MILWAUKEE symphony PROGRAM two / nov 2022 - JAN 2023

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MILWAUKEE SYMPHONY ORCHESTRA

West Wisconsin Avenue Milwaukee, Wisconsin 53203 414.291.6010 | mso.org

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MILWAUKEE SYMPHONY ORCHESTRA

The Milwaukee Symphony Orchestra, led by Music Director Ken-David Masur, is among the finest orchestras in the nation and the largest cultural institution in Wisconsin. Since its inception in 1959, the MSO has found innovative ways to give music a home in the region, develop music appreciation and talent among area youth, and raise the national reputation of Milwaukee. The MSO’s full-time professional musicians perform over 135 classics, pops, family, education, and community concerts each season in venues throughout the state. A pioneer among American orchestras, the MSO has performed world and American premieres of works by John Adams, Roberto Sierra, Phillip Glass, Geoffrey Gordon, Marc Neikrug, and Matthias Pintscher, as well as garnered national recognition as the first American orchestra to offer live recordings on iTunes. Now in its 51st season, the orchestra’s nationally syndicated radio broadcast series, the longest consecutive-running series of any U.S. orchestra, is heard annually by more than two million listeners on 147 subscriber stations in 38 of the top 100 markets.

In January of 2021, the MSO completed a years-long project to restore and renovate a former movie palace in the heart of downtown Milwaukee. The Bradley Symphony Center officially opened to audiences in October 2021. This project has sparked a renewal on West Wisconsin Avenue and continues to be a catalyst in the community.

The MSO’s standard of excellence extends beyond the concert hall and into the community, reaching more than 40,000 children and their families through its Arts in Community Education (ACE) program, Youth and Teen concerts, Family Series, and Meet the Music pre-concert talks. Celebrating its 33rd year, the nationally-recognized ACE program integrates arts education across all subjects and disciplines, providing opportunities for students when budget cuts may eliminate arts programing. The program provides lesson plans and supporting materials, classroom visits from MSO musician ensembles and artists from local organizations, and an MSO concert tailored to each grade level. This season, more than 5,800 students and 500 teachers and faculty are expected participate in ACE both in person and in a virtual format.

Photo by Jonathan Kirn

2022.23 SEASON

KEN-DAVID MASUR

Music Director

Polly and Bill Van Dyke Music Director Chair

EDO DE WAART

Music Director Laureate

YANIV DINUR Resident Conductor

CHERYL FRAZES HILL

Chorus Director

Margaret Hawkins Chorus Director Chair

CELLOS

Susan Babini, Principal, Dorothea C. Mayer Cello Chair

Nicholas Mariscal, Assistant Principal

Scott Tisdel, Associate Principal Emeritus Madeleine Kabat

Peter Szczepanek Peter J. Thomas Adrien Zitoun

BASSES

Jon McCullough-Benner, Principal, Donald B. Abert Bass Chair

Andrew Raciti, Associate Principal Nash Tomey, Assistant Principal (3rd Chair)

Brittany Conrad

Peter Hatch

Paris Myers

HARP

CONTRABASSOON

Beth W. Giacobassi

HORNS

Matthew Annin, Principal, Krause Family French Horn Chair

Krystof Pipal, Associate Principal Dietrich Hemann, Andy Nunemaker French Horn Chair

Darcy Hamlin Kelsey Williams**

TRUMPETS

Matthew Ernst, Principal, Walter L. Robb Family Trumpet Chair

David Cohen, Associate Principal, Martin J. Krebs Associate Principal Trumpet Chair

Alan Campbell, Fred Fuller Trumpet Chair

TIM

O

THY

J. BENSON Assistant Chorus Director

FIRST VIOLINS

Ilana Setapen, Acting Concertmaster, Charles and Marie Caestecker Concer tmaster Chair

Jeanyi Kim, Acting Associate Concer tmaster (2nd Chair)

Alexander Ayers

Yuka Kadota

Ji-Yeon Lee**

Dylana Leung

Allison Lovera

Lijia Phang

Margot Schwartz

Alexandra Switala**

SECOND VIOLINS

Jennifer Startt, Principal, Andrea and Woodrow Leung Second Violin Chair

Timothy Klabunde, Assistant Principal

John Bian, Assistant Principal (3rd Chair)

Glenn Asch

Lisa Johnson Fuller

Paul Hauer

Hyewon Kim

Shengnan Li*

Laurie Shawger

Mary Terranova

VIOLAS

Rober t Levine, Principal, Richard O. and Judith A. Wagner Family Principal Viola Chair

Samantha Rodriguez, Acting Assistant Principal, Friends of Janet F. Ruggeri Viola Chair

Alejandro Duque, Acting Assistant Principal (3rd Chair)

Elizabeth Breslin

Nathan Hackett

Erin H. Pipal

Helen Reich

Julia Coronelli, Principal, Walter Schroeder Harp Chair

FLUTES

Sonora Slocum, Principal, Margaret and Roy Butter Flute Chair

Heather Zinninger, Assistant Principal Jennifer Bouton Schaub

PICCOLO

Jennifer Bouton Schaub

OBOES

Katherine Young Steele, Principal, Milwaukee Symphony League Oboe Chair

Kevin Pearl, Assistant Principal Margaret Butler

ENGLISH HORN

Margaret Butler, Philip and Beatrice Blank English Horn Chair in memoriam to John Mar tin

CLARINETS

Todd Levy, Principal, Franklyn Esenberg Clarinet Chair

Benjamin Adler, Assistant Principal, Donald and Ruth P. Taylor Assistant Principal Clarinet Chair Taylor Eiffert

E FLAT CLARINET

Benjamin Adler

BASS CLARINET

Taylor Eiffert

BASSOONS

Catherine Van Handel, Principal, Muriel C. and John D. Silbar Family Bassoon Chair

Rudi Heinrich, Assistant Principal Beth W. Giacobassi

TROMBONES

Megumi Kanda, Principal, Marjorie Tiefenthaler Trombone Chair

Kirk Ferguson, Assistant Principal

BASS TROMBONE

John Thevenet, Richard M. Kimball Bass Trombone Chair

TUBA Robyn Black, Principal

TIMPANI Dean Borghesani, Principal Chris Riggs, Assistant Principal

PERCUSSION

Rober t Klieger, Principal Chris Riggs

PIANO

Melitta S. Pick Endowed Piano Chair

PERSONNEL MANAGER

Françoise Moquin, Director of Orchestra Personnel

LIBRARIAN

Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair

PRODUCTION

Tristan Wallace, Technical Manager & Live Audio Supervisor Paolo Scarabel, Stage Technician & Deck Super visor

* Leave of Absence 2022.23 Season

** Acting member of the Milwaukee Symphony Orchestra 2022.23 Season

KEN-DAVID MASUR, MUSIC DIRECTOR

Hailed as “fearless, bold, and a life-force” (San Diego Union) and “a brilliant and commanding conductor with unmistakable charisma” (Leipzig Volkszeitung), Ken-David is music director of the Milwaukee Symphony Orchestra.

In 2022.23, Masur leads a range of programs with the Milwaukee Symphony, where his programming throughout the season explores the natural world and its relationship to humanity.  He also continues the second year of an MSO artistic partnership with pianist Aaron Diehl and leads choral and symphonic works including Mendelssohn’s Elijah and Mahler’s Symphony No. 2. As principal conductor of the Civic Orchestra of Chicago, Masur leads concerts throughout the season, including an annual Bach Marathon. Other engagements include subscription weeks with the Nashville and Omaha symphony orchestras, and a return to Poland’s Wroclaw Philharmonic.

In 2021.22, Masur made debuts with the San Francisco Symphony, the Minnesota Orchestra, and the Baltimore Symphony Orchestra, and led performances with the Rochester Philharmonic and the Kristiansand Symphony Orchestra. Following the gala opening of the Bradley Symphony Center, highlights of the MSO season included a semi-staged production of Peer Gynt.  In the summer of 2022, Masur debuted at the Pacific Music Festival in Sapporo, Japan, leading three programs with the Festival Orchestra, including members of the Berlin and Vienna philharmonics, and another concert with the Sapporo Symphony. He debuted at Classical Tahoe in three programs that were broadcast on PBS; and led the Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a celebration of the composer John

Masur has conducted distinguished orchestras around the world, including the Chicago Symphony Orchestra, the Los Angeles Philharmonic, l’Orchestre National de France, the Yomiuri Nippon Symphony, the Orchestre National du Capitole de Toulouse, the National Philharmonic of Russia, and orchestras throughout the United States, France, Germany, Korea, Japan, and

Previously Masur was associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Garrick Ohlsson, Joshua Bell, Louis Lortie, Kirill Gerstein, Nikolaj Lugansky, and others. For eight years, Masur served as principal guest conductor of the Munich Symphony, and has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony.

Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with the Civic Orchestra of Chicago, he has led orchestras and masterclasses at Tokyo Bunka Kaikan Chamber Orchestra, University of Wisconsin-Milwaukee’s Peck School of the Arts, New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra, and at other leading universities and conservatories throughout the world.

Masur is passionate about the growth, encouragement and application of contemporary music and has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer music festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur.   The Festival seeks to engage audiences with its ground-breaking collaborations between the performing, visual and culinary arts, and has been praised by The New York Times as a “gem of a series.”

Photo by Adam DeTour

EDO DE WAART, MUSIC DIRECTOR LAUREATE

Throughout his long and illustrious career, renowned Dutch has held a multitude of posts with orchestras around the world, including music directorships with Rotterdam Philharmonic Orchestra, San Francisco Symphony, the Minnesota Orchestra, Netherlands Radio Philharmonic Orchestra, Hong Kong Philharmonic, Antwerp Symphony, New Zealand Symphony, and Sydney Symphony Orchestra, and a chief conductorship with De Nederlandse Opera and Santa Fe Opera. Edo de Waart is principal guest conductor of San Diego Symphony, conductor laureate of both Antwerp Symphony Orchestra and Netherlands Radio Philharmonic Orchestra and music director laureate of Milwaukee Symphony Orchestra.

Edo de Waart kicks off the 2022.23 season by returning to Sydney Symphony Orchestra with three performances in the newly renovated Sydney Opera House. Further engagements include Milwaukee, San Diego, Dallas, Fort Worth, and Antwerp symphony orchestras, and a special recording project of Rachmaninoff’s Piano Concerto No. 2 and Grieg’s Concerto for Piano with Royal Scottish National

As an opera conductor, Edo de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth, Salzburg Festival, Royal Opera House, Covent Garden, Grand Théâtre de Genève, Opéra Bastille, Santa Fe Opera, and the Metropolitan Opera. With the aim of bringing opera to broader audiences where concert halls prevent full staging, he has, as music director in Milwaukee, Antwerp, and Hong

A renowned orchestral trainer, he has been involved with projects working with talented young players at the Juilliard and Colburn schools and the Music Academy of the West in Santa Barbara. Edo de Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. Recent recordings include Henderickx’s Symphony No. 1 and Oboe Concerto, Mahler’s Symphony No. 1, and Elgar’s Dream of Gerontius, all with Royal Flemish Philharmonic. Beginning his career as an assistant conductor to Leonard Bernstein at New York Philharmonic, Edo de Waart then returned to Holland where he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra. Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He is also an honorary fellow of the Hong Kong Academy for Performing Arts.

Photo by Jesse Willems

YANIV DINUR, RESIDENT CONDUCTOR

Winner of the 2019 Sir Georg Solti Conducting Fellow Award, is the resident conductor of the Milwaukee Symphony Orchestra and music director of the New Bedford Symphony Orchestra. He is lauded for his insightful interpretations and unique ability to connect with concertgoers of all ages and backgrounds, from season subscribers to symphony newcomers.

Dinur conducts more than 50 concerts per season with the Milwaukee Symphony and was named by the Milwaukee as one of the city’s most impressive young leaders currently making a positive difference in Milwaukee.

In New Bedford, he has brought star soloists such as Yefim Bronfman, Pinchas Zukerman, Karen Gomyo, and Vadim Gluzman to play with the orchestra. Under his leadership, the New Bedford Symphony has been nationally recognized for its bold, engaging programming and artistic quality, leading to the League of American Orchestras selecting the orchestra to Dinur’s recent and upcoming guest conducting highlights include subscription debuts with the symphonies of San Diego, Edmonton, Tulsa, Sarasota, Fort Worth, and Orchestra Haydn in Italy. He made his conducting debut at the age of 19 with the National Symphony Orchestra of Ireland, which led to multiple return engagements. Since then, he has conducted orchestras around the world, including the Israel Philharmonic, Jerusalem Symphony, Houston Symphony, Louisiana Philharmonic, Detroit Symphony, New World Symphony, San Antonio Symphony, Portugal Symphony, Sofia Festival Orchestra/Bulgaria, State Orchestra of St. Petersburg, Torino Philharmonic, and the National Arts Centre Orchestra in Ottawa.

An accomplished pianist, Dinur made his concerto debut with the Milwaukee Symphony in 2019, playing and conducting Mozart’s D Minor Concerto. He received critical acclaim for his “fluid, beautifully executed piano passages” and “deeply musical playing” (Milwaukee Journal ).

Born in Jerusalem, Dinur began studying the piano at the age of six with his aunt, Olga Shachar, and later with Prof. Alexander Tamir, Tatiana Alexanderov, Mark Dukelsky, and Edna Golandsky. He studied conducing in Israel with Dr. Evgeny Zirlin and Prof. Mendi Rodan, and holds a Doctorate in Orchestral Conducting from the University of Michigan School of Music, Theatre & Dance, where he was a student of Prof. Kenneth Kiesler.

Photo by Erin Kavanaugh

MILWAUKEE SYMPHONY CHORUS

magnificent Symphony No. 2, known as the “Resurrection” Symphony.

The 150-member volunteer chorus has been praised by reviewers for “technical agility,” “remarkable ensemble cohesion,” and “tremendous clarity.” In addition to performances with the MSO, the chorus has appeared on public television and recorded performances for radio stations throughout the country. The chorus has performed a cappella concerts to sold-out audiences and has made guest appearances with other performing arts groups including Present Music, Milwaukee Ballet, and the Chicago Symphony Orchestra. The chorus has also made appearances at suburban Chicago’s famed Ravinia Festival.

The Margaret Hawkins Chorus Director Chair was funded by a chorus-led campaign in 2006 in honor of the founding choral director, Margaret Hawkins, during the ensemble’s 30th anniversary season.

Comprised of teachers, lawyers, students, doctors, musicians, homemakers, and more, each of its members brings not only musical quality, but a sheer love of music to their task. “We have the best seats in the house,” one member said, a sentiment echoed throughout the membership. Please visit mso.org/chorus for more information on becoming a part of the Milwaukee Symphony Chorus.

Photo by Jonathan Kirn

CHORUS MEMBERS & STAFF

Barbara A. Ahlf

Laura Albright-Wengler

* James B. Anello

u Thomas R. Bagwell

Mary Ann Beatty

Marshall Beck man Maria Cornelia Beilke

* JoAnn Berk

Edward Blumenthal

u Scott Bolens

Becca Bowen

Neil R. Brooks

Michelle Budny Maggie Burk Ellen N. Burmeister

Gabrielle Campbell Gerardo Carcar Elise Cismesia

Ian Clark

Sarah M. Cook

Amanda Coplan Sarah Culhane Colin Destache

Becky Diesler

Rebeca A. Dishaw Megan Kathleen Dixson

Kimberly Duncan Rachel Dutler

u James Edgar Marlene K . Ego

Joe Ehlinger

Hannah Ellison Jay Endres

Amanda Swygard Fairchild

Michael Faust Sarah N. Ferreira

Catherine Fettig Carly Marie Fitzgerald

Robert Friebus

Karen Frink

Maria Fuller

George Galloway

James T. Gallup

Kara Grajkowski Charyl Granatella Virginia D. Grossman

Ashley Gutting Mark R. Hagner Eric W. Hanrehan

Beth Harenda

Madeline Hehemann u Karen Heins Mary Catherine Helgren Kurt Hellermann

Sara E. Herrick

Michelle Hieber t Rae-Myra Hilliard Laura Hochmuth

Amy Hudson Matthew Hunt Stan Husi u Tina Itson

• Christine Jameson Paula J. Jeske

Andrew Johnson John Jorgensen Heidi L. Kastern u Michelle Beschta Klotz

Robert Anton Knier Jill Kortebein

Kaleigh Kozak-Lichtman u Joseph M. Krechel

Harry Krueger

Rick Landin

Jana Larson

Alexandra Lerch-Gaggl

Robert Lochhead Kristine Lorbeske

STAFF

Cheryl Frazes Hill, chorus director

Timothy J. Benson, assistant director

Christina Williams, chorus manager Kayoko Miyazawa, rehearsal pianist Darwin J. Sanders, language/diction coach

Sarah Magid

Grace Majewski

Joy Mast Saige Matson Justin J. Maurer Kathr yn McGinn Kathleen Or tman Miller Megan Miller

Victor Montañez Cruz

• Marjorie Moon Bailey Moorhead Jennifer Mueller Matthew Neu Kristin Nikkel Jason Niles Mary Beth Norton Alice Nuteson Thomas Ohlgren Robert Paddock Molly Pagryzinski Grace Parlier R. Scott Pierce u Jessica E. Pihar t Olivia Pogodzinski Gabriel Poulson

Kaitlin Quigley * Jason Reuschlein James Reynolds Marc Charles Ricard Amanda Robison Carlos Rojo Bridget Sampson James Sampson Darwin J. Sanders John T. Schilling Sarah Schmeiser Rand C. Schmidt u Allison Schnier Bob Schuppel Matthew Seider

Bennett Shebesta u Hannah Sheppard

David Siegwor th Kristen M. Singer Tim Socha u Bruce Soto

Joel P. Spiess

Ashley Sprangers

* Todd Stacey u Donald E. Stettler

Amanda D. Steven Scott Stieg

* Donna Stresing

Ashley Ellen Suresh

Dean-Yar Tigrani Clare Urbansk i Jessica Wagner Barbara Wanless Tess Weink auf Emma Mingesz Weiss Michael Werni Erin Weyers Grant Wheeler Christina Williams Emilie Williams Kathleen Wojcik-May Kevin R. Woller Maureen Woyci

* Jamie M. Yu Stephanie Zimmer

u Section Leader 6 Mentor

• Librarian

DR. CHERYL FRAZES HILL, CHORUS DIRECTOR

Dr. Cheryl Frazes Hill is now in her sixth season as director of the Milwaukee Symphony Chorus. In addition to her role in Milwaukee, she is the associate conductor of the Chicago Symphony Chorus. Frazes Hill is Professor Emeritus at Roosevelt University’s Chicago College of Performing Arts, where she served for 20 years as director of choral activities. During the 2022.23 season, Frazes Hill will prepare the Milwaukee Symphony Chorus for classical performances of Brahms’s Gesang der Parzen, Schicksalslied, and Academic Festival Overture, Mendelssohn’s Elijah, Holst’s The Planets, and Mahler’s Resurrection Symphony.

In her role as the Chicago Symphony Chorus associate conductor, she has prepared the chorus for Maestros Boulez, Barenboim, Levine, Mehta, Tilson Thomas, Conlon, Alsop, and many others. She most recently prepared the Chicago Symphony Chorus for performances of , conducted by Esa-Pekka Salonen. Recordings of Frazes Hill’s chorus preparations on the Chicago Symphony Orchestra label include Beethoven, A tribute to Daniel Barenboim and Chicago Symphony Chorus: A 50th anniversary Celebration.

Under her direction, the Roosevelt University choruses have been featured in prestigious and diverse events, including appearances at national and regional music conferences, and performances with professional orchestras including the Chicago Symphony Orchestra, Chicago Sinfonietta, the Civic Orchestra of Chicago, and the Illinois Philharmonic. The Roosevelt Conservatory Chorus received enthusiastic reviews for their American premiere of Jacob Ter Velduis’s Mountaintop. Other recent performances have included the internationally acclaimed production of Defiant Requiem and appearances with The Rolling Stones during a recent United States concert tour.

Frazes Hill received her Doctorate in Conducting and her Master of Music degree from Northwestern University and two undergraduate degrees from the University of Illinois. An accomplished vocalist, she is a featured soloist, nominated for a Grammy Award in the CBS Masterworks release Mozart, Music for Basset Horns. An award-winning conductor/educator, Frazes Hill has received the ACDA Harold Decker Conducting Award, the Commendation of Excellence in Teaching from the Golden Apple Foundation the Illinois Governor’s Award, Roosevelt University’s Presidential Award for Social Justice, the Northwestern University Alumni Merit Award, and the Outstanding Teaching Award from the University of Chicago, among many others.

A published author, Margaret Hillis: Unsung Pioneer is her newly released book, a biography of the famed female conductor, available on Amazon and in bookstores. She is nationally published on topics of her research in music education and choral conducting. Frazes Hill is a frequent guest conductor and guest speaker, most recently featured with conductor Marin Alsop at Ravinia Festival’s Breaking Barriers: Women on the Podium.

C

enter for A rts and P erformance 2022-2023

YESTERDAY AND TODAY:

THE INTERACTIVE BEATLES EXPERIENCE

Friday, November 18, 2022 • 7:30 p.m.

An amazing program of Beatles music determined completely by the audience through request cards filled out prior to the show.

SILVER BELLS AND DIAMONDS

Saturday, December 10, 2022 • 2:30 p.m.

Enjoy great holiday favorites along with hit songs from the 50s, 60s, 70s, and 80s.

KO-THI DANCE COMPANY

Friday, February 3, 2023 • 7:30 p.m. Ko-Thi Dance Company passionately preserves and performs dance and music rooted in the cultures of the African Diaspora.

ALLIANCE BRASS Friday, March 31, 2023 • 7:30 p.m.

Alliance Brass has emerged as one of the country’s most exciting ensembles.

PIANO CELEBRATIONS SERIES

Celebrate the beauty, power, and majesty of the Steinway grand piano in this series: Barron Ryan Saturday, February 11, 2023 • 2:30 p.m.

Anderson & Roe Piano Duo Sunday, April 16, 2023 • 2:30 p.m.

Center for Arts and Performance | Schwan Concert Hall 8815 W. Wisconsin Avenue, Milwaukee, Wisconsin Box Office: 414.443.8802

For more information, tickets, and video samples visit: wlc.edu/guestartistseries

FRESH AIR & BEETHOVEN’S EROICA

Friday, November 11, 2022 at 11:15 am

Saturday, November 12, 2022 at 7:30 pm

ALLEN-BRADLEY HALL

Ken-David Masur, conductor

Baiba Skride, violin

JEAN SIBELIUS

Night Ride and Sunrise, Opus 55

SEBASTIAN CURRIER

Aether, for violin and orchestra Baiba Skride, violin

INTERMISSION

LUDWIG VAN BEETHOVEN

Symphony No. 3 in E-flat major, Opus 55, “Eroica”

I. Allegro con brio

II. Marcia funebre: Adagio assai

III. Scherzo: Allegro vivace

IV. Finale: Allegro molto

The 2022.23 Classics Series is presented by the UNITED PERFORMING ARTS FUND

The length of this concert is approximately 2 hours.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

Guest Artist Biographies

BAIBA SKRIDE

Baiba Skride’s natural approach to music‐making has endeared her to many of today’s most important conductors and orchestras worldwide. She performs regularly with orchestras such as the Berliner Philharmoniker, Gewandhausorchester Leipzig, Boston Symphony Orchestra, Chicago Symphony Orchestra, New York Philharmonic, Concertgebouworkest, Symphonieorchester des Bayerischen Rundfunks, Orchestre de Paris, London Symphony Orchestra, Royal Stockholm Philharmonic Orchestra, Oslo Philharmonic, Sydney Symphony Orchestra, and NHK Symphony Orchestra.

Highlights of the 2022.23 season include Shostakovich’s Violin Concerto No. 2, which she will perform and record on the Deutsche Grammophon label with Andris Nelsons and the Boston Symphony Orchestra, the UK premiere of Victoria Borisova‐Ollas’s violin concerto A Portrait of a Lady by Swan Lake with Cristian Măcelaru and the BBC Symphony Orchestra, and Gubaidulina’s “Offertorium” with the NHK Symphony Orchestra. She appears for the first time with the Karajan‐Akademie der Berliner Philharmoniker and Brucknerorchester Linz. In addition, she returns to the Iceland Symphony Orchestra to give the Iceland premiere of Gubaidulina’s Triple Concerto with Harriet Krijgh (cello) and Elsbeth Moser (bajan), to the Dresdner Philharmonie with Dima Slobodeniouk, and other orchestras such as Taipei Symphony Orchestra, City of Birmingham Symphony Orchestra, and the Philharmonia Orchestra.

Skride is an internationally sought‐after chamber musician and commits to the long‐established duo with her sister Lauma Skride. She is one of the founding members of the Skride Quartet. In 2022.23, the Skride Quartet returns to Copenhagen, Riga, and the U.S. She also performs in trio with Lauma Skride and Harriet Krijgh as well as in various chamber music projects.

Skride’s latest album Violin Unlimited was released in May 2022. Her prolific discography includes all Mozart concertos with the Swedish Chamber Orchestra and Bartók with the WDR Sinfonieorchester, both with Eivind Aadland, as well as an American disc featuring Bernstein, Korngold, and Rózsa, and the debut recording of the Skride Quartet, all under the Orfeo label.

Skride was born into a musical Latvian family in Riga and continued her studies from 1995 at the Rostock University of Music and Theatre. In 2001, she won the first prize of the Queen Elisabeth Competition. She plays the Yfrah Neaman Stradivarius kindly on loan by the Neaman family through the Beare’s International Violin Society.

Program notes by J. Mark Baker

Tension, energy, and triumph abound in Beethoven’s history-changing “Eroica” Symphony. In contrast, Sebastian Currier’s delicate and mesmerizing Aether evokes “the air the gods breathe.” Sibelius’s evocative tone poem Night Ride and Sunrise opens the program. Welcome, Baiba Skride!

JEAN SIBELIUS

Born 8 December 1865; Hämeenlinna, Finland Died 20 September 1957; Jarvenpää, Finland

Night Ride and Sunrise, Opus 55

Composed: 1908

First performance: 23 January 1909; St. Petersburg, Russia

Last MSO performance: MSO premiere Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; bass clarinet; 2 bassoons; contrabassoon; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, snare drum, suspended cymbals, tambourine, triangle); strings Approximate duration: 16 minutes

Jean Sibelius was born into a Swedish-speaking family in a hamlet in south central Finland. The man who would become the most famous Finn in history did not begin to speak the Finnish language until age eight and acquired complete proficiency in the language only as a young man. His official first name was Johan; as an adolescent, he adopted the gallicized “Jean.” And though he was prolific in many genres – tone poems, choral music and songs, chamber music, solo piano works – his stature rests chiefly on his accomplishment as a composer of symphonies. Sibelius was in his early 40s when he composed Night Ride and Sunrise [Öinen ratsastus ja auringonnousu]. Chronologically, it comes between Symphonies No. 3 and No. 4. The work was completed in 1908, the same year Sibelius developed a serious illness and underwent several operations, both in Helsinki and Berlin, for suspected cancer of the throat. For a few years, he was forced to give up alcohol and cigars. Musicologist Robert Layton suggests that “…the bleak possibilities which the illness opened up may well have served to contribute to the austerity, concentration, and depth of the works which followed in its wake.”

This picturesque tone poem presents itself in three discernable parts. The first is a protracted galloping section in which woodwind and brass solos emerge amid the relentless rhythm of the strings. The middle portion is vintage Sibelius: a hymn-like melody in the strings, surrounded by a kaleidoscope of orchestral colorings. Slowly, the Northern sun begins to rise, as its first exquisite rays emerge in the horns.

Across the years, Sibelius gave various accounts of the inspiration for this music. He told his friend Karl Ekman that his first visit to the Colosseum in Rome in 1901 had prompted it. In his later years, he related to his secretary Santeri Levas a sleigh ride from Helsinki to Kerava, “around the turn of the century,” during which he experienced an extraordinary sunrise. Whatever the case, it is indeed a breath of fresh Nordic air.

SEBASTIAN CURRIER

Born 16 March 1959; Huntingdon, Pennsylvania , for violin and orchestra

2 May 2019; Boston, Massachusetts

Last MSO performance: MSO premiere 2 flutes (2nd doubling on piccolo); 2 oboes (2nd doubling on English horn); 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 2 trombones; percussion (anvil, bass drum, brake drum, cymbal, glockenspiel, hi-hat, high cymbal, high woodblock, low cymbal, snare drum, tambourine, triangle, vibraphone); harp; piano; celeste; strings Approximate duration: 25 minutes

Educated at the Juilliard School and the Eastman School of Music and the recipient of many prestigious awards, Sebastian Currier has garnered the attention of musicians across the globe. His catalogue includes compositions for solo instruments, voice, chorus and orchestra, and pieces for ensembles, both large and small. His numerous commissions include works for the Berlin Philharmonic and, for violinist Anne-Sophie Mutter, Time Machines and Aftersong. He has taught at Princeton and Columbia universities.

Aether, a co-commission of the Boston Symphony Orchestra and the Leipzig Gewandhaus Orchestra, was composed for and dedicated to Baiba Skride, who gave its premiere with Andris Nelson and the BSO. Set in four continuous movements, it is a violin concerto in all but name. The composer has offered the following illuminating comments:

For much of the 18th and 19th centuries “aether” was thought to be an invisible substance that pervaded all of universe between celestial bodies. It was the medium through which light waves were thought to travel. The word itself looks back to Greek mythology. It means “pure, fresh air” and was thought to be the air of the upper atmosphere, the air the gods breathed.

With Einstein’s theory of relativity, the concept became outmoded, but it still lingers as a term referring to something remote, mysterious, invisible, and out of reach. Conceptually, Aether, starts with a rather standard multimovement structure of a symphony or a concerto, but in the finished work this form is deconstructed and reconfigured.

There are four primary movements. The first is a sort of Nachtmusik [night music] where instruments from the orchestra play phrases that the violin imitates. In the second movement there’s a continual struggle between lyrical impulses and aggressive outbursts. The third movement is a sustained, lyrical slow movement where the violin soars above the orchestra. The fourth is an energetic, virtuosic finale.

But that’s not actually how the piece unfolds. As the piece begins, we hear very, very quiet, distant, mysterious chords in the strings, with the winds making ephemeral air sounds. It’s vague and atmospheric. It’s the medium in which the four movements are contained; it’s the “aether” that surrounds the firmer, more concrete structures of the four movements. It begins the piece, ends it, and occurs between all the four movements. The movements don’t really conclude but just trail off into oblivion or, as in the fourth movement, are interrupted unexpectedly. They float within this medium of aether. The violin is noticeably absent from these ethereal sections, except the last. Here the violin steps off the solid structure created by the movements and floats into the aether, gradually disappearing into nothingness.

LUDWIG VAN BEETHOVEN

Baptized 17 December 1770; Bonn, Germany Died 26 March 1827; Vienna, Austria

Symphony No. 3 in E-flat major, Opus 55, “Eroica” Composed: 1804

First performance: 7 April 1805; Vienna

Last MSO performance: June 2016; Carlos Kalmar, conductor Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 3 horns; 2 trumpets; timpani; strings

Approximate duration: 47 minutes

Beethoven spent the summer of 1802 in the village of Heiligenstadt (now part of larger Vienna). It was a musically prolific time for him, but the 31-year-old master was already aware that his hearing was beginning to deteriorate. In October, as he prepared to return to central Vienna, he carefully wrote a document to his two brothers describing his depression, but declaring he had now rejected the idea of suicide. This “Heiligenstadt Testament” is a heartbreaking testimony to the despair that frequently overtook him during this period in his life.

From that low ebb of despondency, Beethoven effected a speedy recovery through hard work, churning out his oratorio Christ on the Mount of Olives in early 1803. Fidelio, his only opera, was written in 1804-05. Between them came the Eroica (“Heroic”) Symphony, an opus Beethoven scholar Joseph Kerman has called “a watershed work, one that marks a turning point in the history of modern music.” Kerman goes on to explain that Beethoven was concerned not only with the musical and technical aspects of composition, but also with conveying his own spiritual journey and growth process. This “symphonic ideal,” states Kerman, “Beethoven perfected at a stroke with his Third Symphony and further celebrated with his Fifth, Sixth, Seventh, and Ninth. The forcefulness, expanded range, and evident radical intent of these works sets them apart from symphonies in the 18th-century tradition.”

It is well known that Beethoven took Napoleon as his inspiration for the Symphony No. 3 and later was angered and disillusioned when the revolutionary hero turned despot and had himself crowned emperor. The “Bonaparte” Symphony then became the “Sinfonia Eroica.” From our 21stcentury vantage point, it is easy to declare Beethoven the true hero here. The Third Symphony as a whole – and its first two movements in particular – was on a larger scale than any instrumental work the master had yet written; it was many years before he wrote another of such dimensions. Following two strong E-flat major chords, the cellos quietly sing the waltz-like melody that will provide Beethoven with much of the musical material for this movement. Typically, Classical-era symphonies have a central development section shorter than the opening exposition. Beethoven turns this around completely, expanding on his material at great length, taking the listener in unexpected directions. A weighty and protracted funeral march in C minor makes up the second movement. Musicologists have suggested that Beethoven was here influenced by French composers of the revolutionary era, as well as by the operas of Luigi Cherubini (Beethoven’s favorite living composer) and Etienne Mehul. All is not gloomy in this movement, however: Listen for a lyrical interlude in C major that soon turns triumphant. And there’s even a brief fugal section.

The scherzo’s softly scampering staccato strings and jaunty woodwind melodies disperse all funereal thoughts. The bold trio – with fanfares played by three horns – stands in marked contrast. The scurrying then returns, and a short, intriguing coda ends the movement. The ingenious Finale is a set of variations based on a theme Beethoven had used in his ballet The Creatures of Prometheus and in the 15 Variations, Opus 35 (“Eroica Variations”) for piano. The styles range from solemn to humorous and make use of both the major and minor modes. Listen for everything from imitative counterpoint to a swaying dance, from warlike passages to an ample hymn tune. In the splendid coda, jubilant salvos from the three horns bring this history-changing work to its “heroic” conclusion.

CLASSICAL PROGRESSIONS SERIES

Canadian Brass Christmas December 11, 2022 at 2pm

Milwaukee Musaik March 19, 2023 at 2pm

Frank Almond & Emi Ferguson March 11, 2023 at 7pm

Ana Vidovic in Partnership with the Milwaukee Classical Guitar Society February 11, 2023 at 7pm

RAVEL & CHOPIN

Friday, November 18, 2022 at 7:30 pm

Saturday, November 19, 2022 at 7:30 pm

ALLEN-BRADLEY HALL

David Robertson, conductor

Orli Shaham, piano

MAURICE RAVEL

Une barque sur l’océan [A Boat on the Ocean]

FRÉDÉRIC CHOPIN

Concerto No. 2 in F minor for Piano and Orchestra, Opus 21

I. Maestoso

II. Larghetto

III. Allegro vivace

Orli Shaham, piano

INTERMISSION

OLIVIER MESSIAEN

L’ascension [The Ascension]

I. Majesty of Christ beseeching His glory of His Father

II. Serene hallelujahs of a soul that longs for heaven

III. Hallelujah on the trumpet, hallelujah on the cymbal

IV. Prayer of Christ ascending to His Father

MAURICE RAVEL

La valse [The Waltz]

The MSO Steinway Piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. The 2022.23 Classics Series is presented by the UNITED PERFORMING ARTS FUND

The length of this concert is approximately 2 hours.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

Guest Artist Biographies

DAVID ROBERTSON

David Robertson – conductor, artist, composer, thinker, and American musical visionary – occupies the most prominent podiums in opera, orchestral, and new music. He is a champion of contemporary composers and an ingenious and adventurous programmer. Robertson has served in numerous artistic leadership positions, such as chief conductor and artistic director of the Sydney Symphony Orchestra, a transformative 13-year tenure as music director of the St. Louis Symphony Orchestra, with the Orchestre National de Lyon, BBC Symphony Orchestra, and, as protégé of Pierre Boulez, the Ensemble InterContemporain.

He appears with the world’s great orchestras, including the New York Philharmonic, Los Angeles Philharmonic, Royal Concertgebouw Orchestra, Vienna Philharmonic, and many major ensembles and festivals on five continents.

Since his 1996 Metropolitan Opera debut, Robertson has conducted a breathtaking range of Met projects, including the 2019.20 season opening premiere production of Porgy and Bess, for which he shared a Grammy Award, Best Opera Recording, in March 2021. In 2022, he conducted the Met Opera revival of the production, in addition to making his Rome Opera debut conducting Janáček’s Káťa Kabanová.

Robertson is a Chevalier de l’Ordre des Arts et des Lettres of France and is the recipient of numerous artistic awards. He serves on the Tianjin Juilliard Advisory Council, complementing his role as Director of Conducting Studies, Distinguished Visiting Faculty of The Juilliard School, New York.

ORLI SHAHAM

A consummate musician recognized for her grace, subtlety, and brilliance, the pianist Orli Shaham is hailed by critics on four continents. The New York Times called her a “brilliant pianist,” The Chicago Tribune referred to her as “a first-rate Mozartean,” and London’s Guardian said Shaham’s playing at the Proms was “perfection.”

Shaham has performed with many of the major orchestras around the world and has appeared in recital internationally, from Carnegie Hall to the Sydney Opera House. She is artistic director of Pacific Symphony’s chamber series Café Ludwig in California since 2007 and artistic director of the interactive children’s concert series, Orli Shaham’s Bach Yard, which she founded in 2010.

Highlights of Shaham’s 2022.23 concert season include performances with the Finnish Radio Symphony, Pacific Symphony, Orlando Philharmonic, and Vancouver Symphony (USA), where she was named VSO’s inaugural artist-in-residence. In 2022, she released volumes 2 and 3 of the complete Mozart piano sonatas. Her Mozart recording project also includes volume 1 of the piano sonatas and piano concertos with St. Louis Symphony, all of which are part of her discography of a dozen titles on Canary Classics, Deutsche Gramophone, Sony, and other labels. Orli Shaham is a co-host and creative for the national radio program From the Top. She is on the piano and chamber music faculty at The Juilliard School and is chair of the board of trustees at Kaufman Music Center in New York.

Orli Shaham has been a Steinway Artist since 2003. Orli Shaham appears by arrangement with Colbert Artists Management, Inc. colbertartists.com

Program notes by J. Mark Baker

Music mystical, sparkling, and graceful comprises tonight’s concert: Audience favorite Orli Shaham plays Chopin’s second piano concerto, four meditations by Messiaen contemplate religious belief, and two alluring works by Ravel bookend the program.

MAURICE RAVEL

Born 7 March 1875; Ciboure, France Died 28 December 1937; Paris, France

Un barque sur l’océan [A Boat on the Ocean]

Composed: 1904-05 (piano solo); 1906, revised 1926 (orchestration)

First performance: 6 January 1906; Paris, France (piano solo)

Last MSO performance: MSO premiere

Instrumentation: 3 flutes (2nd and 3rd doubling on piccolo); 2 oboes; English horn; 2 clarinets; bass clarinet; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, glockenspiel, gong, triangle); 2 harps; celeste; strings

Approximate duration: 7 minutes

Un barque sur l’océan [A Boat on the Ocean] began its life as a solo work – and what a pianistic tour-de-force it is! – one of five pieces in a suite entitled Miroirs [Reflections]. Ravel dedicated each of these miniature Impressionistic sound pictures to one of his friends, members of a coterie called Les Apaches [The Hooligans], artistic allies who met for discussion and to share their work. “A Boat on the Ocean” is dedicated to the painter Paul Sordes. A dozen years later, Ravel would orchestrate another of these, Alborado del gracioso [Dawn Song of the Jester]. Both remain favorites in the orchestral repertoire.

As the story goes, in 1905 Ravel accepted an invitation from his friends Alfred Edwards, a journalist, and his Russian wife Misia, a pianist, to join them on a seven-week cruise. It’s quite likely that the feelings and observations he experienced on this sojourn influenced his writing of Un barque sur l’océan. Flowing arpeggios immediately conjure the picture of water, as Ravel employs varied orchestral timbres and techniques to paint the endless space of the ocean. Ravel instructs that the rhythm be souple [flexible], which adds to the swaying effect in both the theme and its accompaniment.

Midway through the piece, the ocean’s serenity is interrupted by a storm, which leads to an immense, dissonant climax. A slower-paced section, set over a G-sharp ostinato, lets us know that the boat has survived the storm. The ending returns us to the peaceful opening where all is quiet. A quietly pealing celesta bids farewell, and Ravel marks the concluding measure s’enteignant [snuffed out].

FRÉDÉRIC CHOPIN

Born 1 March 1810; Zelazowa Wola (near Warsaw), Poland Died 17 October 1849; Paris, France

Piano Concerto No. 2 in F minor, Opus 21 Composed: 1829-30

First performance: 17 March 1830; Warsaw, Poland

Last MSO performance: November 2013; Edo de Waart, conductor; Ingrid Fliter, piano

Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; bass trombone; timpani; strings

Approximate duration: 32 minutes

Music appreciation books sometimes refer to Frédéric Chopin as “the poet of the piano.” And while that appellation is not totally misguided, it remains somewhat shallow. It’s true that, with the exception of the two early concertos, a late cello sonata, some 20 songs, and a few miscellaneous pieces, he wrote exclusively for the solo piano. Nevertheless, as his compositional craft reached its zenith, in his early 30s, his innovative harmonies – clashing melodies, enigmatic sonorities, unresolved seventh chords, surprising modulations, forays into modality or chromaticism – had a profound influence on the music of Liszt, Wagner, Fauré, Debussy, Grieg, Tchaikovsky, and Rachmaninoff, among many others.

Chopin was in his late teens when he penned the F minor concerto. Despite its numbering, it predates the Opus 11 concerto, which was published first. (The same is true of Beethoven’s first two works in the genre.) From its premiere performance, at the National Theatre in Warsaw, the piece was well-received. In the opinion of his compatriots, Chopin was quickly establishing himself as a national composer.

Scholars tell us that Chopin’s Opus 21 owes much of its elegance to the influence of the prolific Austrian composer Johann Nepomuk Hummel (1778-1837), one most celebrated pianists of the time. The Maestoso opens with a dotted-rhythm from the orchestra, driving the agitated theme forward toward the piano’s first entrance. Translucent, dazzling passages emphasize the soloist’s role; meanwhile, the orchestra functions to undergird, adding color and texture.

The young composer admitted to friends that his infatuation with Konstancja Gładkowska, a soprano and Chopin’s classmate at the conservatory in Warsaw, served to inspire the delicate, languorous A-flat major Larghetto. Here, one senses the Bel Canto ornamentation of the operatic arias of Vincenzo Bellini, with whom Chopin shared a friendship and mutual admiration. Likewise, the movement seems to presage the eloquent nocturnes he would pen in years to come.

In the final Allegro vivace, the piano takes the lead in presenting the thematic material. Chopin features the mazurka, a dance from his native Poland; there’s also a whiff of the Viennese waltz style. The music is playful and coquettish as it scampers all over the keyboard, taking special advantage of the instrument’s bright, higher timbres. The soloist is afforded ample opportunity for flights of virtuosic fancy as the final F major coda brings this affable work to a sparkling conclusion.

OLIVIER MESSIAEN

Born 10 December 1908; Avignon, France Died 27 April 1992; Paris, France

L’ascension [The Ascension]

Composed: 1933; transcribed for organ in 1934 First performance: 1935; Paris, France

Last MSO performance: October 2016; Yaniv Dinur, conductor Instrumentation: 3 flutes; 2 oboes; English horn; 2 clarinets; bass clarinet; 3 bassoons; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum; cymbals; tambourine, triangle); strings

Approximate duration: 27 minutes

Oliver Messiaen holds an important place in music of the 20th century, both as the father of the European avant-garde and as a highly original figure in his own right. He studied at the Paris Conservatoire with Paul Dukas and Marcel Dupré and later taught there (Pierre Boulez and Karlheinz Stockhausen were among his pupils), while also serving as the organist at the Église de la Sainte-Trinité, in the tradition of Franck and Widor. Always religiously devout, many of his works are explorations of Roman Catholic mysticism, but with strong pantheistic overtones. Messiaen’s Quartet for the End of Time (1940), written in a Silesian Nazi POW camp for the only available instruments – violin, clarinet, cello, piano – is one of the great chamber music works of the 20th century.

Messiaen was in his mid-20s when he composed L’ascension, which he described as “four symphonic meditations for orchestra.” Each movement includes a quotation that identifies the inspiration for its descriptive title:

I. Majesty of Christ beseeching His glory of His Father: “Father, the hour is come! Glorify Thy Son, that Thy Son may also glorify Thee.” (John 17:1)

“Very slow and magisterial,” the composer instructs. The principal trumpet acts as the voice of Christ, its plaintive, ascending motifs seeming to call out to heaven, supported by highly chromatic harmony from the winds and brass. Silence plays a key role here, as each of the entreaties breaks off into a moment of reflection.

II. Serene hallelujahs of a soul that longs for heaven: “We beseech Thee, Almighty God, that we may in mind dwell in Heaven.” (Ascension Mass)

At the outset, the stark beauty of plainchant is suggested by unison winds, playing a winding melody. The sylvan voice of the English horn then converses with a chorus of birdsong (a characteristic of much of Messiaen’s music), supported by string harmonics. Textures vary, but thicken as the movement continues, eventually ending in jubilation.

III. Hallelujah on the trumpet, hallelujah on the cymbal: “The Lord is gone up with the sound of a trumpet. O clap your hands all ye people; shout unto God with the voice of triumph.” (Psalm 47: 1, 5)

Sprightly trumpet fanfares open the third meditation, a dazzling scherzo marked “Vif et joyeux” [lively and cheerful]. Toward the end, there’s an exuberant, dancing fugato.

IV. Prayer of Christ ascending to His Father: “I have manifested Thy name unto men… And now I am no more in the world, but these are in the world, and I come to Thee.” (John 17: 6, 11) Scored entirely for divided strings, “extremely slow and solemn,” the final meditation perfectly depicts its title. The music – celestial, mysterious, luminous – ascends heavenward. Having completed the orchestral version, Messiaen – virtuoso organist that he was – felt the need to transcribe L’ascension for his instrument. The work is more often heard in that version,

in which the composer chose to write a more idiomatic keyboard toccata in place of the orchestral scherzo. Its title is Transports de joie d’une âme devant la gloire du Christ qui est la sienne [Transports of joy of a soul before the glory of Christ which is his].

MAURICE RAVEL

Born 7 March 1875; Ciboure, France Died 28 December 1937; Paris, France

La valse [The Waltz] Composed: 1919-20

First performance: 12 December 1920; Paris, France

Last MSO performance: January 2018; Fabien Gabel, conductor

Instrumentation: 3 flutes (3rd doubling on piccolo); 3 oboes (3rd doubling on English horn); 2 clarinets; bass clarinet; 2 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (antique cymbals, bass drum, castanets, cymbals, glockenspiel, snare drum, tam tam, tambourine, triangle); 2 harps; strings

Approximate duration: 12 minutes

La valse is Ravel’s masterfully evocative homage to the Viennese waltz. He provided a brief programmatic description: Swirling clouds afford glimpses, through rifts, of waltzing couples. The clouds scatter little by little; one can distinguish an immense hall with a whirling crowd. The scene grows progressively brighter. The sight of chandeliers bursts forth at the fortissimo. An imperial court, about 1855.

Composed at the behest of Sergei Diaghilev, La valse was not what the Ballet Russe impresario expected. “This is not a ballet,” he opined. “It is a painting of a ballet.” Diaghilev refused to stage it, and he and Ravel never worked together again. Undeterred, the French master published the opus as a “choreographic poem for orchestra.” It was finally presented as a ballet in 1926 when Ida Rubinstein’s troupe presented it in Antwerp. Two years later, they introduced it to Paris, and gave the premiere of Bolero two days later.

In a 1937 tribute to Ravel, following the composer’s death, the French musicologist Paul Landormy said of La valse: “[It is] the most unexpected of the compositions of Ravel, revealing to us heretofore unexpected depths of Romanticism, power, vigor, and rapture in this musician whose expression is usually limited to the manifestations of an essentially classical genius.”

DISNEY IN CONCERT

A Dream is a Wish is produced by Symphony Pops Music

Sherilyn Draper – Director and Writer

Ted Ricketts – Musical Director

Presentation licensed by Disney Concerts, © All rights reserved

Friday, November 25, 2022 at 7:30 pm

Saturday, November 26, 2022 at 7:30 pm

Sunday, November 27, 2022 at 2:30 pm

ALLEN-BRADLEY HALL

Yaniv Dinur, conductor

Lisa Livesay, vocalist

Whitney Claire Kaufman, vocalist

Aaron Phillips, vocalist

Andrew Johnson, vocalist

DISNEY MEMORIES OVERTURE

Arranged by Brad Kelley

© 2014 Walt Disney Music Company & Wonderland Music Company, Inc. You Can Fly, You Can Fly, You Can Fly The Second Star to the Right Alice in Wonderland

I’m Late Bella Notte April Showers Valse des Fleurs-Fantasia

SONGS FROM DISNEY’S THE LITTLE MERMAID

Music by Alan Menken / Lyrics by Howard Ashman / Arranged by A. Menken, R. Merkin, T. Pasatieri and T. Ricketts / © 1990 Wonderland Music Co., Inc. Part of Your World Under the Sea Poor Unfortunate Souls Kiss the Girl

“H OW FAR I’LL GO”

Words and Music by Lin-Manuel Miranda / © 2016 Walt Disney Music Company

DISNEY’S ALADDIN ORCHESTRAL SUITE

Music by Alan Menken / Lyrics by Howard Ashman and Tim Rice / Arranged by Danny Troob and Bruce Healey © 1992 Wonderland Music Co., Inc. & Walt Disney Music Company

Arabian Nights Friend Like Me A Whole New World

“INTO THE UNKNOWN”

Words and Music by Kristen Anderson-Lopez and Robert Lopez Orchestrations by Dave Metzger / © 2019 Wonderland Music Company, Inc.

DISNEY IN CONCERT CONTINUED

Nants Ingonyama Circle of Life

I Just Can’t Wait to Be King Can You Feel the Love Tonight

INTERMISSION

DISNEY’S BEAUTY AND THE BEAST ORCHESTRAL SUITE

Music by Alan Menken / Lyrics by Howard Ashman / Arranged by Danny Troob and Franck van der Heijden / Edited by Ted Ricketts © 1992 Wonderland Music Co., Inc. (BMI) & Walt Disney Music Company (ASCAP)

Belle Be Our Guest Beauty and the Beast

A DREAM IS A WISH MEDLEY (SONGS FROM DISNEY’S CINDERELLA )

Music and Lyrics by Mack David, Al Hoffman, and Jerry Livingston Arranged by Joe Dubin, Sid Fine, and Ted Ricketts / © 1948 Walt Disney Music Company (ASCAP)

Cinderella A Dream Is a Wish Your Heart Makes Bibbidi-Bobbidi-Boo (The Magic Song) So This Is Love (The Cinderella Waltz)

“GO THE DISTANCE”

Music by Alan Menken / Lyrics by David Zippel / Arranged by Brad Kelley © 1997 Wonderland Music Co., Inc. (BMI) & Walt Disney Music Company (ASCAP)

BATTLE WITH THE FORCES OF EVIL

(adapted from a theme by Tchaikovsky) George Bruns / © 1952 Wonderland Music Company, Inc.

FROZEN MEDLEY

Words and Music by Kristen Anderson-Lopez and Robert Lopez Underscore composed by Christopher Best / Orchestrations by Dave Metzger / Adapted by Ted Ricketts © 2013 Wonderland Music Company, Inc.

The Great Thaw Elsa and Anna Do You Want to Build a Snowman

For the First Time in Forever

In Summer Let it Go

This weekend’s media sponsor is WISCONSIN PUBLIC RADIO.

The length of this concert is approximately 2 hours. This program is subject to change.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

Guest Artist Biographies

LISA LIVESAY

Lisa Livesay is thrilled to travel the world with Disney in Concert, singing the beloved music of her childhood! Career highlights include playing Glinda in Wicked on Broadway and appearing in the film Monday Nights at 7 with Oscar winner Edward James Olmos. She is featured in audiobook musicals such as Puss in Boots and Spin!, for which she won Audie awards. Livesay resides in Los Angeles, where she contributes to soundtracks for film and TV. In her spare time, Livesay is earning her degree in interdisciplinary arts and sciences at the City College of New York. Boundless love and gratitude to her biggest fans - her family.

WHITNEY CLAIRE KAUFMAN

Whitney Claire Kaufman recently completed two years with the North American Tour of the Broadway smash-hit Mamma Mia! (Ensemble, Understudy for Sophie and Lisa). Her performance as Sophie garnered rave reviews from the Boston Globe. Kaufman has performed as guest soloist with the Malaysian Philharmonic Orchestra and the Pacific Symphony Orchestra, guest soloist with the Florida Orchestra, and has appeared in Cabaret (Sally Bowles),  A Midsummer Night’s Dream, (Peaseblossom), Marisol (June), The Los Angeles Theatre Ensembles’s production of Wounded, as well as many other theatrical productions. TV credits include General Hospital and the hit ABC series Modern Family. As both a singer and voice-over performer in film and television, Kaufman has been heard in productions That Championship Season, The Secret of NiMH 2, and two MGM animated series: All She recently recorded songs written by Oscar-winning composer Dimitri Tiomkin. Kaufman graduated with honors from Chapman University with a BFA in theater performance. Her favorite Disney movie is The Little Mermaid, with Cinderella as a close second.

AARON PHILLIPS

Aaron Phillips is very excited to be part of this wonderful production. Phillips is an Ovation Award nominated actor/singer, proud member of Actor’s Equity, and can frequently be seen on film and TV. Past theatre credits include: Jekyll and Hyde (John Utterson), Batboy: The Musical (Batboy/Edgar), Songs for a New World, and Les Misérables (Foreman/Combeferre). Opera credits include:  La bohème with the Greensboro Opera Company, conducted by Valery Ryvkin, Pirates of Penzance (Pirate King) and Lakme (Frederic) by Delibes. Phillips recently appeared in a staged reading of The Bone Wars (O’Conner) with the prestigious New York playwright group, Youngbloods. You may have seen Phillips as Carl, half of the duo that is the face of Lipton Iced Tea. He is also an accomplished voice-over talent and can be heard in video games World of Warcraft, Grand Theft Auto V, Red Dead Redemption, and Lord of the Rings.  He is a man of many voices for commercials, cartoons, and music sessions everywhere. Phillips has been a Disney fan his entire life and is happy to help bring this music to fans of all ages.

Guest Artist Biographies

ANDREW JOHNSON

Andrew Johnson is a Disney kid at heart and is humbled to share the music and magic from the stage! He has toured all over the United States, Europe, and Asia as a lead vocalist and dancer, and his performances have been broadcast on national and international television. Johnson has performed on FOX’s The X-Factor, The and the MTV Video Music Awards. He has sung background for artists such as Demi Lovato, Fifth Harmony, LeAnn Rimes, and Florence and the Machine. His theatrical credits Frozen-Live at the Hyperion (Prince Hans), Rent (Benny), Five (Four-Eyed Moe), and Joseph and the Amazing (Joseph). Johnson has shared the stage with singers/actresses Shirley Jones and Bernadette Peters and has performed live duets with recording artists Patti LaBelle, Erykah Badu, and singer/actress Jodi Benson (the original voice ). He is a singer/songwriter and recording artist, and his music is available worldwide on iTunes under his artist name DRWMCHL. He would like to thank his family for their love and support and Ted Ricketts for the opportunity of being part of this show.

Steve Hall © Hall + Merrick Photographers

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Taking better care of yourself starts with finding the best doctors to take care of you.

Amy DeGueme, M.D. Elaine Drobny, M.D. Antoni Gofron, M.D. Usonwanne Ibekwe, M.D. Brent Jones, M.D. Kawaljeet Kaur, M.D.

ENDOCRINOLOGY

Abdullah Fayyad, M.D. Vijay Khiani, M.D. Gene Kligman, M.D. Venelin Kounev, M.D. Srihari Ramanujam, M.D. Chad Stepke, M.D.

GASTROENTEROLOGY

Dima Adl, M.D. Jay Balachandran, M.D. Burak Gurses, M.D.

PULMONARY

Rachel Oosterbaan, M.D. John Sanidas, M.D. Abraham Varghese, M.D. James Volberding, M.D.

Kathleen

By William Shakespeare | Directed by Laura Braza

Powerhouse stage.

Presented by The Lynde and Harry Bradley Foundation

Presented by Kristine & Wayne Lueders

HOLIDAY POPS

Thursday, December 8, 2022 at 7:30 pm

Friday, December 9, 2022 at 7:30 pm

Saturday, December 10, 2022 at 2:30 pm

Saturday, December 10, 2022 at 7:30 pm

Sunday, December 11, 2022 at 2:30 pm

ALLEN-BRADLEY HALL

Jeff Tyzik, conductor Milwaukee Symphony Chorus Cheryl Frazes Hill, director

EMIL WALDTEUFEL/arr. Jeff Tyzik

The Skater’s Overture

LEROY ANDERSON Sleigh Ride

TRADITIONAL/arr. Jeff Tyzik Wexford Carol / Christmas Eve Reel

PIOTR ILYICH TCHAIKOVSKY/arr. Jeff Tyzik Nutcracker Mini Jazz Suite Dance of the Sugar Plums Danse Arabian Swing Dance á la Russe

TRADITIONAL/arr. Arthur Harris We Wish You a Merry Christmas Milwaukee Symphony Chorus

TRADITIONAL/arr. Dan Forrest The First Noël Milwaukee Symphony Chorus

ADOLPHE ADAM/arr. Gary Fry

O Holy Night Milwaukee Symphony Chorus

HOLIDAY POPS CONTINUED

JOHN PHILIP SOUSA & JAMES S. PIERPONT/arr. Robert W. Smith Jingle Bells Forever

INTERMISSION

JEFF TYZIK Carol of the Kings

TRADITIONAL/arr. Jeff Tyzik Mis zeh Hidlik

GARY FRY A World of Joy Milwaukee Symphony Chorus

DÉ LIGOURI/arr. Jeff Tyzik Tu scendi dalle stelle

IRVING BERLIN/arr. Robert Russell Bennett White Christmas

PIOTR ILYICH TCHAIKOVSKY

“Waltz of the Flowers” from The Nutcracker, Opus 71a

TRADITIONAL/arr. Roger Wilhelm Silent Night Milwaukee Symphony Chorus

GEORGE FRIDERIC HANDEL/arr. Jeff Tyzik

“Hallelujah” from Messiah Milwaukee Symphony Chorus

This weekend’s media sponsor is WISCONSIN PUBLIC RADIO.

The length of this concert is approximately 2 hours. All programs are subject to change. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

Guest Artist Biographies

Grammy Award winner Jeff Tyzik is one of America’s most innovative and sought after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming and engaging rapport with audiences of all ages. Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as principal pops conductor of the Seattle Symphony, the Detroit Symphony, the Oregon Symphony, and The Florida Orchestra. This season, Tyzik will celebrate his 23rd season as principal pops conductor of the Rochester Philharmonic Orchestra.

Frequently invited as a guest conductor, Tyzik has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra, Los Angeles Philharmonic and the Royal Scottish National Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO, which stayed in the Top 10 on the Billboard classical chart for over three months. Alex Ross of called it “one of the snappiest Gershwin discs in years”.

Committed to performing music of all genres, Tyzik has collaborated with such diverse artists as Megan Hilty, Chris Botti, Matthew Morrison, Wynonna Judd, Tony Bennett, Art Garfunkel, Dawn Upshaw, Marilyn Horne, Arturo Sandoval, The Chieftains, Mark O’Connor, Doc Severinsen, and John Pizzarelli. He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin, and swing. Tyzik holds Bachelor of Music and Master of Music

HANDEL’S MESSIAH

Friday, December 16, 2022 at 7:30 pm

Saturday, December 17, 2022 at 7:30 pm

Sunday, December 18, 2022 at 2:30 pm

ALLEN-BRADLEY

HALL

Ken-David Masur, conductor

Milwaukee Symphony Chorus

Cheryl Frazes Hill, director

PART

I

1. Sinfonia (Overture) 2. Arioso (Tenor): Comfort ye my people 3. Aria (Tenor): Ev’ry valley shall be exalted 4. Chorus: And the glory of the Lord 5. Recitative (Baritone): Thus saith the Lord 6. Aria (Mezzo): But who may abide the day of his coming? 7. Chorus: And he shall purify

Recitative (Mezzo): Behold, a virgin shall conceive 8. Air and Chorus (Mezzo): O thou that tellest good tidings to Zion 9. Arioso (Baritone): For behold, darkness shall cover the earth 10. Air (Baritone): The people that walked in darkness 11. Chorus: For unto us a child is born 12. Pifa (Pastoral Symphony)

Recitative (Soprano): There were shepherds abiding in the field 13. Arioso (Soprano): And lo, the angel of the Lord came upon them

Recitative (Soprano): And the angel said unto them 14. Arioso (Soprano): And suddenly there was with the angel 15. Chorus: Glory to God 16. Air (Soprano): Rejoice greatly, O daughter of Zion 18. Chorus: His yoke is easy, and his burthen is light

GEORGE FRIDERIC HANDEL Messiah, HWV 56

HANDEL’S MESSIAH continued

PART II

19. Chorus: Behold the Lamb of God 20. Air (Mezzo): He was despised 21. Chorus: Surely he hath borne our griefs 22. Chorus: And with his stripes we are healed 23. Chorus: All we like sheep have gone astray 24. Arioso ( Tenor): All they that see him laugh him to scorn 25. Chorus: He trusted in God 26. Recitative (Tenor): Thy rebuke hath broken his heart 27. Arioso ( Tenor): Behold, and see if there be any sorrow 28. Recitative (Soprano): He was cut off out of the land of the living 29. Air (Soprano): But thou didst not leave his soul in hell 30. Chorus: Lift up your heads, O ye gates 33. Chorus: The Lord gave the word 34a. Air (Soprano): How beautiful are the feet of him 35a. Chorus: Their sound is gone out 36. Air (Baritone): Why do the nations so furiously rage together? 37. Chorus: Let us break their bonds asunder Recitative (Tenor): He that dwelleth in heaven 38. Air (Tenor): Thou shalt break them 39. Chorus: Hallelujah

PART

III

40. Air (Soprano): I know that my Redeemer liveth 41. Chorus: Since by man came death 42. Recitative (Baritone): Behold, I tell you a mystery 43. Air (Baritone): The trumpet shall sound 47. Chorus: Wor thy is the Lamb that was slain

This weekend’s media sponsor is WISCONSIN PUBLIC RADIO

The length of this concert is approximately 2 hours and 30 minutes. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

Program notes by J. Mark Baker

GEORGE FRIDERIC HANDEL

Born 23 February 1685; Halle, Germany Died 14 April 1759; London, England

Messiah, HWV 56

Composed: 1741

First performance: 13 April 1742; Dublin, Ireland

Last MSO performance: December 2021; Ken-David Masur, conductor; Alisa Jordheim, soprano; Ginger Costa-Jackson, mezzo soprano; David Portillo, tenor; Ethan Vincent, baritone

Instrumentation: 2 oboes; bassoon; 2 trumpets; timpani; harpsicord; organ; strings

Approximate duration: 2 hours and 5 minutes

In a manic white heat, the 56-year-old Handel composed his beloved, best-known work in just was written between 22 August and 14 September 1741. Despite the appropriation and adaptation of music written earlier – most notably, several Italian love duets from July 1741 – the feat remains a miracle in the history of Western music. The master himself led the Dublin premiere the following spring. The proceeds went to several worthy causes, including the Charitable Musical Society for the Relief of Imprisoned Debtors. To this very day, Messiah continues to impact the social and cultural fabric of society.

When he penned Messiah, Handel had been a part of London musical life for some 30 years, mainly as a composer of Italian opera. With the growth of the middle class, that genre started to fall into disfavor, a clear sign of opposition to the nobility, its principal patrons. Handel – a German in England creating stage works in Italian – then began also to write oratorios in English. Success came, though not immediately, with Messiah.

Among Handel’s oratorios, Messiah is an anomaly: 1) There are no characters such as one finds in, say, Sampson or Saul or Solomon; 2) There is no plot in the ordinary sense; in other words, Messiah is not a sequence of scenes from the life of Jesus linked together to form a dramatic whole; 3) The words are taken entirely from the Bible, a characteristic shared only with Israel in Egypt (1739).

The Scripture selections, compiled by art collector and music patron Charles Jennens (17001773), are divided into three parts.

· Part I: The coming of the Messiah is foretold by the prophets and brought to fruition in the birth of Jesus.

· Part II: Humanity is redeemed by Christ’s sacrificial death on the cross.

· Part III: The power of death is destroyed by Christ’s mighty resurrection.

In Messiah, Handel uniquely fuses several musical traditions: Italian opera, the English anthem, and the German passion. He gleans the fruits of a lifetime’s musical experience, writing masterfully for the soloists and orchestra. But arguably it is the astonishing power and variety of the choruses that raise the work to a higher level altogether. A man of the theatre, Handel knew how to lay hold on the dramatic potential of a given text, cogently pointing up its significance.

280 years since its first performance, Messiah remains one of the greatest oratorios of all time, an icon in the history of European music. Its ability to speak to millions of people – regardless of culture or creed – remains forever undiminished.

Tuesday, December 20, 2022 at 7:30 pm

ALLEN-BRADLEY HALL

Yaniv Dinur, conductor

The Texas Tenors

Marcus Collins

JC Fisher John Hagen

The 3-Bottle Band

Josh Hanlon, piano

Larry Hanson, guitars

Peter Generous, drums

THE TEXAS TENORS

DEEP IN THE HEART OF

CHRISTMAS

Billboard #1 Recording Artists and 3-time Emmy Award Winners

THE TEXAS TENORS in

DEEP IN THE HEART OF CHRISTMAS featuring THE 3-BOTTLE BAND

PROGRAM TO BE ANNOUNCED FROM STAGE

The MSO Steinway Piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ

The length of this concert is approximately 2 hours. All programs are subject to change. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

Guest Artist Biographies

MARCUS COLLINS “The Contemporary Tenor”

Marcus Collins was born in a small town and began to sing at the age of four. He first learned how to sing by emulating his favorite radio artists like Garth Brooks and George Michael before training classically in college. Along with numerous talent shows, fairs, and cruise ships, Collins has also performed in New York City with the cast of Hairspray, Off-Broadway’s Altar Boyz as Matthew, Joseph and the Amazing Technicolor Dreamcoat, and as Jinx in Forever Plaid

Beyond music, he has worked extensively as an actor with appearances in over 100 episodes of network television, 25 films, and numerous commercials including P.S. I Love You, Across the Universe, 30 Rock, Terminator: The Sarah Conner Chronicles, Sex and the City, recurring roles on One Life to Live and As the World Turns, and the lead character in the video game Alone in the Dark Collins’s is proud to bring a contemporary element to The Texas Tenors and would like to thank everyone who voted for the group, America’s Got Talent, and his family for their love and support. Marcus Collins’s website is MarcusCollins.us.

JOHN HAGEN “The Tenor”

John Hagen has been described as “astonishing ... a superb tenor of deep musicality,” making his Lincoln Center debut in New York City in Teatro Grattacielo’s mounting of Mascagni’s Guglielmo Ratcliff. Hagen created three tenor roles in the world premiere of The Lost Dauphane for Pamiro Opera airing on PBS.

Hagen has performed a vast array of operatic roles ranging from Alfredo in La traviata to the title role in Otello for Cleveland Opera on tour. His favorite Broadway roles include Billy Bigelow in Carousel and Che in Evita. Hagen has received many awards and accolades throughout his career including finalist in the New Jersey Opera Association of Verismo Opera competition held at Carnegie Hall, Metropolitan Opera Auditions Regional Finalist, and winner of numerous competitions mounted by the National Association of Teachers of Singing.

Hagen is highly regarded for his performances of the Verdi Requiem and Beethoven’s Symphony No. 9, performing these works with more than a dozen symphonies including the Austin, Corpus Christi, Omaha, Nebraska, and Cedar Rapids symphonies. Hagen has taught voice and vocal pedagogy at Wartburg College and at his alma mater, the University of Northern Iowa.

Guest Artist Biographies

JC FISHER “The Romantic Tenor”

JC Fisher has entertained audiences around the world for the past 15 years. In high school, he had a passion for sports and enjoyed singing in church. He discovered a deeper love of singing at Wichita State University, where he earned his bachelor’s degree in music.

Fisher performed various roles, including Rodolfo in La bohème, Tamino in The Magic Flute, Ernesto in Don Pasquale, Henrick in A Little Night Music, and even Miss America’s duet partner at the 1997 Miss Kansas Pageant.

After college, Fisher traveled to Lucca, Italy, where he sang in the Puccini Festival under the direction of acclaimed Italian maestro Lorenzo Malfatti. He then created a home base in Katy, Texas, before sailing the high seas aboard over 75 cruise ships worldwide with his one-man show. This allowed JC to create a program with many different genres of music and world-class arrangements, which eventually led to his idea of forming The Texas Tenors with his two best friends. His most memorable performance though turned out to be from college, where he found the young woman who would become his wife. Jennifer Vannatta, Miss Kansas 1998, married Fisher in 2004. They have three children: Jackson, Jenson, and Jennings.

SING-A-LONG-A SOUND OF MUSIC

Wednesday, December 21, 2022 at 7:30 pm ALLEN-BRADLEY HALL

The evening begins with your host leading a vocal warm-up, judging the fancy dress competition, and teaching you how to use your items in your free interactive props bag.

The audience then takes over as the stars of the show and almost anything can happen as you sit back, relax, and sing along to the film.

The length of this concert is approximately 3 hours and 30 minutes. All programs are subject to change.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

The Cathedral of Saint John the Evangelist

Cathedral churches have

to

a significant role historically in supporting the arts.

part of this noble tradition at Saint John’s. Please join us!

❖ T e n e b r a e S u n d a y , A p r i l 2 , 2 0 2 3 ❖ 5:15PM

Featuring the Cathedral Choir singing the music of Allegri, Anerio, Farrant, Lassus, and Victoria in a stunning choral commemoration of Holy Week, this service is free and open to the public. There will be a freewill offering.

❖

Friday, April 28, 2023 ❖ 8:00PM

Join the Cathedral Choir and Cathedral Women’s Choir for our annual paraliturgical evening of choral organ music celebrating the Fine Arts at the Cathedral. Please contact the Cathedral for tickets.

Wednesday from March through December, for the most part, we have 30 minute concerts from 12:15PM 12:45PM These programs are free and feature some of the area’s finest musicians. Please join the Cathedral Choir for the 11:00AM Mass most Sundays from mid-September through Corpus Christi as well as major solemnities such as Christmas and Holy Week. Please join us for Mass!

812 N Jackson St ❖ Milwaukee WI 53202 ❖ (414) 276-9814 ❖ www.stjohncathedral.org

History

Let’s start at the very beginning, a very good place to start… Allegedly the first ever sing-a-long happened at an old people’s home in Inverness. The nurses wanted to involve the old people in an interactive group therapy and so screened Seven Brides for Seven Brothers and gave out song sheets so that everyone could sing-a-long. The idea was then developed for the Gay and Lesbian Film Festival in London in 1999 before opening at the Prince Charles Cinema in August of that year. Initially, there was an eight-show run, but the show sold out very quickly, picking up amazing TV coverage and amassing a stack of newspaper stories. The regular shows of Sing-a-long-a Sound of Music then began at the Prince Charles Cinema and the show has been running there ever since.

Sing-a-long-a Sound of Music has been on tour around the UK since January 2000 visiting almost every major venue in the country. In 2001 over 7,000 dressed up to an outdoors singa-long-a at the famous Kenwood House in London. The show has also taken the world by storm including Amsterdam, Dublin, New York, St. Louis, Philadelphia, San Francisco, Toronto, Sydney, Melbourne, Auckland, Oslo, Stockholm and many other major cities around the globe. A highlight has been a series of sell-out performances to 18,000 people each time at the famous Hollywood Bowl.

In 2001, Elton John and 40 of his friends dressed up as nuns to “sing-a-long with Julie,” hiring the show for a private party to celebrate David Furnish’s birthday. After a celebratory lunch at the Ivy, the party of 40 donned habits and tuned their vocal chords to sing-a-long and celebrity faces spotted under their wimples included Elton and David, Lulu, Janet Street Porter, Neil Tennant of The Pet Shop Boys, Hugh Grant, and Joan Collins.

Sing-a-long-a Sound of Music was followed by the first ever live show – Sing-a-long-a Abba, which celebrated its 10th Anniversary with a tour in 2011.  It enjoyed a highly successful run at The Whitehall Theatre in London’s West End in 2003 and has played in Toronto, New Zealand, and St. Petersburg, Russia, as well as a sell-out run at the Edinburgh Festival in 2002.

2011 saw the addition of Sing-a-long-a Grease, the film that audiences have been asking for since the very beginning.  It has been running in London since May 2011 and will tour the UK from January 2012.

Other Sing-a-long-a shows include Joseph and the Amazing Technicolor Dreamcoat (launched by Donny Osmond in 2002), The Wizard of Oz, Rocky Horror Picture Show, Hairspray and, in 2004, the second live show, Sing-a-long-a Elvis.

The production

The world-famous Sing-a-long-a format has been delighting audiences since 1999.  The important thing about Sing-a-long-a is that it’s completely inclusive – you join in as much or as little as you want.  It’s not compulsory to dress up but many people do and it really adds to the fun. There’s a 30-minute pre-film show during which the host leads you through a vocal warm-up, prepares you for special moments throughout the film and judges the fancy dress competition. Everyone receives a free fun pack with special props for the “magic moments” that make the evening go with a bang.

Singalonga Productions

Singalonga Productions is based in London, UK and has been touring the shows since 1999. The productions are managed by a small team, with extensive expertise in cinema and theatre management, and can be seen throughout the UK and the rest of the world. You can follow Singalonga Productions at: singalonga.net • facebook.com/singalongasoundofmusic facebook.com/sin galongagrease • Instagram@singalonga

FILM WITH ORCHESTRA

Friday, December 30, 2022 at 7:30 pm

Saturday, December 31, 2022 at 2:30 pm

Sunday, January 1, 2023 at 2:30 pm

ALLEN-BRADLEY HALL

Yaniv Dinur, conductor

GHOSTBUSTERS (1984) FILM WITH LIVE ORCHESTRA AN IVAN REITMAN FILM MUSIC BY ELMER BERNSTEIN A SCHIRMER THEATRICAL PRODUCTION COLUMBIA PICTURES Presents An IVAN REITMAN Film

A BLACK RHINO/BERNIE BRILLSTEIN Production Starring BILL MURRAY · DAN AYKROYD and SIGOURNEY WEAVER

Also Starring HAROLD RAMIS · RICK MORANIS

Music by ELMER BERNSTEIN Executive Producer BERNIE BRILLSTEIN

Written by DAN AYKROYD and HAROLD RAMIS Produced and Directed by IVAN REITMAN

GHOSTBUSTERS © 1984 Columbia Pictures Industries, Inc. All rights reserved.

Creative Team

Robert Thompson, President & Creative Producer Alyssa Foster, Executive Producer Alex Kosick, Assistant Producer

Peter M. Bernstein, Score Arranger & Consultant Black Ink Presents, Technical Consulting

Marc Mann of Music Production Services, Inc., Synth Designer & Score Consultant Jeff Sugg of Handmade Media, LLC, Production Designer Ronen Shai, Production Editor & Senior Multimedia Editor

Schirmer Theatrical is a concert production company specializing in the creation of symphonic experiences, film with live orchestra concerts, and theatrical productions.

This weekend’s media sponsor is WISCONSIN PUBLIC RADIO. The length of this concert is approximately 2 hours and 25 minutes. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

Artist Biography

ELMER BERNSTEIN

In the history of film music, Elmer Bernstein (1922-2004) is among the iconic and legendary. With a career that spanned an unparalleled five decades, he composed more than 150 original movie scores and nearly 80 for television. Bernstein created some of the most recognizable and memorable themes in Hollywood history and in doing so redefined how movies were scored. His score for The Man With the Golden Arm brought intense, aggressive jazz to the big screen; the rousing Western anthem of The Magnificent Seven set the standard for western scores for years to come; the lyrical and quietly moving music

To Kill a Mockingbird is simply timeless; and the jaunty, thumb-nosing march of The Great Escape is still heard 50 years later.

In the ’70s and ’80s, his comedy scores for National Lampoon’s Animal House and Ghostbusters changed the way comedy films have been scored ever since. Working for everyone from Cecil B. DeMille (The Ten Commandments) to Martin Scorsese (The Age of Innocence), his career connects Old Hollywood to the new. He is also the only person to be nominated for an Academy Award in every decade from the 1950s to the 2000s.

IVAN REITMAN

Ghostbusters Director & Producer Ivan Reitman (1946-2022) has been the creative force behind films beloved by audiences around the world – from raucous comedies like Animal House and Stripes, to more sophisticated delights like Dave, Six Days Seven Nights, and Twins.

The year 2019 was busy for Reitman when he worked closely as a producer with director and son Jason Reitman on the next chapter of the Ghostbusters franchise, Ghostbusters: Afterlife, in addition to A Babysitter’s Guide To Monster-Hunting for Netflix. The career that has brought so much laughter to us began in Canada, where Reitman’s family emigrated from Czechoslovakia when he was four years old. Reitman studied music at McMaster University, but soon turned his talents to film and theater, when he joined forces with the National Lampoon and brought us the groundbreaking sensation, Animal House. Following the success of that film, Reitman returned home to Canada to direct Meatballs, still considered one of the most successful films made in Canada.

His string of hits continued with Stripes and the Ghostbusters series, which teamed Bill Murray with Dan Aykroyd and Harold Ramis; Dave, starring Kevin Kline and Sigourney Weaver; Legal Eagles, starring Robert Redford and Debra Winger; Six Days Seven Nights, with Harrison Ford and Anne Heche; Evolution, starring David Duchovny and Julianne Moore; and a series of films that revealed an untapped comic persona for action hero Arnold Schwarzenegger: Twins, Junior, (both co-starring Danny DeVito) and Kindergarten Cop

In 1984, Reitman was honored as Director of the Year by the National Association of Theater Owners and the next year received a Special Achievement Award at the Canadian Genie Awards.

Artist Biography

In 1979, and again in 1989, for the films Animal House and Twins, Reitman was honored with the People’s Choice Award. In November of 1994, Reitman became the third director honored by Variety magazine in a special “Billion Dollar Director” issue. At the end of 2000, Reitman’s films Animal House and Ghostbusters were honored as two of the twentieth century’s funniest movies by the American Film Institute. Reitman led The Montecito Picture Company, a film and television production company, with partner Tom Pollock. He was married to former Quebec film actress Genevieve Robert for more than 40 years. Together, they had three children and lived in Santa Barbara, California.

Composer

“[Ghostbusters] was probably one of the most difficult jobs I ever had to do just to, and I don’t mean this as a pun, but to find the right note. The score was not easy. It was extremely difficult. Ivan Reitman and I must have talked on the phone every single day while I was working on it, just trying to help ourselves find the right approach.”

“One of the reasons that the scores work is that I do not denigrate the film. I don’t try to do anything hokey, I don’t try to make the music funny. My theory is that if the comedy is working in the film, let the film do the comedy, and let the music get behind the emotion or the ac tion, so as to add another element.”

“It’s basically a very original film – I don’t think anybody’s ever seen a film quite like it! – and it walks a very, very fine line. Part of it is comedy, and yet you have to take the ghost business quite seriously. You have to believe, along with these guys, that the ghosts really do exist. Therefore the score also had to walk a very fine line.”

– ELMER BERNSTEIN, 1985

Orchestrator and conductor Peter M. Bernstein’s reflections on collaborating with his father for Ghostbusters:

By the time Ghostbusters arrived, I had been working for my father as an orchestrator for a decade and as a composer in my own right for three years. I was just a few months away from my first real success with LucasFilm’s Ewok television movies (Ewoks: Caravan of Courage and a year later Ewoks: The Battle for Endor), and we were both aware that our years of working closely together were drawing to a graceful close. We had a great time in those days, and I was able to learn much about his craft while being continuously amazed at his ability to enhance the movies he scored. Ghostbusters was no exception, as he walked a fine line between composing for a comedy on the one hand, but one where the ghostly storyline had to be believed on the other. We had the mechanics of doing this down to a science. He trusted me as an orchestrator with his most minimal sketches when time pressures demanded it, and I trusted him as conductor and leader of the recording to deal with of all the additions, suggestions, and musical asides that I could come up with. In short, both of us felt free to experiment and confident in the outcome. Ghostbusters was a pressure-packed project: a major summer release full of special effects with a short schedule. My job at the recordings was to sit between the director, Ivan Reitman, to make sure his suggestions were being heard, and the recording engineer to make sure all the instruments were being heard. Even though there was pressure and hard work and long hours there was also a lot of fun, and an awareness of what a special and unique time Ghostbusters was for both of us.

– PETER M. BERNSTEIN, FEBRUARY 2018

Elmer Bernstein’s reflections on Ghostbusters and working with Ivan Reitman, from his 1985 CinemaScore interview, “Elmer Bernstein and Ghostbusters”:

ALL OF YOUR PLANS, ALL IN THREE BLOCKS

Visit Saint Kate for a pre-show dinner at ARIA, then come back for drinks and a stroll through our art galleries.

Or, just stay the night. Either way, the fun doesn't have to end after curtain close.

UPAF IS FOR THE PERFORMING ARTS that you are here to enjoy today. We’re for thousands of local artists in the spotlight and behind the scenes. We’re for you — the audience — rediscovering excitement, inspiration and connection. We’re for Milwaukee, Tosa, Waukesha, Racine & beyond. We’re for being together, surrounded by the magic of music, dance, song and theater.

We’re for raising our community up.

You’re for the arts too, so please join us to ensure that our world-class performing arts groups make a full recovery.

DONATE TODAY. UPAF.ORG/DONATE

Milwaukee Ballet, Marie Collins, Photo by Mark Frohna. Skylight Music Theatre, Raven Dockery, Photo by Mark Frohna.

MSO ENDOWMENT

Visionaries

Commitments of $1,000,000 and above

Jane Bradley Pettit

Charles and Marie Caestecker

Concer tmaster Chair

Herzfeld Foundation

Krause Family Principal Horn Chair

Phyllis and Harleth Pubanz

Gertrude M. Puelicher Education Fund

Stein Family Foundation

Principal Pops Conductor Chair Polly and Bill Van Dyke Music Director Chair

Philanthropists

Commitments of $500,000 and above

Donald B. Abert Principal Bass Chair

Mr. Richard Blomquist

Patrice L. (Patti) Bringe Margaret and Roy Butter

Principal Flute Chair

Donald and Judy Christl

Fred Fuller Trumpet Chair

Andrea and Woodrow Leung Principal Second Violin Chair and Fred Fuller

Dorothea C. Mayer Principal Cello Chair

Milwaukee Symphony Orchestra

League Principal Oboe Chair

Northwestern Mutual Foundation

Melitta S. Pick Endowed Piano Chair

Walter L. Robb Family

Principal Trumpet Chair

Robert T. Rolfs Foundation

Michael and Jeanne Schmitz President and Executive Director Chair

Gertrude Elser and John Edward Schroeder Guest Artist Fund

Walter Schroeder Foundation

Principal Harp Chair

Muriel C. and John D. Silbar Family Principal Bassoon Chair

Marjorie Tiefenthaler

Principal Trombone Chair

Richard O. and Judith A. Wagner Family Principal Viola Chair

Benefactors

Commitments of $100,000 and above

Two Anonymous Donors Patty and Jay Baker Fund for Guest Artists

Mr. and Mrs. Frederick J.O. Blachly Philip Blank English Horn Chair in memoriam to John Martin and his favorite cousin, Beatrice Blank Judith and Stanton Bluestone

Estate of Lloyd Broehm

Louise Cattoi, in memory of David and Angela Cattoi

Lynn Chappy Salon Series

Elizabeth Elser Doolittle Charitable Trust

Franklyn Esenberg

Principal Clarinet Chair

David L. Harrison Endowment for Music Education

Richard M. Kimball

Bass Trombone Chair

William Randolph Hearst Foundation

Judith A. Keyes MSOL Docent Fund

Charles A. Krause

Donald and JoAnne Krause Music Education Endowment Fund

Martin J. Krebs

Co-Principal Trumpet Chair

Charles and Barbara Lund Marcus Corporation Foundation Guest Artist Fund

Andy Nunemaker French Horn Chair John and Elizabeth Ogden Gordana and Milan Racic

The Erika Richman MSO-MYSO Reading Workshop Fund Pat and Allen Rieselbach

Friends of Janet F. Ruggeri

Assistant Principal Viola Chair Allison M. & Dale R. Smith Percussion Fund

Estate of Walter S. Smolenski, Jr. Bert L. & Patricia S. Steigleder Charitable Trust

Donald B. and Ruth P. Taylor

Assistant Principal Clarinet Chair Mrs. William D. Vogel

Barbara and Ted Wiley Jack Winter Guest Artist Fund

Fern L. Young Endowment Fund for Guest Artists

MUSICAL LEGACY SOCIETY

The Musical Legacy Society recognizes and appreciates the individuals who have made a planned gift to the MSO. The MSO invites you to join these generous donors who have remembered the Orchestra in their estate plans.

Nine Anonymous Donors George R. Affeldt

Mr. and Mrs. Charles W. Aring, Jr. Dana and Gail Atkins

Robert Balderson

Adam Bauman

Priscilla and Anthony Beadell Mr. F. L. Bidinger

Dr. Philip and Beatrice Blank Mr. Richard Blomquist Judith and Stanton Bluestone Patrice L. (Patti) Bringe

Jean S. Britt

Laurette Broehm

Neil Brooks

Anthony and Vicki Cecalupo

Lynn Chappy

Donald and Judy Christl Jo Ann Corrao

Lois Ellen Debbink

Mary Ann Delzer

Julie Doneis

Donn Dresselhuys Beth and Ted Durant

Rosemarie Eierman

Franklyn Esenberg

John and Sue Esser

Jo Ann Falletta

Donald L. Feinsilver, M.D. Frank and Pauline Fichtner

Susie and Robert Fono Ruth and John Fredericks

Mr. and Mrs. E. G. Goldsmith

Brett Goodman

Roberta Gordon

Marta P. and Doyne M. Haas Ms. Jean I. Hamann Ms. Sybille Hamilton

Kristin A. Hansen

David L. Harrison

Judy Harrison

Cheryl H. and Roy L. Hauswirth

Cliff Heise

Sidney and Suzanne Herszenson

Dr. and Mrs. Samuel Hoke

Glenda Holm

Jean and Charles Holmburg

Myra Huth

William and Janet Isbister

Lee and Barbara Jacobi

Leon and Betsy Janssen

Marilyn W. John

Faith L. Johnson

Mary G. Johnson Bill and Char Johnson

Jayne J. Jordan

Judy and Gary Jorgensen

Debra Jupka

James A. and Robin S. Kasch

Howard Kaspin

James H. Keyes

Judith A. Keyes

Richard and Sarah Kimball

Ronald J. and Catherine Klokner

Mary Krall

JoAnne and Donald Krause

Martin J. and Alice Krebs

Ronald and Vicki Krizek

Cynthia Krueger-Prost

Steven E. Landfried

Mr. Bruce R. Laning

Victor Larson

Arthur and Nancy Laskin

Tom and Lise Lawson

Andrea and Woodrow Leung

Mr. Robert D. Lidicker

Mr. and Mrs. John B. Liebenstein Drs. John and Theresa Liu

Dr. John and Kristie Malone

Dana and Jeff Marks Ms. Kathleen Marquardt JoAnne Matchette

Rita T. and James C. McDonald

Patricia and James McGavock

Nancy McGiveran

Nancy McKinley-Ehlinger

Mrs. Christel U. Mildenberg

Christian and Kate Mitchell

Joan Moeller

Ms. Melodi Muehlbauer

Robert Mulcahy

Kathleen M. Murphy

Andy Nunemaker

Diana and Gerald Ogren

Lynn and Lawrence Olsen

Mr. and Mrs. Philip W. Orth

Lygere Panagopoulos

Jamshed and Deborah Patel Gerald T. and Carol K. Petersen

Mr. and Mrs. Ronald R. Poe

Julie Quinlan Brame and Jason Brame Ms. Harvian Raasch-Hooten

Gordana and Milan Racic

Christine Radiske and Herbert Quigley

Steve and Susan Ragatz

Catherine A. Regner

Ms. Monica D. Reida

Pat and David Rierson

Pat and Allen Rieselbach

Dr. Thomas and Mary Roberts

Gayle G. Rosemann and Paul E. McElwee

Roger B. Ruggeri and Andrea K. Wagoner

Nina Sarenac

Mary B. Schley in recognition of David L. Schley

Dr. Robert and Patty Schmidt

Michael J. and Jeanne E. Schmitz

James Schultz and Donna Menzer Mason Sherwood and Mark Franke

Musical Legacy Society/Annual Fund

Margles Singleton

Lois Bernard and William Small

Dale and Allison Smith

Susan G. Stein

John Stewig and Richard Bradley

Dr. Robert A. and Kathleen Sullo

Terry Burko and David Taggart

Lois Tetzlaff

E. Charlotte Theis

David Tolan

Thora Vervoren

Dr. Richard O. and Judith A. Wagner

Veronica Wallace-Kraemer

Michael Walton

Brian A. Warnecke

Earl Wasserman

Alice Weiss

Sally Wells

Carol and James Wiensch

Floyd Woldt

Sandra and Ross Workman

Marion Youngquist

For more information on becoming a Musical Legacy Society member, please contact the Development Office at 414.226.7891.

ANNUAL FUND

The Milwaukee Symphony Orchestra truly values the music lovers in the concert hall and we thank our contributors to the Annual Fund for investing their time and support to this treasure. We gratefully acknowledge the contributions to the Annual Fund as of August 23, 2022.

Conductor Circle

$100,000 and above Bobbi and Jim Caraway

Mr. and Mrs. George C. Kaiser Donald and JoAnne Krause

Marty Krebs

Nancy Laskin

Sheldon and Marianne Lubar Charitable Fund of the Lubar Family Foundation

Michael Schmitz

Julia and David Uihlein

The Estate of Donald R. Whitaker

$50,000 and above

Two Anonymous Donors Laura and Mike Arnow

Isabel Bader

Anthony and Vicki Cecalupo

Drs. Alan and Carol Pohl

$25,000 and above

Two Anonymous Donors

Elaine Burke

Thomas E. Caestecker

Mr. and Mrs. Franklyn Esenberg Gail Groenwoldt and Jeff Yabuki

Doug and Jane Hagerman

Judy and Gary Jorgensen

Robert and Gail Korb

Dr. Brent and Susan Martin

Lorry Uihlein Charitable Lead Unitrust Thora Vervoren

$15,000 and above

Two Anonymous Donors

Richard and JoAnn Beightol Mary and Terry Briscoe Mary and James Connelly

Dr. Deborah and Jeff Costakos

Mrs. Alyce Coyne Katayama

Cynthia and Brian Dearing Lee Fitzsimonds

Roberta Gordon

Dr. and Mrs. Samuel Hoke Jewish Community Foundation Eileen & Howard Dubner Donor Advised Fund

Judith A. Keyes

Charles and Barbara Lund William and Marian Nasgovitz Paul Nausieda and Evonne Winston Lois and Richard Pauls

Pat Rieselbach

Allison M. and Dale R. Smith

Susi and Dick Stoll

Drs. Robert Taylor and Janice McFarland Taylor

Haruki Toyama

Charles T. Urban and Joan M. Coufal

$10,000 and above

Three Anonymous Donors

Frances and Lowell Adams Sue and Louie Andrew

Lois Bernard

Keith and Kate Brewer Ms. Dorothy Diggs

Jennifer Dirks

Elizabeth and Herodotos Ellinas Bruce T. Faure M.D. Mary Lou M. Findley George E. Forish, Jr. Mrs. Susan G. Gebhardt

Greater Milwaukee Foundation

Bernard J. and Marie E. Weiss Fund

Judith J. Goetz

Katherine Hauser

Ms. Charlotte Hayslett

Mr. and Mrs. Eric E. Hobbs

Karen Hung and Bob Coletti

Geraldine Lash

Mr. Peter L. Mahler

Keith Mardak and Mary Vandenberg Mark and Donna Metzendorf Christian and Kate Mitchell Bob and Barbara Monnat Patrick and Mary Murphy Mr. and Ms. Bruce Myers

Andy Nunemaker Brian and Maura Packham

Julie Peay Leslie and Aaron Plamann Christine Radiske and Herbert Quigley John and Mary Rickmeier Sara and Jay Schwister Nancy and Greg Smith Mr. and Mrs. Thomas R. Tiffany Mr. and Mrs. Francis Wasielewski Herbert Zien and Elizabeth Levins

Principal Circle

$5,000 and above

Four Anonymous Donors

Mark and Laura Barnard Clair and Mary Baum Donna and Donald Baumgartner

Natalie Beckwith

Richard and Kay Bibler

William and Barbara Boles George S. and Sally Ann Borkowski Suzy and John Brennan Jean Britt

Roger Byhardt

Donald and Judy Christl Sandra and Russell Dagon Karen Dobbs and Chris DeNardis

Joanne Doehler

Dr. and Mrs. Harry A. Easom Paul and Connie Flagg

Elizabeth and William Genne Richard and Ellen Glaisner

Alison Graf and Richard Schreiner Drs. Carla and Robert Hay James and Crystal Hegge Ms. Mary E. Henke

Mark and Judy Hibbard

Mr. and Mrs. Bernard C. Hlavac James and Karen Hyde Lee and Barbara Jacobi

Jayne J. Jordan

Lynn and Tom Kassouf Kenneth and Alice Kayser Dr. and Mrs. Kim Kolaga Family Charitable Trust

Christine Krueger

Peter and Kathleen Lillegren

Gerald and Elaine Mainman

Michael and Maureen McCabe

Dr. Ann H. and Mr. Michael J. McDonald Genie and David Meissner

Mr. and Mrs. George Meyer

Judith Fitzgerald Miller

Dr. Mary Ellen Mitchanis

William J. Murgas

Mark Niehaus

Barbara and Layton Olsen

Elaine Pagedas

Mr. and Mrs. James R. Petrie

Dr. and Mrs. Richard A. Pierce-Ruhland Jim and Fran Proulx

Alice E. Read Dr. Marcia J.S. Richards Steve and Fran Richman Pat and David Rierson Dr. Thomas and Mary Roberts Kay Schanke

Richard Eli Schoen Brian M. Schwellinger

Loretto and Dick Steinmetz John Stewig and Richard Bradley Kathleen and Frank Thometz John and Karen Tomashek Mrs. James Urdan Mrs. George Walcott Tracy S. Wang, MD

Jim Ward

Nora and Jude Werra

Mr. and Mrs. Donald S. Wilson Jessica R. Wirth Diana J. Wood

$3,500 and above Three Anonymous Donors Fred and Kay Austermann Dr. Philip and the spirit of Beatrice Blank

Dr. Bruce and Marsha Camitta

Lynda and Tom Curl Beth and Ted Durant

Dr. Eric Durant and Scott Swickard Fred and Debby Ganaway

Virginia Hall

Jean and Thomas Harbeck

Family Foundation

Margarete and David Harvey

Drs. Margie Boyles and Stephen Hinkle

Barbara Hunt

David and Mel Johnson

Olof Jonsdottir and Thorsteinn Skulason Mary S. Knudten

Calvin and Lynn Kozlowski Anthony and Susan Krausen

Annual Fund

Stanley Kritzik

Norm and Judy Lasca

Eugene and Gwen Lavin

Dr. Joseph and Amy Leung

Micaela Levine and Thomas St. John Merle and Sandra McDonald

Rusti and Steve Moffic Mr. and Mrs. Joel Needlman

Roger Ritzow

Dr. and Mrs. R. Nikolaus Schmidt

Elaine Schueler

James Schultz and Donna Menzer Mr. Thomas P. Schweda Sue and Boo Smith Nita Soref

Carlton Stansbury James and Catherine Startt Jeff and Jody Steren Gile and Linda Tojek Corinthia Van Orsdol and Donald Petersen

Mr. Wilfred Wollner

Carol and Richard Wythes Leo Zoeller

Orchestra Circle

$2,500 and above

Thomas Bagwell and Michelle Hiebert Marlene and Bert Bilsky

Scott Bolens and Elizabeth Forman Mr. David E. Cadle

Mr. and Mrs. Stephen L. Chernof Steven and Buffy Duback

Dr. Donald Feinsilver and Jo Ann Corrao

Robert Gardenier and Lori Morse Gardenier Kurt and Rosemary Glaisner

Mr. Kim M. Graff

Leesley B. and Joan J. Hardy Charles and Jean Holmburg

Karen Hung and Bob Coletti

Leon and Betsy Janssen

Jewish Community Foundation

Dorothy & Merton Rotter Donor Advised Fund

Matthew and Kathryn Kamm

Megumi Kanda Hemann and Dietrich Hemann

Barbara Karol Benedict and Lee Kordus Mary E. Lacy

Frank Loo and Sally Long Dr. and Mrs. Debesh Mazumdar

Daniel and Constance McCarty

Guy and Mary Jo McDonald Mark and Carol Mitchell

William and Laverne Mueller

Raymond and Janice Perry

David J. Peterson

Barbara Recht

Ann Rosenthal and Benson Massey

Dottie Rotter

Judy and Tom Schmid

Rev. Doug and Marilyn Schoen

Mrs. George R. Slater

Roger and Judy Smith

John and Anne Thomas Ann and Joseph Wenzler

Floyd Woldt

Sandra Zingler

$1,500 and above

Six Anonymous Donors

Jantina and Donald Adriano

Ruth Agrusa

Dr. Joan Arvedson

Richard and Sara Aster

Robert Balderson

Priscilla and Anthony Beadell Jacqlynn Behnke

Richard Bergman

Elliott and Karen Berman Mrs. Kristine Best Dr. and Mrs. Squat Botley Walter and Virginia Boyer Cheri and Tom Briscoe Marcia P. Brooks and Edward J. Hammond

Barbara and Dr. Henry Burko Bobbi and Jim Caraway Karen and Harry Carlson

Teri Carpenter

B. Lauren and Margaret Charous Edith Christian

Mr. and Mrs. Thomas F. Christie

Paul Dekker

Art and Rhonda Downey Sigrid Dynek and Barry Axelrood Rosemarie Eierman

Signe and Gerald Emmerich, Jr. Joseph and Joan Fall Robert and Kristin Fewel Jo Ann and Dale Frederickson

Jane K. Gertler

Greater Milwaukee Foundation

Donna and Tony Meyer Fund

Judith and David Hecker

Robert Hey

Terry Huebner

Robert S. Jakubiak

Mr. Grady Crosby

Maja Jurisic and Don Fraker

Dr. Bruce and Anna Kaufman

Dr. Jack and Myrna Kaufman

Mr. and Mrs. F. Michael Kluiber Heidi and Tommy Knudsen

Julilly Kohler

Maritza and Mario Laguna Drs. Kaye and Prakash Laud Larry and Mary LeBlanc Mr. and Mrs. Mark Levy Bruce and Elizabeth Loder Kathleen Lovelace Wayne and Kristine Lueders Mr. and Mrs. Dean Mehlberg Gregory and Susan Milleville

Molly Mulroy Eric Nathan

Dr. Donna Recht and Dr. Robert Newby Laurie Ocepek

Lynn and Lawrence Olsen Susan M. Otto

Dr. and Mrs. James T. Paloucek Dr. David Paris

Jamshed and Deborah Patel Gerald T. and Carol K. Petersen

Yvonne Petersen

Jessica E. and Paul R. Pihart

Kathryn Koenen Potos

Cathy P. Procton

Jerome Randall & Mary Hauser

Susan Riedel

Emily and Mike Robertson

Lawrence and Katherine Schnuck Ms. Betty Jean Schuett Paul and Frances Seifert Dr. and Mrs. Kevin R. Siebenlist

Margles Singleton

Richard and Sheryl Smith Dr. and Mrs. C. John Snyder Kathy and Salvatore Spicuzza Jim Strey Joan Thompson

R. James and Jean Tobin

Sara Toenes

Mike and Peg Uihlein

Mr. and Mrs. Lynn F. Unkefer

Lauren Vollrath

Nancy Vrabec and Alastair Boake

Michael Walton

Larry and Adrienne Waters

Lynn and Richard Wesolek Rolland and Sharon Wilson John Winter Lee and Carol Wolcott Jim and Sandy Wrangell Mr. William Zeidler

$1,000 and above

Six Anonymous Donors

Mary Allmon and Michael Allen

Drs. Helmut and Sandra Ammon

Steven Barney

Margaret and Bruce Barr

James and Nora Barry Mr. James M. Baumgartner Mr. and Mrs. Ronald Beckman

Fiesha Lynn Bell

Eric Berg

Roger Bialcik

Robert Borch and Linda Wickstrom

Karen and Russell Brooker Ms. Dori Brown

Professor David and Diane Buck

Tom Buthod Ms. Carol A. Carpenter Dr. Curtis and Jean Carter Mr. John Chain Nicole and Jack Cook Ellen Debbink

Jennifer and Paul Deslongchamps

Julie Disseler

Madison Dohmen

Jack Douthitt and Michelle Zimmer

Gloria and Peter Drenzek

Don and Nora Dreske

Mary Ann Dude

Thomas Durkin and Joan Robotham Mr. Donald Elliott

Shirley Erwin

Mr. and Mrs. A. William Finke

Anne and Dean Fitzgerald

Stan and Janet Fox

Gordon and Christine Freese

Deborah Elam

Kimberly Gerber

Pearl Mary Goetsch

Stephen and Bernadine Graff

Greater Milwaukee Foundation

Dresselhuys Family Fund

Jay Kay Foundation Fund

Mr. and Mrs. James Grigg

Claire and Glen Hackmann

Mr. Randall Hake

Joseph and Leila Hanson

Jean and John Henderson

Dr. Sidney and Suzanne Herszenson

Ms. Judy Hessel

Jenny and Bob Hillis

Eric and Susan Hillstrom

Mr. Jeffrey L. Hosler

John and Kathryn Housiaux

Barbara Hunteman

Mary and Charles Kamps

Robert and Sandra Kattman

Robert Keefe

Robert and Dorothy King

Eileen Kehoe and Bud Reinhold

Patrick and Jane Keily

Robert and Dorothy King

Annual Fund/Bravo/Corporate and Foundation

Jane Kivlin and Thomas Kelly

Jonathan Koenig and Melissa Love Koenig

Julie and Michael Koss

Dr. Michael J. Krco

Sandra and Thomas Kuber

Greg and Marybeth Shuppe

Chris and Emilia Layden

Dale and Barbara Lenz

John and Janice Liebenstein

Matt and Patty Linn Ann Loder

Richard and Roberta London

Stephen and Jane Lukowicz

Joan Maas

Stephen and Judy Maersch

Mike and Jamy Malatesta

Dr. John and Kristie Malone

Mr. Peter Mamerow

Sara and Nathan Manning

Deidre Martin

Greg and Denise McCarthy

Joan McCracken

Joni and Joe McDevitt

Debra and Jeffrey Metz

Christel Mildenberg

Theodore and Kelsey Perlick Molinari

David and Gail Nelson

Jean A. Novy

Douglas E. Peterson

David and Carol Raasch

Dr. Francis J. Randall

Philip Reifenberg

Roberta and David Remstad

Karen and Paul Rice

Drs. Walter and Lisa Rich

Dan and Anna Robbins

Drs. Larry and Polly Ryan

Russell and Emily Sagmoen

Allen and Millie Salomon

Wilbert and Genevieve Schauer Foundation

Martin Schreiber

Lois and Stephen Schreiter

Donald and Judith Schultz

Phil Schumacher and Pauline Beck Mark and Deborah Schwallie

Bob and Sally Schwarz

Fred and Ruth Schwertfeger

Lt. Cmdr. Ronald D. and Carol R. Scott

Susan Skudlarczyk

Barbara and Everett Smith

Joan Spector

Bonnie L. Steindorf

Ann Stevens

Ian and Ellen Szczygielski

David Taggart and Terry Burko

Rebecca and Robert Tenges

Dean and Katherine Thome

Mr. and Mrs. James S. Tidey

Drs. Steven and Denise Trinkl

Constance U’Ren

James Van Ess

Ruth A. Way

Henry J. Wellner and James Cook

Robert and Barbara Whealon

A. James White

Robert and Lana Wiese

Mr. and Mrs. James Wigdale

Linda and Dan Wilhelms

Ron and Alice Winkler

Prati and Norm Wojtal

Daryl and Bonnie Wunrow

Gertrude and Richard Zauner

BRAVO

Britt Blackwelder

Elizabeth and Robert Draper

Ashley Brinkman

Matt and Victoria Haas

Dan and Krista Hettinger

Tina Itson

Kaleigh N. Kozak

Jacob Magnusson

Molly Mingey

TJ and Kelsey Molinari

Esteé Tanel O’Connor and Walter Zoller

Jessica and Paul Pihart

Monica D. Reida

Sarah E. Rieger

Monica Rynders

Russell and Emily Sagmoen

Michael Schaner

Allison Schnier

Brian Schwellinger

Megan Sorenson

CORPORATE AND FOUNDATION

The Milwaukee Symphony Orchestra truly values the generosity of musicloving patrons in the concert hall and throughout the community. We especially thank our Corporate and Foundation contributors for investing their time and support to this treasure. We gratefully acknowledge contributions from:

$1,000,000 and above United Performing Arts Fund

$250,000 and above Argosy Foundation

The Lynde and Harry Bradley Foundation

$100,000 and above Herzfeld Foundation Rockwell Automation

$50,000 and above

Greater Milwaukee Foundation Milwaukee Symphony Orchestra Fund

Johnson Controls Melitta S. and Joan M. Pick

Charitable Trust Milwaukee County Arts Fund (CAMPAC)

U.S. Department of Homeland Security $25,000 and above

Anonymous Bader Philanthropies, Inc.

Chase Family Foundation

Greater Milwaukee Foundation Gertrude Elser and John Edward Schroeder Fund

Helen and Jeanette Oberndorfer Fund

Norman and Lucy Cohn Family Fund

Guardian Fine Art Services

Krause Family Foundation

Old National Bank

R.D. and Linda Peters Foundation

Schoenleber Foundation, Inc.

U.S. Bank

Wisconsin Department of Tourism

$15,000 and above

A.O. Smith Foundation, Inc.

Bert L. & Patricia S. Steigleder

Charitable Trust

Gladys E. Gores Charitable Foundation

Kahler Slater

Komatsu Mining Corp Foundation Marietta Investment Partners

WEC Energy Group

Wisconsin Arts Board

$10,000 and above

BMO Harris Bank

Brewers Community Foundation

CD Smith Construction Services

The Cudahy Foundation

Greater Milwaukee Foundation

David C. Scott Foundation

William A. and Mar y M Bonfield, Jr. Fund

Ellsworth Corporation

Godfrey & Kahn, S.C.

Jane Bradley Pettit Foundation

Northwestern Mutual Ralph Evinrude Foundation

Rite Hite Holding Corporation

William and Janice Godfrey Family Foundation

Yabuki Family Foundation

$5,000 and above ANON Charitable Trust

CornerStone One Ernst & Young, LLC

FIS Global Gene and Ruth Posner Foundation, Inc. General Mills Foundation

GRAEF

Greater Milwaukee Foundation

Roxy and Bud Heyse Fund/Journal Fund

Julian Family Foundation

MGIC Investment Corporation

Milwaukee Arts Board

Milwaukee Development Corporation Northern Trust

Quarles & Brady, LLP Schwartz Foundation Silver Rock Consulting Staff Electric

$2,500 and above

Brico Fund

Charles D. Ortgiesen Foundation

Dean Family Foundation

Enterprise Holdings

Greater Milwaukee Foundation

David Wells Household ELM II Fund

Margaret Heminway Wells Fund

Green Bay Packers Foundation

Hamparian Family Foundation

Richard G. Jacobus Family Foundation

Theodore W. Batterman Family Foundation

$1,000 and above

Anthony Petullo Foundation, Inc.

Camille A. Lonstorf Trust

Clare M. Peters Charitable Trust

Ellis Family Charitable Fund

Foley & Lardner LLP

Greater Milwaukee Foundation

Bechthold Family Fund

Cottrell Balding Fund

Del Chambers Fund

Eleanor N. Wilson Fund

George and Christine Sosnovsky Fund

Henry C., Eva M., Robert H. and Jack J. Gillo Charitable Fund

Irene Edelstein Memorial Fund

Mildred L. Roehr & Herbert W. Roehr Fund

Joan and Fred Brengel

Family Foundation, Inc.

Usinger Foundation

Corporate and Foundation/Matching Gifts/Golden Note Partner/ The Marquee Circle/Tributes

$500 and above

Anonymous

Albert J. & Flora H. Ellinger Foundation

AmazonSmile Foundation

Bell Foundation Delta Dental Greater Milwaukee Foundation

Carrie Taylor & Nettie Taylor Robinson Memorial Fund

Nancy E. Hack Fund

Robert C. Archer Designated Fund

MATCHING GIFTS

The Milwaukee Symphony Orchestra gratefully acknowledges the following corporations and foundations who match their employees’ contributions to the Annual Fund.

Abbott Laboratories

Aurora Health Care

BMO Harris Bank

Bucyrus Foundation, Inc.

Dominion Foundation

Eaton Corporation

Fiduciary Partners

GE Foundation

Google Intel Foundation

Johnson Controls Foundation Kohl’s Corp.

Northwestern Mutual Reader’s Digest Foundation

Rexnord Foundation Matching Gift Program

Thrivent Financial U.S. Bank

United Way of Greater Atlanta United Way of Metropolitan Chicago Wisconsin Energy Corporation

GOLDEN NOTE PARTNERS

The MSO gratefully acknowledges the following organizations for their gifts of product or services:

88Nine Radio Milwaukee Becker Design

Belle Fiori – Official Event Florist of the MSO

Burke Chocolates

The Capital Grille Central Standard Craft Distillery Coakley Bros. Co.

Colectivo Coffee

Downer Avenue Wine & Spirits Encore Playbills

Exceptional Events

Godfrey & Kahn, S.C. Kohler Co.

Marcus Hotels & Resorts

Milwaukee Journal Sentinel Ogletree Deakins

Saint Kate – The Arts Hotel –Official Hotel of the MSO Sojourner Family Peace Center

Steinway Piano Gallery of Milwaukee Studio Gear – Official Event Partner of the MSO

Wisconsin Public Radio WMSE

THE MARQUEE CIRCLE

The Milwaukee Symphony Orchestra proudly partners with the following members of the 2022.23 Marquee Circle. We thank these generous partners of our annual corporate subscription program for their charitable contributions and for connecting their corporate communities with the MSO

Bruce J. Loder, Branch Manager & Associates of Stifel of Mequon, WI Ellsworth Corporation

Hupy and Abraham, S.C. Port Washington State Bank

TRIBUTES

In memory of Mary Ann Abrahamson

Suzanne and Roger Chernik

In memory Dorothy Aring Mary and James Connelly Scott Coonen and Anitamarie Zingale Mr. and Mrs. Richard Frank Molly Fritz Lff Foundation Lee and Susie Jennings Daniel Petry Michael and Jeanne Schmitz Vera Wilson

In memory of Stan Bluestone Stephen and Frances Richman

In memory of David A. Blumberg David and Sherry Blumberg Lucy Cooper Naomi and Reuben Eisenstein Gary Engle Kelsi Gard Raul Gomez Mark Lukoff Richard and Mary Lux Jay and Barbara Miller Suzanne Millett Drs. Alan and Carol Pohl Howard and Judy Tolkan David Weissman and Miriam Schechter Norma Zehner

Margaret Zickuhr

In memory of Dr. Charles Brindis Calvin Bruce

In honor of Ellen Checota’s 80th birthday

Donna and Donald Baumgartner Jodi Peck and Les Weil

In memory of Wayne Cook Greg and Julie Bradisse

Art and Rena Thomas Bumgardner James Collier and Bette Jean Vanderburg

Anne DeLeo

Anne DeLeo and Patrick Curley Jim and Marlene Gauger

Mary Ann Goodman

Mr. and Mrs. Michael Hauer Dave and Debbie Holmes Richard Kruse

David Kuehn

Tom and Judy Kurtin Ms. Clare Leslie

Ms. Lynn M. Lucius and Mr. Richard Taylor

Patricia Marek

Mr. Ehud Moscovitz and Ms. Shelley London

Susan Mrnik

Daniel Petry

Al Schefsky

Bernice Smaida

Kathy Stokebrand Spore & Keith Spore Winifred and Arthur Thrall Jennifer, Gabe, Susie & Lisa Vulpas

In memory of Russ Dagon

Joanne Bauer

Mary Bell

Paulette Berkich

Michael & Catherine Borschel Dr. and Mrs. Squat Botley

Terry Burko and David Taggart Chris and Katie Callen

Donald Chappie

Steve Cohen

Stephen Colburn Eric and Lynn Delzer

Beth Giacobassi

Phillip Harvey Lee and Barbara Jacobi Ms. Mary Jirovec Hal and Jean Kacanek Joe Kutchera

Paul Mehlenbeck

Hannah Pearson Michael Poytinger

Kyle Pyne

Beth Rees Ms. Helen Reich

Roger B. Ruggeri and Andrea K. Wagoner

Dean and Martha Sayles

Robert Schultz

Gary and Jan Small Karen P. Smith and Donald Haack Gwen Tushaus

Mark Ulmer

Linda Unkefer

Shawn Verdoni

Anne de Vroome Kamerling

Gary Wagner

Carl Welle Michael Welsh

Lynn and Roger White Mr. and Mrs. Steve Whitney

In memory of James DeLeeuw Bob and Barbara Whealon

In honor of Neil Dinesen on his 90th birthday Mr. James M. Green

In memory of Lois Ehlert Patricia and Richard Ehlert

In memory of Anne Fitzgerald Michael and Jeanne Schmitz Mrs. James Urdan Bob and Barbara Whealon

In memory of Matt Flaig Trinidad Torres

In memory of Florence and Glen Fraser Lisa Gilvary

Tributes

In memory of Charles Gorham Michael Schmitz Bob and Barbara Whealon

In honor of Alyce Katayama Steven and Buffy Duback

In memory of Janie Klug Bob and Barbara Whealon

In memory of Nancy and Arthur Laskin Joan J. Hardy

In memory of Dr. Keith Austin Larson

Austin Larson Rev. Curtis A. Larson Suzanne Zinsel

In memory of Susan Loris

Anonymous

Terry Burko and David Taggart

Mark and Susan Cohen

James and Charmaine LaBelle

Kathleen and Charles Marn Nellie Martens Murphy

Daniel Petry

Kathryn and ZJ Reinardy Susi and Dick Stoll

The Tomashek Family Mrs. James Urdan

In memory of Susan Loris from the MSO League Past Presidents Mark and Susan Cohen

Mary Connelly

Judy Christl

Anne DeLeo & Patrick Curl Eileen Dubner

Marta Haas

Jean Holmburg

Barbara Hunt

JoAnne Krause

Kathryn and Zachary-John Reinardy Maggie Stoeffel

The Tomashek Family Linda Tojek Linda and Lynn Unkefer Mrs. James Urdan

In honor and gratitude for the leadership of Peter Mahler, Andy Nunemaker, David Uihlein, Julia A. Uihlein Mrs. James Urdan

In honor of Robert Meldman Drs. Alan and Carol Pohl

In memory of Michael McCabe

Sharon Adams

Fred and Kay Austermann

Gary Balcerzak and Thomas Ewing George and Patricia Barger

Carolyn Bellin

James and Helen Benton

Joyce and Carl Budde

Elizabeth Ladu Carrier

John Cefalu

Sharon Chudy

Charles and Stephanie Cruse

Anne Davis

Sandra Degeorge

Beth and Ted Durant

Dr. and Mrs. Brenton Field Bill and Kari Foote

Sharon Gardner

James and Jenny Gettel Joseph Grafwallner

Susan Gramling

Kathyrn Hall

Mrs. and Mrs. Michael Hauer

Betsy Head

Donald and Marian Heinz

Jeffrey and Susan Heyen

Christine Hill

Jacquelyn Holland

Ms. Sally D. Holt

Dave and Anne Hynek

Cynthia E Jensen

Ms. Anne Kebisek

Dorothy Kerr

Linda Krause

Dr. Michael J. Krco

Mordecai Lee

Mary and Earl Lillydahl

Beth Logan Chuck and Linda Malone

Eric Master

Jeffrey McCabe

Dennis McEvoy

Catherine and Patrick McGinn

Cynthia Michalak

Mary Michalak

Michelle Murphy

Jean Palkert

Ildiko Poliner

David Raday Ellen Redeker and Steven Harvey

Patrick and Noreen Regan

Karol Rehm

Mary Jane Reichart

Lauri Rollings

Mr. Darren Schacht

Carl and Barbara Schwartz James and Mary Jo Sebern Carole and Kevin Shafer

Karen Spinti and James Hempel

John Suchorski

Mike and Barbara Sweeney Gary and Susan Tatsak

Bonnie Thomson Taylor Tinmouth

Marybeth Trampe Robert and Joanne Vandenbusch Elizabeth Vogel Kathy Wagner

William and Christine Walker Diane W. Wirth

Barbara Wollermann

In honor of the Milwaukee Symphony Orchestra Musicians Patricia Rieselbach

In honor of Andy Nunemaker with wishes for many happy years in his new home Mrs. James Urdan

In memory of Mary G. Peterson David J. Peterson

In honor of Adrienne Pollack-Sender on her milestone birthday Mrs. James Urdan

In honor of the Prometheus Trio Pat and Allen Rieselbach

In memory of Allen Rieselbach Mr. and Mrs. Anthony w. Asmuth, III Richard and Sara Aster Margery Becker

Richard and Kay Bibler Dr. Philip and the spirit of Beatrice Blank

Bruce and Melissa Block Mark and Sharon Cameli Mary and James Connelly Valeria Downey

Dr. Howard and Eileen Dubner Thomas Florsheim Susan Freeman and Richard Kahn G. Frederic and Elizabeth Friedman

Judith Goetz

Joan J. Hardy

Benedict and Lee Kordus Norm and Judy Lasca Jim and Mary LaVelle Mr. and Mrs. Shelby Lozoff Ann MacIver

Mr. and Mrs. Robert C. Mandel Frederick Muth Stephen and Frances Richman Michael Schmitz

Michael and Jane Simpson Nicole Teweles

Gile and Linda Tojek

Joan and the Spirit of Jim Urdan, Jennifer, Jon, and Jeff Elizabeth Walcott

In honor of the wedding of Tracy Rogers and Tom Tavolier John and Catherine Crichton

In honor of Bob Schuppel Sarah Cauwels

In honor of Thomas L. Smallwood David and Julia Uihlein

In honor of Tom Varney Stanley Kokotiuk

In honor of Peter Wicklund and Ruby Shemanski Ms. Linda Jenewein

In memory of Anne T. White A. James White

MSO Board of Directors

OFFICERS

Susan Martin, Chair

Andy Nunemaker, Immediate Past Chair

David Uihlein, Honorary Co-Chair

Julia Uihlein, Honorary Co-Chair

Alyce Coyne Katayama, Secretary

Patrick Murphy, Treasurer; Chair, Finance Committee

EX OFFICIO DIRECTORS

Ken-David Masur, Music Director, Polly and Bill Van D yke Music Director Chair

Christopher Miller, Immediate Past Chair, Forte

Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair

Michael J. Schmitz, Chair, Chairman’s Council

EXECUTIVE COMMITTEE

Susan Martin, Chair

Andy Nunemaker, Immediate Past Chair

Douglas M. Hagerman

Eric E. Hobbs

Karen Hung, Chair, Governance Committee

Alyce Coyne Katayama, Secretary

Robert Klieger, Chair, Players’ Council

Patrick Murphy, Treasurer; Chair, Finance Committee

Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair

Michael J. Schmitz, Chair, Chairman’s Council

Dick Stoll, Chair, Marketing & Advocacy Committee

Haruki Toyama, Chair, Artistic Direction Committee

ELECTED DIRECTORS

Kate Brewer

Jeff Costakos

Jen Dirks

Charlotte Hayslett

Peter Mahler, Chair, Grand Future Committee

Mark Metzendorf, Chair, Advancement Committee

Christian Mitchell

Robert Monnat

Maura Packham, Chair, Equity, Diversity, & Inclusion (EDI) Task Force

Leslie Plamann, Chair, Audit Committee

Jay E. Schwister, Chair, Retirement Plan Committee

Dale R. Smith

Gregory A. Smith

Herb Zien, Chair, Facilities Management Committee

DESIGNATED DIRECTORS

City

Sachin Chheda Pegge Sytkowski Francis Wasielewski

County Fiesha Lynn Bell Chris Layden Garren Randolph

MUSICIAN DIRECTORS

Robert Klieger, Chair, Players’ Council

Ilana Setapen

CHAIRMAN’S COUNCIL

Michael J. Schmitz, Chair Chris Abele

Richard S. Bibler

Charles Boyle

Roberta Caraway M. Judith Christl Mary Connelly Donn Dresselhuys Eileen G. Dubner

Franklyn Esenberg

Marta P. Haas

Jean Holmburg

Barbara Hunt

Leon P. Janssen

Angela G. Johnston Judy Jorgensen James A. Kasch

Lee Walther Kordus

Michael J. Koss

JoAnne Krause

Martin J. Krebs

Keith Mardak

James G. Rasche

Stephen E. Richman

Thomas L. Smallwood

Joan Steele Stein

Linda Tojek

Joan R. Urdan

Larry Waters Kathleen A. Wilson

MSO ENDOWMENT & FOUNDATION

TRUSTEES

Bruce Laning, Trustee Chairman, Endowment & Foundation

Amy Croen, Endowment & Foundation

Steven Etzel, Endowment & Foundation

Douglas M. Hagerman,  Endowment & Foundation

Bartholomew Reuter, Endowment Foundation

David Uihlein, Foundation

PAST CHAIRMEN

Andy Nunemaker (2014-2020)

Douglas M. Hagerman (2011-2014) Chris Abele (2004-2011)

Judy Jorgensen (2002-2004) Stephen E. Richman (2000-2002) Stanton J. Bluestone* (1998-2000) Allen N. Rieselbach* (1995-1998)

Edwin P. Wiley (1993-1995)

Michael J. Schmitz (1990-1993)

Orren J. Bradley (1988-1990)

Russell W. Britt* (1986-1988)

James H. Keyes (1984-1986)

Richard S. Bibler (1982-1984)

John K. MacIver* (1980-1982)

Donn R. Dresselhuys (1978-1980)

Harrold J. McComas* (1976-1978)

Laflin C. Jones* (1974-1976)

Robert S. Zigman* (1972-1974)

Charles A. Krause* (1970-1972)

Donald B. Abert* (1968-1970)

Erhard H. Buettner* (1966-1968)

Clifford Randall* (1964-1966)

John Ogden* (1962-1964)

Stanley Williams* (1959-1962)

* deceased

MSO 2022.23 Administration

EXECUTIVE

Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair

Bret Dorhout, Vice President of Artistic Planning

Kathryn Reinardy, Vice President of Marketing & Communications

Robin Sasman, Vice President & Chief Financial Officer

Rick Snow, Vice President of Facilities & Building Operations

Cynthia Moore, Human Resources, Diversity & Inclusion Manager

Michele Fitzgerald, Executive Assistant & Board Liaison

ADVANCEMENT

Michael Rossetto, Director of Individual Giving

Kate Braun, Grant Writer

Krista Hettinger, Individual Giving Manager

Sam Hushek, Events & Volunteer Manager

William Loder, Senior Individual Giving Manager

Tracy Migon, Development Systems Manager

Lindsey Ruenger, Individual Giving Manager

Emily Santeler, Advancement Operations & Stewardship Manager

Maggie Seer, Institutional Giving Manager

Emma Zei, Advancement Coordinator

EDUCATION & COMMUNITY ENGAGEMENT

Rebecca Whitney, Director of Education

Hannah Esch, Senior Education & Engagement Manager

Elise McArdle, Education Coordinator

FINANCE

Jenny Beier, Senior Accountant

Alexa Aldridge, Staff Accountant

MARKETING

Erin Kogler, Director of Communications

Marcella Morrow, Director of Marketing

Adam Cohen, Patron Systems Manager

David Jensen, Marketing & Communications Coordinator

Zachary-John Reinardy, Lead Designer

Kerry Tomaszewski, Communications Manager

BOX OFFICE

Luther Gray, Director of Ticket Operations & Group Sales

Al Bartosik, Box Office Manager

Marie Holtyn, Box Office Supervisor

Robin Doyle, Box Office Assistant

John Hallman, Box Office Assistant

Sean Schueler, Box Office Assistant

OPERATIONS

Françoise Moquin, Director of Orchestra Personnel

Terrell Pierce, Director of Operations

Kayla Aftahi, Operations Coordinator

Constance Aguocha, Assistant Personnel Manager

Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair

Kelsey Padron, Artistic Coordinator

Paolo Scarabel, Stage Technician & Deck Supervisor

Emily Wacker Schultz, Artist Duty Assistant

Jeremy Tusz, Audio & Video Producer

Tristan Wallace, Technical Manager & Live Audio Supervisor

Christina Williams, Chorus Manager

FACILITIES & EVENT SERVICES

Patrick G. H. Schley, Director of Event Services

Travis Byrd, Facilities Coordinator

Lisa Kilmczak , House Manager

David Kotlewski, House Manager

Zoe Waeltz, Senior House Manager

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