ALEXANDER MICKELTHWATE, MUSIC DIRECTOR
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BRENT HART, President Oklahoma Philharmonic Society, Inc. Welcome to tonight’s concert. For thirty-three seasons, the OKC Phil has been performing incredible concerts in Civic Center Music Hall, performances throughout our community and just this last year directly in your homes as we practiced social distancing. This year we are most excited to welcome you back! Our Classics and Pops series, Discovery concerts, partner collaborations and community performances are an integral component of our vibrant arts community. Our dedicated musicians, led by Maestro Alexander Mickelthwate, continue to delight us each season with vibrant programming, and this year is no exception. Executive Director Agnieszka Rakhmatullaev and her exceptional team collaborate with city and public health officials to make these performances possible and our heartfelt thanks go to our community leaders and healthcare workers for all their tireless efforts. We also thank the Orchestra League and the Associate Board for their volunteer and fundraising efforts that make these programs possible. One final thanks to our valued patrons, for being here tonight and for your continued support. I hope you enjoy this musical journey at this, and many more, concerts to come.
KRISTEN BRANDT FERATE, President Oklahoma City Orchestra League
CHRISTA BENTLEY, President Associate Board
On behalf of the Oklahoma City Orchestra League, welcome back to our beloved Civic Center and the music.
On behalf of the Oklahoma City Philharmonic Associate Board, I am honored to welcome you to the 2021-2022 season. The OKC Philharmonic and their team of staff proved last season that they are capable of making music in any and all circumstances. If you take a glance at this season’s program, you’ll see that concert goers in Oklahoma City are once again receiving a concert music experience that will enrich our city, featuring innovative programming and top-notch musicians.
Music is the Universal Language. It is the only language that every individual can comprehend. Each member of the audience tonight will share in a social cohesion that can only occur through the appreciation and hearing of symphonic music. As we emerge from the chaos and anxiety of the pandemic let us take joy and find peace in the gift of the Oklahoma City Philharmonic. The Oklahoma City Orchestra League is comprised of a diverse and energetic membership whose mission is to support the Oklahoma City Philharmonic through educational, community and fundraising endeavors. We would be delighted to have you join.
It’s the Associate Board’s mission to connect young professionals to this concert-going experience. We do this through our Overture Society—a three-concert package— plus expanded networking opportunities, social events, and discounts. Reach out to join Overture and take the next steps to becoming a supporter of the arts in OKC!
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kucofm.com A community-supported outreach of the University of Central Oklahoma
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AGNIESZKA RAKHMATULLAEV Welcome to the OKCPHIL’s 2021-22 Season and we are thrilled to have you back with us! After an unprecedented season, your OKCPHIL under the direction of Maestro Mickeltwate is coming back onto the stage full force with some wonderful programs. While things might not be entirely back to normal yet, we hope that each of our concerts will bring you joy and inspiration. The Inasmuch Foundation Classics Series features orchestral staples, such as the First Symphonies of Beethoven and Mahler, Dvořák’s “New World” Symphony and Rimsky Korsakov’s beloved Scheherazade. We will collaborate with world-renowned artists including Berlin Phiharmonic’s First Concertmaster Noah Bendix-Balgley, Tabla virtuoso Sandeep Das, and guest conductor Rei Hotoda. We will also continue to feature the remarkable talents of our own musicians with Principal Horn Kate Pritchett and Principal Bassoonist Rod Ackmann joining us as soloists for the opening and closing Classics programs of the season. We are excited to continue our journey of discovering the lesser-known gems and celebrating diversity through music by exploring works by African American, American Indian, and East Indian composers.
As always, our Pops Series offers something for everyone: the popular songs of Billy Joel and Whitney Houston, the spectacular Holiday tradition The Christmas Show, the dazzling dancers who will turn the Civic Center stage into a ballroom, and our season’s grand finale featuring the timeless Star Wars This lineup will be accompanied by our phenomenal orchestra, so I encourage you to bring your family and friends along to enjoy each of these programs. Additionally, the OKCPHIL remains committed to expanding its presence outside of the concert hall through a variety of Education and Community Engagement programs. From our Society of Strings program for adult amateur string players, to our ongoing partnership with OU Health, as well as small ensemble presence in local schools, our mission continues to impact thousands of Oklahomans of all ages. We are deeply grateful for the ongoing support and generosity that makes all of this possible. Despite the challenges brought by the pandemic, the OKCPHIL remains committed to serving our community and we look forward to seeing you at our concerts throughout this season!
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ALEXANDER MICKELTHWATE Beginning his fourth season as Music Director of the Oklahoma City Philharmonic, Conductor Alexander Mickelthwate’ s exciting musical programming has created a buzz across the city, drawing people from all walks of life to the concert hall. Originally from Germany, Mickelthwate is also Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada. Since starting his Winnipeg tenure in 2006 he played a pivotal role in the rejuvenation and turnaround of the Winnipeg Symphony which culminated in a highly successful and critically acclaimed performance at Carnegie Hall in May 2014. The New York Times noted the performance was “conducted expertly,” and the New York Classical review stated “under music director Alexander Mickelthwate, they play with excellent intonation and such a fine overall blend and balance of sound that, on their own terms, they may be the best orchestra to appear in the week’s worth of concerts.” Deeply rooted in his German heritage, Norman Lebrecht wrote about Mickelthwate’s interpretation of Mahler’s 10th Symphony with the Winnipeg Symphony: “Both Mahler 10 performances were intense and engaging. Every twist and turn in the score was fresh and surprising to my ears.” And his interpretation of Bruckner’s Symphony No. 7 prompted the pianist Anton Kuerti to write a letter to the newspaper saying, “I would like to call attention to the stunning performance heard after the intermission. To play Bruckner’s Symphony No. 7 with the passion, profundity, emotional intensity, subtlety and degree of perfection achieved by conductor Alexander Mickelthwate and the Winnipeg Symphony can only be called miraculous.” In North America Alexander has guest conducted the New York Philharmonic, the Chicago Symphony, Seattle Symphony, Houston Symphony, Vancouver Symphony, Atlanta Symphony, Saint Paul Chamber Orchestra, Saint Luke’s, Milwaukee Symphony, Rochester Philharmonic and Toronto Symphony, among others. His European debut was with the Hamburg Symphony. He also conducted the BBC London, Stuttgart Radio Orchestra, Royal Scottish, Deutsche Kammerphilharmonie Bremen and NDR Hannover. Other notable performances include the Sao Paulo Symphony and the Simon Bolivar Orchestra in Venezuela. He made his Australia debut with the Adelaide Symphony and the Tasmania Orchestra where he recorded the Mozart piano concerti Nos. 7 and 10 with the Silber Garburg Duo. Alexander Mickelthwate has worked several times with Dame Evelyn Glennie conducting the world premiere of two new
percussion concerti by Vincent Ho. He also worked with Itzhak Perlman, Joshua Bell, Yuja Wang, Dawn Upshaw, Plácido Domingo, Ben Heppner, Horatio Gutiérrez, Emanuel Ax, Leonidas Kavakos and Sarah Chang, among many others, and he worked very closely with a wide range of composers including Phil Glass, Steve Reich, Sofia Gubaidulina, Kaija Saariaho, John Adams, John Luther Adams and Mason Bates. After guest conducting the Simon Bolivar Orchestra and experiencing the life-changing power of the El Sistema program in Venezuela for underprivileged children, Alexander played an instrumental part in creating Sistema Winnipeg. For three years Alexander created a critically acclaimed Indigenous Festival in Winnipeg. Passionate to connect with all cultures, he created artistic collaborations between First Nations and western cultures that culminated in the performances of Stravinsky’s Rite of Spring and Revueltas’ Les Noches de los Mayas with new choreographies of contemporary and First Nations dance. The Winnipeg New Music Festival is an international institution. Alexander broadened the repertoire and created many new collaborations connecting with different audiences. Because of the programming of the festival the WSO was chosen to perform at the Spring for Music Festival at Carnegie Hall in 2014. A few of the most creative projects of the festival for Alexander were the performance of movie director Guy Maddin’s Brand Upon a Brain with narration by actress Isabella Rossellini, the workshopping of a new opera Tesla by movie director Jim Jarmusch and composer Phil Klein, and a production of Gavin Bryar’s The Sinking of the Titanic at PanAm Pool. Alexander has conducted for President Jimmy Carter and the Queen of England, and he received the Queen Diamond Jubilee Medal and the Key to the City of Winnipeg. Born and raised in Frankfurt Germany to a musical family, Alexander received his degree from the Peabody Institute of Music. He studied conducting under Fredric Prausnitz and Gustav Meier as well as with Seiji Ozawa, Andre Previn, Daniel Barenboim and Robert Spano at Tanglewood. Following his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Esa-Pekka Salonen. Alexander and his family make Oklahoma City their home. He is married to fashion designer Abigail Mickelthwate and has two sons.
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OKLAHOMA PHILHARMONIC SOCIETY, INC.
P R O V I D I N G
I N S P I R A T I O N
A N D
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T H R O U G H
O R C H E S T R A L
M U S I C .
THE BOARD OF DIRECTORS Officers Brent Hart President Jane Jayroe Gamble President Elect Jerrod Shouse Vice President Kevin Dunnington Treasurer Kelly Sachs Secretary Jeff Starling Immediate Past President
Lifetime Directors
Debra Kos Kristian Kos Jessica Martinez-Brooks Margaret Freede Owens Donald Rowlett Jennifer Schultz Doug Stussi Michael Sweeney J. Mark Taylor Geetika Verma Tony Welch Renate Wiggin Nick Wu
Jane B. Harlow Patrick Alexander
Directors Christa Bentley Robyn Birdwell Lori Dickinson Black Phil Busey Lawrence H. Davis Kristen Ferate Joy Hammons Kirk Hammons Dean Jackson Mautra Staley Jones Wesley Knight
Honorary Directors Richard Sias
ADMINISTRATIVE STAFF John Allen Interim General Manager
Mady Hendryx Donor & Volunteer Relations Coordinator
Clint Moore Operations Coordinator
Mark Beutler Director of Marketing & Public Relations
Judy Hill Administrative Assistant
Agnieszka Rakhmatullaev Executive Director
Stephen Howard Development Operations Manager
Ulises Serrano Associate Director of Digital Strategies
Daryl Jones Box Office Operations Manager
Corbin Taggart Customer Service Representative
Tara Burnett Director of Development Jeana Gering Education Manager Daniel Hardt Finance Director
Colton Kirton Institutional Giving Coordinator
ACKNOWLEDGEMENTS Classical KUCO 90.1 Morningstar Properties
Oklahoma City Police Association George Ryan
Stubble Creative, Inc. The Skirvin Hotel
Titan AVL
Photographers: Michael Anderson, David Bricquet, Rick Buchanan, Heather Hanson, Simon Hurst, Mutz Photography, Shevaun Williams and Associates, Ulises Serrano
THE OKLAHOMA PHILHARMONIC SOCIETY, INC. 424 Colcord Drive, Ste. B • Oklahoma City, Oklahoma 73102 Tickets: 405-842-5387 • Administration: 405-232-7575 • Fax: 405-232-4353 • www.okcphil.org
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AFFLIATED PARTNERS
The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come. Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s longrange planning and overall success. Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS Douglas J. Stussi President Charles E. Wiggin Vice President Louise Cleary Cannon Treasurer Penny M. McCaleb Secretary DIRECTORS Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper T.A. Dearmon Paul Dudman Thomas J. Enis Mischa Gorkuscha Jane B. Harlow Brent Hart Jean Hartsuck Michael E. Joseph Harrison Levy, Jr. Duke R. Ligon Jessica Martinez-Brooks Michael J. Milligan Alice Pippin Jeff Starling Richard Tanenbaum
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EXECUTIVE COMMITTEE Kristen Ferate President Debra Kos President-Elect Pending Secretary Newt Brown Treasurer Meredith Blecha-Wells Development VP Marion Burcham Membership VP Sherry Rowan Education VP Joan Bryant Communications VP Wendi Wilson Past President, Ex-Officio Agnieszka Rakhmatullaev Executive Director Oklahoma City Philharmonic (Ex-Officio, Advisory) BOARD OF DIRECTORS Helen Chiou Jeanne Drake Yvette Fleckinger Sue Francis Jane Krizer Patsy Lucas Geetika Verma Heather Walter Dwayne Webb Orchestra League Office 424 Colcord Dr., Ste. B Oklahoma City, Oklahoma 73102 Phone: 405.232.7575 Fax: 405.232.4353 e-mail: league@okcphil.org website: www.okcorchestraleague.org
OFFICERS Dr. Christa Bentley President Jay Scambler President-Elect J. Cruise Berry Treasurer Desiree Singer Secretary Sam Rainbolt Membership Chair Kelsey Karper Marketing Chair Tyler Larson Events Chair DIRECTORS Gennie Clarkson Cordon DeKock James Hulsey Tom Lerum Patrick E. Randall, II Jennifer Stadler Collin Walke
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ALEXANDER MICKELTHWATE, Music Director and Conductor JOEL LEVINE, Founder and Music Director Emeritus AGNIESZKA RAKHMATULLAEV, Executive Director
FIRST VIOLIN
Gregory Lee, Concertmaster Gertrude Kennedy Chair Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Hong Zhu Beth Sievers Benjamin Shute Deborah McDonald Lu Deng Chuong Vu Ai-Wei Chang Ashley Cooper Angela Caporale Sarah Figueroa Audrey Lee
SECOND VIOLIN
Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves, Assistant Principal Sophia Ro Corbin Mace Angélica Pereira Gena Alexander Yida Hu Chandler Fadero Heather Wickersham Chloe Johnson Diana Norwood Sara Sasaki
VIOLA
Royce McLarry, Principal Joseph Guevara, Assistant Principal Kelli Ingels Steve Waddell Donna Cain Jackie Skara Lacie Bowlware Jill Coker Terry Pollak
CELLO
Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Assistant Principal Valorie Tatge Emily Stoops Angelika Machnik-Jones Jean Statham Rob Bradshaw Maria Savarese Ashley Allison Samantha Kerns
BASS
Anthony Stoops, Principal Larry Moore, Assistant Principal Parvin Smith Mark Osborn Landon Honolka Christine Craddock Chunyang Wang Jeremiah Rupp
FLUTE
BASSOON
Rod Ackmann, Principal James Brewer
HORN
Kate Pritchett, Principal G. Rainey Williams Chair Matthew Reynolds Mirella Gable Derek Matthesen Peggy Moran, asst.
TRUMPET
Karl Sievers, Principal Jay Wilkinson Michael Anderson
TROMBONE
Adam Hanna, Principal Philip Martinson John Allen, Bass Trombone
TUBA
Ted Cox, Principal
Valerie Watts, Principal Jennifer Slater Nancy Stizza-Ortega
TIMPANI
PICCOLO
Patrick Womack, Principal Roger Owens Keith Hendricks Joseph Craven
Nancy Stizza-Ortega
OBOE
Lisa Harvey-Reed, Principal Rachel Maczko Katherine McLemore
ENGLISH HORN Rachel Maczko
CLARINET
Bradford Behn, Principal Tara Heitz James Meiller
BASS AND Eb CLARINET James Meiller
Jamie Whitmarsh, Principal
PERCUSSION
PRODUCTION STAFF
Valorie Tatge, Assistant Personnel Manager Jose Batty, Music Librarian Leroy Newman, Stage Manager
APPRENTICE CONDUCTOR Dylan Madoux
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PLANNED GIVING
O F T H E O K L A H O M A P H I L H A R M O N I C S O C I E T Y, I N C .
The Oklahoma Philharmonic Society, Inc. is honored to recognize its Encore Society members — visionary thinkers who have provided for the future of the Oklahoma City Philharmonic through their estate plans.
Anonymous (3)
Joel Levine and Don Clothier
Steven C. Agee, Ph.D.
John and Caroline Linehan
Linda and Patrick Alexander
Mr. and Mrs. Marvin C. Lunde, Jr.
Gary and Jan Allison
Mrs. Jackie Marron
Dr. Jay Jacquelyn Bass
Mr. and Mrs. John McCaleb
Louise Cleary Cannon
Jean and David McLaughlin
Mr. and Mrs. Robert H. Clements
W. Cheryl Moore
Thomas and Rita Dearmon
Carl Andrew Rath
Dr. and Mrs. James D. Dixson
Mrs. Catherine Reaves
Hugh Gibson
Mr. and Mrs. William J. Ross
Pam and Gary Glyckherr
Drs. Lois and John Salmeron
Carey and Gayle Goad
Mr. and Mrs. William F. Shdeed
Mr. and Mrs. J.A. Gowman
Richard L. Sias
Carol M. Hall
Doug and Susie Stussi
Ms. Olivia Hanson
Larry and Leah Westmoreland
Jane B. Harlow
Mr. John S. Williams
Dr. and Mrs. James Hartsuck
Mr. and Mrs. Don T. Zachritz
Mr. and Mrs. Michael E. Joseph
THANK YOU The Oklahoma Philharmonic Society, Inc. is grateful for the support of caring patrons who want to pass on a legacy of extraordinary music to future generations. You can join this special group of music enthusiasts by including a gift for the OKC Philharmonic’s future in your own will or estate plan. For more information on how to become an Encore Society member, contact Tara Burnett at (405) 232-7575 or tara@okcphil.org.
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DUO LUMINA
SEASON 2021/22 Tickets On Sale Now! Call 405-232-SING
JUBILATE DEO MESSIAH HANDEL’S
DUO LUMINA RUTTER VAUGHAN WILLIAMS
THE MUSIC OF DAN FORREST
OCT 10 | 3 PM
DEC 5 | 7 PM
CANTERBURYOKC.COM
RANDI VON ELLEFSON
Oklahoma City Community College presents:
2021-2022 Performing Arts Series
Potted Potter: The Unauthorised Harry Experience | October 12 Cirque Mechanics - Birdhouse Factory | November 20 Ballet Folklórico de México | January 28 The TEN Tenors presents LOVE IS IN THE AIR | February 25 Drum Tao | March 22 An Evening with Renee Elise Goldsberry | April 29 Get tickets at tickets.occc.edu
MAR 27 | 3 PM
ARTISTIC DIRECTOR
Season Specials
at Hudiburg Center
LEARN MORE AT OKCBROADWAY.COM
MEET OUR FAMILY
THE PEOPLE BEHIND THE MUSIC
DR. ANTHONY STOOPS
COLTON KIRTON
Principal Bass OKCPHIL Orchestra
Institutional Giving Coordinator OKCPHIL Staff
Dr. Stoops is not only an OKCPHIL musician but he is also Professor of Double Bass at the University Of Oklahoma School Of Music. Since winning first prize in the International Society of Bassists solo competition, he has maintained an active international profile as a soloist, improviser, chamber musician, composer and educator. Stoops has performed as a member of over a dozen orchestras including the Detroit, Columbus (OH) and Toledo Symphony orchestras, and the Michigan Opera Theater among many others, under many of the world’s great conductors such as Sir Georg Solti, Neeme Järvi, Daniel Barenboim, Zubin Mehta, Pierre Boulez and Charles Dutoit. As an educator, Dr. Stoops has given masterclasses and presentations in Europe, South America and throughout the U.S at venues such as the Paris Conservatory, Cleveland Institute of Music, University of Wroclaw, Poland, University of Michigan, University of Belo Horizonte and many others. He holds a Bachelor of Music from the University of Iowa, and a Masters and Doctorate from the University of Michigan. He and his wife Emily, a cellist in the orchestra, live in Norman with their two children.
Growing up I always loved classical music. I was in band all through middle and high school, and I would frequent OKCPHIL concerts through our student rush program. I began working with the OKCPHIL as an Education Intern then as a Development Intern. I am grateful that I was hired in July of 2021 in the development department after graduating from the University of Oklahoma in May of 2021 with my Bachelor’s degree in Music. While only being a part of this AMAZING team for a short time, I am extremely thankful to get to work with our supportive staff, dedicated partners, and passionate community that keep the music alive in Oklahoma City. On a personal note, I am an Oklahoma City native; I am a percussionist, but also play piano. My favorite composers are Tchaikovsky, Debussy, and Shostakovich; I enjoy cooking, baking, and of course… eating!
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GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledge the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through live orchestral performances and a variety of Education and Community Engagement programs, please contact the Philharmonic’s Development Office at (405) 232-7575. This Annual Fund recognition reflects contributions made in the 2021-22 season. Contributions of $250 and above are listed through March 1, 2022. If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling the phone number listed above. Thank you for your generous support!
CORPORATIONS, FOUNDATIONS & GOVERNMENT Express their generous commitment to the community.
UNDERWRITER $40,000 & Above Allied Arts Foundation The Chickasaw Nation Delaware Resource Group of Oklahoma, LLC E.L. and Thelma Gaylord Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council The Oklahoman The Skirvin Hilton Hotel
PLATINUM SPONSORS $10,000 - $39,999 405 Magazine Ad Astra Foundation American Fidelity Foundation Devon Energy Corporation Express Employment International HSPG and Associates, PC I Heart Media Love’s Travel Stops & Country Stores
MidFirst Bank OGE Energy Corp. Tyler Media Co./Magic 104.1FM and KOMA W&W Steel, LLC
GOLD SPONSORS $5,000 - $9,999 BancFirst Bank of Oklahoma Clements Foods Foundation Mekusukey Oil Company, LLC The Metro Restaurant
SILVER SPONSORS $3,000 - $4,999 OK Gazette OKC Friday
BRONZE SPONSORS $2,250 - $2,999
GOLD PARTNERS $1,500 - $2,249 Charlesson Foundation Flips Restaurant, Inc. The Fred Jones Family Foundation Morningstar Properties, LLC
SILVER PARTNERS $1,000 - $1,499 BRONZE PARTNERS $500 - $999 Tom Johnson Investment Management LLC
BUSINESS MEMBERS $250 - $499 The Kerr Foundation, Inc. Intrinsic Health
The Black Chronicle
MATCHING GIFT COMPANIES AND FOUNDATIONS Double the impact of an individual’s gift. American Fidelity Foundation Bank of America Matching Gifts Program
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The Boeing Company Inasmuch Foundation
Merrill Lynch & Co. Foundation, Inc.
GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.
Underwriter $25,000 and above
Guarantor $10,000 and above
Benefactor $5,000 - $9,999
Phil G. and Cathy Busey Dr. Margaret Freede Joel Levine and Don Clothier Jean and David McLaughlin Dr. Amalia Silverstein George Records Mr. Richard L. Sias and Alice and Phil Pippin Glenna and Dick Tanenbaum
Steven C. Agee, Ph.D. Linda and Patrick Alexander Marilyn and Bill Boettger Lawrence H. and Ronna C. Davis Mr. and Mrs. Andrew J. Evans, II Mr. and Mrs. John A. Frost Gerald and Jane Jayroe Gamble Jane B. Harlow Mary Ann Holdrege Mr. Albert Lang Susan Robinson Doug and Susie Stussi Renate and Chuck Wiggin
Mo Anderson Mrs. Betty D. Bellis-Mankin John and Margaret Biggs Louise Cleary Cannon and Gerry Cannon Teresa Cooper James B. Crawley Darleene A. Harris Claudia Holliman Dr. and Mrs. Patrick McKee
INDIVIDUALS Providing essential support for the Annual Fund. Patron ($3,500 - $4,999) Dr. Charles and Marilyn Bethea Mike and Dawn Borelli Mr. and Mrs. David C. DeLana Mr. Sidney G. Dunagan Mrs. Bonnie B. Hefner Jerry and Jan Plant Ms. Jeanne Hoffman Smith Mrs. Anne Workman
Sustainer ($2,250 - $3,499) Anonymous Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Larry and Sarah Blackledge Mrs. Carole S. Broughton Mr. and Mrs. Robert F. Browne Mr. and Mrs. Robert H. Clements Mr. and Mrs. Joseph M. Fleckinger Paul and Debbie Fleming
Frank Goforth and Nancy Halliday Brent Hart and Matt Thomas Dr. and Mrs. James Hartsuck Frank and Bette Jo Hill Colonel (ret.) Dean and Mrs. Jeanne Jackson Tom and Cindy Janssen Kim and Michael Joseph Kathy and Terry Kerr Annie Moreau, MD Mr. H.E. Rainbolt Ruth Mershon Fund Dr. and Mrs. Hal Scofield Jeff and Kim Short John and Katherine Spaid Jim and Debbie Stelter Mr. and Mrs. John E. Stonecipher John Stuemky and James Brand Mrs. Billie Thrash Mrs. June Tucker
Mrs. Janet Walker Ron and Janie Walker Jeanise Wynn
Associate ($1,500 - $2,249) Anonymous Virginia and Albert Aguilar Mr. and Mrs. Louis Almaraz Dr. Sterling and Cheryl Baker Mr. J. Edward Barth Dr. and Mrs. William L. Beasley William Beck Nick and Betsy Berry Bart Binning Dr. and Mrs. Philip C. Bird Dr. Robyn Birdwell and Dr. Mark Fixley Mr. and Mrs. Del Boyles Martha and Ronnie Bradshaw Mrs. Phyllis Brawley Dr. and Mrs. Robert C. Brown CONTINUED ON PAGE 40
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SPECIAL EVENT GIFTS
Thank you to the following who believed in our mission by supporting the 2021 Symphony Show House!
SHOW HOUSE COMMITTEE Show House Chair
Designer Sales
IT Support
J. Mark Taylor
Lacey Gilliam
Honorary Chairs
Jeannie Drake Carole Doerner
First Lady Sarah Stitt Debbie Thompson
Cinda Lafferty
Boutique
Design Inventory
Cindy Solomon
Jeannie Sanford
Staffing
Program Book Marty Taylor David Delana and Heritage Press
SHOW HOUSE SPONSORS Headlining Show House Patron
Friend
Dr. Margaret Freede In Memory of Josephine Freede Glenna and Dick Tanenbaum
Carole Doerner
Bronze Patron Mrs. June Tucker Dr. Don and Eleanor Whitsett The Meinders Foundation
Benefactor Janice B. Carmack John and Sue Francis Margaret and Drake Keith Bill and June Parry Lance and Cindy Ruffel Judith Clouse Steelman
Supporter Jennifer Bass-Billman Patricia Boone Joni Brown Debra Bugg Megan Clement Tiana Douglas Alexis Downs Michelle Early Elizabeth Eickman and Marvin Quinn Joan Ferrell David Gandall Shelley Goetz
Sue Goodman Jeanie Griffin Ellen Harmon Travis Kirk Alexander Leach Linda and Richard Mason Jill McCartney Pam McClure Virginia Myers Bonnie Naifeh Kevin Nevish Marcia Peeler Jody Prince Sheila Walker Elizabeth Wilson
Thank you to the Talented Designers who made the 2021 Symphony Show House a Reality! Rosinna Gies, Amini’s Galleria Tuesday Fay & Halal Songer, Bob Mills Furniture Abbie Wilkerson, Aleks Payne, & Doris Medrano, Calvert’s Plant Interiors Johnathan Kwee, Fabricologie Katelynn Henry, Steve Calonkey, Steve Simpson, Madison Denison, & Mackenzie Matray, Henry Home Interiors Patty Tippet, Home Dazzle Dr. Kari Lopez, Renae Brady, & Tracy Knoche, LOREC Ranch Home Furnishings Lynda Savage, Lynda Savage Art
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Nathan Hughes & Gabrielle Roberts, Mathis Design Studio Keven Calonkey Carl, Cassidy Brunsteter, & Lance Whitlow, Mister Robert Fine Furniture and Design Travis Neely & Phara Queen, Neely + Queen Cindy Curley & Ryan Johnson, Norwalk Design Ronette Wallace, OTW Interiors and Suburban Contemporary Furniture Julie Miller, Tin Lizzie’s J. Mark Taylor & Adriana Nunez, Traditions Fine Furnishings & Design Pam Cravens, Vintage Gypsy
SPECIAL EVENT GIFTS
2022
The OKCPHIL would like to thank the following people who believe in our mission by providing support through the 2021-22 Maestro’s Ball as we honor beloved friend and OKCPHIL founder Mrs. Jane B. Harlow. This recognition reflects contributions received through March 15, 2022. PRESENTING
Margaret Freede and Daniel Owens Glenna and Dick Tanenbaum SPONSORS Platinum Jane B. Harlow
Cathy and Frank Keating Frank and Bette Jo Hill
Gold
Benefactor
Linda and Patrick Alexander American Fidelity Foundation Bryan Garrett Injury Law Firm Lawrence H. and Ronna C. Davis David and Aimee Harlow Debra and Kristian Kos Doug and Susie Stussi
J. Edward Barth John and Margaret Biggs Louise Cleary Cannon and Gerry Cannon Rita and Thomas Dearmon Nancy P. Ellis Kristen and Anthony Ferate John and Sue Francis William and Kristin Frankfurt Brent Hart and Matt Thomas Linda and Ken Howell Sue Ann and Dudley Hyde Colonel (ret.) Dean and Mrs. Jeanne Jackson Margaret and Drake Keith Rob and Karen Luke Mr. and Mrs. Harrison Levy, Jr. Rob and Karen Luke Shaye and Travis Matthews John and Anna McMillin Randy and Barbe von Netzer
Silver 405 Magazine Mr. and Mrs. Clayton I. Bennett Gerald and Jane Jayroe Gamble Kirk Hammons OKC Friday Dr. Pal Randhawa Drs. Bobby and Geetika Verma
Bronze Sharon and John R. Bozalis Teresa Cooper
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RACHMANINOFF FESTIVAL! March 24, 2022 8:00 P.M.
CLASSICS NATASHA PAREMSKI, PIANO ALEXANDER MICKELTHWATE, CONDUCTOR
CONCEPTS
Maestro FROM THE
Our 21/22 season, we will be taking you on a journey, from smaller, more intimate gems to powerhouse blockbusters. You will experience the entire musical color pallet only possible with the symphony orchestra. RACHMANINOFF FESTIVAL! “The rescheduled fourth classics continues our ONE composer festival idea. This time: Rachmaninoff. His late Romantic era Symphony No. 2 and his Piano Concerto No. 1 in F-sharp minor, Op. 1. A bath in chocolate. Piano virtuoso, Natasha Paremski, will blow everyone away with her tempestuous playing.” Alexander Mickelthwate
RACHMANINOFF ............ Piano Concerto No. 1 in F-sharp minor, Op. 1
Vivace Andante Allegro vivace
Natasha Paremski, piano
Intermission
RACHMANINOFF ............ Symphony No. 2 in E minor, Op. 27
Largo—Allegro moderato Allegro molto—Meno mosso—Tempo I Adagio Allegro vivace—Adagio—Tempo precedente
THIS CONCERT IS GENEROUSLY SPONSORED BY:
Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info. Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, May 4 at 8pm and Saturday, May 7 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.
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NATASHA PAREMSKI With her consistently striking and dynamic performances, pianist Natasha Paremski reveals astounding virtuosity and voracious interpretive abilities. She continues to generate excitement from all corners as she wins over audiences with her musical sensibility and powerful, flawless technique. Natasha is a regular return guest of many major orchestras, including Minnesota Orchestra, San Francisco Symphony, Grant Park Festival, Winnipeg Symphony, Kitchener-Waterloo Symphony, Oregon Symphony, Elgin Symphony, Colorado Symphony, Buffalo Philharmonic, Virginia Symphony, and Royal Philharmonic Orchestra with whom she has performed every year since 2008 in venues such as Royal Albert Hall, Royal Festival Hall, and Cadogan Hall. She has performed with major orchestras in North America including Dallas Symphony Orchestra, Los Angeles Philharmonic Orchestra, San Diego Symphony, Toronto Symphony, Baltimore Symphony, Houston Symphony, NAC Orchestra in Ottawa, Nashville Symphony. She has toured extensively in Europe with such orchestras as Bournemouth Symphony Orchestra, Vienna’s Tonkünstler Orchester, Royal Scottish National Orchestra, Orchestre de Bretagne, the Orchestre de Nancy, Royal Liverpool Philharmonic Orchestra, Tonhalle Orchester in Zurich, Moscow Philharmonic, under the direction of conductors including Thomas Dausgaard, Peter Oundjian, Andres Orozco-Estrada, Jeffrey Kahane, James Gaffigan, JoAnn Falletta, Fabien Gabel, Rossen Milanov and Andrew Litton. In addition, she has toured with Gidon Kremer and the Kremerata Baltica in Latvia, Benelux, the United Kingdom and Austria as well as appearances with National Taiwan Symphony Orchestra in Taipei. Natasha has given recitals at the Auditorium du Louvre in Paris, Wigmore Hall, Schloss Elmau, Mecklenburg-Vorpommern Festival, Verbier Festival, Seattle’s Meany Hall, Kansas City’s Harriman Jewell Series, Santa Fe’s Lensic Theater, Ludwigshafen BASF Series, Teatro Colon in Buenos Aires, Tokyo’s Musashino Performing Arts Center and on the Rising Stars Series of Gilmore and Ravinia Festivals. A passionate chamber musician, Natasha is a regular recital partner of Grammy winning cellist Zuill Bailey, with whom she has recorded a number of CDs. Their Britten album on Telarc debuted at No. 1 on the Billboard Classical Chart, remaining there for a number of weeks, in addition to being featured on The New York Times Playlist. She has been a guest of many chamber music festivals such as Jeffrey Kahane’s Green Music Center ChamberFest, the Lockenhaus, Toronto, Sitka Summer Music, and Cape Cod Chamber Music festivals to name a few. Natasha was awarded several prestigious prizes at a very young age, including the Gilmore Young Artists prize in 2006 at the age of eighteen, the Prix Montblanc in 2007, the Orpheum Stiftung Prize in Switzerland. In September 2010,
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she was awarded the Classical Recording Foundation’s Young Artist of the Year. Her first recital album was released in 2011 to great acclaim, topping the Billboard Classical Charts, and was re-released on the Steinway & Sons label in September 2016 featuring Islamey recorded on Steinway’s revolutionary new Spirio technology. In 2012 she recorded Tchaikovsky’s Piano Concerto No. 1 and Rachmaninoff’s Paganini Rhapsody with Royal Philharmonic Orchestra and Fabien Gabel on the orchestra’s label distributed by Naxos. With a strong focus on new music, Natasha’s growing repertoire reflects an artistic maturity beyond her years. In the 2010-11 season, she played the world premiere of a sonata written for her by Gabriel Kahane, which was also included in her solo album. Natasha continues to extend her performance activity and range beyond the traditional concert hall. In December 2008, she was the featured pianist in choreographer Benjamin Millepied’s Danses Concertantes at New York’s Joyce Theater. She was featured in a major two part film for BBC Television on the life and work of Tchaikovsky, shot on location in St. Petersburg, performing excerpts from Tchaikovsky’s First Piano Concerto and other works. In the winter of 2007, Natasha participated along with Simon Keenlyside in the filming of Twin Spirits, a project starring Sting and Trudie Styler that explores the music and writing of Robert and Clara Schumann, which was released on DVD. She has performed in the project live several times with the co-creators in New York and the U.K., directed by John Caird, the original director/ adaptor of the musical Les Misérables. Natasha began her piano studies at the age of four with Nina Malikova at Moscow’s Andreyev School of Music. She then studied at San Francisco Conservatory of Music before moving to New York to study with Pavlina Dokovska at Mannes College of Music, from which she graduated in 2007. Natasha made her professional debut at age nine with El Camino Youth Symphony in California. At the age of fifteen she debuted with Los Angeles Philharmonic and recorded two discs with Moscow Philharmonic Orchestra. Born in Moscow, Natasha moved to the United States at the age of eight becoming a U.S. citizen shortly thereafter, and is now based in New York.
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Piano Concerto No. 1 in F-sharp minor, Op. 1 Sergei Rachmaninoff Born: March 20 (old style)/April 1 (new style), 1873, in either Oneg or Semyonovo, Russia Died: March 28, 1943, in Beverly Hills, California
Single Performance: 3/7/1998 Piano: Jean-Philippe Collard Work composed: Begun in 1890, completed July 6/18, 1891; greatly revised in 1917, with the revised score finished on November 10 of that year Work dedicated: To Rachmaninoff’s cousin and mentor Alexander Siloti Work premiered: March 17/29, 1892—the first movement only—with the composer performing in a student concert in the Small Room of the Hall of the Nobility, Moscow; Vasily Safonov conducted. Rachmaninoff was also the soloist when the revised version was introduced, on January 29, 1919, in New York’s Carnegie Hall, with Morris Altschuler conducting the Russian Symphony Society Orchestra. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings, in addition to the solo piano
Sergei Rachmaninoff, one of the master pianists of all time, composed four piano concertos spread through his career— in 1890-91 (revised in 1917), 1900-01, 1909, and 1926 (revised through 1941)—and was the soloist at the premiere of each. A pendant to these is a fifth, ever-popular work for piano and orchestra, the Rhapsody on a Theme of Paganini, composed during the summer of 1934. Of the bunch, the plush Second Concerto and the knuckle-busting Third, along with the Rhapsody, have staked indelible places in the repertoire. The First and Fourth Concertos stand more toward the edge, and both of them present textual challenges that require performers to make some choices.
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The Piano Concerto No. 1 dates from Rachmaninoff’s student years. As a youngster he enrolled on scholarship at the St. Petersburg Conservatory, but he proved so indifferent a student that the school threatened to curtail its support. At that point his cousin, the pianist Alexander Siloti, stepped in to provide a measure of discipline that Rachmaninoff’s parents and professors had not managed to instill. He swept his promising but unfocused kinsman off to the preparatory division of the Moscow Conservatory and enrolled him in the piano studio of the famously strict Nikolai Zverev. It did the trick, and gradually Rachmaninoff started making good on his talent. Soon he transferred to the senior division of the Conservatory, where Siloti accepted him into his own piano studio.
Tchaikovsky Commends Rachmaninoff In a volume of reminiscences related to Oskar von Reisemann, and published in 1934 under the title Rachmaninov’s Recollections, the composer told an anecdote about his final examinations at the Moscow Conservatory in the spring of 1891, which took place just before he completed his Piano Concerto No. 1: Amongst the professors at the green table sat Tchaikovsky. The highest mark given was a five, which could, in exceptional cases, be supplemented by a plus sign. I knew already that I had been given this mark. When it was my turn to play, Arensky drew Tchaikovsky’s attention to the fact that I had been the only pupil who, during the last lesson, had written two-part “songs without words,” and asked whether he would like to hear them. Tchaikovsky nodded his assent, and as I knew my songs by heart I sat down and played them. When I finished Tchaikovsky rose and busied himself with the examination journal. It was only after a fortnight that I heard what he had been doing with it: he had added three more plus signs to my mark, one on top, one below, and one behind. This five with four plus marks—a unique occurrence in the annals of the Conservatoire—was naturally much discussed, and the story made the rounds of all Moscow. —JMK In the spring of 1892, Rachmaninoff graduated from the Conservatory, deemed worthy of receiving the Great Gold Medal, an honor that had been bestowed on only two students previously. A month later, in the countryside retreat of Ivanovka, he completed the work that would be published as his Op. 1. From there he wrote to Mikhail CONTINUED ON PAGE 34
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Akimovich Slonov, his Moscow roommate: On July 6th I fully completed composing and scoring my piano concerto. I could have finished it much sooner, but after the first movement I idled for a long while and began to write the following movements only on July 3. Composed and scored the last two movements in two and a half days. You can imagine what a job that was. I wrote from five in the morning till eight in the evening, so after finishing the work I was terribly tired. Afterwards I rested for a few days. While working I never feel fatigue (on the contrary—pleasure). With me fatigue appears only when I realize that a big labor is finished. I am pleased with the concerto.
Instrumentation: Three flutes (one doubling piccolo), three oboes (one doubling English horn), two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, glockenspiel, bass drum, cymbals, and strings
Rachmaninoff was generally given to revising his scores, but one might say of his First and Fourth Piano Concertos that each is practically two pieces: an original version and a profoundly altered revision. In 1908 he reported in a letter to a friend that he intended to “take my First Concerto in hand, look it over, and then decide how much time and work will be required for its new version, and whether it’s worth doing, anyway. … Of course it will have to be written all over again, for its orchestration is worse than its music.” His plan reached fruition only in 1917, when he viewed the piece with eyes that were seasoned through 25 years of performing and composing. Nearly everyone agrees that the revised version is far superior to the original, but the First Concerto nonetheless remains a rarity compared to the Second and Third. In 1931, a frustrated Rachmaninoff told his friend Alfred Swan: “I look at my early works and see how much there is that is superfluous. … I have rewritten my First Concerto; it is really good now. All the youthful freshness is there, and yet it plays itself so much more easily. And nobody pays any attention. When I tell them in America that I will play the First Concerto, they do not protest but I can see by their faces that they would prefer the Second or Third. … It is incredible how many stupid things I did at the age of 19. All composers do it.”
Symphony No. 2 in E minor, Op. 27 Sergei Rachmaninoff Born: March 20 (old style)/April 1 (new style), 1873, in either Oneg or Semyonovo, Russia Died: March 28, 1943, in Beverly Hills, California
First Performance: 3/9/1948 Conductor: Victor Alessandro Last Performance: 2/1/2014 Conductor: Joel Levine Work composed: From Autumn 1906 to January 1908 in Dresden, Germany Work dedicated: To the composer Sergei Taneyev Work premiered: January 26/February 8, 1908, in St. Petersburg, Russia, with the composer conducting one of the “Siloti concerts”
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Rachmaninoff was very nearly undone by the violent and mean-spirited criticism that greeted his First Symphony in 1897—so much so that for the next three years he didn’t write a note. He worried that perhaps he was not cut out to be a composer after all. For a while he simply turned to a different musical pursuit and focused for the next few years on conducting. Before long he also sought the help of Dr. Nikolai Dahl, a physician who was investigating psychological therapy through hypnosis. The composer visited him daily beginning in January 1900. By the end of that summer Rachmaninoff was getting back on track as a composer. He started with achievable projects: an a-cappella chorus, a love duet for an opera, and then two movements of a piano concerto that had been “on the back burner” for several years. This last would grow into his Second Piano Concerto, which most people liked a good deal when it was premiered—and still do today. Finally he was rehabilitated, busily working on chamber music, choral compositions, piano pieces, and operas. By 1906 he felt ready to confront whatever compositional demons might still be lingering, and he embarked on another symphony. He had recently moved with his wife and daughter to Dresden; the weather was supposed to be better for the daughter’s problematic health, plus he was hoping to escape some of the constant social and professional pressures that accompanied his mounting celebrity.
PROGRAM NOTES Critical Applause Rachmaninoff conducted the first Moscow performance of his Second Symphony on February 1/14, 1908, a week after its world premiere. On the same program he appeared as soloist in his Second Piano Concerto, and he was welcomed back from his European travel with enthusiasm. The critic Yuli Engel wrote: After a year-and-a-half stay abroad Rachmaninoff again appears before the Moscow public as composer, conductor, and pianist. … And Rachmaninoff is worth an entire concert devoted to his works. Despite his 34 years he is one of the most significant figures in the contemporary music world, a worthy successor to Tchaikovsky, if not in the dimensions of his talent (of which it is too early to speak), then certainly in its concentration, sincerity, and subjective delicacy. Successor, and not imitator, for he has already his own individuality. This was confirmed most impressively by the new E-minor Symphony by Rachmaninoff. … After listening with unflagging attention to its four movements, one notes with surprise that the hands of the watch have moved 65 minutes forward. This may be slightly overlong for the general audience, but how fresh, how beautiful it is! Length has continued to plague this work as a problematic issue, and over the years many conductors have made cuts both large and small in the score, some ostensibly with the composer’s explicit approval. A typical reading of Rachmaninoff’s Second Symphony may come in at around fifty minutes, but it may range more than ten minutes longer or shorter than that depending on the conductor’s preferences. —JMK
In February 1907 he wrote to his friend Nikita Morozov in Russia: “A month ago, or more, I really did finish a symphony, but to this must be added the phrase ‘in draft.’ I have not announced it to ‘the world,’ because I want first to complete its final writing. While I was planning to put it in ‘clean’ form, it became terribly boring and repulsive to me. So I threw it aside and took up something else.” Nonetheless, word was out, and Rachmaninoff promptly received an invitation to conduct it during the upcoming season—before he was anywhere near finished polishing the piece. “I can tell you privately that I am displeased with it,” Rachmaninoff’s letter continued, “but that it really
‘will be,’ though not before autumn, as I shall not begin its orchestration until summer.” That proved to be the case, and on August 2/15, Rachmaninoff wrote again to Morozov: “For two weeks now I have been busy with the orchestration of the Symphony. The work proceeds very laboriously and sluggishly. It’s slow not only because of the instrumentation, which ordinarily comes to me with difficulty, but also because I left it in draft, and some movements are yet to be worked out.” Fortunately for posterity Rachmaninoff toughed it out, finally vindicating himself as a gifted symphonist. His Second Symphony scored a popular success and in December 1908 the work was honored with a Glinka Award for symphonic composition. The piece is imbued with Rachmaninoff’s recognizable character right from its brooding outset. That introduction contains melodic material that reappears transformed as the surging first movement unrolls, and it comes back again at the end of the second movement, an often boisterous scherzo that demands athleticism from all players. But Rachmaninoff is at heart a lyrical composer, and even in the midst of this scurrying scherzo he finds an opportunity to interject one of his glowing melodies. The orchestration here is brilliant, including cage-rattling solos from the glockenspiel; and in the movement’s coda he works in a reference to the “Dies irae” chant from the Mass for the Dead, a Rachmaninoff thumbprint, if a macabre one. In the third movement Adagio, Rachmaninoff offers a rhapsody par excellence. Its principal theme, spun out at length by the clarinet, is irresistible. The finale seems part tarantella and part march, with the tarantella winning out in the end. The spirit of the dance keeps the emotional pitch high right up to the final measure. There, the concluding rhythmic motif “TUM-ta-ta-ta-TUM” serves as a slight variation on Rachmaninoff’s usual sign-off of just “TUM-ta-ta-TUM.”
JAMES M. KELLER James M. Keller is the longtime Program Annotator of the San Francisco Symphony and was formerly Program Annotator of the New York Philharmonic and a staff writer-editor at The New Yorker. The author of Chamber Music: A Listener’s Guide (Oxford University Press), he is writing a sequel volume about piano music for the same publisher.
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HOUSE NOTES
CIVIC CENTER COVID-19 HEALTH AND SAFETY PROTOCOLS INCLUDE: • Masks worn over the nose and mouth will be required for all patrons upon entry and throughout the performance. • A photo ID along with the proof of full vaccination (either physical vaccination card, a picture of your vaccination card, or a digital vaccination record) will be required. • PROOF OF A NEGATIVE PCR test (taken within 72 hours of entering the venue), for unvaccinated people ages 6 and above or those who prefer not to share their vaccination status, will be required. • Hand sanitizing stations will be readily available throughout the building RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance. LATECOMERS and those who exit the theater during the performance may be seated during the first convenient pause, as determined by the management. ELECTRONIC DEVICES must be turned off and put away during the performance (no calling, texting, photo or video use please). BEVERAGES: Bottled water is permitted in the theater at the Classics Series concerts. Beverages are permitted in the theater at the Pops Series concerts; however, bringing coffee into the theater is discouraged due to the aroma. SMOKING in the Civic Center Music Hall is prohibited. The Oklahoma City Philharmonic promotes a fragrance-free environment for the convenience of our patrons. FIRE EXITS are located on all levels and marked accordingly. Please note the nearest exit for use in case of an emergency. ELEVATORS are located at the south end of the atrium of the Civic Center Music Hall. CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those five years and under will not be admitted to evening Classics and Pops concerts unless otherwise noted. BOOSTER SEATS for children are available in the Civic Center lobby. Please inquire at the Box Office. VIDEO MONITORS are located in the lobby for your convenience. WHEELCHAIR AVAILABLE SEATING – Persons using wheelchairs or with walking and climbing difficulties will be accommodated when possible. Those wishing to use the designated wheelchair sections may purchase the wheelchair space and a companion seat. Please inform the Philharmonic or Civic Center Box Office staff of your need when ordering tickets so that you may be served promptly and appropriately. Please request the assistance of hall ushers to access wheelchair seating. HEARING LOOPS have been installed. Ask your audiologist to activate the telecoil in your hearing aid or cochlear implant. Due to the mechanics of the stage, the hearing loops do not reach the pit section but are available at the Box Office and the Thelma Gaylord Performing Arts Theatre. The copper wire in the floor and telecoil work together to connect the hearing device to the theater’s sound system using a magnetic field which dramatically improves sound clarity for patrons using hearing devices. LOST & FOUND is located in the Civic Center office (405-594-8300) weekdays 8:30 a.m. – 5:00 p.m. PHILHARMONIC TICKET OFFICE may be contacted by calling 405-TIC-KETS (405-842-5387) or you can visit the Philharmonic Ticket Office located on the first floor of the Arts District Garage at 424 Colcord Drive in Suite B. The Philharmonic Ticket Office is open Monday through Friday, 10:00 a.m. to 5:00 p.m. and by phone on concert Saturdays from 10:00 a.m. to 2:00 p.m. CIVIC CENTER BOX OFFICE hours are Monday through Friday, 10:00 a.m. to 6:00 p.m. and two hours prior to each performance. (405-594-8300) Artists, Dates, and Programs Subject to Change.
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