The Cleveland Orchestra March 9-12 Concerts

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

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

“Expanding my curiosity about life is what it’s all about.”

Joe Coyle

2022/2023 SEASON

Mozart’s Requiem

Thursday, March 9, 2023, at 7:30 p.m.

Friday, March 10, 2023, at 7:30 p.m.

Saturday, March 11, 2023, at 8:00 p.m.

Sunday, March 12, 2023, at 3:00 p.m.

Franz Welser-Möst, conductor

Richard Strauss (1864–1949)

Metamorphosen, 30 minutes A Study for 23 Solo Strings

INTERMISSION 20 minutes

Wolfgang Amadeus

Mozart (1756–1791)

Completed by Franz Xaver Süssmayr

Requiem, K. 626 50 minutes

Introitus — Requiem

Kyrie

Sequenz — Dies irae, Tuba mirum, Rex tremendae, Recordare, Confutatis, Lacrimosa

Offertorium — Domine Jesu, Hostias

Sanctus

Benedictus

Agnus Dei

Communio — Lux aeterna

ARTISTS

Siobhan Stagg

soprano

Avery Amereau

contralto

Ben Bliss

tenor

Anthony Robin

Schneider

bass

Cleveland Orchestra

Chorus

Total approximate running time: 1 hour 40 minutes

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Mozart’s Requiem is sponsored by Thompson Hine LLP.

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RICHARD STRAUSS turned to the works of the great German writer and poet, Johann Wolfgang von Goethe frequently throughout his life. In the final months of World War II, as the great temples of German and Austrian culture — Munich’s National Theatre, Dresden’s Opera House, and Vienna’s Opera House —  were reduced to rubble, Strauss again looked to Goethe. He would have been familiar with the writer’s meditations on change The Metamorphosis of Plants and The Metamorphosis of Animals, and he was particularly struck by the poem “Niemand wird sich selber kennen” (Nobody will ever know himself):

Nobody will ever know himself, detach himself from the ego of his self; But he tries everyday, what outwardly, finally, clear what he is and what he was, what he can do and what he may do.

These texts by Goethe, the operas of Richard Wagner, and a phrase from Beethoven’s Third Symphony, “Eroica,” all resonate within the ever-shifting lines of Strauss’s Metamorphosen. Layered together, they eulogize the Austro-German culture that Strauss had venerated, contributed to, and now lost through the tyranny of a brutal regime and war.

Richard Strauss was 80 years old and considering both his mortality and legacy when he wrote Metamorphosen. Wolfgang Amadeus Mozart was only 35 and considering the same eternal questions when he wrote his Requiem. Mozart had become ill while working on a commission for a Requiem mass, and contemporaneous reports confirm that the composer wondered whether this would become his own.

Mozart was well acquainted with the traditional funeral mass, and yet he brings a deeply personal intimacy and Requiem. His last masterpiece, left incomplete at the time of his death, teems with invention, drama, and poignancy as if he, too, is striving to define himself, “what he is and what he was,/what he can do and what he may

anguish to his

Goethe’s Metamorphosis of Plants was published in 1790, uniting science and poetry through close observation of nature.

do.”

— Amanda Angel

PHOTO COURTESY OF ESKEMAR/ISTOCKPHOTO.COM

Metamorphosen, A Study for 23 Solo Strings

By Richard Strauss

BORN : June 11, 1864, in Munich

DIED : September 8, 1949, in Garmisch-Partenkirchen, Germany

Ω COMPOSED : 1943–45

Ω WORLD PREMIERE : January 25, 1946, by the Collegium Musicum Zürich with conductor Paul Sacher, who commissioned the work

Ω CLEVELAND ORCHESTRA PREMIERE : October 19, 1969, led by then-Music Director George Szell. The Orchestra most recently performed Metamorphosen in fall 2011, with Music Director Franz Welser-Möst conducting performances in Cleveland, Paris, and Vienna.

Ω ORCHESTRATION : 5 first violins, 5 second violins, 5 violas, 5 cellos, and 3 basses

Ω DURATION : about 30 minutes

DURING WORLD WAR II and its aftermath, the discomforts of age, the privations of war, and the loss of many dear people and things combined to test Richard Strauss’s usually buoyant attitude toward life. To save him from depression, Strauss’s friends and his son, Franz, urged him to resume composing. New works began to trickle from him again, including the Symphony for Winds, the Oboe Concerto, and the DuetConcertino, all in a light, Neoclassical vein. But accompanying them were pieces in a more searching, Romantic style, including Metamorphosen and the Four Last Songs with orchestra. When

Strauss wryly referred to these works as “wrist exercises,” his friends were gratified to hear a spark of the old Straussian ironic wit.

Even in our fraught present time, it’s hard to grasp the enormous dimensions of death and destruction in World War II. Between 1943 and 1945, millions of people died, and beloved cultural institutions, such as the Munich National Theater, the Dresden Opera House, and the Vienna State Opera, were destroyed by bombs. For Richard Strauss, who had grown up listening to his father play horn in Munich, premiered his operas Salome and Der Rosenkavalier in Dresden,

and venerated the art form at its great temple in Vienna, this was devastating. Hearing news of the destruction in Munich, at age 80, he wrote: “I am beside myself. … There can be no consolation.” A few bars of music Strauss wrote in mourning for the bombing of Munich grew, a few months later, into the long elegy he titled Metamorphosen. He pointedly indicated that it was “for 23 solo strings,” not for string orchestra — in other words, a piece of chamber music,

with an implied intimacy of expression. The Swiss conductor Paul Sacher, who commissioned so much important new music in the 1930s and 1940s, gave the premiere with his Zurich-based chamber orchestra, the Collegium Musicum, in January 1946. Strauss himself conducted the final rehearsal.

The Vienna State Opera, where Richard Strauss served as director from 1919 to 1924, was bombed on March 12, 1945.

PHOTO COURTESY OF MARKA/ALAMY STOCK PHOTO

The work’s title has inspired much speculation. According to MerriamWebster, metamorphosis means a “change of physical form, structure, or substance especially by supernatural means,” and the work’s themes are certainly subjected to constant change and stirred together in counterpoint. This produces ever-shifting harmonies that seem like a ray of sunlight one moment and deep gloom the next.

Strauss’s churning of related themes finds parallels in W. B. Yeats’s poem “Easter 1916,” questioning the needless death and sacrifice in the wake of Irish republicans’ failed rebellion against British rule. Yeats writes the refrain: “All changed, changed utterly: / A terrible beauty is born.” Yet, it is hard to find anything “born” in Metamorphosen, which the critic Alan Jefferson called “possibly the saddest piece ever written.”

In this piece, Strauss seems to be using the endlessly twisting, unfurling idiom of Wagner to mourn the symbolic death of Wagner and so much else in German culture in what he called “the most terrible period in human history… the 12-year reign of bestiality, ignorance, and anti-culture under the greatest animals.” Many have criticized Strauss for not demonstrating the same grief he held for the destruction of German culture for the human cost of the brutal Nazi regime, but the sense of loss is palpable.

Strauss’s metamorphosis seems to unfold in reverse: the butterfly turns into a destructive worm. Recent scholarship has traced the inspiration of Metamorphosen not to Yeats, but rather to Goethe, who addressed the idea of transforma-

Goethe and the Metamorphosis of Plants (1940), by French surrealist painter André Masson.

ISRAEL MUSEUM, JERUSALEM © ADAGP, PARIS

tion in the poems The Metamorphosis of Plants and The Metamorphosis of Animals. These ideas also extended to the poem

“Niemand wird sich selber kennen” (Nobody Will Ever Know Himself ), a dark and prophetic meditation on civilized people’s capacity for evil.

As for the themes of this piece, there are allusions everywhere to masterpieces of German music, too fleeting and too many to describe here. One theme, however, stands out from the rest. This is a brief descending scale, in a dotted rhythm. It appears almost subliminally

throughout this long adagio, but near the end Strauss quotes it outright. It is a phrase from the second-movement funeral march of Beethoven’s Symphony No. 3 (“Eroica”), originally written to honor Napoleon Bonaparte then famously rescinded when Napoleon declared himself Emperor. Beethoven instead dedicated his Third Symphony “to the memory of a great man.” It seems likely that Strauss felt he was composing this music in memory of a great musical culture. There is no escaping the deep sadness of it.

— David Wright

David Wright lives and writes in New Jersey. He previously served as program annotator for the New York Philharmonic.

After the war, the Austrian government committed to rebuilding the Vienna Opera House. It reopened in 1955 with Karl Böhm conducting Beethoven’s Fidelio PHOTO COURTESY OF MARKA/ALAMY STOCK PHOTO

Requiem, K. 626

By Wolfgang Amadeus Mozart

BORN : January 27, 1756, in Salzburg, Austria

DIED : December 5, 1791, in Vienna

Ω COMPOSED : 1791, completed by Franz Xaver

Süssmayr

Ω WORLD PREMIERE : January 2, 1793, at Vienna’s Jahn Hall in a performance sponsored by Mozart’s long-time patron and friend, Baron Gottfried van Swieten.

Ω CLEVELAND ORCHESTRA PREMIERE : November 19, 1964, in a series of performances led by Robert Shaw

Ω ORCHESTRATION : 2 basset horns, 2 bassoons, 2 trumpets, 3 trombones, timpani, organ, and strings, in addition to soprano, alto, tenor, and bass soloists, as well as mixed chorus

Ω DURATION : about 50 minutes

THE STORY BEHIND Mozart’s Requiem is well known. In 1791, the final year of his life, Mozart received a commission from an Austrian aristocrat to write a Requiem in memory of his wife. The commission was delivered by a messenger, who did not reveal its source to the composer. Whether or not Mozart knew the commissioner to be Count Franz von Walsegg-Stuppach, whose young wife Anna died earlier that year at the age of 20, is a mystery. However, we do know that the Count offered a considerable sum of 225 florins — paying half upfront and promising the rest when the work was completed. Opinions differ as to whether the Count also intended to pass it off as his own creation.

Mozart set about finishing his operas La clemenza di Tito and The Magic Flute before turning his attention to the Requiem, based on the Roman Catholic Mass for the Dead, in the fall. By November of that year, he had fallen ill, and, on December 5 at 1 a.m., he died with the work still unfinished.

Constanze Mozart, his widow, was anxious to see the completion of her husband’s last composition. She approached the composer Joseph Eybler to undertake this task, but he soon gave up. Constanze next asked Franz Xaver Süssmayr, one of her husband’s pupils. Süssmayr proceeded to carry out the

Detail of Mozart Composes His Requiem (1854) by William James Grant.

instructions Mozart is said to have provided on his deathbed, singing his instructions to Constanze and colleagues including Süssmayr. Ever since, the musical world has been trying to establish exactly who wrote what. This endeavor has not been made easier by Süssmayr’s forgery of Mozart’s signature on the autograph score.

How much of the Requiem, as we know it from the Süssmayr version, is actually Mozart’s work? It is impossible to give a definitive answer to this question. What we do have in Mozart’s handwriting is the first-movement Introitus, the vocal parts and bassline of the Kyrie fugue, most of the Sequenz section (including the Dies irae, Tuba mirum, Rex tremendae, Recordare, and Confutatis; while the Lacrimosa breaks off after the eighth measure), as well as the Offertorium. Süssmayr claimed sole authorship of the remainder of the Lacrimosa, as well as the Sanctus, Benedictus, and the Agnus Dei. In the final section, the Communio’s Lux aeterna, Süssmayr recycled music from the opening Introitus and Kyrie movements, adapting them to a different text. Although Mozart probably never intended the first and last movements to be identical, Süssmayr’s decision has some merit, as it gives the work a wellrounded, unified musical design.

In our current secular times, it’s easy to disregard how closely Mozart followed the conventions of 18th-century church music behind the abounding innovation in the Requiem. Although he had not written a major sacred work since the

unfinished C-minor Mass (K. 427) of 1782–83, he had been active in church music since the age of 12 and wrote no fewer than 17 masses and numerous other sacred works during the following decade. He built upon the tradition cultivated by Salzburg composers such as Michael Haydn and others, a tradition he took into account even in 1791. But in the Requiem, Mozart enriched this inherited tradition by many personal stylistic elements, as demonstrated through many similarities with his contemporaneous opera, The Magic Flute.

The opening Introitus, the only section we know to be entirely written by Mozart, begins with the Chorus’s plaintive request to grant eternal rest followed by the soprano soloist singing the first psalm text setting. The full chorus joins in the Kyrie, a fugue based on a common Baroque motif. Mozart incorporates an unusual gesture in its final statement, sung by the entire chorus: The last sonority is not a triad but a perfect fifth, which makes for an austere ending.

The most crucial part of a Requiem is the Sequenz, which Mozart set as a cantata in six movements, with chorus and solo voices alternating. The powerful Dies irae brings the Day of Judgement into terrifying relief. The following Tuba mirum offers one of the earliest great trombone solos in classical symphonic literature invoking the trumpet of scripture and its “wondrous sound” that summons those who are to be judged. Each of the four soloists voices nuanced

feelings around the unfolding of the Day of Wrath, before joining together as a quartet. Throughout the Sequenz, the monumental aspect of the Judgement is expressed by the chorus, while the soloists give voice to the anguish of individual souls. The Sequenz culminates in the Lacrimosa, a gripping lament for humanity at the moment when its fate is about to be decided.

In the Offertorium, Mozart paints the horrors of hell and the attainment of eternal light in equally vivid colors; the promise made to Abraham is represented by a magnificent choral fugue.

In the subsequent movements, Süssmayr did his best to prevent the intensity of the music from flagging. He mostly succeeded, aside from a few awkward moments, which, from more than 200 years of the work’s performance history, have nevertheless become almost

hallowed, though new editions published over the past few decades have offered alternative solutions to Süssmayr’s rendering.

A newspaper in Salzburg reported that Mozart said as he was furiously working on the composition: “I fear that I am writing a Requiem for myself.” Yet, at the same time, the Requiem in many ways represented a new beginning. It contains many stylistic elements that Mozart would no doubt have developed further had he not died just weeks before his 36th birthday. Baroque counterpoint meets an almost Romantic sensitivity here in a completely novel way, a tantalizing glimpse of where his musical genius would have led. Instead, this masterpiece was left to others to draw upon its power and sublime beauty ever since.

— Peter Laki

Peter Laki is a musicologist and lecturer on classical music. He is a visiting associate professor at Bard College.

COURTESY OF THE HISTORY COLLECTION/ALAMY STOCK PHOTO

The first page of the autograph score of Mozart’s Requiem

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THE SUNG TEXTS Requiem, K. 626

By Wolfgang Amadeus Mozart

INTROITUS

Requiem

Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

Te decet hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem: Exaudi orationem meam, ad te omnis caro veniet.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

KYRIE

Kyrie eleison. Christe eleison. Kyrie eleison.

SEQUENZ

Dies irae

RequDies irae, dies illa, solvet saeclum in favilla: teste David cum Sibylla.

Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus.

Tuba mirum

Tuba mirum spargens sonum, per sepulchra regionum, coget omnes ante thronum.

Mors stupebit et natura, cum resurget creatura, judicanti responsura.

Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.

Judex ergo cum sedebit, quidquid latet apparebit: nil inultum remanebit.

Quid sum miser tunc dicturus? Quem patronum rogaturus? cum vix justus sit secures.

INTROITUS

Requiem

Give them eternal rest, Lord: and let perpetual light shine upon them. A hymn is due to thee, God in Zion, and a vow shall be paid to You in Jerusalem: Hear my prayer, all flesh shall come to You. Give them eternal rest, Lord, and let perpetual light shine upon them.

KYRIE

Lord, have mercy on us. Christ, have mercy on us. Lord, have mercy on us.

SEQUENZ

Dies irae

The day of wrath, that day, will dissolve the world in ashes, as prophesied by David with the Sibyl.

How great a trembling there will be when the Judge will appear and separate everything strictly.

Tuba mirum

The trumpet, sending its wondrous sound throughout the tombs of every land, will summon all before the throne.

Death and nature will stand amazed, when all creation rises again to answer the judgement.

A book will be brought forth, in which all will be contained, by which the world will be judged.

When the Judge takes His place, what is hidden will be revealed, nothing will remain unavenged.

What can a wretch like me say? Whom shall I ask for help, when the just are scarcely protected?

Rex tremendae

Rex tremendae majestatis, qui salvandos salvas gratis, salva me, fons pietatis.

Recordare

Recordare, Jesu pie, quod sum causa tuae viae: ne me perdas illa die.

Quaerens me sedisti lassus: redemisti crucem passus: tantus labor non sit cassus.

Juste judex ultionis, donum fac remissionis, ante diem rationis.

Ingemisco, tanquam reus: culpa rubet vultus meus supplicanti parce, Deus.

Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti.

Preces meae non sunt dignae: sed tu, bonus, fac benigne, ne perenni cremer igne.

Inter oves locum praesta, et ab hoedis me sequestra, statuens in parte dextra.

Confutatis

Confutatis maledictis, flammis acribus addictis, voca me cum benedictis.

Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.

Lacrimosa

Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus:

Huic ergo parce Deus.

Pie Jesu Domine, dona eis requiem.

Amen.

Rex tremendae

King of terrible majesty, who freely saves those worthy ones, save me, source of mercy.

Recordare

Remember, kind Jesus, that I am the cause of your suffering: do not forsake me on that day.

Seeking me, You descended wearily: You redeemed me by suffering on the cross: such great effort should not be in vain. Just Judge of vengeance, Grant me the gift of absolution before the day of reckoning.

I groan, like one condemned: my face blushes with guilt: Spare a supplicant, O God.

You who absolved Mary and listened to the thief, have also given me hope. My prayers are unworthy, but, Good One, have mercy, that I may not burn in everlasting fire. Grant me a place among the sheep, and separate me from the goats, placing me at Your right hand.

Confutatis

When the damned are dismayed and consigned to the burning flames, call me among the blessed.

I pray, suppliant and kneeling, my heart contrite as if in ashes, care for me when my time is at an end.

Lacrimosa

What weeping that day will bring, when from the ashes shall arise all humanity to be judged: But spare us, God. Gentle Lord Jesus, grant them eternal rest.

Amen.

THE SUNG TEXTS

OFFERTORIUM

Domine Jesu

Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum: sed signifer sanctus Michael repraesentet easin lucem sanctam: Quam olim Abrahae promisisti et semini ejus.

Hostias

Hostias et preces tibi, Domine, laudis off erimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.

SANCTUS

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

BENEDICTUS

Benedictus qui venit in nomine Domini.

Osanna in excelsis.

AGNUS DEI

Agnus Dei, qui tollis peccata mundi: dona eis requiem.

Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.

COMMUNIO

Lux aeterna

Lux aeterna luceat eis, Domine: cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis

cum sanctis tuis in aeternum, quia pius es.

OFFERTORIUM

Domine Jesu

Lord Jesus Christ, King of glory, liberate the souls of the faithful departed from the pains of hell and from the deep pit; deliver them from the lion’s mouth that hell may not swallow them, that they may not fall into darkness. But may the holy standard-bearer Michael lead them into the holy light: Which You promised to Abraham and his seed.

Hostias

Sacrifices and prayers of praise, Lord, we offer to You. Receive them on behalf of those souls whom we commemorate this day; make them, Lord, pass from death to the life, which You once promised to Abraham and his seed.

SANCTUS

Holy, Holy, Holy, Lord God of Sabaoth. Heaven and earth are full of Your glory. Hosanna in the highest.

BENEDICTUS

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

AGNUS DEI

Lamb of God, you who take away the sins of the world, grant them rest.

Lamb of God, you who take away the sins of the world, grant them eternal rest.

COMMUNIO

Lux aeterna

May eternal light shine upon them, Lord with Your saints in eternity, for You are merciful. Give them eternal rest, Lord, and let perpetual light shine upon them with your saints forever, for you are merciful.

Franz Welser-Möst, Music Director

kelvin smith family chair

In addition to his commitment to Cleveland, Mr. Welser-Möst enjoys a particularly close and productive relationship with the Vienna Philharmonic as a guest conductor. He has conducted its celebrated New Year’s Concert three times, and regularly leads the orchestra at home in Vienna, as well as on tours.

FRANZ WELSER-MÖST is among today’s most distinguished conductors. The 2022–23 season marks his 21st year as Music Director of The Cleveland Orchestra. With the future of their acclaimed partnership extended to 2027, he will be the longest-serving musical leader in the ensemble’s history. The New York Times has declared Cleveland under Mr. Welser-Möst’s direction to be “America’s most brilliant orchestra,” praising its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

With Mr. Welser-Möst, The Cleveland Orchestra has been praised for its inventive programming, ongoing support of new music, and innovative work in presenting operas. To date, the Orchestra and Mr. Welser-Möst have been showcased around the world in 20 international tours together. In 2020, the ensemble launched its own recording label and new streaming broadcast platform to share its artistry globally.

Mr. Welser-Möst is also a regular guest at the Salzburg Festival where he has led a series of acclaimed opera productions, including Rusalka, Der Rosenkavalier, Fidelio, Die Liebe der Danae, Aribert Reimann’s opera Lear, and Richard Strauss’s Salome. In 2020, he conducted Strauss’s Elektra on the 100th anniversary of its premiere. He has since returned to Salzburg to conduct additional performances of Elektra in 2021 and Giacomo Puccini’s Il Trittico in 2022.

In 2019, Mr. Welser-Möst was awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts. Other honors include The Cleveland Orchestra’s Distinguished Service Award, two Cleveland Arts Prize citations, the Vienna Philharmonic’s “Ring of Honor,” 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, and the Kilenyi Medal from the Bruckner Society of America.

PHOTO BY ROGER MASTROIANNI

Siobhan Stagg

soprano

Australian soprano Siobhan Stagg was a member of the Deutsche Oper Berlin from 2013–19 where her roles ranged from Pamina in The Magic Flute to Waldvogel and Woglinde in Wagner’s Ring Cycle.

She has sung the title role in Cendrillon at the Lyric Opera of Chicago; Pamina at the Royal Opera House, Covent Garden; Sophie in Der Rosenkavalier at Opernhaus Zürich; Mélisande at Opéra de Dijon, Gilda at Hamburgische Staatsoper; Najade in Ariadne auf Naxos at Bayerische Staatsoper; and she has participated in staged performances of Mozart’s Requiem at Festival d’Aix-enProvence and Morgana in Alcina at Grand Théâtre de Genève.

Ms. Stagg began the 2022/23 season with Ravel’s Shéhérazade with the Symphonieorchester des Bayerischen

Rundfunks; Mahler’s Symphony No. 2 with London Symphony Orchestra and Sir Simon Rattle; Schmidt’s Buch mit sieben Siegeln with Wiener Symphoniker, and Berg’s Sieben frühe Lieder with Rundfunk-Sinfonieorchester Berlin and Vasily Petrenko. She made her debut solo recital at Berlin’s Pierre Boulez Saal before returning to Opernhaus Zürich as Eritrea in a new production of Eliogabalo. Further engagements this season return her to Deutsche Staatsoper and Deutsche Oper in Berlin, as well as the Royal Opera House.

Other notable appearances this season include Das Paradies und die Peri with Gürzenich Orchester Köln and François-Xavier Roth and Netherlands Radio Philharmonic with Karina Canellakis; Brahms’s German Requiem with Warsaw Philharmonic Orchestra and a performance of Brett Dean’s In This Brief Moment with NDR Elbphilharmonie Orchester and Alan Gilbert. She also returned to her native Australia, where she appeared with the Sydney Symphony, the Melbourne Symphony, and in recital at Melbourne Recital Centre.

Avery Amereau contralto

A native of Jupiter, Florida, Avery Amereau made her professional debut at the Metropolitan Opera in 2016 as the Madrigal Singer in Puccini’s Manon Lescaut, for which she was praised by The New York Times as “captivating…. [Amereau] stood

PHOTO BY TODD ROSENBERG

out for the unusually rich, saturated auburn timbre of her voice.”

Recent operatic engagements include Olga (Eugene Onegin) at Santa Fe Opera; Bradamante (Alcina) at Hannover Staatsoper; Eduige (Rodelinda) at Opéra de Lille and Opéra de Lyon; Serena Joy (The Handmaid’s Tale) at English National Opera; Dryade (Ariadne auf Naxos) at Glyndebourne; Cherubino (Le nozze di Figaro) at Grand Théâtre de Genève; Ursula (Beatrice et Benedict) at Seattle Opera; and Page (Salome) at the Salzburg Festival.

Barcelona Symphony, Handel & Haydn Society in Boston, and St. Paul Chamber Orchestra, and makes her debut with The Cleveland Orchestra.

Recent concerts include the world premiere of The Listeners by Caroline Shaw with Richard Egarr conducting Philharmonia Baroque Orchestra, Messiah with Bernard Labadie and the National Arts Centre Orchestra, and her debut with the Early Opera Company in Dido and Aeneas at Het Concertgebouw, Amsterdam, among many others.

Ms. Amereau studied at Mannes College of Music and The Juilliard School, where she was the recipient of a Kovner Fellowship and the Shoshana Foundation 2017 Richard F. Gold Career Grant. In 2020, she released her debut solo album of Handel arias with Philharmonia Baroque Orchestra and Nicholas McGegan.

Ben Bliss tenor

In the 2022/23 season, Ms. Amereau makes house and role debuts as Dorabella (Così fan tutte) at the Bayerische Staatsoper and Amastris (Serse) at the Komische Oper in Berlin. On the concert stage, she makes her role debut as Marguerite (Damnation de Faust) with the Boston Youth Symphony Orchestra. She performs with Les Violons du Roy,

Hailed as a “gifted young tenor” by The New York Times, Ben Bliss is quickly establishing himself as one of the most exciting performers on today’s operatic stage, both in his native United States and internationally.

Mr. Bliss was a 2021 recipient of the Metropolitan Opera’s prestigious Beverly Sills Award. Other accolades include a 2016 Martin E. Segal award from Lincoln Center for the Performing Arts, the Mozart and Plácido Domingo awards

PHOTO BY MATILDE FASSÒ

at the 2015 Francisco Viñas International Competition, first prize at the 2014 Gerda Lissner and Licia Albanese-Puccini Foundation competitions, and the 2013 Operalia Don Plácido Domingo, Sr. Zarzuela prize. He is also the co-founder of classical arts production company Mise-en-Scène Studios.

Recent highlights include a house debut at the San Francisco Opera as Ferrando (Così fan tutte), Pylade (Iphigénie en Tauride) at Opéra de Rouen, and a return to the Met as Tom Rakewell (The Rake’s Progress). This season’s highlights include Tamino (The Magic Flute) and Don Ottavio (Don Giovanni) at the Met; Chevalier de la Force (Dialogues des Carmélites) at San Francisco Opera; and Don Ottavio at Opéra de Paris.

Other operatic highlights include Tamino at the Los Angeles and Philadelphia Operas; Ferrando at Seattle and

Canadian Operas, as well as Oper Frankfurt; Tom Rakewell at Boston Lyric Opera; and Flamand (Capriccio) and Robert (Dr. Atomic) in Santa Fe.

Mr. Bliss has performed in concert with the Los Angeles and New York Philharmonics, the Cincinnati May Festival, and the Liceu Barcelona. He appeared alongside Isabel Leonard in a duet from Thomas Adès The Tempest at the Metropolitan Opera’s 50th anniversary gala concert in 2017.

Anthony Robin Schneider bass

Bass Anthony Robin Schneider returns to Oper Frankfurt in the 2022/23 season in the title role of the new Barrie Kosky production of Hercules, a new production

LEFT:

PHOTO BY CHAD

WAGNER

LEFT:

PHOTO BY MARYNA RUDENOK

The Magic Flute (Second Armored Man), the revival of Der ferne Klang (Der Wirt), and Tirol Festspiel Erl for a new production of Siegfried (Fafner). On the concert stage, he returns to The Cleveland Orchestra for the Mozart Requiem, conducted by Franz Welser-Möst. Future engagements include his debut with the Dutch National Opera.

Last season he returned to Oper Frankfurt, where he was seen in Iolanta (Ibn-Hakia), Salome (Erster Soldat), Christmas Eve (Panas), Fedora (Cirillo), and Lohengrin (Heinrich der Vogler). Other engagements last season included a return to Houston Grand Opera for The Magic Flute (Sarastro) and Tirol Festspiel Erl for Die Walküre (Hunding). Other performances at Oper Frankfurt include Le nozze di Figaro (Dr. Bartolo), Le vin herbé (Le Duc Hoël), Siegfried (Fafner), Don Carlo (Grand Inquisitor), Rigoletto (Sparafucile), Don Giovanni (Commendatore), and Lady Macbeth of Mtsensk (Administrator/Sergeant). In the summer of 2021, he made his debut at Tirol Festspiel Erl in Lohengrin (Heinrich). Additional engagements included a return to the New Zealand Symphony Orchestra for Beethoven’s Symphony No. 9, conducted by Edo de Waart. Mr. Schneider made his Wiener Staatsoper debut in David McVicar’s production of Les Troyens (Ghost of Hector), conducted by Alain Altinoglu. A trilingual speaker (German, French, and English), Anthony Schneider is a citizen of Austria and New Zealand.

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Lisa Wong, Director of Choruses

frances p. and chester c. bolton chair

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 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. Choirs under her direction have performed at the Central Division conference of the American Choral Directors Association and the state conference of the Ohio Music Education Association. 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. 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

Amy Foster Babinski ♦

Claudia Barriga

Amanda Cobes

Susan Cucuzza ♦

Sasha Desberg

Caitlin DiFranco

Emily Engle

Molly Falasco

Lisa Fedorovich

Nicole Futoran

Samantha Garner

Jennifer Gilles

Ayesha Gonzales

Sarah Gould ♦

Julia Halamek

Rebecca S. Hall ♦

Sarah Henley

Lisa Hrusovsky ♦♦

Amber Jackson

Shannon R. Jakubczak

Katie Kitchen *

EvaCecilia Koh

Molly Lukens

Kate Macy ♦♦

Gracie Mino ^

Clare Mitchell

S. Mikhaila Noble-Pace

Jennifer Heinert O’Leary ♦

Lindsay Osterholt

Katie Paskey

Victoria Peacock

Elizabeth Phillips

Grace Prentice

Jylian Purtee

Lisa M. Ramsey

Cara Rovella

Martell Savage

Katie Schick

Anya Smith ^

Ellie Smith

Megan Tettau

Sharilee Walker ♦

Tracey Webber

Adeleine Whitten

ALTOS

Emily Austin ♦♦

Laurel Babcock

Debbie Bates

Riley Beistel

Carolyn Dessin ♦

Brooke Emmel

Grace Ho

Karen S. Hunt ♦

Sarah Hutchins

Kate Klonowski

Kristi Krueger

Zoe Kuhn

Elise Leitzel

Cathy Lesser Mansfield

Danielle S. McDonald

Karla McMullen

Holly Miller

Peggy A. Norman ♦♦

Dawn Ostrowski

Ellie Petro

Andrea Pintabona

Victoria Rasnick

Kayla Reaves

Alanna M. Shadrake

Ina Stanek-Michaelis ♦♦

Melanie Tabak

Rachel Thibo

Kristen Tobey

Joanna Tomassoni

Martha Cochran Truby

Laure Wasserbauer ♦♦

Caroline Willoughby

Leah Wilson

Debra Yasinow ♦♦

Lynne Leutenberg Yulish

TENORS

Rong Chen

Richard Hall

John-Joseph Haney *

Daniel M. Katz ♦♦

Peter Kvidera ♦

Adam Landry

Tod Lawrence ♦

Ben Low ^

David McCallum

James C. Pintner

Matthew Rizer ♦

Ted Rodenborn

Nathan A. Russell

John Sabol ♦

Andrew Stamp

William Venable ♦

Allen White

Peter Wright

Ethan Yoder ^

BASSES

Craig Astler

Jack Blazey ♦

Ronnie Boscarello

Peter B. Clausen ♦

Nick Connavino

Kyle Crowley

Tom Cucuzza

Christopher Dewald

Jeffrey Duber ♦

Brian Fancher

Andrew Fowler

Jeffrey D. Gershman

Mark Hermann

Seth Hobi *

Kurtis B. Hoffman ♦

Robert L. Jenkins III

James Johnston

Kevin Kutz

Jaden Levine ^

Jason Levy ♦

Jacob J. Liptow

Tyler Mason

Robert Mitchell

Michael Moses

Tremaine Oatman ♦♦♦♦

Francisco Prado

Brandon Randall

Ben Read ^

Robert G. Seaman ♦

Charlie Smrekar

Devon Steve

Charles Tobias ♦♦

Matt Turell

Now in its 71st season, the Cleveland Orchestra Chorus is one of the few all-volunteer, professionally led choruses affiliated with a major American orchestra. Founded in 1952 at the request of George Szell, it received the 2019/20 Distinguished Service Award, recognizing extraordinary service to the Orchestra.

Lisa Fedorovich CHAIR, CLEVELAND ORCHESTRA CHORUS OPERATING COMMITTEE

* Shari Bierman Singer Fellow

^ Member of The College

of Wooster Chorus

Service Recognition

♦ 15-24 years of service

♦♦ 25-34 years of service

♦♦♦ 35-44 years of service

♦♦♦♦ 45+ years of service

MARIA SCHNEIDER ORCHESTRA

SUNDAY, MARCH 12 • 4 PM

Playing from her Grammy-winning jazz album Data Lords

JEAN-YVES THIBAUDET

THURSDAY, MARCH 30 • 7:30 PM

Playing Debussy Préludes, Book I and II

CHENERY AUDITORIUM, KALAMAZOO

TICKETS START AT $35

MARIA JOÃO PIRES & PARTITURA PIANISTS

SUNDAY, MAY 21 • 4 PM

RENÉE FLEMING EVGENY KISSIN

SATURDAY, MAY 27 • 8 PM

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.

PHOTO BY ROGER MASTROIANNI

THE CLEVELAND ORCHESTRA

Franz Welser-Möst, MUSIC DIRECTOR

Kelvin Smith Family Chair

FIRST VIOLINS

David Radzynski

CONCERTMASTER

Blossom-Lee Chair

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

Sae Shiragami

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

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*

Gilbert 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

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

CONDUCTORS

Christoph von Dohnányi MUSIC DIRECTOR

LAUREATE

Daniel Reith

ASSISTANT CONDUCTOR

Sidney and Doris Dworkin Chair

Lisa Wong

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

* Principal

§ Associate Principal

1 First Assistant Principal

2 Assistant Principal

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.

WINTER

MAR 9, 10, 11, 12

MOZART’S REQUIEM

Franz Welser-Möst, conductor

Siobhan Stagg, soprano

Avery Amereau, contralto

Ben Bliss, tenor

Anthony Schneider, bass

Cleveland Orchestra Chorus

STRAUSS Metamorphosen

MOZART Requiem

SPRING

MAR 30, 31, & APR 1

INSPIRATION: THE TEMPEST

Thomas Adès, conductor

Pekka Kuusisto, violin

ADÈS The Tempest Symphony

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

EASTMAN Symphony No. 2 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)

Roman Burdenko, bass (Jack Rance)

Limmie Pulliam, 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

THE  CLEVELAND  ORCHESTRA DIGITAL CONCERTS STREAMING NOW!

Adella, our streaming service and app, features on-demand portraits, music showcases, behind-the-scenes footage and our flagship In Focus premium concert series, available anytime & anywhere

Now Available

From Richard Strauss to George Walker

Showcasing the breadth of 20thcentury music, Franz Welser-Möst leads The Cleveland Orchestra and soprano Latonia Moore in Walker’s Lilacs (1995), as well as an extended suite from Strauss’s Der Rosenkavalier (1911), compiled by Welser-Möst.

Mozart’s Prague

Dame Jane Glover and The Cleveland Orchestra relish the “wonderful exuberance and nonchalant brilliance” of Symphony No. 38 (“Prague”) by Mozart, her touchstone composer.

YOUR VISIT

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.

FREE MOBILE APP TICKET WALLET

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.

For more information and direct links to download, visit clevelandorchestra.com/ticketwallet or scan the code with your smartphone camera to download the app for iPhone or Android.

Available for iOS and Android on Google Play and at the Apple App Store.

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.

© 2023 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

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A SYMPHONY OFSuccess

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