ODE TO JOY
BEETHOVEN’S A PR I L
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PROGRAM
April 30 program.................................................................................7 April 30 program notes.......................................................................8 Manfred Honeck biography..............................................................11 Sari Gruber biography.......................................................................13 Maire Therese Carmack biography....................................................14 Benjamin Werley biography.............................................................15 Matthew Scollin biography...............................................................16 Mendelssohn Choir of Pittsburgh biography...................................17 Pittsburgh Symphony Orchestra biography......................................21 INDIVIDUALS & HEINZ HALL INFORMATION Pittsburgh Symphony Orchestra Musicians........................................2 Board of Directors ...............................................................................3 Jack Heinz Society...............................................................................4 New Leadership Council......................................................................4 Pittsburgh Symphony Association......................................................4 Administrative Staff.............................................................................5 Heinz Hall policies, accessibility and additional information...........24
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BEETHOVEN IN YOUR NEIGHBORHOOD | HEINZ HALL SATURDAY, APRIL 30, 2022 AT 8:00 P.M.
Manfred Honeck, conductor Sari Gruber, soprano Maire Therese Carmack, mezzo-soprano Benjamin Werley, tenor Matthew Scollin, bass Mendelssohn Choir of Pittsburgh Matthew Mehaffey, director Ludwig van Beethoven
Symphony No. 9 in D minor, Opus 125, “Choral” I. Allegro ma non troppo, un poco maestoso II. Molto vivace — Presto — Molto vivace III. Adagio molto e cantabile IV. Finale, with soloists and chorus: Presto — Allegro ma non troppo — Vivace — Adagio cantabile — Allegro — Allegro assai Ms. Gruber Ms. Carmack Mr. Werley Mr. Scollin Mendelssohn Choir of Pittsburgh Robyn Bollinger, Guest Concertmaster BANK OF AMERICA SYMPHONY WEEK
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PROGRAM 2021-2022 SEASON
7
LUDWIG VAN BEETHOVEN (1770-1827)
Symphony No. 9 in D minor, Opus 125, “Choral” (1822-1824)
Friedrich Schiller published his poem An die Freude (“Ode to Joy”) in 1785 as a tribute to his friend Christian Gottfried Körner. By 1790, when he was twenty, Beethoven knew the poem, and as early as 1793 he considered making a musical setting of it. Schiller’s poem appeared in his notes in 1798, but the earliest musical ideas for its setting are found among the sketches for the Seventh and Eighth Symphonies, composed simultaneously in 1811-1812. Though those sketches are unrelated to the finished Ode to Joy theme — that went through more than 200 revisions (!) before Beethoven was satisfied with it — they do show the composer’s continuing interest in the text and the idea of setting it for chorus and orchestra. The first evidence of the musical material that was to figure in the finished Ninth Symphony appeared in 1815, when a sketch for the Scherzo emerged among Beethoven’s notes. He took up his draft again in 1817, and by the following year much of the Scherzo was sketched. It was also in 1818 that he considered including a choral movement, but as the slow movement rather than as the finale. With much still unsettled, Beethoven was forced to lay aside this vague symphonic scheme in 1818 because of ill health, a distressing court battle to secure custody of his nephew, and composition of the monumental Missa Solemnis, and he was not able to resume work on the piece until the end of 1822. The 1822 sketches show considerable progress on the Symphony’s first movement, little on the Scherzo, and some tentative ideas for a choral finale based on Schiller’s poem. Most of the remainder of the opening movement was sketched early in 1823. The Scherzo was finished in short score by August, eight years after Beethoven first conceived its thematic material, and the third movement sketched by October. With the first three movements nearing completion, Beethoven had one major obstacle to overcome before he could complete the Symphony: how to join together the instrumental and vocal movements. He decided that a recitative — the technique that had been used for generations to bridge from one operatic number to the next — would be perfect, especially if the recitative included fragments of themes from earlier movements to unify the structure. Beethoven still had much work to do, but the composition was completed by the end of the year. When the final scoring was finished in February 1824, it had been nearly 35 years since Beethoven first considered setting Schiller’s poem. The Ninth Symphony begins with the interval of a barren open fifth, suggesting some aweinspiring cosmic void. Thematic fragments sparkle and whirl into place to form the main theme. A group of lyrical subordinate ideas follows. The open fifth intervals return to begin the highly concentrated development section. The second movement is a combination of scherzo, fugue and sonata. The Adagio is a variations on two themes, almost like two separate kinds of music that alternate. The majestic finale is divided into two large parts: the first instrumental, the second with chorus and soloists. The Ode to Joy theme appears unadorned in the low strings, and many sections based on that inspired melody follow, some martial, some fugal, all radiant with the glory of Beethoven’s vision.
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LYRICS Baritone O Freunde, nicht diese Töne! Sondern lasst uns angenehmere anstimmen, und freudenvollere.
O friends, not these sounds! Rather let us sing more pleasing songs, full of joy.
Baritone and Chorus Freude, schöner Götterfunken, Tochter aus Elysium, wir betreten feuertrunken, Himmlische, dein Heiligtum. Deine Zauber binden wieder was die Mode streng geteilt; alle Menschen werden Brüder wo dein sanfter Flügel weilt.
Joy, brilliant spark of the gods, daughter of Elysium, drunk with fire, we enter, Divinity, your sacred shrine. Your magic again unites all that custom harshly tore apart; all men become brothers beneath your gentle hovering wing.
Quartet and Chorus Wem der grosse Wurf gelungen, eines Freundes Freund zu sein, wer ein holdes Weib errungen, mische seine Jubel ein! Ja, wer auch nur eine Seele sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle weinend sich aus diesem Bund! Freude trinken alle Wesen an den Brüsten der Natur, alle Guten, alle Bösen folgen ihre Rosenspur. Küsse gab sie uns und Reben, einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, und der Cherub steht vor Gott!
Whoever has won in that great gamble of being friend to a friend, whoever has won a gracious wife, let him join in our rejoicing! Yes, even if there is only one other soul he can call his own on the whole earth! And he who never accomplished this, let him steal away weeping from this company! All creatures drink of joy at Nature’s breast, All men, good and evil, follow her rose-strewn path. Kisses she gave us and vines, a friend, faithful to death; desire was even given to the worm, and the cherub stands before God!
Tenor and Chorus Froh, wie seine Sonnen fliegen durch des Himmels prächt’gen Plan, laufet, Brüder, eure Bahn, freudig wie ein Held zum Siegen.
Joyously, just as His suns fly through the splendid arena of heaven, run, brothers, your course gladly, like a hero to victory.
PROGRAM NOTES 2021-2022 SEASON
9
Chorus Freude, schöner Götterfunken, Tochter aus Elysium, wir betreten feuertrunken, Himmlische, dein Heiligtum. Deine Zauber binden wieder was die Mode streng geteilt; alle Menschen werden Brüder wo dein sanfter Flügel weilt.
Joy, brilliant spark of the gods, daughter of Elysium, drunk with fire, we enter, Divinity, your sacred shrine. Your magic again unites all that custom harshly tore apart; all men become brothers beneath your gentle hovering wing.
Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über’m Sternenzelt muss ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn über’m Sternenzelt! Über Sternen muss er wohnen.
Be embraced, ye millions! This kiss is for the entire world! Brothers, above the canopy of stars surely a loving Father dwells. Do you bow down, ye millions? Do you sense the Creator, World? Seek Him above the canopy of stars! Above the stars must He dwell.
Freude, schöner Götterfunken, Tochter aus Elysium, wir betreten feuertrunken, Himmlische, dein Heiligtum.
Joy, brilliant spark of the gods, daughter of Elysium, drunk with fire, we enter, Divinity, your sacred shrine.
Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt!
Be embraced, ye millions! This kiss is for the entire world!
Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn über’m Sternenzelt! Brüder! Brüder! Über’m Sternenzelt muss ein lieber Vater wohnen.
Do you bow down, ye millions? Do you sense the Creator, World? Seek Him above the canopy of stars! Brothers! Brothers! Above the canopy of stars surely a loving Father dwells.
Quartet and Chorus Freude, Tochter aus Elysium, deine Zauber binden wieder was die Mode streng geteilt; alle Menschen werden Brüder wo dein sanfter Flügel weilt.
Joy, daughter of Elysium, Your magic again unites all that custom harshly tore apart; all men become brothers beneath your gentle hovering wing.
Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über’m Sternenzelt muss ein lieber Vater wohnen.
Be embraced, ye millions! This kiss is for the entire world! Brothers, above the canopy of stars surely a loving Father dwells.
Freude, schöner Götterfunken, Tochter aus Elysium!
Joy, brilliant spark of the gods, daughter of Elysium!
PROGRAM NOTES BY DR. RICHARD E. RODDA 10
MANFRED HONECK Manfred Honeck has firmly established himself as one of the world’s leading conductors, whose unmistakable, distinctive and revelatory interpretations receive great international acclaim. He is currently in his 14th season as Music Director of the Pittsburgh Symphony Orchestra. In September 2021, the orchestra announced a six- year extension of his contract, which now runs through the 2027-2028 season. Celebrated both at home and abroad, Manfred Honeck and the Pittsburgh Symphony Orchestra, one of the most frequently toured North American orchestras, serve as cultural ambassadors for the city of Pittsburgh. Guest appearances regularly include Carnegie Hall and Lincoln Center in New York, as well as the major venues of Europe and festivals such as the BBC Proms, Salzburg Festival, Musikfest Berlin, Lucerne Festival, Rheingau Music Festival, Beethovenfest Bonn, and Grafenegg Festival. Manfred Honeck’s successful work in Pittsburgh is extensively documented by recordings on the Reference Recordings label. All SACDs, these recordings feature works by Strauss, Beethoven, Bruckner, Tchaikovsky and others, and have received a multitude of outstanding reviews and awards, including a number of GRAMMY® nominations. The recording of Shostakovich’s Symphony No. 5/Barber Adagio won the GRAMMY® for “Best Orchestral Performance” in 2018. In February of 2021, Manfred Honeck and the Pittsburgh Symphony released a new recording of Beethoven Symphony No. 9 in celebration of the orchestra’s 125th anniversary season. Their most recent release is a recording of Brahms No. 4/MacMillan Larghetto for Orchestra. Born in Austria, Manfred Honeck completed his musical training at the University of Music in Vienna. His many years of experience as a member of the viola section in the Vienna Philharmonic and Vienna State Opera Orchestra have had a lasting influence on his work as a conductor. His art of interpretation is based on his determination to venture deep beneath the surface of the music. He began his conducting career as assistant to Claudio Abbado and as director of the Vienna Jeunesse Orchestra. Subsequently, he was engaged by the Zurich Opera House, where he
Photo credit: George Lange
was awarded the European Conducting Prize in 1993. He has since served as one of three principal conductors of the MDR Symphony Orchestra Leipzig, as Music Director of the Norwegian National Opera, Principal Guest Conductor of the Oslo Philharmonic Orchestra and Czech Philharmonic Orchestra, and Chief Conductor of the Swedish Radio Symphony Orchestra in Stockholm. From 2007 to 2011, Manfred Honeck was Music Director of the Staatsoper Stuttgart, where he led premieres of Berlioz’s Les Troyens, Mozart’s Idomeneo, Verdi’s Aida, Richard Strauss’s Rosenkavalier, Poulenc’s Dialogues des Carmélites and Wagner’s Lohengrin and Parsifal. Guest performances in opera led him to Semperoper Dresden, Komische Oper Berlin, Théâtre de la Monnaie in Brussels, Royal Opera of Copenhagen, the White Nights Festival in St. Petersburg and the Salzburg Festival. In Beethoven’s anniversary year of 2020, he conducted a new staging of Fidelio (1806 version) at the Theater an der Wien. Beyond the podium, Manfred Honeck has designed a series of symphonic suites, including Janáček’s Jenůfa, Strauss’s Elektra and Dvořák’s Rusalka. He recorded all of these arrangements with the Pittsburgh Symphony Orchestra, and regularly performs them with orchestras around the globe. BIOGRAPHY 2021-2022 SEASON
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As a guest conductor, Manfred Honeck has been at the podium of all leading international orchestras including the Bavarian Radio Symphony Orchestra, Berlin Philharmonic Orchestra, Gewandhausorchester Leipzig, Staatskapelle Dresden, Tonhalle-Orchester Zürich, Royal Concertgebouw Orchestra, London Symphony Orchestra, Orchestre de Paris, Accademia di Santa Cecilia Rome and the Vienna Philharmonic. In the United States, he has conducted all major US orchestras, including New York Philharmonic, The Cleveland Orchestra, Chicago Symphony
Orchestra, Los Angeles Philharmonic, Philadelphia Orchestra, Boston Symphony Orchestra and San Francisco Symphony. He has also been Artistic Director of the International Concerts Wolfegg in Germany for more than twenty-five years. Manfred Honeck holds honorary doctorates from several universities in the United States and also was awarded the honorary title of Professor by the Austrian Federal President. In 2018, the jury of the International Classical Music Awards declared him “Artist of the Year.”
SARI GRUBER Hailed as “nothing short of sensational” by Opera magazine and “a real creature of the stage” by Opera News, soprano Sari Gruber’s exciting and moving performances of a diverse operatic and concert repertoire have firmly established her as a beloved and revered artist on the international stage. In opera, she has garnered praise for her “shining soprano and vibrant presence” (Opera News), her “direct musicality” (The New York Times), as well as her “detailed, charming, resourceful and sympathetic” characterizations (Boston Herald). For her artistry as a recitalist, she was awarded First Place at the prestigious 2005 Walter W. Naumburg Foundation International Vocal Competition. Her operatic credits include appearances with Lyric Opera of Chicago, New York City Opera, Los Angeles Opera, Netherlands Opera, Maggio Musicale di Firenze, Saito Kinen Festival, Seiji Ozawa’s Ongaku-Juku Opera, Opera Company of Philadelphia, Pittsburgh Opera, Florida Grand Opera, Opera Pacific, Opera Theatre of St. Louis, Boston Lyric Opera, Lyric Opera of Kansas City, Portland Opera, Connecticut Opera, Austin Lyric Opera, Arizona Opera, Chautauqua Opera, Berkshire Opera, among others, where she has performed leading roles including Susanna/Le nozze di Figaro, Pamina/Die Zauberflöte, Norina/Don Pasquale, Adina/L’elisir d’amore, Gretel/Hänsel und Gretel, Gilda/Rigoletto, Juliette/Roméo et 12
Juliette, Anne Trulove/The Rake’s Progress, Vixen/ The Cunning Little Vixen, Rose/Street Scene, Alexandra/Regina, Anna/Seven Deadly Sins, Musetta/La Bohème, Nannetta/Falstaff, Aricie/ Hippolyte et Aricie, Poppea/Agrippina, Carolina/Il Matrimonio Segreto, Marzelline/Fidelio, Despina and Fiordiligi/Così fan tutte, Zerlina/Don Giovanni, Adele/Die Fledermaus, Beth/Little Women, Lisette/La Rondine, Miss Hedgehog/ The Fantastic Mr. Fox (World Premiere), and Helena/A Midsummer Night’s Dream. Audiences nationwide saw her perform Gretel in a 1997 live PBS Great Performances telecast of Maurice Sendak’s production of Hänsel und Gretel.
An acclaimed recitalist, Ms. Gruber has appeared numerous times in solo recital at Lincoln Center and Carnegie Hall, in addition to other noted recital venues, including Merkin Hall, San Francisco Performances, the 92nd Street Y, NYC’s Miller Theater, and San Francisco Opera’s Schwabacher Debut Recital Series, and was also the featured recital for the MTNA/NATS national convention in Salt Lake City. Ms. Gruber enjoys a special relationship with New York Festival of Song (NYFOS), with whom she has sung many times, and is honored to serve on its Artists Council. Ms. Gruber is also a founding member of the Pittsburgh Song Collaborative. She has given many recitals throughout the United States under the auspices of the Naumburg Foundation and Marilyn Horne Foundation. Other notable recital credits include a series of pre-concert recitals for Boston Symphony Orchestra’s Shakespeare Festival, Copland’s Poems of Emily Dickinson for New York Philharmonic’s Copland Festival, and appearances at Moab Music Festival, Skaneateles Festival, and Chicago Humanities Festival. She is featured on several recordings of songs by American composer Lori Laitman, as well as the most recent release by Pittsburgh Jewish Music Festival. On the concert stage, Ms. Gruber has sung with Boston Symphony, St. Louis Symphony, Pittsburgh Symphony, Cincinnati Symphony, Milwaukee Symphony, Philharmonia Baroque, Indianapolis Symphony, American Symphony Orchestra, Boston Baroque, NC Symphony, Portland Baroque, Columbus Symphony, ProMusica Chamber Ensemble, Aspen Music Festival Orchestra, Florida Philharmonic, Berkshire Choral Festival, Skaneateles Festival, Gettysburg Festival, Jacksonville Symphony, Omaha Symphony, and Erie Philharmonic, in repertoire from Handel’s Messiah to Mahler’s Symphony No. 4 to Bernstein’s Songfest. While Ms. Gruber still enjoys an active performing career, she teaches voice and performance at a variety of levels, ranging from high school students to active professionals. In addition to maintaining a private studio, she has conducted master classes and seminars at Pittsburgh Opera, Lyric Opera of Kansas City, Michigan State University, Aspen Opera
Theatre Center, Interlochen Center for the Arts, Yale University, Skidmore College, SUNY Fredonia, Westminster College, Pittsfield (MA) Public Schools, and Roosevelt University. She has adjudicated for numerous organizations and competitions, including Opera America Discovery Grants for Female Composers, Vocal Arts DC Art Song Discovery Competition, MTNA District Competition, Denver Lyric Opera Guild, Metropolitan Opera National Council District Auditions. In past years, she has served on the voice faculties at Duquesne University’s Mary Pappert School of Music, Clarion University of Pennsylvania, and Land of Enchantment Opera (now Rose Rock Opera). In addition to teaching classical singing at Carnegie Mellon, Ms. Gruber teaches musical theater vocal technique at Point Park University’s College of Performing Arts (COPA). Her students have performed at Santa Fe Opera, Lyric Opera of Chicago, Pittsburgh Opera, Opera Colorado, Central City Opera, Glimmerglass Festival, Des Moines Opera, and Virginia Opera, among others, as well as on Broadway and national tours. The daughter of a physical chemist and a language teacher, Ms. Gruber grew up in Germany and the US, and went to college to study pre-med before she discovered a voice that matched her passion for acting, poetry, languages, and collaboration. Ms. Gruber holds a B.A. from Yale University and a Master of Music in Voice from The Juilliard School. She pursued further training at the Juilliard Opera Center and San Francisco Opera’s Merola Program. Her love of recital brought her to study song literature at both the Tanglewood Music Center and the Ravinia Festival’s Steans Institute. A semi-finalist in the 1996 Metropolitan Opera National Council Auditions, Ms. Gruber has also been awarded the Sara Tucker Grant from the Tucker Foundation, the William Sullivan Grant, a study grant from the Licia Albanese Foundation, two Richard F. Gold Career Grants, the DeRosa Prize from The Juilliard School, and the prestigious Louis Sudler Prize for Excellence in the Arts given to one graduating senior from Yale College each year at Commencement. While an undergraduate at Yale, she founded the Opera Theater of Yale College, which is still in existence and has helped to launch a number of today’s professional singers.
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MAIRE THERESE CARMACK American mezzo-soprano Maire Therese Carmack has been praised by Opera News for her “deep mezzo and vibrant metallic timbre.” In the 2022/2023 season, Ms. Carmack joins the Santa Fe Opera Apprentice Artist Program, makes her Carnegie Hall debut as a participant in Renée Fleming’s SongStudio, and her Heinz Hall debut with the Pittsburgh Symphony Orchestra as a soloist in Beethoven’s 9th Symphony under the baton of Maestro Manfred Honeck. Equally at home in repertoire old and new, Ms. Carmack performed the role of Prima Donna in the world premiere of Philip Blackburn’s multi-media hyper-opera, The Sun Palace, which became a 60-minute Indie film that was premiered at New York’s Anthology Film Archives. In a collaboration with Parisian composer Jean Luc Lenoir, she presented the Photo credit: John Carnessali American premiere of Songs of the Hebrides: a collection of Hebridean Gaelic folk songs arranged Maire Therese Carmack holds Bachelor of for voice and ensemble. Arts degrees in Philosophy and Music from Ms. Carmack is an alum of the Opera the University of Colorado, Colorado Springs, Saratoga Young Artist Program, the Palm summa cum laude (2016) and a Master of Music Beach Opera Bailey Apprentice Artist in Voice Performance and Literature from the Program, The Glimmerglass Festival Young Eastman School of Music, with honors (2018). Artists Program, and the Pittsburgh Opera Ms. Carmack won the Florida District of Resident Artist Program. Her role and cover the Metropolitan Opera National Council credits include Empress Ottavia L’incoronazione Auditions in 2020, followed by third place di Poppea, Margaret Johnson Light in the in the Gulf Coast Region. She is a first place Piazza, Maddalena Rigoletto, La Zelatrice winner of the Rochester International Voice Suor Angelica, Flora La traviata, Orlofsky Die Competition, Encouragement Award winner Fledermaus, Olga and Larina Eugene Onegin, in The Gerda Lissner Foundation Lieder/Song Berta The Barber of Seville, Witch/Mother Competition, and a second place winner of the Hänsel und Gretel, Marquise of Berkenfield La Friends of Eastman Opera Aria Competition. fille du régiment, Dorabella Così fan tutte, Juno Semele, Baroness Nica Charlie Parker’s Yardbird, Carmen and Mercédès Carmen, Third Lady The Magic Flute, and Celeste Songbird.
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BENJAMIN WERLEY Benjamin Werley—praised as having a “gleaming, flexible tenor” (Opera News) —was first bitten by the opera bug while attending a performance of Puccini’s Tosca. He has been pursuing an operatic career ever since. A graduate of the Jacob’s School of Music at Indiana University, Werley was one of twenty singers nationwide selected to sing in the semifinals of the 2012-2013 Metropolitan Opera National Council Auditions in New York City. Afterwards, he participated in many prestigious young artist programs, including the Merola Opera Program, Santa Fe Opera, Florida Grand Opera, Virginia Opera, Opera Colorado, Opera Theatre of St. Louis, and Prelude to Performance. He has also been a soloist with the Dayton Philharmonic, Indianapolis Symphony Orchestra, The Western Piedmont Symphony, and the Queens Symphony Orchestra. In 2018, Werley returned to Virginia Opera, singing Lippo Fiorentino Street Scene, then made his Cleveland Opera Theater and role debut as Alfredo La traviata, and made his Central City Opera debut as Red Whiskers Billy Budd, also covering Captain Vere. 2019 marked his role and company debut as Canio Pagliacci for Salt Marsh Opera, a return to Dayton Opera for a New Year’s Eve Gala, and role and company debuts with St. Pete Opera as il Duca Rigoletto.
Photo credit: Stephen Dillon
The 2021-2022 season includes a Steans Fellowship at the Ravinia Festival, Nemorino L’elisir d’amore with Dayton Opera, a return to Don Ottavio Don Giovanni with Indianapolis Opera, Vaudémont Iolanta with Pacific Opera Project, and the tenor solos for Beethoven 9th with the Pittsburgh Symphony Orchestra.
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MATTHEW SCOLLIN Hailed by the Pittsburgh Tribune-Review as a “tour de force expressed with a powerful and resonant voice,” bass-baritone Matthew Scollin has established himself on operatic and concert stages alike. In the 2017-18 season, Mr. Scollin returned to the Opéra National de Bordeaux as Goffredo in Il pirata. Stateside, he made debuts with both Washington National Opera and Los Angeles Opera as Martin and James in Candide; returned to Pittsburgh Opera as the Sacristan in Tosca; and sang Montolino in Bellini’s La straniera with Washington Concert Opera. The previous season, he made his international debut with the Théâtre du Capitole, followed by his first performances with Opéra National de Bordeaux, as Martin and James in Candide. He sang the Jeff in Beck’s The Long Walk with Utah Opera, the Sprecher in Die Zauberflöte with Madison Opera, returned to Pittsburgh Opera for both Dottore Grenvil in La traviata and the Second Soldier in Salome, and reprised Pistola in Falstaff with Resonance Works Pittsburgh. On the concert stage, he joined the Northeastern Pennsylvania Philharmonic for Mozart’s Requiem and the Westmoreland Symphony for Beethoven’s Symphony No. 9. Other recent performances for Mr. Scollin include Pistola in Falstaff and Simplico in Glass’ Galileo Galilei with Des Moines Metro Opera, his first performances of Martin and James in Candide and Lakei in Ariadne auf Naxos at the Glimmerglass Festival, Colline in La bohème with DC Public Opera, and the Sprecher in Die Zauberflöte with Pacific Musicworks. He maintains a strong relationship with Pittsburgh Opera, where as a former Resident Artist, his performances included Don Basilio in Il barbiere di Siviglia, Friedrich Bhaer in Adamo’s Little Women, Ernest Hemingway in Gordon’s 27, the Gran Sacerdote in Nabucco in addition to covering Don Alfonso in Così fan tutte.
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He is the winner of a Career Development Award from the The William Matheus Sullivan Musical Foundation. Mr. Scollin earned his Master of Music from the University of Illinois, at which he received the Jerry Hadley Memorial Scholarship and sang the Duruflé Requiem, Monterone in Rigoletto, and Don Quixote in The Man of La Mancha. He holds a Bachelor of Music from Michigan State University, where he sang his first performances of Figaro in Le nozze di Figaro, Alidoro in La cenerentola, Frère Laurent in Roméo et Juliette, El capitán in Catán’s Florencia en el Amazonas, Elder McLean in Floyd’s Susannah, and Simone in Gianni Schicchi. Mr. Scollin is currently a member of the United States Air Force Band Singing Sergeants. Stationed at Joint Base Anacostia-Bolling in Washington, DC, the Singing Sergeants present more than 200 performances annually around the country to honor those who have served, inspire American citizens to heightened patriotism and service, and positively impact the global community.
Under Music Director Matthew Mehaffey, MCP is celebrated for its innovative programming, commissions, and partnership programming such as the 2020 world premiere of Satan’s Fall by Stewart Copeland, the 2019 world premiere of The Times They Are A-Changin’: The Words and Music of Bob Dylan by composer/ conductor Steve Hackman, and MCP’s new series, Global Choral Traditions, offered in partnership with City of Asylum that explores global song traditions. Audiences and critics alike have praised MCP’s programming saying “EXCEPTIONAL and MEMORABLE event. I’m still talking about it,” “One of the finest music events I have ever attended,” and “the For almost 100 years, MCP has been the proud Mendelssohn never ceases to amaze me . . . This choral partner of the PSO, bringing the joys of city should be proud of its choir” (Pittsburgh Postsymphonic choral music to tens of thousands Gazette). of people in the region each year. As the PSO’s “chorus of choice,” the MCP has performed MCP fosters the next generation of choral singers under the baton of a veritable who’s who in and audience members through its educational classical music, including Lorin Maazel, program, the Junior Mendelssohn Choir of Mariss Jansons, Rafael Frühbeck de Burgos, Pittsburgh (JMCP). Founded in 1988, JMCP is Michael Tilson Thomas, Claudio Abbado, the region’s premier high school choral training Mstislav Rostropovich, Leonard Slatkin, and performance program. Annually, the JMCP Charles Dutoit, André Previn, Sir Neville attracts singers from more than a dozen school Marriner, Yan Pascal Tortelier, Helmuth districts, providing youth with a challenging Rilling, Ingo Metzmacher, Richard Hickox, musical environment in which to develop their skills and giving them the tools and experiences Zdenek Mácal, and Manfred Honeck. to be life-long participants in the arts. Critically acclaimed as one of the finest choruses in the country, the 114-year-old MCP is re- For upcoming performances and more inventing choral music for the 21st century. information, visit www.themendelssohn.org. The members of the Mendelssohn Choir of Pittsburgh (MCP) are thrilled to return to the stage with Maestro Honeck and the members of the Pittsburgh Symphony Orchestra (PSO). MCP made its return to live performances in December with The Promise of Light, a dramatic concert that drew upon the wealth of music and poetry about winter, the solstice, and the hope for new beginnings. To share the joy of coming together in person after the dark silence of the pandemic, MCP offered these concerts for free at venues across the region to inspire and delight more than 3,300 community members with the power of the human voice.
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BOARD OF DIRECTORS
Officers Guy Leonard, President Thea Pavlik, Vice President Vance W. Torbert, III, Treasurer Colleen Ramsay Hoesch, Secretary Directors Tom Bartos Sue Bertenthal * Jim Cunningham Charlotta Dragenflo * Trent Gause, M.D. Nathan Hart * * Choir Representatives
Directors Emeritus Constance J. Bernt Jeanne C. Ashe * Douglas A. Clark Bette Evans Cordelia Jacobs Mary Jane Jacques Arthur J. Kerr, Jr. Kwan Il Lee, MD Paul R. Malmberg * Perry Morrison * Joseph Schewe George Seeley * deceased
ADMINISTRATIVE STAFF Mary Ann Lapinski, Executive Director Emily Leal-Santiesteban, Communications & JMCP Chorus Manager Jennifer Shorstein, Director of Individual Giving MaryColleen Seip, Chorus Manager Esther Berreth, Bookkeeper Tara Taylor, Graphic Design
ARTISTIC STAFF Dr. Matthew Mehaffey, Robert Page Music Director Dr. Ryan Keeling, Assistant Conductor Dr. Caron Daley, Music Director, Junior Mendelssohn Choir Julianna Grabowski, JMCP Assistant Conductor Samuel Froehlich, JMCP Faculty Timothy Heavner, JMCP Acoompanist
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CHORUS MEMBERS Salvatore Amelio Regina Anesin Earle Ashbridge Amelia Baisley D’Arcy * Thomas Baker Daniel Banko-Ferran Christopher Bartley Norrie Bastedo Chuck Beard Rebecca Belan Sue Bertenthal Andrew Bloomgarden * David C. Bodette Emily Bovan Melanie Boozell Briana Brickner-York * Tom Brown Carol Burgman Alison Celigoi Ashley Cesaratto Tianying Chen Thespina Christulides * Chelsea Cockburn Michael J. Conway Hannah Cranville Barbara Crigler Charles Colton Croskey Fred Cullen Stephanie Sue Curtice * Beth Damesimo Anthony DeMartino Deborah Dimasi Charlotta Dragenflo Lynn Streater Dunbar Lauren Corcoran Emrich ** Colin Farley Benjamin Filippone Brian Filtz Victoria Fisher Zanna Fredland * Andrew Frey Samuel Froehlich **
Mary Kay Gottermeyer Kimberly S. Graham Jeffrey Gross * Theresa Vosko Haas Sheryl Harbaugh Nathan Hart * Timothy Heavner Kyla Ann Heller Caleb Hixon Tricia Hixon Al Hogan Tyler Humphries-Randolph Matthew Hunt Mary Jane Jacques Edward Jaicks Sydney Kaczorowski Maia Kamenova Kane Karsteter-McKernan Daniel Kaupa Hayden Keefer * Laura Kingsley Johanna Knapic Susan Komlyn Yangming Kou Anna Lahti * Matthew J. Lamberti Emily Leal-Santiesteban M. Denice Leonard George Libby Liāna Dz. Alksnīte Lloyd Paul Long Adam Loucks * Jonathan A. MacDonald * Thomas Maddigan Emily Marinan Timothy Marquette * Roy J. Matway Kelli M. McElhinny J. Patrick McGill John Milnthorp Bethany Mingle Gina Morgano *
John Murmello Ernie Nelson Scott M. O’Neal * Susan K. Oerkvitz Cynthia Ortiz * Susan Ouchis Ann Paulini D.J. Pickell Gregory Popcak Lucky T. Rattan * Samantha Rieg Anastasia L. Robinson * Domenic Rodriguez Joe Rogers Gail Elizabeth Roup * MaryBeth Salama JoAnn Salzman Janet Sarbaugh Jeffrey Siegfried MaryColleen Seip John M. Sereno Matthew Soroka George Spencer Teresa Steigerwalt Mayim Stith Scott R. Thistle Christine Thompson Mike Thompson Bill Vandivier Megan Wall Marjorie Weinstock Andrew Wilkinson Rich Williams David L. Wright Larry W. Wright Paul Yeater * Jon Zellhart Joan Zolko * Core Singers ** Core Alternate Singers
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MATTHEW MEHAFFEY, ROBERT PAGE MUSIC DIRECTOR teaches graduate and undergraduate courses in conducting and music literature, and is the 2015 recipient of the Arthur “Red” Motley Exemplary Teaching Award. At the university, Dr. Mehaffey and his colleague Kathy Saltzman Romey oversee a choral program of six graduate students, seven choirs, and over 300 singers. Graduate conducting students under their tutelage have achieved considerable success in a variety of venues, including: the ACDA National Choral Conducting Competition (2015 winner); prestigious conducting masterclasses offered by ACDA, Chorus America, National Collegiate Choral Organization, and the Oregon Bach Festival; presentations at the College Music Society and NAfME Symposia; and by serving as choral leaders in academic institutions and civic ensembles around the country. Dr. Mehaffey has served on the faculties of The George American conductor and educator Matthew Washington University, and Macalester College, Mehaffey is crafting a national reputation in as well as the summer faculties of Westminster the field of choral/orchestral music through his Choir College, and University of St. Thomas. engaging artistry, collaborative spirit, affirming pedagogical style, and entrepreneurial approach He is the co-author of Choral Ensemble to concert programming. Intonation: Methods, Procedures, and Exercises and the co-editor of three volumes of Teaching As a conductor, Dr. Mehaffey serves as Music Music Through Performance in Choir – all for Director of two respected civic choruses, GIA Publications. He is also co-author of the The Oratorio Society of Minnesota and The chapter “A Multiplicity of Voices: Choral Music Mendelssohn Choir of Pittsburgh – the in the United States,” in the internationally “chorus of choice” of the Pittsburgh Symphony released volume, The Cambridge Companion to Orchestra. Each week he leads more than 200 Choral Music. passionate amateur and professional singers in Pittsburgh and St. Paul in the development Dr. Mehaffey holds degrees in music from of concert programs that both celebrate the Bucknell University, Westminster Choir standard choral/orchestral repertoire, and push College, and the University of Arizona, and the boundaries of a traditional choral concerts. is eternally grateful for his formative musical Recent notable professional engagements include mentors William Payn, Kay Payn, James Jordan, work with Washington National Opera, Saint Joseph Flummerfelt, Maurice Skones, and Bruce Paul Chamber Orchestra, Minnesota Orchestra, Chamberlain. He lives in Minnesota with his Czech National Symphony Orchestra, Prague wife Libby and their four children on a hilly Proms, Lyra Baroque Orchestra, VocalEssence, plot of land that reminds him of his hometown Minnesota Chorale, Singers in Accord, and of Pittsburgh, Pennsylvania. He enjoys golf, Turner Network Television. baseball, and cooking in his spare time. Dr. Mehaffey is Professor of Music at the University of Minnesota, where he conducts the University Singers and Men’s Chorus,
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THE PITTSBURGH SYMPHONY ORCHESTRA Now in its 126th season, the Pittsburgh Symphony Orchestra is credited with a rich history of engaging the world’s finest conductors and musicians and demonstrates a genuine commitment to the Pittsburgh region and its citizens. Known for its artistic excellence for more than a century, the Pittsburgh Symphony has been led by its worldwide acclaimed Music Director Manfred Honeck since 2008; past music directors have included Fritz Reiner (1938-1948), William Steinberg (1952-1976), André Previn (1976-1984), Lorin Maazel (1984-1996) and Mariss Jansons (1997-2004).
broadcasts. Manfred Honeck and the Pittsburgh Symphony Orchestra have received multiple GRAMMY® nominations for Best Orchestral Performance, taking home the award in 2018 for their recording of Shostakovich: Symphony No. 5; Barber: Adagio. As early as 1936, the Pittsburgh Symphony has been broadcast on the radio. The orchestra has received increased attention since 1982 through national network radio broadcasts on Public Radio International, produced by Classical WQED-FM 89.3, made possible by the musicians of the Pittsburgh Symphony Orchestra.
The Pittsburgh Symphony is continually at the forefront of championing new American works. The Orchestra premiered Leonard Bernstein’s Symphony No. 1 “Jeremiah” in 1944, John Adams’ Short Ride in a Fast Machine in 1986, and Mason Bates’ Resurrexit in 2018 to celebrate Manfred Honeck’s 60th birthday.
Lauded as the Pittsburgh region’s international cultural ambassador, the orchestra began regular touring in 1896 and has embarked on scores of domestic and international tours. In 2019, Music Director Manfred Honeck led the orchestra on an extensive tour of Europe, the 25th in orchestra history.
The two-time 2018 GRAMMY® Award- In the 2021-2022 season, the Pittsburgh winning orchestra has a long and illustrious Symphony will celebrate the 50th anniversary history in the areas of recordings and live radio of Heinz Hall as the home of the orchestra.
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We invite Pittsburgh to experience the musical genius of Beethoven together with the Carnegie Library of Pittsburgh and the Allegheny County Library Association! Each of the free 16 concerts will take place at a Pittsburgh neighborhood library and will provide interactive experiences facilitated by music-educator hosts, symphony musicians, and local librarians and historians, along with a performance of one complete Beethoven quartet played by string musicians of the PSO.
For more information and reservations, visit pittsburghsymphony.org/BIYN SATURDAY, MAY 21, 2022 Beethoven, String Quartet No. 6 in B-Flat Major, Opus 18, No. 6 2:00 p.m. CLP Lawrenceville 279 Fisk Street Pittsburgh, PA
WEDNESDAY, MAY 4, 2022 String Quartet No. 1 in F Major, Opus 18, No. 1 7:00 p.m. Museum Lab 6 Allegheny Square East Pittsburgh, PA SATURDAY, MAY 7, 2022 String Quartet No. 2 in G Major, Opus 18, No. 2 2:00 p.m. CLP West End 47 Wabash Street Pittsburgh, PA SATURDAY, MAY 14, 2022 String Quartet No. 5 in A Major, Opus 18, No. 5 2:00 p.m. Carnegie Library of McKeesport 1507 Library Avenue McKeesport, PA MONDAY, MAY 16, 2022 Beethoven, String Quartet No. 4 in C minor, Opus 18, No. 4 5:30 p.m. C.C. Mellor Memorial Library 1 Pennwood Avenue Pittsburgh, PA TUESDAY, MAY 17, 2022 Beethoven, String Quartet No. 3 in D Major, Opus 18, No. 3 5:30 p.m. CLP Beechview 1910 Broadway Avenue Pittsburgh, PA
WEDNESDAY, JUNE 1, 2022 String Quartet No. 7 in F Major, Opus 59, No. 1 5:30 p.m. CLP Hazelwood 5006 Second Avenue Pittsburgh, PA SATURDAY, JUNE 4, 2022 Quartet No. 10 in E-Flat Major, Opus 74, “Harp” 2:00 p.m. CLP South Side 2205 E. Carson Street Pittsburgh, PA MONDAY, JUNE 6, 2022 String Quartet No. 8 in E minor, Opus 59, No. 2 5:30 p.m. Oakmont Carnegie Library 700 Allegheny River Blvd. Oakmont, PA TUESDAY, JUNE 7, 2022 String Quartet No. 9 in C Major, Opus 59, No. 3 5:30 p.m. CLP Hill District 2177 Centre Avenue Pittsburgh, PA SATURDAY, JUNE 11, 2022 Beethoven, String Quartet No. 11 in F minor, Opus 95, “Serioso” 2:00 p.m. CLP Mt. Washington 315 Grandview Avenue Pittsburgh, PA
TUESDAY, JUNE 21, 2022 String Quartet No. 12 in E-Flat Major, Opus 127 5:30 p.m. Carnegie Free Library of Swissvale 1800 Monongahela Avenue Swissvale, PA THURSDAY, JUNE 23, 2022 String Quartet No. 15 in A minor, Opus 132 5:30 p.m. Carnegie of Homestead 510 East 10th Avenue Munhall, PA MONDAY, JUNE 27, 2022 String Quartet No. 14 in C-sharp minor, Opus 131 5:30 p.m. CLP Main (Oakland) 4400 Forbes Avenue Pittsburgh, PA TUESDAY, JUNE 28, 2022 String Quartet No. 13 in B-Flat Major, Opus 130 5:30 p.m. CLP Homewood 7101 Hamilton Avenue Pittsburgh, PA WEDNESDAY, JUNE 29, 2022 String Quartet No. 16 in F Major, Opus 135 5:30 p.m. Andrew Carnegie Free Library 300 Beechwood Avenue Carnegie, PA
THE LIBRARY PROJECT IS SUPPORTED, IN PART, BY:
BEETHOVEN IN YOUR NEIGHBORHOOD IS SUPPORTED, IN PART, BY:
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CATHARINE M. RYAN AND JOHN T. RYAN III
GRAMMY NOMINATED! HEAR SYMPHONY NO. 5 LIVE IN FEB. 2023!
GRAMMY NOMINATED!
COMING SOON!
We know Beethoven.
Complete your collection online at www.pittsburghsymphony.org/shop
PITTSBURGHSYMPHONY.ORG 2021-2022 SEASON
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DAULER HEARING LOOP: A system to provide better sound to hearing aid and cochlear implant users.
If you use a hearing aid or have a cochlear implant, you can have an improved listening experience at Heinz Hall concerts and events! The Dauler Hearing Loop runs throughout the auditorium, with the exception of the Orchestra pit, first four Orchestra level rows and Grand Box left. The hearing loop system also is installed at the Heinz Hall Box Office windows, allowing you to hear the amplified voice of Box Office personnel directly through t-coil enabled hearing aids. VISIT OR CALL THE HEINZ HALL BOX OFFICE AT 412.392.4900 WITH ANY QUESTIONS. The Dauler Hearing Loop is named for late Pittsburgh Symphony Orchestra trustee L. Van V. Dauler, Jr and was made possible through a gift from Randi & L. Van V. Dauler, Jr. and the Emma Clyde Hodge Memorial Foundation.
TO USE THE DAULER HEARING LOOP: If you have a hearing aid or cochlear implant with a telecoil (t-coil) you need to make sure the t-coil is activated and properly set by your audiologist. You can then activate the setting once in Heinz Hall. If you are not sure if your hearing aid has a t-coil or if you experience difficulty and require assistance, please contact your audiologist. Sound heard through telecoils can vary from hearing aid to hearing aid and according to position in the theater. Generally, the best signal is found when you sit in the center of a row and facing toward the stage. If you need further assistance in selecting the best seats, please contact the Heinz Hall box office.
HEINZ HALL POLICIES
Heinz Hall, owned and operated by Pittsburgh Symphony Inc., is committed to the safety and well-being of all guests and patrons, and aims to provide a safe, comfortable and enjoyable entertainment experience.
ENTRANCE SECURITY POLICY All audience members are required to enter through state-of-the-art “free-flow” scanning equipment, designed both to enhance security and convenience. Patrons using wheelchairs and mobility devices will enter via a door adjacent to the screening equipment for alternative screening. Patrons with children in strollers may enter through the screening equipment.
of this policy. Violators of this policy may be subject to ejection from Heinz Hall and/or civil or criminal penalties. The only exception to this policy is sworn law enforcement personnel and private security officers employed and/or contracted by Pittsburgh Symphony Inc.
BAG POLICY Heinz Hall reserves the right to search any bags entering the facility. Oversized bags must fit comfortably under a seat to ensure the safety of WEAPONS POLICY patrons entering or exiting seats and Weapons are not permitted in the aisles. Bags failing to meet these venue and/or public spaces owned requirements must be checked and or operated by Pittsburgh Symphony pass a security search, or you must Inc., including Heinz Hall. Any item remove the bags from the Hall. that could endanger public safety is SMOKING POLICY considered a weapon for purposes Heinz Hall is a smoke/vapor free
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facility. (Smoking is permitted in the Heinz Hall Garden Plaza)
FOOD AND BEVERAGE POLICY Outside food or alcoholic beverages are prohibited. Patrons are permitted to bring in one sealed clear plastic water bottle which may only be consumed in designated areas and may not be consumed in the auditorium. COSTUME POLICY Heinz Hall does not permit costume masks of any kind or facsimiles of weapons that would make other guests feel uncomfortable or detract from the concert experience. Guests are welcome to attend certain programs, (e.g. The Music of Harry Potter or The Music of Star Wars) in costume.
HEINZ HALL INFORMATION
ACCESSIBLE SEATS are available with companion seats. There is a level entrance and route to the main floor of the auditorium. Contact the box office for the location of the companion seats. HEINZ HALL BOX OFFICE HOURS are Monday through Friday, from 9 a.m. to 6 p.m; Saturday from noon to 4 p.m. Weekend hours vary based on performance times. Tickets may be purchased by calling 412.392.4900 and are also available at the Theater Square Box Office. BRAILLE AND LARGE PRINT PROGRAMS are available at the concierge desk for all BNY Mellon Grand Classics, PNC Pops, Fiddlesticks Family Series and Sensory-Friendly performances.
CHILDREN are encouraged to attend our youth concerts and Fiddlesticks Family Concerts. Children age six and over, are welcome at all performances with a purchased ticket. The Latecomer’s Gallery and lobby video monitors are always options for restless children. CONCIERGE SERVICE is available in the Entrance Lobby to assist with your questions and to help with dining, hotel, entertainment and transportation concerns. [Penny Vennare, Event Supervisor; Barbara Smorul, Concierge.]
DAULER HEARING LOOP to be used with hearing aid telecoil settings, portable assistive listening devices are available. Please see the ushers for assistance or contact the box office for the best locations for using the hearing loop. DRESS CODE for all concerts is at your personal discretion and ranges from dress and business attire to casual wear. ELEVATOR is located next to the Grand Staircase.
EMERGENCY CALLS can be referred to the concierge desk at 412.392.2880.
FIRE EXITS are to be used ONLY in case of an emergency. If the fire alarm is activated, follow the direction of Heinz Hall ushers and staff to safely evacuate the theater.
LOST AND FOUND items can be retrieved by calling 412.392.4844 on weekdays from 10 a.m. to 5 p.m. MOBILE DEVICES should be turned off and put away upon entering the theater.
PHOTOGRAPHY, video, or audio recording of the performance is prohibited at all times, unless otherwise noted.
PRE-PAID PARKING is available to all ticketholders in the Sixth & Penn garage across from Heinz Hall. Ask about prepaid parking when you order your tickets.
MEN’S AND WOMEN’S RESTROOMS are located on the Lower, Grand Tier and Gallery levels. Additional women’s restrooms are located off the Garden and Overlook rooms. Accessible restrooms are located on the Grand Tier level and a family/accessible restroom is available on the Main Floor.
GROUPS can receive discounted tickets, priority seats, personalized service and free reception space. For more information, call 412.392.4819 or visit our website at SMOKING is not permitted pittsburghsymphony.org/groups for in Heinz Hall. The garden is information. accessible during performances for this purpose. LATECOMER’S GALLERY is located behind the Main Floor SUPPORTING THE PSO to enjoy the performance until you AND HEINZ HALL can be seated. Latecomers will be is critical to the financial future of the seated at suitable intervals during Pittsburgh Symphony. Ticket sales the program, at the discretion of only cover a portion of our operating the conductor. The gallery is also costs. To make a tax-deductible gift, available for parents with please contact our Development restless children. department at 412.392.4880 or visit us online at pittsburghsymphony.org LOCKERS are located on the Lower and Gallery levels.
PITTSBURGHSYMPHONY.ORG 2021-2022 SEASON
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