as Strauss throws his themes from one instrument to another, slides in and out of distant keys, and shows little sign of running out of new things to do with this material. Both the first and last movements display enchanting fluency of form and evolution, while the two middle movements are relatively concise and measured.

The Andantino moves at a gentle gait, rather like the slow movement of Beethoven’s Eighth Symphony, and includes an elegant oboe solo. The Menuett is very much in the classical vein; this time the leading solo is given to the clarinet.

Before the Finale plunges into a dizzying Allegro, its Introduction [Einleitnung] casts a rather dark shadow, with somber orchestration and severe harmonic tension. Bearing in mind that this was the first part of the work to be written, one might at first suppose that Strauss set out to write a very different kind of Sonatina to the First and to reflect the ruinous state of the world around him. But the Allegro belies any such plan. Clearly, the notes themselves started dancing across the page, leading their composer into a merry dance of a kind that he enjoyed composing most of all. Life and music clearly interact, but are not always fully reflective, one of the other.

—Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin, as well as 1853 in Music: The Biography of a Year, detailing the lives and interactions of many of Europe’s big-named classical composers during a particularly interesting and pivotal moment in time.

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Mr. and Mrs. Robert G. Busha Ms. Mary R. Bynum and Mr. J. Philip Calabrese Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson+ Mr. and Mrs. John J. Carney Mr. and Mrs. Frank H. Carpenter Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. John C. Chipka and Dr. Kathleen S. Grieser Mr. and Mrs. Homer D. W. Chisholm The Circle — Young Professionals of The Cleveland Orchestra Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Dr. and Mrs. Thomas M. Daniel Mrs. Frederick F. Dannemiller+ Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Bruce and Jackie Davey Mrs. Lois Joan Davis

Ms. Nancy J. Davis (Miami) Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Carl Dodge Maureen Doerner & Geoffrey White Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Mr. Barry Dunaway and Mr. Peter McDermott Mr. Patrick Dunster Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki+ Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers+ Peter and Kathryn Eloff+ Harry and Ann Farmer Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Mr. Dean Fisher Carol A. Frankel Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Morris and Miriam Futernick (Miami) Jeanne Gallagher Dr. Marilee Gallagher Mr. William Gaskill and Ms. Kathleen Burke

Composer’s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. Francis Amato Susan S. Angell Stephen and Amanda Anway Mr. William App Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. James B. Aronoff+ Ms. Patricia Ashton Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Ms. Pamela D. Belknap Mr. and Mrs. James R. Bell III Dr. Ronald and Diane Bell Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Irving and Joan M. Bolotin (Miami) Jeff and Elaine Bomberger Lisa and Ronald Boyko+ Ms. Barbara E. Boyle Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mr. Gregory and Mrs. Susan Bulone J.C. and H.F. Burkhardt

96 78

Individual Annual Support

The The Cleveland Cleveland Orchestra Orchestra

Passion. PERIOD.

Mystery Sonatas BAROQUE ORCHESTRA jeannette sorrell

BIBER’S

Chamber Concert

Heinrich Biber’s Sonatas on the Mysteries of the Rosary are among the great and neglected masterpieces of music history. Apollo’s Fire favorite violinists take turns in the spotlight along with theorbos and organ. An evening full of virtuosity as well as haunting spirituality.

FRIDAY, FEBRUARY 1, 8:00PM & SATURDAY, FEBRUARY 2, 8:00PM St. Paul’s Episcopal Church CLEVELAND HEIGHTS Additional performances January 31 & February 3 in NE Ohio.

JOHANNA NOVOM, ADRIANE POST, KARINA SCHMITZ, CARRIE KRAUSE

216.320.0012 | CRQNNQUſTG QTI

Mr Wilbert C Mr. C. Geiss Geiss, Sr. Sr Ms. Suzanne Gilliland Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Donna Lane Greene Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. Scott R. Gunselman Mr. Davin and Mrs. Jo Ann Gustafson Scott and Margi Haigh Mark E. and Paula N. Halford Dr. James O. Hall Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green + Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. Toby Helfand In Memory of Hazel Helgesen Jay L. and Cynthia P. Henderson Charitable Fund Ms. Phyllis A. Henry The Morton and Mathile Stone Philanthropic Fund T. K.* and Faye A. Heston Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Gail Hoover and Bob Safarz Dr. Keith A. and Mrs. Kathleen M. Hoover+ Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Ruth F. Ihde Bruce and Nancy Jackson William W. Jacobs Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Jaime and Joseph Jozic Dr. and Mrs. Donald W. Junglas David and Gloria Kahan Mr. Jack E. Kapalka Honorable Diane Karpinski Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Howard and Mara Kinstlinger Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Mrs. Ursula Korneitchouk Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. and Mrs. Russell Krinsky Mr. Donald N. Krosin Stephen A. Kushnick, Ph.D. Bob and Ellie Scheuer+

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Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.+ Mrs. Sandra S. Laurenson Mr. and Mrs. Michael Lavelle Dr. and Mrs. Arthur Lavin Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Judy and Donnie Lefton (Miami) Ronald and Barbara Leirvik Ivonete Leite (Miami) Mr. and Dr. Ernest C. Lemmerman+ Michael and Lois Lemr Mr. Alan R. Lepene Mr. and Mrs. Roger J. Lerch Robert G. Levy+ Matthew and Stacey Litzler Drs. Todd and Susan Locke Ms. Susan Locke Mary Lohman Mr. and Mrs. Carlos Lopez-Cantera (Miami) Ms. Mary Beth Loud Damond and Lori Mace Mr. and Mrs.* Robert P. Madison Robert M. Maloney and Laura Goyanes David Mann and Bernadette Pudis Herbert L. and Ronda Marcus Martin and Lois Marcus Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Ms. Amanda Martinsek Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Ruth and John Mercer Mr. Glenn A. Metzdorf Ms. Betteann Meyerson+ Beth M. Mikes Osborne Mills, Jr. and Loren E. Bendall David and Leslee Miraldi Ioana Missits Mr. and Mrs. Marc H. Morgenstern Mr. Ronald Morrow III Eudice M. Morse Bert and Marjorie Moyar+ Susan B. Murphy Steven and Kimberly Myers+ Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Robert D. and Janet E. Neary Georgia and Carlos Noble (Miami) Marshall I. Nurenberg and Joanne Klein Robert and Gail O’Brien Richard and Jolene O’Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson+ David Pavlich and Cherie Arnold Matt and Shari Peart Nan and Bob Pfeifer

Individual Annual Support

Mr. Charles and Mrs. Mary Pfeiffer Dale and Susan Phillip Ms. Irene Pietrantozzi Maribel A. Piza (Miami)+ Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Peter Politzer In memory of Henry Pollak Mr. Robert and Mrs. Susan Price Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Mr. Cal Ratcliff Brian and Patricia Ratner Dr. Robert W. Reynolds David and Gloria Richards Ms. Carole Ann Rieck Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Susan Ross Dr. and Mrs. Robert C. Ruhl Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Lawrence H. Rustin and Barbara C. Levin (Miami) Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Michael Salkind and Carol Gill Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Mr. Matthew Schenz Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Ms. Karen Schneider John and Barbara Schubert Mr. James Schutte+ Mrs. Cheryl Schweickart Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Lee and Jane Seidman Charles Seitz (Miami) Rafick-Pierre Sekaly Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten+ Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Mrs. Dorothy Shrier Mr. Robert Sieck Laura and Alvin A. Siegal Mr. and Mrs. Bob Sill Jim Simler and Doctor Amy Zhang Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Bruce L. Smith David Kane Smith listings continue

Orchestra The Cleveland Orchestra

listings continued

Sandra and Richey Smith+ Mr. Eugene Smolik Mr. and Mrs.* Jeff rey H. Smythe Jeffrey Mrs. Virginia Snapp Ms. Barbara Snyder Dr. Nancy Sobecks Lucy and Dan Sondles Mr. John D. Specht Mr. Michael Sprinker Diane Stack and James Reeves* Mr. Marc Stadiem Dr.* and Mrs. Frank J. Staub Edward R. & Jean Geis GeissStell StellFoundation Foundation Mr. Ralph E. String Michael and Wendy Summers Ken and Martha Taylor Mr. and Mrs. Philip L. Taylor Mr. Karl and Mrs. Carol Theil+ Mr. Robert Thompson Mrs. Jean M. Thorrat Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Jonathan Tisch Erik Trimble Dr. and Mrs. Michael B. Troner (Miami) Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull+ Dr. and Mrs. Wulf H. Utian Bobbi and Peter van Dijk Brenton Ver Ploeg (Miami) Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. and Mrs. Reid Wagstaff Mrs. Carolyn Warner Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Mr. Peter and Mrs. Laurie Weinberger Judge Lesley Wells Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Betty and Michael Wohl (Miami) Katie and Donald Woodcock Tanya and Robert Woolfrey Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Ms. Ann Marie Zaller Mr. Jeff rey A. Zehngut Jeffrey Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (11)

+ has signed a multiyear pledge (see information box earlier in these listings)

Thank You The Cleveland Orchestra is sustained through support of thousands The Cleveland Orchestra is sustained through thethe support of thousands nds of generous patrons, including Leadership donors listed these pages. of generous patrons, including the the Leadership donors listed onon these pages.

Listings all annual donors of $300 and more are published Listings of allofannual donors of $300 and more eacheach year year are published hed annually, and be canviewed be viewed online at CLEVELANDORCHESTRA annually, and can online at CLEVELANDORCHESTRA .COM.COM For information about you play can play a supporting For information about how how you can a supporting role role for The Cleveland estra’s ongoing artistic excellence, for Th e Cleveland OrchOrch estra’s ongoing artistic excellence, education programs, and community partnerships, education programs, and community partnerships, please contact our Philanthropy & Advancement Office please contact our Philanthropy & Advancement Office by phone: 216-231-7545 or email: miqbal@clevelandorchestra.com by phone: 216-231-7556 or 216-231-7300.

T HE

CLEVELAND ORC HE STR A FRANZ WELSER-MÖST

* deceased

The Cleveland Severance HallOrchestra 2018-19

Individual Annual Support

99 81

THE CLEVELAND ORCHESTRA

Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education programs, and community initiatives.

Annual Support gifts in the past year, as of September 1, 2018 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level.

PARTNERS IN EXCELLENCE $300,000 AND MORE

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The J. M. Smucker Company Anonymous PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Jones Day PNC Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Eaton Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Swagelok Thompson Hine LLP Quality Electrodynamics

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$50,000 TO $99,999

Dollar Bank Foundation Forest City Parker Hannifin Foundation voestalpine AG (Europe) $15,000 TO $49,999

Buyers Products Company Case Western Reserve University DLR Group | Westlake Reed Leskosky Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lincoln Electric Foundation The Lubrizol Corporation MTD Products, Inc. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. The Sherwin-Williams Company Westfield Insurance United Airlines

Corporate Annual Support

$2,500 TO $14,999 American Fireworks, Inc. Applied Industrial Technologies BDI Blue Technologies Brothers Printing Co., Inc. Calfee, Halter & Griswold LLP Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. The Cliffs Foundation Cohen & Company, CPAs Consolidated Solutions Deloitte & Touche LLP Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Huntington National Bank Johnson Investment Counsel KPMG LLP Littler Mendelson, P.C. Live Publishing Company Materion Corporation Miba AG (Europe) Oatey Ohio CAT Oswald Companies PolyOne Corporation PwC RSM US, LLP Stern Advertising Struktol Company of America Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

Foundation/Government Support The Cleveland Orchestra is grateful for the annual support of the foundations and government agencies listed on this page. The generous funding from these institutions (through gifts of $2,500 and more) is a testament of support for the Orchestra’s music-making, education programs, and community initiatives.

Annual Support gifts in the past year, as of September 1, 2018 $1 MILLION AND MORE

Cuyahoga County residents through Cuyahoga Arts and Culture Elizabeth Ring Mather and William Gwinn Mather Fund $500,000 TO $999,999

The George Gund Foundation Ohio Arts Council $250,000 TO $499,999

The Louise H. and David S. Ingalls Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family Foundation William Randolph Hearst Foundation Kulas Foundation David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation Ruth McCormick Tankersley Charitable Trust Weiss Family Foundation $50,000 TO $99,999

The George W. Codrington Charitable Foundation The Mary S. and David C. Corbin Foundation The Jean, Harry, and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund

The Cleveland Severance HallOrchestra 2018-19

$15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) Mary E. & F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust Cuyahoga Community College Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust The Kirk Foundation (Miami) The Frederick and Julia Nonneman Foundation National Endowment for the Arts The Reinberger Foundation Sandor Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation The Edward and Ruth Wilkof Foundation

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation The Bruening Foundation Cleveland State University Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Ann and Gordon Getty Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation George M. and Pamela S. Humphrey Fund Lakeland Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation Peg’s Foundation Northern Ohio Italian American Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers Foundation The George Garretson Wade Charitable Trust The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Wuliger Foundation Anonymous (2)

Foundation/Government Annual Support

89 83

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contact Live Publishing Company 216.721.1800 info@livepub.com

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of current members is as of October 2018.

For more information, please contact the Orchestra’s Legacy Giving Office by contacting Dave Stokley at dstokley@clevelandorchestra.com or 216-231-8006.

Lois A. Aaron Leonard Abrams Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Norman* and Marjorie Allison Dr. Sarah M. Anderson George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Jack L. Barnhart Margaret B. and Henry T.* Barratt Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry* Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Mr. William P. Blair III Doug and Barb Bletcher Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome Borstein* Mr. and Mrs.* Otis H. Bowden II Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mr. and Mrs. William C. Butler

Gregory and Karen Cada Roberta R. Calderwood* Harry and Marjorie* M. Carlson Janice L. Carlson Dr.* and Mrs. Roland D. Carlson Barbara A. Chambers, D. Ed. Dr. Gary Chottiner & Anne Poirson NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R. Cohen* Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr.* and Mrs. Gerald A. Conway The Honorable Colleen Conway Cooney and Mr. John Cooney John D. and Mary D. Corry* Dr. Dale and Susan Cowan Dr. and Mrs. Frederick S. Cross* Martha Wood Cubberley In Memory of Walter C. and Marion J. Curtis William and Anna Jean Cushwa Alexander M. and Sarah S. Cutler Mr.* and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P.* Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster* Carolyn L. Dessin Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary* Doll Gerald and Ruth Dombcik Barbara Sterk Domski Mr.* and Mrs. Roland W. Donnem Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Mr. and Mrs. Robert Duvin

Dr. Robert E. Eckardt Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Roger B. Ellsworth Oliver* and Mary Emerson Lois Marsh Epp Patricia Esposito C. Gordon and Kathleen A.* Ewers Patricia J. Factor Carl Falb Regis and Gayle Falinski Mrs. Mildred Fiening Gloria and Irving* Fine Joan Alice Ford Mr. and Mrs. Ralph E. Fountain* Gil* and Elle Frey Arthur* and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Albert I. and Norma C. Geller Dr. Saul Genuth Frank and Louise Gerlak Dr. James E. Gibbs S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky In Memory of Margaret Goss Harry and Joyce Graham Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths Bev and Bob Grimm Candy and Brent Grover Thomas J.* and Judith Fay Gruber Henry and Komal Gulich LISTING CONTINUES

The Cleveland Orchestra

Legacy Giving

85

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY L I S T I N G C O N T I N U ED

Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Holsey Gates Handyside* Norman C. and Donna L. Harbert Mary Jane Hartwell* William L.* and Lucille L. Hassler Mrs. Henry Hatch (Robin Hitchcock) Nancy Hausmann Virginia and George Havens Barbara L. Hawley and David S. Goodman Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage T. K.* and Faye A. Heston Fred Heupler, M.D. Mr. and Mrs.* Daniel R. High Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein* Leonard* and Lee Ann Holstein David and Nancy Hooker Thomas H. and Virginia J.* Horner Fund Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka* Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson David and Dianne Hunt Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr.* and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs. Clifford J. Isroff* Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Pamela Jacobson Milton* and Jodith Janes Jerry and Martha Jarrett* Merritt and Ellen Johnquest* Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian and Aileen Kassen*

86

Milton and Donna* Katz Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Mrs. Carolyn Lampl Marjorie M. Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R. and Jane G. Lefko Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin* and Leda Linderman Virginia M. and Jon A. Lindseth Ruth S. Link* Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone* Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel*

Legacy Giving

Clement P. Marion Dr. and Mrs. Sanford E. Marovitz David C. and Elizabeth F. Marsh* Duane and Joan Marsh* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs. Robert F. Meyerson* Brenda Clark Mikota Christine Gitlin Miles Antoinette S. Miller Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs.* William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD* Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Steve Norris and Emily Gonzales Paul and Connie Omelsky Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Elisabeth C. Plax Florence KZ Pollack Julia and Larry Pollock John L. Power and Edith Dus-Garden Richard J. Price Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mrs. Alfred M. Rankin, Sr. James and Donna Reid Mrs. Charles Ritchie

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Carol Rolf and Steven Adler Margaret B. Babyak* and Phillip J. Roscoe Audra* and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Robert and Margo Roth Marjorie A. Rott* Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Marc Ruckel Florence Brewster Rutter Dr. Joseph V. Ryckman Mr. James L. Ryhal, Jr.* Renee Sabreen* Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks John A Salkowski Larry J. Santon Stanford and Jean B. Sarlson James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E.* and Meredith M. Seikel Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro Norine W. Sharp* Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess*

Severance Hall 2018-19

Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George* Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith Sandra and Richey Smith Roy Smith Myrna and James Spira Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Elliott K. Stava and Susan L. Kozak Fund Saundra K. Stemen Merle and Albert Stern* Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lorraine S. Szabo Mrs. Jean H. Taber* Norman V. Tagliaferri Nancy and Lee Tenenbaum Dr. and Mrs. Friedrich Thiel Mr. and Mrs. William M. Toneff Joe and Marlene Toot Alleyne C. Toppin Janice and Leonard Tower Dr. and Mrs. James E. Triner William & Judith Ann Tucholsky Dorothy Ann Turick* Mr. Jack G. Ulman Robert and Marti* Vagi Robert A. Valente J. Paxton Van Sweringen Mary Louise and Don VanDyke Steven Vivarronda Hon. and Mrs. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Max W. Wendel

Legacy Giving

William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White Yoash and Sharon Wiener Alan H.* and Marilyn M. Wilde Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Tony and Diane Wynshaw-Boris Mary Yee Carol Yellig Libby M. Yunger William Zempolich and Beth Meany Roy J. Zook* Anonymous (73)

The lotus blossom is the symbol of the Heritage Society.

It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall.

For more information about becoming a member of the Heritage Society, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006.

87

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The Cleveland Orchestra

THE

CLEVELAND ORCHESTRA

its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra has begun its Second Century hailed as one of the very best orchestras on the planet, noted for its musical excellence and for its devotion and service to the community it calls home. The coming season will mark the ensemble’s seventeenth year under the direction of Franz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, the Orchestra and its board of trustees, staff, volunteers, and hometown have affirmed a set of community-inspired goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of continuing extraordinary concert experiences, engaging music education programs, and innovative technologies offers future generations dynamic access to the best symphonic entertainment possible anywhere.

The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies. These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New York, at Indiana University, and in Miami, Florida.

Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across the globe, and through recordings and broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows with each new generation. Fruitful re-examinations and juxtapositions of traditional repertoire, recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world.

Serving the Community. Programs for students and engaging musical explorations for the community at large have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives.

PHOTO BY ROGER MASTROIANNI

WITH CE LE BRATION S THROUGHOUT

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The Cleveland Orchestra

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PHOTO BY ROGER MASTROIANNI

Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Active performance ensembles and teaching programs provide proof of the benefits of direct participation in making music for people of all ages.

Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010.

Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences for symphonic concerts anywhere.

Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including casual Friday night concerts, film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful

Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland, with this past summer’s on July 6 as the ensemble’s official 100th Birthday bash. Nearly 3 million people have experienced the Orchestra through these free performances.

contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding.

An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music.

While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in

The Cleveland Orchestra

The Cleveland Orchestra

the classroom, and for the community.

Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, from 2002 forward.

The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in

1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States.

T y, concert performances, comToda munity presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

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The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

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

H A I L E D A S O N E of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 19211936) and his wife, Elisabeth, donated the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism.

An extensive renovation, restoration, and expansion of the facility was completed in January 2000.

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Severance Hall

PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance Hall. Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. As courtesy to others, please turn off any phone of device that makes noise or emits light.

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

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

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermission, located on the groundfloor in the Smith Lobby near the Ticket Office

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THE CLEVELAND ORCHESTRA

Operatic Tradition, Renaissance, and Innovation The Cleveland Orchestra has a long and storied history of operatic performances. In the mid1930s, after the opening of Severance Hall, music director Artur Rodzinski led several fully-staged opera productions each year (including the United States premiere of Shostakovich’s Lady Macbeth of Mtzensk). But economic constraints of the Depression ended the series after a few years.

The Orchestra’s season featured occasional inconcert presentations in the ensuing decades, as well as several summer seasons of Lake Erie Opera’s staged productions at Severance Hall in the mid-1960s and two staged productions at Blossom in the mid-1980s. During Franz WelserMöst’s tenure, opera has become a regular and welcome part of the Orchestra’s annual schedule, now boasting nearly twenty operas featuring international stars and up-and-coming talent, and mixing in-concert presentations alongside innovatively-staged productions.

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The Cleveland Orchestra

Opposite page, top to bottom: Wagner’s Die Walküre in 1934 and Shostakovich’s Lady Macbeth of Mtzensk in 1935 were among fully-staged operas in Severance Hall’s early years.

More recently, Mozart’s Così fan tutte in 2010 was featured as part of a three-year cycle of Mozart’s Da Ponte operas in productions from Zurich Opera.

At left: Nina Stemme starring in the title role in a concert presentation of Strauss’s Salome in 2012.

Franz Welser-Möst led The Cleveland Orchestra and an international cast of singers in a unique production of Leoš Janáček’s The Cunning Little Vixen in 2014, directed

by Yuval Sharon and blending together live action with projected animation.

Encore performances were presented in 2017-18, in Cleveland and Vienna.

COLOR PHOTOGRAPHY BY ROGER MASTROIANNI

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Opera and The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA

JOHN L. SEVERANCE SOCIETY Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride.

The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations.

Current donors with lifetime giving surpassing $1 million, as of September 2018

Gay Cull Addicott American Greetings Corporation Art of Beauty Company, Inc. BakerHostetler Bank of America The William Bingham Foundation Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Irma and Norman Braman Jeanette Grasselli Brown and Glenn R. Brown The Cleveland Foundation The George W. Codrington Charitable Foundation Robert and Jean* Conrad Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Eaton FirstEnergy Foundation Forest City GAR Foundation Mr. and Mrs. Richard T. Garrett The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Goodyear Tire & Rubber Company The George Gund Foundation Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Jones Day Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Walter and Jean Kalberer Foundation

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Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride Ms. Nancy W. McCann William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Mr. and Mrs. Robert F. Meyerson* Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Family of D. Z. Norton State of Ohio Ohio Arts Council The Honorable and Mrs. John Doyle Ong

Severance Society / Lifetime Giving

Parker Hannifin Foundation The Payne Fund PNC Julia and Larry Pollock PolyOne Corporation Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner James and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Seven Five Fund Carol and Mike Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Mr. and Mrs. Richard K. Smucker Jenny and Tim Smucker Richard and Nancy Sneed Jim and Myrna Spira Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (7)

* deceased

The Cleveland Orchestra

Rainey Institute El Sistema Orchestra

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We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested more nearlythan $4 million since 2016 to scale up neighborhood-based programs that now serve 3,000 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success.

Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

(877) 554-5054 clevelandfoundation.org/success