The Cleveland Orchestra November 17-19 Concerts

Completely engaged. That’s how Joe Coyle feels about his life at Judson Manor.

“Expanding my curiosity about life is what

An award-winning journalist who has lived in Paris, Santa Fe, and New York City, he arrived in July 2020 via the suggestion of a fellow resident. He’s been delighted ever since. “As a writer, I enjoy spending time alone, and these surroundings are perfect: my apartment is quiet, and the views overlooking the Cleveland Museum of Art are lovely. But by far the best part of Judson is the people. Everyone is so knowledgeable about art and culture. I wanted to have stimulating company to spend my time with, and I’ve found that here. These are wonderful, interesting people,” says Joe. Read the full story at judsonsmartliving.org/blog

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it’s all about.”

Joe Coyle

2022/2023 SEASON

JACK, JOSEPH AND MORTON MANDEL CONCERT HALL AT SEVERANCE MUSIC CENTER

El Niño

Thursday, November 17, 2022, at 7:30 p.m.

Friday, November 18, 2022, at 7:30 p.m. Saturday, November 19, 2022, at 8:00 p.m.

Lauren Snouffer

soprano

Josefina Maldonado mezzo-soprano Davóne Tines bass-baritone Daniel Bubeck countertenor Brian Cummings countertenor Nathan Medley countertenor Cleveland Orchestra Chorus

Cleveland Orchestra Children’s Chorus

Jackie Kaminski supertitle operator

Supertitle System courtesy of DIGITAL TECH SERVICES, LLC

Part I 60 minutes

1. I sing of a maiden (Anonymous, early English) 2. Hail Mary, Gracious (Wakefield Mystery Play) 3. La anunciación (Rosario Castellanos) 4. For with God no thing shall be impossible (Luke I) 5. The babe leaped in her womb (Luke I) 6. Magnificat (Luke I) 7. Now she was sixteen years old (Gospel of James) 8. Joseph’s Dream (adapted from Martin Luther) 9. Shake the Heavens (Haggai 6–9) 10. Se Habla de Gabriel (Rosario Castellanos) 11. The Christmas Star (Gabriela Mistral)

INTERMISSION 20 minutes

Part II 55 minutes 12. Pues mi Dios ha nacido (Sor Juana Inés de la Cruz) 13. When Herod heard (Matthew 2) 14. Woe unto them that call evil good (Matthew 2) 15. And the star went before them (Matthew 2) 16. The Three Kings (Rubén Dario) 17. And when they were departed (Matthew 2) 18. Dawn Air (Vincente Huidobro) 19. And he slew all the children (Matthew 2) 20. Memorial de Tlatelolco (Rosario Castellanos) 21. In the day of the great slaughter (Isaiah 30, 25, 57) 22. Pues está tiritando (Sor Juana Inés de la Cruz) 23. Jesus and the Dragons (Gospel of Pseudo-Matthew) 24. A palm Tree (Gospel of Pseudo-Matthew; Rosario Castellanos)

Approximate running time: 2 hours 15 minutes

John Adams, conductor

Orchestra cellists Richard Weiss (L) and Mark Kosower at rehearsal. Photo by Roger Mastroianni.

El Niño

By John Adams BORN : February 1947 in Worcester, MA

Ω

COMPOSED : 1999–2000 Ω

LIBRETTO: adapted by John Adams and Peter Sellars from poems by Rosario Castellanos, Gabriela Mistral, Hildegard von Bingen, Sor Juana Inés de la Cruz, Rubén Darío, and Vicente Huidobro; texts from Wakefield Mystery Plays, Documents for the Study of the Gospels, Haggai, and the Bible; and anonymous sources. Ω

WORLD PREMIERE: December 15, 2000, in a production directed by Peter Sellars at Paris’s Théatre du Châtelet with conductor Kent Nagano, soloists Dawn Upshaw, Lorraine Hunt Lieberson, and Willard White; and the Deutsches Symphonie Orchester. This weekend’s concerts mark the first presentations of El Niño by The Cleveland Orchestra.

ORCHESTRATION: 2 flutes (both doubling piccolo), 2 oboes (both doubling english horn), 2 clarinets (2nd doubling bass clarinet), 2 bassoons (2nd doubling contrabassoon), 3 horns, 3 trombones, percussion (glockenspiel, triangle, gong, almglocken, guiro, maracas, crotales, cowbell, temple blocks, tam-tam, chimes, claves, temple bowls), harp, piano, celeste, 2 guitars, and strings, plus soprano, mezzo-soprano, baritone, 3 countertenors, chorus, and children’s chorus

DURATION: 1 hour 55 minutes (not including intermission)

IN THE LATE 1990S , John Adams faced a dilemma (albeit a very nice dilemma for a composer to have): He had received competing commissions for a large-scale vocal work. On one side was the San Francisco Symphony looking for a new work for chorus and orchestra — on the other, Paris’s Châtelet Theater wanted an opera from Adams to celebrate the start of the 21st century.

Rather than saying no to either ask, Adams proposed a compromise. He would write an oratorio for soloists, chorus, and orchestra that could also be fully staged for a theatrical experience. Both companies signed on, and Adams moved on to the next stage of the creative process: figuring out just what to write about.

Up to that point in his lauded career, Adams had taken a “ripped from the head-

lines” approach to writing opera. His breakthrough, Nixon in China, premiered at Houston Grand Opera in 1984, 15 years after the former president’s sit-down with Mao Zedong. And the controversial Death of Klinghoffer received its first performances at the Brooklyn Academy of Music in 1991, just six years after the hijacking of the Achille Lauro cruise ship and the murder of the opera’s eponymous passenger.

But for his new oratorio, Adams flipped the calendar back some 2,000 years to take on one of humankind’s most recognizable stories: the birth of Jesus Christ. In many ways, the Nativity story provided Adams with a blank slate

for conceiving his new work. After all, generation after generation has retold the tale of the Nativity, in ways both humble and grand, each re-enactment inflected with the culture and traditions of its creators and performers. What could a composer whose religious beliefs were, in his own words, “shaky and unformed” bring to a Nativity oratorio written to mark the dawn of both a new century and a new millennium?

YREINA D. CERVÁNTEZ/SMITHSONIAN AMERICAN ART MUSEUM

Yreina Cervántez’s screenprint, Mujer de Mucha Enagua, PA’ TI XICANA, translates to a “woman with a lot of petticoat,” a term used to describe a female activist. Cervantez’s work incorporates words and images of Sor Juana Inés de la Cruz, Rosario Castellanos, and Zapatista Comandanta Ramona

For Adams, a composer who has kept one foot rooted in the traditions of European classical music and the other committed to exploring the kaleidoscopic, multicultural music of the United States, inspiration came from two very different sources. The first was Handel’s Messiah, the most beloved of Nativity oratorios.

“I wanted to write a Messiah,” Adams said shortly before El Niño’s premiere in December 2000. “The structure of my piece follows very carefully the Biblical version in the manner of Messiah. Narrative passages alternate with arias and choruses that meditate or reflect on the principal themes. Among those [are] the mystery of the Conception and the miracle of the Nativity (and I should say, not only the birth of Christ, but also that of all children)… the pregnancy of Mary (and of all women), the paranoia of Herod (and of all tyrants), and the theme of exile.”

The second source of inspiration was a collection of Latin American poetry Adams had been introduced to by Peter Sellars, Adams’s collaborator on Nixon in China and Death of Klinghoffer. (Sellars would help the composer shape the oratorio’s libretto and direct the staged production as well as the film elements that were part of El Niño’s Paris premiere.) Among that anthology’s writers were three women — Sor Juana Inés de la Cruz (1648 or 51–1695), Rosario Castellanos (1925–1974), and Gabriela Mistral (1889–1957) — who could provide a perspective often ignored in biblical texts, but one Adams knew was essential to the new work.

“How can you tell this story [now] and not have a woman’s voice?” Adams said. “Seldom in the officially sanctioned stories is there any more than a passing awareness of the misery and pain of labor, of the uncertainty and doubt of pregnancy, or of that mixture of supreme happiness and inexplicable emptiness that follows the moment of birth.”

Adams’s use of Spanish-language poetry throughout the oratorio would also inform its title. While El Niño (“the boy”) is a nod to the Messiah, it also conjures associations with the Christmastime weather pattern that stirs up violent storms in the Pacific Ocean approximately every four years. To Adams, that dual meaning fittingly set the scene for the Nativity story, explaining, “As Sor Juana says, a miracle is not without its alarming force. Christ was referred to as the ‘Wind,’ a kind of tempest that blows away all that comes in its path and transforms it. Herod knows this. We all know it when a child comes into the world.”

Surrounding the Latin American poetry is a tapestry of biblical and religious texts — including the prophecies of Haggai and Isaiah, fairy-tale-like gospels from the New Testament Apocrypha, the medieval Wakefield Mystery Play, Martin Luther’s Christmas Sermon, and a Latin chant of Hildegard von Bingen — that together provide the narrative for the series of miracles surrounding the Christ child’s birth.

Unlike the Messiah, which covers the whole of Jesus’s life, death, and resurrec-

“

El Niño is my Messiah. I always loved the Messiah. I felt that it was a work of such joy and optimism and hope. I composed El Niño for the millennium. I was asked by the Theatre du Chatelet in Paris to do something that celebrated the millennium, and the time around 2000 was a pretty optimistic time. It was a year before 9/11, and I remember the sense of hope about it. Thinking about the Messiah and thinking about the story of the birth of Christ made me realize that the Bible, as we know it, the New Testament, it’s all written by men, and Peter Sellars and I thought, well, it would be interesting to make a Messiah in which we have what

women have to say about giving birth. They might know something about it actually, so Peter and I created a libretto, which is a wonderful mix of Old Testament and New Testament and the words of women poets, and particularly Hispanic women poets. We used the poetry of Rosario Castellanos [1925–74] and Sor Juana Inés de la Cruz, who was a 17thcentury Mexican nun, and Gabrielle Mistral, who was a Nobel Prize–winning Chilean poet, all of which are expressing the experience of giving birth and motherhood. It’s a piece that is full of joy, but also tinged with violence, so the full monte.

— John Adams

PHOTO BY ROGER MASTROIANNI

RICARDO-SALAZAR/CNL-INBA

BY FRAY MIGUEL DE HERRERA/PHOTO BY JUAN CARLOS FONSECA MATA

tion, El Niño remains focused on the events just before and after the Nativity. Part one takes us from the Annunciation of the Virgin Mary and her visit to her sister Elizabeth to the Magnificat and the birth of Jesus. Part two, darker in tone, begins with the quiet adoration of the Three Kings before thrusting us into Herod’s maniacal search for the Christ Child, the massacre of the innocents, and the Holy Family’s flight into Egypt. The weaving together of multiple authors and perspectives contributes to a profound depth of character in the figures we encounter in El Niño — a work, as Sellars remarked, that’s “like one of those multipaneled altarpieces you cannot possibly take in all at once.” But it’s the poems that form the emotional and psychological core of the work. These are the moments where Adams

takes us from the exalted realm of the holy gospels and into the inner chambers of the human heart, offering us the direct perspective of women on the joys, anxieties, and uncertainties of pregnancy, labor, motherhood — all on a relatable, personal level. We witness the biblical stories, but we feel and deeply connect with the poetry.

In the Magnificat during El Niño’s first half, texts from the Gospel of Luke express Mary’s simple wonder at being chosen by God to bear His son: “My soul doth magnify the Lord, and my spirit hath rejoiced... from henceforth all generations shall call me blessed.” But in the Castellanos poem that follows, “Speaking of Gabriel,” celestial wonder turns into physical weariness at the very human burden of pregnancy. “I felt him grow at Rosario Castellanos was one of Mexico’s foremost writers of the 20th century and an ardent defender of women’s rights.

| RIGHT: PHOTO BY

In addition to her poetry, 17th-century nun Sor Juana Inés de la Cruz was an accomplished scholar of philosophy and science, and amassed one of the largest private libraries in Mexico.

my expense,” the poet says of the child she carries, “steal the color from my blood, add clandestine weight and volume to my way of being on the earth.”

And in the work’s second half, the juxtaposition between holy texts and the poetry is at its most potent in Castellanos’s “Memorial de Tlatelolco.” Presented after Saint Matthew’s grisly account of Herod ordering the execution of all male children under the age of two, Castellanos’s fiery poem is consumed with anger and loss in its remembrance of a similar massacre of 1968 — in which the Mexican military opened fire on a public plaza filled with student protesters in Mexico City’s Tlatelolco district, leading to the estimated hundreds of deaths of protesters.

Fabulous poetry aside, much of the reason for the emotional connection we feel during our journey in El Niño lies in Adams’s compelling score and the fountain of musical colors he creates to support and amplify the texts. In his accessible, unmistakable style —  informed by Handel and Jimi Hendrix, Beethoven and Broadway, and the hallmarks of the minimalist style he helped to fashion in the 1970s — Adams has the agility to follow the many circuitous shifts in emotion called for in El Niño. He summons Herod’s lightning bolts of rage at news of the Christ Child’s birth with violent violin slashes and horn calls, and introduces tender, hypnotic melodies in “La anunciación” that escort the turbulent soul of an expectant mother to a place of calm. And through every one of those twists

ABOVE: IMAGE COURTESY OF BIBLIOTECA NACIONAL DE CHILE | LEFT: IMAGE COURTESY OF WIKIMEDIA COMMONS

Chilean poet Gabriela Mistral became the first South American to win the Nobel Prize for Literature, which she received in 1945.

An originator of the Creationism literary movement, Chilean poet Vicente Huidobro ran, unsuccessfully, for president of the country in 1925.

and turns, Adams paces the music with an auteur’s skill so that we’re caught in the cinematic sweep of its grandest moments while having ample opportunity to sit with and meditate on the challenging themes the texts present — comfort and joy, of course, but also tyranny and bloodshed, poverty and exile.

Take the celestial sounds of the trio of countertenors who, among their many roles throughout the oratorio, portray the angel Gabriel and the Three Kings bearing gifts of gold, frankincense, and myrrh for the Christ child. Their bell-like tones and tightly wound harmonies are emotional worlds away from the operatic wails and guttural groans of the soprano soloist in “Memorial de Tlatelolco.”

Or consider the numerous examples of Adams’s astonishing text painting, most notably in in the oratorio’s final movement. In one of the Christ Child’s first miracles, Jesus makes a tall palm tree bow to the Virgin Mary so that she may choose from its fruit, which creates a rush of water that refreshes his family during their long journey. Wave after wave of cascading figures in the woodwinds, violins, glockenspiel, and bells bring the miraculous vision to life, a waterfall of shimmering, crystalline sound that nourishes our ears after our own journey through the story.

An oratorio for believers and nonbelievers alike, El Niño not only celebrates the profound love ushered into the world by the miracle of birth, it also examines how that love is inextricably bound to hardship and the fragility of life — a fitting

perspective for a work written to commemorate the dawning of the 21st century. Because in saying hello to the new century, Adams and El Niño can’t help but to also say goodbye to the 20th, an era of history that brought untold suffering, world wars, and authoritarian oppression to nearly every corner of the globe, all themes mirrored in these biblical tales. In positioning love and suffering as equal fixtures in our shared human experience — the simultaneous ideas of light and darkness, order and chaos that uphold balance in our world —  El Niño reminds us that even in times of sorrow and upheaval, we are always surrounded by the miracle of creation.

— Michael Cirigliano II

Michael Cirigliano II is a freelance arts journalist and copywriter. He has written for Lincoln Center for the Performing Arts, the Oregon Symphony, the Metropolitan Museum of Art, and the Whitney Museum of American Art.

Born in 1867 in Nicaragua, poet Rubén Darío was a pioneer of the Spanish-American modernist movement.

PHOTO BY ROGER MASTROIANNI

John Adams

COMPOSER, CONDUCTOR , and creative thinker — John Adams occupies a unique position in the world of music. His works stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes. His works, spanning more than three decades, are among the most performed of all contemporary classical music, among them Nixon in China, Harmonielehre, Doctor Atomic, Shaker Loops, El Niño, Short Ride in a Fast Machine, and The Dharma at Big Sur.

His stage works, all in collaboration with director Peter Sellars, have transformed the genre of contemporary music theater. Of Adams’s best-known opera, The New Yorker magazine wrote “Not since Porgy and Bess has an American opera won such universal acclaim as Nixon in China.”

As a conductor of his own works and a wide variety of repertoire, Mr. Adams has appeared with the Berliner Philharmoniker, Royal Concertgebouw Orchestra, London Symphony Orchestra, Wiener Symphoniker, Los Angeles Philharmonic, and the orchestras of Seattle, Cincinnati, Atlanta, and Toronto. His long-standing relationship with The Cleveland Orchestra spans more than three decades.

Born and raised in New England, Mr. Adams learned the clarinet from his father and played in marching bands and community orchestras during his formative years. He began composing

at age 10, and his first orchestral pieces were performed while just a teenager.

In 2019, Mr. Adams received Holland’s prestigious Erasmus Prize, “for contributions to European culture,” the only American composer ever chosen for this award. Additionally, he received honorary doctorates from Yale, Harvard, Northwestern, Cambridge, and The Juilliard School. A provocative writer, he is author of the highly acclaimed autobiography Hallelujah Junction and a frequent contributor to The New York Times Book Review.

A winner of numerous Grammy awards, Mr. Adams’s music is exceptionally well represented on recordings. A 40-disc box set, John Adams Collected Works — spanning four decades of his music including all of his operas, orchestral and chamber music, was released by Nonesuch earlier this year.

Lauren Snouffer soprano

RECOGNIZED

FOR HER artistic curiosity spanning the music of the Baroque to contemporary composers, Lauren Snouffer is one of the most versatile and respected sopranos on the international stage.

Ms. Snouffer is an eminent interpreter of contemporary music, having debuted at the Opéra national du Rhin in Hans Abrahamsen’s The Snow Queen. She also sang in the world premieres of Girl with a Pearl Earring by composer Stefan Wirth, The Phoenix by composer Tarik O’Regan and librettist John Caird, and The House Without a Christmas Tree by Ricky Ian Gordon and Royce Vavrek.

During the 2022/23 season, Ms. Snouffer joins The Cleveland Orchestra for performances of Mahler’s Symphony No. 2 and El Niño. She also performs with the Pittsburgh Symphony, San Francisco Symphony, Boston’s Handel & Haydn Society, New York Philharmonic, and NDR Elbphilharmonie Orchester. Operatic performances take her to Opernhaus Zürich, Houston Grand Opera, Santa Fe Opera, and Detroit Opera, among others.

An alumna of the Houston Grand Opera Studio, Ms. Snouffer graduated from Rice University and The Juilliard School.

Josefina Maldonado mezzo-soprano

DALLAS-BORN MEZZO-SOPRANO , Josefina Maldonado, has been critically acclaimed as “vocally superb” (The Texas Classical) with a “remarkably rich timbre” (Theater Jones). Ms. Maldonado was a young artist in The Dallas Opera Outreach Program in 2019, the same year she made her European debut at the Baroque Festival in Olomouc, Czech Republic, in the modern-day premieres of two 17thcentury serenatas by Johannes Schmelzer.

Ms. Maldonado made her debut with the Cincinnati Symphony Orchestra at the Cincinnati May Festival in spring 2022 singing John Adams’s El Niño, conducted by the composer, a role she reprises with The Cleveland Orchestra.

Ms. Maldonado holds a bachelor’s of music from the University of North Texas, where she was a featured soloist with the UNT Symphony Orchestra. Her roles with UNT Opera included Dorabella in Così fan tutte, Ruggiero in Alcina, Cherubino in Le nozze di Figaro, Siébel in Faust, and Mother Marie in Dialogues des Carmélites.

FAR LEFT: PHOTO COURTESY OF LAUREN SNOUFFER | LEFT: PHOTO COURTESY JOSEFINA MALDONADO

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Davóne Tines bass-baritone

HERALDED AS A “singer of immense power and fervor” and “[one] of the most powerful voices of our time” by The Los Angeles Times, the “immensely gifted American bass-baritone Davóne Tines has won acclaim, and advanced the field of classical music” (The New York Times) through his work that blends opera, art song, contemporary classical, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Called a “next generation leader” by Time magazine and recently named Musical America’s 2022 Vocalist of the Year, Mr. Tines is a pathbreaking artist at the intersection of many histories, cultures, and aesthetics.

Daniel Bubeck countertenor

HAILED BY The New York Times and Opera News for his “distinctive, honeyed timbre, smooth coloratura, secure technique and for his superb command of line and text,” Daniel Bubeck has earned an international reputation on the opera and concert stage in repertoire from the Baroque to music of today. He has performed at Carnegie Hall, Het Concertgebouw, Barbican Centre, Konzerthaus, Théâtre du Châtelet (Paris), English National Opera, Lincoln Center, Walt Disney Concert Hall, and Tokyo’s Suntory Hall, as well as music festivals in Beijing, Lucerne, Adelaide, and Brussels.

Among his career highlights are the world premieres of John Adams’s El Niño and The Gospel According to the Other Mary, and more than 40 subsequent productions of the two.

Dr. Bubeck teaches vocal studies at the University of North Texas. Following studies at the University of Delaware and Peabody Institute, he earned both doctoral and master’s degrees from Indiana University.

PHOTO BY BOWIE VERSCHUUREN

FAR RIGHT: PHOTO BY KELLY KRUSE

Brian Cummings countertenor

Nathan Medley countertenor

BRIAN CUMMINGS made his professional debut in the premiere of John Adams’s El Niño in 2000 in Paris and sang the premiere of the composer’s The Gospel According to the Other Mary in 2012 with the Los Angeles Philharmonic under Gustavo Dudamel. He has appeared in subsequent performances of these pieces throughout the world including Carnegie Hall, English National Opera, the London Philharmonic, BBC Symphony, Netherlands Radio Orchestra, Los Angeles Philharmonic, San Francisco Symphony, the Adelaide Festival, the Tokyo Symphony, and the Spoleto Festival USA, among others.

Mr. Cummings has worked with conductors including Esa-Pekka Salonen, Robert Spano, David Robertson, John Adams, Tõnu Kaljuste, and Kent Nagano. He sang the title role of Handel’s Giulio Cesare with Opera Fuoco under David Stern, and collaborated with director Timothy Nelson in the roles of David in Charpentier’s David et Jonathas, Hamor in Handel’s Jephtha, and Iarbo/Corebo in Cavalli’s Didone

NATHAN MEDLEY has sung at English National Opera, Barbican Centre, Carnegie Hall, Philharmonie de Paris, Kölner Philharmonie, La Salle Pleyel, Palais de Musique Strasbourg, Het Concertgebouw, the Lucerne Festival, Avery Fisher Hall, and Walt Disney Concert Hall. Recent performances have brought him to the Boston Early Music Festival, Berlin Philharmonic, San Francisco Symphony, London Symphony, Netherlands Radio Orchestra, Los Angeles Philharmonic, St. Louis Symphony, Chicago’s Ravinia Festival, and Opera Omaha, among others.

He made his professional debut in 2012 in John Adams’s The Gospel According to the Other Mary with the Los Angeles Philharmonic under Gustavo Dudamel. He returned to Los Angeles in 2015 for the U.S. premiere of Olga Neuwirth’s Hommage á Klaus Nomi, conducted by John Adams. In 2016, he premiered John Harbison’s song cycle, The Cross of Snow, with Chicago’s Second City Musick. He is a founding member the ensemble Echoing Air.

LEFT: PHOTO COURTESY OF BRIAN CUMMINGS | LEFT: PHOTO BY BERNARD GORDILLO

CHORUSES

Lisa Wong

,

Director of Choruses

frances p. and chester c. bolton chair

responsibilities as director of the Cleveland Orchestra Youth Chorus.

In addition to her duties at Severance, she is a faculty member at the College of Wooster. An advocate for the music of under-represented composers, Ms. Wong serves as the Repertoire and Resource Chair for World Music and Cultures for the Ohio Choral Directors Association. Her previous academic posts include positions in public and private schools in New York, Pennsylvania, and Indiana.

LISA WONG WAS APPOINTED director of choruses for The Cleveland Orchestra in May 2018 after serving as acting director throughout the 2017/18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010/11 season. In 2012, she took on added

Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Ms. Wong holds a bachelor of science degree in music education from West Chester University, as well as master of music and doctor of music degrees in choral conducting from Indiana University.

Cleveland Orchestra Chorus

Lisa Wong, DIRECTOR

Daniel J. Singer, ASSISTANT DIRECTOR Daniel Overly, COLLABORATIVE PIANIST

SOPRANOS

Laurel Babcock

Amy Foster Babinski

Claudia Barriga

Yu-Ching Ruby Chen*

Amanda Cobes*

Susan Cucuzza

Sasha Desberg

Caitlin DiFranco

Emily Engle*

Molly Falasco*

Lisa Fedorovich*

Nicole Futoran

Samantha Garner*

Jennifer Gilles

Ayesha Gonzales*

Martell Gorsuch*

Sarah Gould

Julia Halamek

Rebecca S. Hall*

Sarah Henley*

Lisa Hrusovsky

Amber Jackson

Shannon R. Jakubczak*

Katie Kitchen†

EvaCecilia Koh

Molly Lukens

Clare Mitchell

S. Mikhaila Noble-Pace

Jennifer Heinert O’Leary*

Katie Paskey*

Victoria Peacock*

Elizabeth Phillips

Grace Prentice*

Jylian Purtee*

Cara Rovella

Katie Schick*

Ellie Smith*

Megan Tettau*

Sharilee Walker*

Kate Macy Walters

Adeleine Whitten

PHOTO BY ROGER MASTROIANNI

ALTOS

Emily Austin

Debbie Bates*

Riley Beistel

Brooke Emmel*

Karen S. Hunt

Sarah Hutchins*

Kate Klonowski

Kristi Krueger

Elise Leitzel

Cathy Lesser Mansfield

Danielle S. McDonald*

Karla McMullen*

Holly Miller

Dawn Ostrowski*

Ellie Petro

Andrea Pintabona

Victoria Rasnick

Kayla Reaves

Faith Roberts

Alanna M. Shadrake*

Ina Stanek-Michaelis

Rachel Thibo*

Kristen Tobey*

Joanna Tomassoni

Martha Cochran Truby

Laure Wasserbauer

Caroline Willoughby

Leah Wilson*

Jennifer R. Woda*

Debra Yasinow

Lynne Leutenberg Yulish*

TENORS

Bruno Bush

Rong Chen

Richard Hall

Peter Kvidera*

Adam Landry*

Tod Lawrence

David McCallum

Matthew Rizer*

Ted Rodenborn*

Nathan A. Russell*

John Sabol

Andrew Schoenhofer*

Andrew Stamp

William Venable*

Peter Wright*

BASSES

Craig Astler

Jack Blazey

Ronnie Boscarello

Sean Michael Cahill

Nick Connavino

Kyle Crowley*

Tom Cucuzza

Christopher Dewald*

Jeffrey Duber

Stuart Englehart*

Andrew Fowler

Mark Hermann

Seth Hobi*†

Kurtis B. Hoffman*

Robert L. Jenkins III

James Johnston

Kevin Kutz

Jason Levy*

Jacob J. Liptow*

Tyler Mason*

Robert Mitchell*

Tremaine Oatman

Francisco Prado*

Brandon Randall*

Robert G. Seaman*

Charlie Smrekar*

Devon Steve*

Charles Tobias

Matt Turell*

Jill Harbaugh MANAGER OF CHORUSES

Lisa Fedorovich

CHAIR, CLEVELAND ORCHESTRA

CHORUS OPERATING COMMITTEE

* Chamber Chorus

† Shari Bierman Singer Fellow

Jennifer

Rozsa, Director Cleveland Orchestra Children’s Chorus

JENNIFER ROZSA JOINED the Cleveland Orchestra Chorus staff in summer 2021. She earned her master’s and bachelor’s degrees in music education with an emphasis in the Kodály Philosophy from

Capital University’s Conservatory of Music in Columbus, Ohio, and her OrffShulwerk certification from the San Francisco Orff Course. She currently teaches music to grades K–4 in Solon. Previously, Ms. Rozsa taught music to grades K–8 and choir in public, private, and charter schools in Ohio, California, and Chicago. While living in the Bay Area, she conducted training choruses for the Peninsula Girls Chorus and San Francisco Boys Chorus. She has presented general music sessions at the Ohio Music Education Association and Greater Cleveland Orff Chapter workshops. When not teaching, Ms. Rozsa performs as a mezzo-soprano, sings with choirs, and enjoys dancing, and biking.

Cleveland Orchestra Children’s Chorus

Rozsa, DIRECTOR Meghan Schatt, ASSISTANT DIRECTOR Jacob Bernhardt, COLLABORATIVE PIANIST

Sedona Aiello

Emmy Allen

Kate Allen

Anonabelle Arndt

Marina Bendaly

Katherine Bohlen

Elise Breitzmann

Abs Burkle *

Brooke Carlson

Oliver Chien

Aviah Dubson

Margaret Dyck

Essa Eichhorn

Claire Friend

Cecile Kim Ghazarian

Serena Kim Ghazarian

Jade Gladue *

Bryn Gordon

Moira Green

Cora Rose Gross

Mirabel Hattier

Mary Kate Hever

Parla Ilaslan

Sam Jacobs

Colette Karklin

Kelly Kirchner *

Lauren Malbasa

Adelyn Nicholson *

Shaan Rao

Thea Sherck

Elena Schneider Maren Scott

Jaidan Shauf-Dressman

Henry Stamm August Sumlin Katherine Zaki

Maya Curtis MANAGER OF YOUTH CHORUSES

*Members of the Cleveland Orchestra Youth Chorus

PHOTO COURTESY OF JENNIFER ROZSA

Jennifer

NOW IN ITS SECOND CENTURY , The Cleveland Orchestra, under the leadership of music director Franz WelserMöst since 2002, is one of the most sought-after performing ensembles in the world. Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamberlike musical cohesion.

Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned it into one of the most admired globally.

The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming broadcast series In Focus, the podcast On a Personal Note, and its own recording label, a new chapter in the Orchestra’s long and distinguished recording and broadcast history. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.

The 2022/23 season marks Franz Welser-Möst’s 21st year as music director, a period in which The Cleveland Orchestra earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra, and a number of acclaimed opera presentations.

Since 1918, seven music directors —  Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world.

@ClevelandOrchestra

PHOTO BY ROGER MASTROIANNI

Franz Welser-Möst, MUSIC DIRECTOR

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

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

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

Katherine Bormann

Analisé Denise Kukelhan Gladys B. Goetz Chair Zhan Shu

SECOND VIOLINS

Stephen Rose*

Alfred M. and Clara T. Rankin Chair

Eli Matthews1 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 Ramsey1

Charles M. and Janet G. Kimball Chair Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair

Lisa Boyko Richard and Nancy Sneed Chair Richard Waugh Lembi Veskimets

The Morgan Sisters Chair Eliesha Nelson Joanna Patterson Zakany William Bender Gareth Zehngut

CELLOS

Mark Kosower* Louis D. Beaumont Chair

Richard Weiss1

The GAR Foundation Chair

Charles Bernard2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

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

Derek Zadinsky2 Mark Atherton

Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Charles Paul HARP

Trina Struble* Alice Chalifoux Chair

FLUTES

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

Saeran St. Christopher Jessica Sindell2 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 Sharon and Yoash Wiener Chair

Jeffrey Rathbun2 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 McKelway2 Robert R. and Vilma L. Kohn Chair Amy Zoloto

E-FLAT CLARINET

Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET

Amy Zoloto Myrna and James Spira Chair

BASSOONS

John Clouser* Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees2 Sandra L. Haslinger Chair Jonathan Sherwin

CONTRABASSOON Jonathan Sherwin

HORNS

Nathaniel Silberschlag* George Szell Memorial Chair

Kelvin Smith Family Chair

Michael Mayhew§

Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair Hans Clebsch

Richard King

TRUMPETS

Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Jack Sutte

Lyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETS

Michael Sachs* Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONES

Brian Wendel*

W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel2

EUPHONIUM & BASS TRUMPET

Richard Stout

TUBA

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

TIMPANI

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

PERCUSSION

Marc Damoulakis*

Margaret Allen Ireland Chair

Donald Miller

Thomas Sherwood

KEYBOARD INSTRUMENTS

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS

Michael Ferraguto

Joe and Marlene Toot Chair

Donald Miller

ENDOWED CHAIRS

CURRENTLY UNOCCUPIED

Elizabeth Ring and William Gwinn Mather Chair

Blossom-Lee Chair

Paul and Lucille Jones Chair

James and Donna Reid Chair

Mary E. and F. Joseph Callahan Chair Sunshine Chair

Mr. and Mrs. Richard K. Smucker Chair Rudolf Serkin Chair

This roster lists full-time members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed. Seating within the string sections rotates on a periodic basis.

PHOTO BY ROGER MASTROIANNI

CALENDAR

Don’t miss a moment

FALL WINTER

NOV 17, 18, 19

EL NIÑO

John Adams, conductor Lauren Snouffer, soprano Josefina Maldonado, mezzo-soprano

Davóne Tines, bass-baritone Daniel Bubeck, countertenor Brian Cummings, countertenor Nathan Medley, countertenor Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

ADAMS El Niño

NOV 25, 26, 27

THE FIREBIRD

Thomas Søndergård, conductor Stefan Jackiw, violin

BRITTEN Violin Concerto No. 1

STRAVINSKY The Firebird (complete ballet)

DEC 1, 2, 3

ELGAR AND WALTON

Vasily Petrenko, conductor Behzod Abduraimov, piano*

ELGAR Cockaigne (“In London Town”)

PROKOFIEV Piano Concerto No. 2* WALTON Symphony No. 1 * not part of Friday Matinee concert

JAN 5, 7 NIELSEN AND HAYDN

Alan Gilbert, conductor

Paul Yancich, timpani

Liv Redpath, soprano Justin Austin, baritone

OLIVERIO Timpani Concerto HAYDN Symphony No. 90 NIELSEN Symphony No. 3 (“Sinfonia espansiva”)

JAN 12, 13, 14 WELSER-MÖST CONDUCTS SCHUBERT

Franz Welser-Möst, conductor

Joélle Harvey, soprano

Daryl Freedman, mezzo-soprano Julian Prégardien, tenor Martin Mitterrutzner, tenor

Dashon Burton, bass-baritone

Cleveland Orchestra Chorus

BERG Lyric Suite*

SCHUBERT Symphony No. 8* (“Unfinished”)

SCHUBERT Mass No. 6

* The movements of the Lyric Suite will be performed in rotation with Symphony No. 8

FEB 2, 3, 4, 5 BOLÉRO

Klaus Mäkelä, conductor Truls Mørk, cello

SALONEN Cello Concerto DEBUSSY Images RAVEL Boléro

FEB 9, 11 MAHLER’S FIFTH

Klaus Mäkelä, conductor CHIN SPIRA—Concerto for Orchestra

MAHLER Symphony No. 5

FEB 16, 17, 18

BEETHOVEN’S SEVENTH

Herbert Blomstedt, conductor

Emanuel Ax, piano

MOZART Piano Concerto No. 18 (“Paradis”)

BEETHOVEN Symphony No. 7

FEB 23, 24, 25 MOZART AND STRAUSS

Franz Welser-Möst, conductor

MOZART Divertimento No. 2*

SCHOENBERG Variations for Orchestra

STRAUSS Ein Heldenleben

* not part of Friday Matinee concert

MAR 2, 3, 4, 5 PICTURES AT AN EXHIBITION

Franz Welser-Möst, conductor

Víkingur Ólafsson, piano

FARRENC Symphony No. 3

RAVEL Piano Concerto in G major MUSSORGSKY/RAVEL Pictures at an Exhibition

MAR 9, 10, 11, 12

MOZART’S REQUIEM

Franz Welser-Möst, conductor

Christoph Sietzen, percussion

Siobhan Stagg, soprano

Avery Amereau, alto

Ben Bliss, tenor

Anthony Schneider, bass

Cleveland Orchestra Chorus

STAUD Concerto for Percussion

MOZART Requiem

SPRING

MAR 30, 31, & APR 1

INSPIRATION: THE TEMPEST

Thomas Adès, conductor Pekka Kuusisto, violin

ADÈS Tempest Suite ADÈS Märchentänze SIBELIUS Six Humoresques* SIBELIUS Prelude and Suite No. 1 from The Tempest* * Certain selections will not be part of the Friday Matinee concert

APR 6, 7, 8

SHOSTAKOVICH’S FIFTH SYMPHONY

Rafael Payare, conductor Jean-Yves Thibaudet, piano BERNSTEIN Symphony No. 2 (“The Age of Anxiety”) SHOSTAKOVICH Symphony No. 5

APR 13, 15, 16

MAHLER’S TITAN

Michael Tilson Thomas, conductor Leif Ove Andsnes, piano DEBUSSY Jeux, poème dansé DEBUSSY Fantaisie for Piano and Orchestra MAHLER Symphony No. 1 (“Titan”)

APR 20, 21, 22, 23

ALL MOZART

Bernard Labadie, conductor Lucy Crowe, soprano

MOZART Overture to La clemenza di Tito MOZART “Giunse al fin il momento... Al desio di chi t’adora” MOZART Ruhe Zanft from Zaide MOZART Masonic Funeral Music MOZART “Venga la morte... Non temer, amato bene” MOZART Symphony No. 41 (“Jupiter”)

APR 27, 28, 29

MARSALIS AND NEW WORLD

Franz Welser-Möst, conductor Michael Sachs, trumpet MARTINŮ Symphony No. 2 MARSALIS Trumpet Concerto DVOŘÁK Symphony No. 9 (“From the New World”)

MAY 4, 6

WEILERSTEIN PLAYS BARBER

Franz Welser-Möst, conductor Alisa Weilerstein, cello LOGGINS-HULL Can You See? BARBER Cello Concerto PROKOFIEV Symphony No. 4

MAY 14, 17, 20

THE GIRL OF THE GOLDEN WEST

Franz Welser-Möst, conductor Tamara Wilson, soprano (Minnie) Eric Owens, bass (Jack Rance) Fabio Sartori, tenor (Dick Johnson) Cleveland Orchestra Chorus PUCCINI La Fanciulla del West (The Girl of the Golden West) * Opera presentation, sung in Italian with projected supertitles

HEALTH & SAFETY

The Cleveland Orchestra is committed to creating a comfortable, enjoyable, and safe environment for all guests at Severance Music Center. While mask and COVID-19 vaccination are recommended they are not required. Protocols are reviewed regularly with the assistance of our Cleveland Clinic partners; for up-to-date information, visit: clevelandorchestra. com/attend/health-safety

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. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

PAGERS, CELL PHONES & WRISTWATCH ALARMS

As a courtesy to others, please silence all devices prior to the start of the concert.

PHOTOGRAPHY, VIDEOGRAPHY & RECORDING

Audio recording, photography, and videography are prohibited during performances at Severance. Photographs can only be taken when the performance is not in progress.

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES

For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. For Infrared Assistive-Listening Devices, please see the House Manager or Head Usher for more details.

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. Classical season 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 Music Explorers (for 3 to 6 years old) and Family Concerts (for ages 7 and older).

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: 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 Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

© 2022 The Cleveland Orchestra and the Musical Arts Association Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

EDITOR Amanda Angel Managing Editor of Content aangel@clevelandorchestra.com

DESIGN Elizabeth Eddins, eddinsdesign.com

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See this extraordinary collection of more than 100 masterworks—the largest gift of art to the museum in more than 60 years—together for the first and only time.

The Cleveland Museum of Art is funded in part by residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture. This exhibition was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Henri-Edmond Cross (French, 1856–1910). The Pink Cloud, c. 1896. Oil on canvas; 54.6 x 61 cm. Nancy F. and Joseph P. Keithley Collection Gift, 2020.106

A SYMPHONY OFSuccess

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based programs that now serve 3,000 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. That’s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.