Hollywood Bowl Magazine by California Media Group

AUGUST 2â&#x20AC;&#x201C; 7, 2016

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ANGEL ROMERO

AUGUST

GLADYS KNIGHT

ANDREW MANZE

CONTENTS Welcome to the Hollywood Bowl

Board of Directors

Music & Artistic Director Gustavo Dudamel

Los Angeles Philharmonic

Twenty Years and Counting: A Conversation with Nicholas McGegan

Opening Night: Steely Dan Plays to Sold-Out Crowd

Food + Wine At-A-Glance

News From the LA Phil

Los Angeles Philharmonic Association

SERGIO MENDES

PERFORMANCES MAGAZINE 5

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3/9/16 10:43 PM 7/6/16 4:06 PM

SEASON TICKETS now on sale SEP 7 – OCT 16, 2016

DEC 4, 2016 – JAN 15, 2017

FEB 21 – APR 1, 2017

The Berkeley Repertory Theatre’s production of Amelie, A New Musical. photo by kevinberne.com.

APR 4 – MAY 14, 2017

MAY 16 – JUN 24, 2017

AUG 2 – SEP 10, 2017

years STRIKINGWONDROUSELECTRIC of DYNAMICCOMPELLINGMAGICAL

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RODRIGO Y GABRIELA

AUGUST

CONTENTS

CULTURE CLUB

Endowment Donors

County of Los Angeles Department of Parks and Recreation

A Summer Recipe

Hollywood Bowl Museum

Annual Donors

Program Information (following page 64) Weekly Programs • Program Notes • Artist Biographies

Support the LA Phil

General Information

GEORGE BENSON

NICHOLAS McGEGAN

8 PERFORMANCES MAGAZINE

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Published By SOUTHERN CALIFORNIA MEDIA GROUP Publisher Jeff Levy Editor in Chief Benjamin Epstein Art Director Carol Wakano Production Manager Ellen Melton Editor Suzanne Ennis Web Editor Christina Xenos Production Artist Diana Gonzalez Contributing Designer Heidi Schwindt Advertising Director Lyle Laver Account Managers Kerry Brewer, Heather Heintz, Julie Hoffman, Jessica Levin Poff, Heather Price, Crystal Sierra Business Manager Leanne Killian Riggar Advertising Services Dawn Kiko Cheng

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For information about advertising and rates, call Southern California Media Group 3679 Motor Ave, Suite 300 Los Angeles, CA 90034 tel: (310) 280-2880 fax: (310) 280-2890 Visit Performances Magazine www.Showgoer.com

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©2016 Coldwell Banker Real Estate LLC. Coldwell Banker®, Previews® and Coldwell Banker Previews International are registered trademarks licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company. Equal Housing Opportunity. Owned And Operated By a Subsidiary of NRT LLC. Broker does not guarantee the accuracy of square footage, lot size or other information concerning the condition or features of property provided by seller or obtained from public records or other sources, and the buyer is advised to independently verify the accuracy of that information through personal inspection and with appropriate professionals. Coldwell Banker®, the Coldwell Banker Logo, Coldwell Banker Previews International® and the Coldwell Banker Previews® International Logo, are registered service marks owned by Coldwell Banker Real Estate LLC. CalBre: 00465013

PERFORMANCES MAGAZINE is published monthly by Southern California Media Group to serve theatrical attractions throughout the west. © 2016 Southern California Media Group. All rights reserved. Southern California Media Group 3679 Motor Avenue, Suite 300, Los Angeles, CA 90034 Telephone: (310) 280-2880 FAX: (310) 280-2890

10 PERFORMANCES MAGAZINE

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PLÁCIDO DOMINGO opens the 2016/17 season with JAMES CONLON conducting a new production by Tony Award winner DARKO TRESNJAK 7 SHOWS ONLY OPENS SEP 17 LAOpera.org | 213.972.8001

GIUSEPPE VERDI’s

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WELCOME

GREETINGS FROM THE LA PHIL The start of the Bowl season marks the official beginning of summer for generations of music lovers across Los Angeles. This year, we celebrate the LA Phil’s 95th Bowl season and Gustavo Dudamel’s seventh as Music & Artistic Director at the Bowl. The Hollywood Bowl holds special meaning for Dudamel, who made his U.S. debut at the venue just over a decade ago and marked his arrival as Music Director with ¡Bienvenido Gustavo!, a historic, day-long community concert. The Bowl has played host to his most beloved initiatives – from YOLA to Americas & Americans – ever since. This summer, Dudamel returns with concert performances of Puccini’s beloved Tosca and classic American musical West Side Story. He will be joined by the ever-spectacular pianists Lang Lang and Yuja Wang in performances of Tchaikovsky’s Piano Concerto No. 1 and Gershwin’s Rhapsody in Blue respectively, and round out his appearances with a program of Latin American music. The classical season also includes the return of LA Phil Associate Conductor Mirga Gražinyte ˙-Tyla with a Beethoven and Ravel program, featuring pianist Jean-Yves Thibaudet. Since her stunning Bowl debut in 2014, Mirga has become one of the mostwatched young conductors in the world and, earlier this year, was appointed Music Director of the City of Birmingham Symphony Orchestra – a position famously held by Sir Simon Rattle and Andris Nelsons, among others. Joining a roster of classical music’s finest performers are critically acclaimed artists from the worlds of jazz, world music, Broadway, and pop. We are thrilled to welcome back Principal Conductor of the Hollywood Bowl Orchestra Thomas Wilkins, as well as legendary musician Herbie Hancock in his seventh season as Creative Chair for Jazz. Thank you for joining us this evening and for making the Hollywood Bowl your summertime music destination. Enjoy the concert.

Finally! It’s time for the Hollywood Bowl season. Time to come to this magical place that defines summer for so many of us. Those of you who have been with us over past years know that the Hollywood Bowl tries to introduce something new with each summer season. What’s new this year is Hollywood Bowl Food + Wine. An evening at the Bowl is more than a great concert. It’s an entire experience when you add dinner with your family, a glass of wine with friends, or some popcorn on a movie night. Our new culinary team, led by local restaurateurs Suzanne Goin and Caroline Styne of Lucques, a.o.c., Tavern, and The Larder, have reimagined the Bowl food experience in order to provide something for all tastes and every tradition. Whether dining at one of our on-site restaurants, ordering supper in your box seats, or grabbing something from our street food options or marketplaces for your picnic, it’s fresh, new, and delicious! We offer special congratulations to Suzanne Goin on receiving the 2016 James Beard Award for Outstanding Chef! How lucky we are to have her at the Bowl. As always, we extend our thanks to all members of the Los Angeles County Board of Supervisors, County Chief Executive Office, the Department of Parks and Recreation, the Metropolitan Transportation Authority, and the Los Angeles County Arts Commission. We acknowledge our foundation, corporate, and media partners who provide such immense support to each concert you enjoy on the Bowl stage. This beautiful Los Angeles County Park has been the summer home of the Los Angeles Philharmonic for 95 years and host to thousands of artists in all genres of music. We continue the tradition this year and hope you will join us often. Thank you for being here with us tonight and all summer. Welcome back, and enjoy the show!

Deborah Borda President and Chief Executive Officer Los Angeles Philharmonic Association David C. Bohnett Presidential Chair

Gail Samuel Executive Director Los Angeles Philharmonic Association

12 PERFORMANCES MAGAZINE

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THE YACHT-MASTER The emblematic nautical watch embodies a yachting heritage that stretches back to the 1950s. It doesn’t just tell time. It tells history.

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WELCOME

A MESSAGE FROM SUPERVISOR SHEILA KUEHL

I am delighted to welcome you all to our wonderful Hollywood Bowl. This Summer 2016 concert season sets out a rich and varied lineup of pop, jazz, classical, Broadway, and, of course, fireworks! I am the proud steward of many great public institutions in L.A. County, but the Bowl is very special to me. As the largest natural outdoor amphitheater in the country, and one of the jewels in our renowned collection of unique and celebrated arts venues, the Bowl is an architectural icon in its own right. For nearly 100 years, residents and visitors have come to the Bowl to enjoy these incredible performances under the stars. I have been coming here every summer since I can remember, and there are few things I love more than a summer night at the Bowl – good food and music with friends and family. So, whether you are a long-time or first-time concertgoer, add to your storehouse of great Bowl memories by making some new ones tonight. They will last you a lifetime! Thank you so much for your support. I am proud and grateful to have been given the opportunity to represent and serve the District that contains this great Los Angeles icon. My best to everyone for an enjoyable program! Sheila Kuehl Supervisor, Third District County of Los Angeles

14 PERFORMANCES MAGAZINE

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LEADERSHIP

LOS ANGELES PHILHARMONIC ASSOCIATION BOARD OF DIRECTORS CHAIR

DIRECTORS

Diane B. Paul*

Julie Andrews Wallis Annenberg David N. Barry, III Thomas L. Beckmen Lynn A. Booth Linda Brittan David A. Clark Mark Houston Dalzell* Mari L. Danihel Donald P. de Brier* Kenneth M. Doran Louise D. Edgerton Lawrence N. Field* Nathan Frankel Joshua Friedman Cecilia Aguilera Glassman Jennifer Miller Goff Ellen Goldsmith-Vein Lenore S. Greenberg Carol Colburn Grigor Pierre Habis Teena Hostovich John F. Hotchkis* Jonathan Kagan* Kenneth Kamins* Darioush Khaledi

PRESIDENT AND CHIEF EXECUTIVE OFFICER Deborah Borda DAVID C. BOHNETT PRESIDENTIAL CHAIR

VICE CHAIRS David C. Bohnett* Jerrold L. Eberhardt* Jane B. Eisner*

David Gindler* John V. Mallory* Jay Rasulo*

Ronald Litzinger Kevin MacCarthy Bowen H. “Buzz” McCoy Gretchen McNally David Meline Margaret Morgan Younes Nazarian Leith O’Leary William Powers Barry D. Pressman, M.D.* Dudley A. Rauch* Christopher Rising Ann Ronus Jennifer Rosenfeld Laura Rosenwald Nancy S. Sanders* Eric L. Small Christian Stracke Ronald D. Sugar* Jack Suzar Sue Tsao Jonathan Weedman Alyce de Roulet Williamson Irwin Winkler Marilyn Ziering

HONORARY LIFE DIRECTORS Royce Diener Frank Gehry

Ginny Mancini Rocco C. Siciliano

as of June 1, 2016 *Executive Committee Member

16 PERFORMANCES MAGAZINE

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José Iturbi Foundation Hollywood Bowl

José Iturbi and Frank Sinatra relaxing in a private moment before the evening’s performance at the Hollywood Bowl (August 14, 1946). They began their lifelong friendship on the set of MGM’s, Anchors Aweigh (1945). Both famous artists, Iturbi and Sinatra, enjoyed playing practical jokes. They shared a great friendship and camaraderie for more than thirty years, until Iturbi’s death in 1980.

The José Iturbi Foundation

is proud to sponsor

José Iturbi, the world renowned concert pianist and conductor, performed before sold-out audiences from the 1930’s through the 1970’s.

Los Angeles Philharmonic Gustavo Dudamel, Conductor Yuja Wang, Piano

The José Iturbi Foundation honors Iturbi’s passion for classical music and celebrates his legacy.

GERSHWIN SYMPHONIC SUITE PORGY AND BESS RAVEL CONCERTO IN G GERSHWIN RHAPSODY IN BLUE RAVEL BOLÉRO

Thursday, July 21, 2016 The Hollywood Bowl

“Popularizing classical music… one note at a time.” www.joseiturbifoundation.org

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F O U N D AT I O N

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A BOUT THE LA PHIL

GUSTAVO DUDAMEL As an internationally renowned symphonic and operatic conductor, Gustavo Dudamel is motivated by a profound belief in music’s power to unite and inspire. He currently serves as Music & Artistic Director of the Los Angeles Philharmonic and Music Director of the Simón Bolívar Symphony Orchestra of Venezuela, and the impact of his leadership extends from the greatest concert stages to classrooms, cinemas, and innovative digital platforms around the world. Dudamel also appears as guest conductor with some of the world’s most famous musical institutions: in 2017, he tours Europe with the Berlin Philharmonic and is the youngest-ever conductor to lead the Vienna Philharmonic’s famous New Year’s Day Concert, watched annually by over 50 million people in 90 countries. In September, he will enter his eighth season as Music & Artistic Director of the Los Angeles Philharmonic; his contract has been extended to the end of the 2021/2022 season. At Dudamel’s initiative, the Los Angeles Philharmonic has dramatically expanded the scope of its community outreach programs, including most notably the creation of Youth Orchestra Los Angeles (YOLA), influenced by the philosophy of Venezuela’s admired El Sistema, which encourages social development through music. With YOLA and diverse local educational initiatives, Dudamel brings music to children in underserved communities of Los Angeles. These programs have in turn inspired similar efforts throughout the United States, as well as in Sweden (Hammarkullen) and Scotland (Raploch). As Music Director, his 18th season, of the entire El Sistema project in Venezuela, he continues to lead the Simón Bolívar Symphony Orchestra in Venezuela as well as on tour. Recordings, broadcasts, and digital innovations are also fundamental to Dudamel’s passionate advocacy for universal access to music. A Deutsche Grammophon artist since 2005, Grammy winner Gustavo Dudamel has numerous recordings on the label, as well as many video/DVD

releases that capture the excitement of significant moments of his musical life. He has independently produced an all-Wagner recording available exclusively for download, among others. Gustavo Dudamel is one of the most decorated conductors of his generation. He received the Americas Society Cultural Achievement Award in 2016, and the 2014 Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society from the Longy School. In 2013 he was named Musical America’s Musician of the Year and inducted into the Gramophone Hall

of Fame. Other awards include the 2010 Eugene McDermott Award in the Arts at MIT; 2009 Chevalier de l’Ordre des Arts et des Lettres and being named one of Time magazine’s 100 most influential people; and the 2008 “Q” Prize from Harvard. Additionally, he has received several honorary doctorates. He was born in 1981 in Venezuela, and access to music for all has been the cornerstone of Gustavo’s philosophy both professionally and philanthropically. For more information about Gustavo Dudamel, visit his official website: gustavodudamel.com.

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Restrictions apply. No black-out dates for first visit. For Annual Pass black-out dates go to UniversalPassMember.com. Pass valid for 12 months from first visit. Pass does not guarantee admission to the Park on high attendance days. Park, lands, attractions or entertainment subject to change or closure, including for capacity, refurbishing, weather, force majeure, and special events. No cash value. The person using this Pass or ticket assumes all risk of personal injury and loss of property. Universal Management reserves the right to revoke the license granted by this Pass or ticket. Universal Management interpretation is final. Pass or ticket is non-transferable after first visit, non-refundable, and cannot be combined with other offers, separately ticketed events, discounts, Halloween Horror Nights, or per capita sightseeing tours. HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. Harry Potter Publishing Rights © JKR. (s16) ©2016 Universal Studios. All Rights Reserved. 16-ADV-19001

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A BOUT THE LA PHIL

LOS ANGELES PHILHARMONIC The Los Angeles Philharmonic, under the leadership of Music & Artistic Director Gustavo Dudamel, is invested in a tradition of the new, through a commitment to foundational works and adventurous explorations. Both at home and abroad, the Philharmonic is leading the way in ground-breaking programming. 2015/16 marks the orchestra’s 97th season. More than 250 concerts are either performed or presented by the Philharmonic each season at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl. During its 30-week winter subscription season at Walt Disney Concert Hall, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the symphonic music experience and delve further into certain artists’ or composers’ work. The organization’s commitment to the music of our time is evident throughout the season programming, as well as in the exhilarating Green Umbrella series and the LA Phil’s extensive commissioning initiatives.

Since 2003, the LA Phil’s home has been the inimitable Frank Gehry-designed Walt Disney Concert Hall, which embodies the energy, imagination, and creative spirit of the city of Los Angeles and its orchestra. Praise for both the design and the acoustics of the Hall has been effusive. The orchestra’s involvement with Los Angeles extends far beyond symphony concerts in a concert hall, with performances in schools, churches, and neighborhood centers of a vastly diverse community. Among its wide-ranging education initiatives is Youth Orchestra LA (YOLA). Inspired by Venezuela’s revolutionary El Sistema, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 700 students from underserved neighborhoods. Always inspired to expand its cultural offerings, the LA Phil each season produces concerts featuring distinguished artists in recital, jazz, world music, songbook, and visiting orchestra performances, in addition to

special holiday concerts and series of chamber music, organ recitals, and Baroque music. Through an ongoing partnership with Deutsche Grammophon, the orchestra has a substantial catalog of concerts available online. In 2011, the Los Angeles Philharmonic and Gustavo Dudamel won a Grammy for Best Orchestral Performance for their recording of the Brahms Symphony No. 4. The Los Angeles Philharmonic was founded by William Andrews Clark, Jr., who established the city’s first permanent symphony orchestra in 1919. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929); Artur Rodzinski (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (19431956); Eduard van Beinum (1956-1959); Zubin Mehta (1962-1978); Carlo Maria Giulini (1978-1984); André Previn (19851989); Esa-Pekka Salonen (1992-2009); and Gustavo Dudamel (2009-present).

20 PERFORMANCES MAGAZINE

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Pterodactyl, Eric Owen Moss Architects Photo © Tom Bonner 2015 www.tombonnerphotography.com

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A BOUT THE LA PHIL

LOS ANGELES PHILHARMONIC Gustavo Dudamel MUSIC & ARTISTIC DIRECTOR WALT AND LILLY DISNEY CHAIR

Esa-Pekka Salonen

VIOLAS Carrie Dennis PRINCIPAL JOHN CONNELL CHAIR

CONDUCTOR LAUREATE

Dale Hikawa Silverman

Mirga Gražinyte ˙-Tyla

ASSOCIATE PRINCIPAL

ASSOCIATE CONDUCTOR ANN RONUS CHAIR

Ben Ullery

John Adams CREATIVE CHAIR

Deborah Borda PRESIDENT AND CHIEF EXECUTIVE OFFICER DAVID C. BOHNETT PRESIDENTIAL CHAIR

FIRST VIOLINS Martin Chalifour PRINCIPAL CONCERTMASTER MARJORIE CONNELL WILSON CHAIR

Nathan Cole FIRST ASSOCIATE CONCERTMASTER ERNEST FLEISCHMANN CHAIR

Bing Wang

ASSISTANT PRINCIPAL

Dana Lawson Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel

CELLOS Robert deMaine

ASSOCIATE CONCERTMASTER

PRINCIPAL BRAM AND ELAINE GOLDSMITH CHAIR

Mark Baranov

Ben Hong

ASSISTANT CONCERTMASTER PHILHARMONIC AFFILIATES CHAIR

ASSOCIATE PRINCIPAL SADIE AND NORMAN LEE CHAIR

Akiko Tarumoto Michele Bovyer

Dahae Kim

Rochelle Abramson Camille Avellano Elizabeth Baker Minyoung Chang Vijay Gupta Mischa Lefkowitz Edith Markman Judith Mass Mitchell Newman Stacy Wetzel

Jonathan Karoly

SECOND VIOLINS Lyndon Johnston Taylor PRINCIPAL DOROTHY ROSSEL LAY CHAIR

ASSISTANT PRINCIPAL

David Garrett Barry Gold Jason Lippmann Gloria Lum Tao Ni Serge Oskotsky Brent Samuel

BASSES Dennis Trembly PRINCIPAL

Christopher Hanulik PRINCIPAL

PICCOLO Sarah Jackson OBOES Ariana Ghez PRINCIPAL

Marion Arthur Kuszyk ASSOCIATE PRINCIPAL

Anne Marie Gabriele Carolyn Hove

ENGLISH HORN Carolyn Hove

PRINCIPAL

Burt Hara ASSOCIATE PRINCIPAL

Andrew Lowy David Howard

E-FLAT CLARINET Andrew Lowy BASS CLARINET David Howard BASSOONS Whitney Crockett PRINCIPAL

Shawn Mouser ASSOCIATE PRINCIPAL

Michele Grego Patricia Kindel

HORNS Andrew Bain

ASSOCIATE PRINCIPAL

ASSISTANT PRINCIPAL

PRINCIPAL JOHN CECIL BESSELL CHAIR

Kristine Whitson Johnny Lee

David Allen Moore

ASSOCIATE PRINCIPAL (VACANT)

FLUTES Denis Bouriakov PRINCIPAL VIRGINIA AND HENRY MANCINI CHAIR

Catherine Ransom Karoly ASSOCIATE PRINCIPAL MR. AND MRS. H. RUSSELL SMITH CHAIR

Elise Shope Henry Sarah Jackson

James Wilt ASSOCIATE PRINCIPAL

Christopher Still RONALD AND VALERIE SUGAR CHAIR

Stéphane Beaulac

TROMBONES David Rejano Cantero PRINCIPAL

ASSOCIATE PRINCIPAL

Herbert Ausman

BASS TROMBONE John Lofton TUBA Norman Pearson TIMPANI Joseph Pereira PRINCIPAL CECILIA AND DUDLEY RAUCH CHAIR

PERCUSSION Raynor Carroll PRINCIPAL

James Babor Perry Dreiman

KEYBOARDS Joanne Pearce Martin KATHARINE BIXBY HOTCHKIS CHAIR

CONTRABASSOON Patricia Kindel

Oscar M. Meza

Jack Cousin Brian Johnson Peter Rofé Frederick Tinsley

PRINCIPAL M. DAVID AND DIANE PAUL CHAIR

James Miller

CLARINETS Boris Allakhverdyan

Mark Kashper

Dale Breidenthal Ingrid Chun Jin-Shan Dai Chao-Hua Jin Nickolai Kurganov Guido Lamell Varty Manouelian Paul Stein Yun Tang Suli Xue

TRUMPETS Thomas Hooten

Gregory Roosa WILLIAM AND SALLY RUTTER CHAIR

Amy Jo Rhine

HARP Lou Anne Neill LIBRARIANS Kazue Asawa McGregor Kenneth Bonebrake Stephen Biagini PERSONNEL MANAGER Jeffrey Neville

LORING CHARITABLE TRUST CHAIR

Brian Drake REESE AND DORIS GOTHIE CHAIR

Ethan Bearman ASSISTANT BUD AND BARBARA HELLMAN CHAIR

The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically. In those sections where there are two principals the musicians share the position equally and are listed in order of length of service. The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

22 PERFORMANCES MAGAZINE

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FEATURE

TWENTY YEARS AND COUNTING: A CONVERSATION WITH NICHOLAS McGEGAN BY DENNIS BADE It was 20 years ago this month that one of the mainstays of summers at the Hollywood Bowl, Nicholas McGegan, made his first appearances in Cahuenga Pass leading the Los Angeles Philharmonic. Tuesday, August 13, 1996, the program offered Mozart’s dramatic Piano Concerto No. 20 with soloist Robert Levin and Schubert’s Symphony No. 5. Thursday, August 15, brought choral works by Bach (Magnificat) and Mozart (Requiem) with the LA Master Chorale. Much has changed in the ensuing years, including an entirely new shell and a nearly new orchestra, with personnel changes bringing fresh talent to the Philharmonic each year. But some things do not change: this month McGegan returns, and the primary focus for Tuesday will be Handel, but the same Mozart concerto reappears Thursday, this time with soloist Garrick Ohlsson. BACK IN THE DAY… McGegan recalls those 1996 rehearsals and concerts with some amusement. “I remember the Schubert very well. Ernest Fleischmann was in charge then, of course, and during rehearsal he was tinkering with the sound. We were playing away and suddenly we heard loud flutes or whatever. It was the same concerto with Bob Levin as this summer with Garrick; I’m working with Levin again this summer in Mozart Piano Concerto No. 24 at the Sarasota Festival.” He notes with pride, “I have maintained close contacts with lots of friends of longstanding. In 1996 it was the LA Master Chorale and now again 20 years later it’s a pleasure to be working with the same chorus. “One amusing recollection from that first summer was in the Bach Magnificat, where there is an alto solo, accompanied by two flutes, about ‘the rich shall be led away.’ During that music a wine bottle fell and

rolled down the steps, and the flutists, the alto, and I (all of us susceptible to getting the giggles) were all trying NOT to laugh, which was very difficult.” The spectrum of music McGegan has performed here over the years has ranged from Arne to Piazzolla, by way of Rameau, Vivaldi, and Bottesini, along with the expected Bach, Handel, Haydn, Mozart, Beethoven, Schubert, and Mendelssohn, but even the “standards” have been spiced in various ways. The conductor recalls a favorite: “Something a bit unusual and fun was the salsa version of The Four Seasons. Violinist Pekka Kuusisto jammed with the salsa band.” That was in 2006. The irrepressible high spirits that make McGegan such a favorite with audiences

and musicians alike also find expression in the conductor’s words of admiration for the Philharmonic. “I feel extremely lucky to have had the opportunity for regular visits with the LA Phil, which is fabulous; over the years there has been a huge influx of young players, and the orchestra has gone from great to greatest.” His comment prompts a question about how the orchestra has adapted over the decades to the approach of an early-music specialist. “What has changed in these 20 years is that musicians then had little experience of period instruments. Now many of the younger players play them and certainly have heard them. It is no longer a foreign language for them. continued on pg. 28

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FEATURE

“My job is to make sure the music is in good order and there’s not too much to discuss, because there’s no time for that. It needs to be very well organized and you have a fantastic music library and the orchestra is well-prepared. My job is to encourage them.”

SHAKESPEARE AT THE BOWL

Featuring actors from Shakespeare’s

Globe Los Angeles Philharmonic • Bramwell Tovey, conductor Iqbal Khan, director • Bill Barclay, adaptation KORNGOLD Much Ado About Nothing Suite SCHMITT Antoine et Cléopatre Suite No. 1 BERLIOZ Roméo et Juliette: “Queen Mab” Scherzo TCHAIKOVSKY Romeo and Juliet All’s well that’s Bramwell in this celebration of the Bard, a collaboration with Shakespeare’s Globe – the acclaimed London theater complex founded by Sam Wanamaker – in honor of the playwright’s death 400 years ago. You’ll revel in classic scenes acted out, and you’ll hear music inspired by the timeless plays.

AUG 30 & SEP 1

PREPARING A PAIR OF PROGRAMS A suitably festive program has been assembled for the first of McGegan’s concerts this month, Tuesday, August 16. In addition to a healthy serving of Handel arias and choruses, the program also includes a suite of the famous Water Music and the complete Music for the Royal Fireworks. What were the factors involved in those plans? “We settled on Handel for this summer once we confirmed that Susan Graham was available. She sang at a PBO [Philharmonia Baroque Orchestra, which McGegan has been directing for just over 30 years] Gala last year. As a matter of fact, she is getting married this summer. She is an L.A. favorite, and I am thrilled she will be here as part of this program, which has all the hits, including the ‘Hallelujah’ Chorus. I can’t wait.” An intriguing program of works by Weber, Mozart, and Schumann devised for Thursday, August 18, represents the latest of many shared ventures bringing together the LA Phil and the Getty Institute. As McGegan explains, “The Getty / LA Phil collaboration was the result of a happy alignment of the planets. [French painter Théodore] Rousseau had musicians as friends and loved music, so we have done some video and I have selected a playlist of music for Getty visitors to the Rousseau exhibit. The Bowl concert includes music the artist loved: “Oberon is filled with twilight wood scenes, the sort Rousseau painted. The ‘Romantic’ Mozart concerto [No. 20] was the favorite of that time. Schumann never went to Paris, but his ‘Rhenish’ Symphony is a series of paintings in music. We are using the new edition of the Schumann, which I have done before.” Will his period-influenced approach to this Romantic score be different? “I will wallow less than some. I like the lean approach to such music. I provide my own music, and the parts are marked. What I want is in the music.”

Dennis Bade is Associate Editor for the Los Angeles Philharmonic Association.

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OPENING NIGHT

STEELY DAN PLAYS TO SOLD-OUT CROWD

The Hollywood Bowl launched its 95th season with the sold-out 2016 Opening Night Concert, featuring Grammy-winning jazz/rock band Steely Dan, Saturday, June 18. Steely Dan, led by founding members Walter Becker and Donald Fagen, first appeared at the Bowl in 1996, and more recently in a 2015 performance. The band, which has sold more than 40 million albums and helped define contemporary American music, shared the stage with the Hollywood Bowl Orchestra (HBO) led by Thomas Wilkins, in its first-ever orchestral collaboration. The Opening Night at the Hollywood Bowl benefit concert raised a record-breaking $1.7 million for the Los Angeles Philharmonic’s many education and community programs, which serve more than 150,000 youth, families, and teachers every year. The Composer Fellowship Program is included in these initiatives, along with Symphonies for Schools and Gustavo Dudamel’s signature program, Youth Orchestra LA (YOLA). The celebratory evening began with Wilkins leading the HBO in Los Angeles-based composer Peter Boyer’s Silver Fanfare, during which a montage of highlights from past Hollywood Bowl Opening

Nights was shown on the Bowl’s video screens. After officially welcoming the audience to the special night, Wilkins introduced the Opening Night Title Sponsor, Wells Fargo; Sponsorship Chairs Lisa Stevens, David DiCristofaro, and Jonathan Weedman; LA Phil Gala Committee Chairs Larry, Lisa, and Robyn Field; and Gala Co-Chairs Alexandra Glickman and Gayle Whittemore. The orchestra continued with Bernstein’s Candide Overture.

(from left) Christian Chivaroli, Tiffany Chivaroli, Sandy Pressman, and Barry Pressman

(from left) Gregory A. Adams with guests Aleta Hancock, Zelda Kennedy, Jim Loduha, Mayling Lopez, and Abel Lopez

(from left) Alexandra Glickman, Gayle Whittemore, Robyn Field, Lisa Field, Raymundo Baltazar, and Jonathan Weedman

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Based on Plautus’s Mostellaria Adapted and Directed by Matt Walker Co-produced by Troubadour Theater Company

Annual Outdoor Theater Production at the Getty Villa The Barbara and Lawrence Fleischman Theater

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OPENING NIGHT

YOUR SUPPORT MAKES A DIFFERENCE From innovative concerts at the Hollywood Bowl and Walt Disney Concert Hall to educational ventures like YOLA (Youth Orchestra L.A.), the LA Phil is improving the lives of thousands of Angelenos each day. Ticket sales cover only a fraction of what it takes to produce our exceptional artistic and educational initiatives, which is why your support makes a difference.

Get involved today! Friends & Patrons

Play your part in ensuring that music thrives in Los Angeles by becoming a member.

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Volunteer Opportunities

Give your time and share your passion.

Wilkins then spoke of the important role of music education in shaping the lives of young people and the background of the Composer Fellowship Program, an innovative two-year immersion program for high school-age composers. Launching its 10th year, CFP was founded in 2007 by Pulitzer Prize-winning composer Steven Stucky. The program provides young artists with unrivaled access to the world’s leading composers and musicians and gives them the tools necessary to pursue a career in music. Following a video showcasing CFP highlights, the HBO, led by Wilkins, performed short works by two alumni Fellows, Anderson Alden’s Lift and Katya Richardson’s Fanfare for Orchestra. The compositions by Alden and Richardson – who came onstage to take bows following their respective pieces – were chosen by an all-star panel of professional composers as part of a CFP alumni competition. The first half of the program concluded with the Los Angeles County High School for the Arts (LACHSA) Vocal Ensemble, along with the HBO and Wilkins, performing Stephen Sondheim’s “Children Will Listen” from Into the Woods. The second half of the concert began with Steely Dan taking the stage, joined by the HBO and Wilkins, for their set, which featured arrangements by Vince Mendoza. Songs included the band’s memorable hits “Night by Night,” “The Caves of Altamira,” “Green Earrings,” “The Royal Scam,” “Aja,” “Deacon Blues,” “Home at Last,” “Josie,” and “Third World Man.” A spectacular fireworks display lit up the summer sky as band and orchestra played “Bodhisattva.” For the encore, Steely Dan returned to the stage for “Kid Charlemagne” with the HBO. A number of film and television personalities, as well as elected and other civic officials, were present to enjoy the benefit concert, including Matt Bomer with partner Simon Halls, Steven Weber, Mark Duplass, California State Assembly Member Adrin Nazarian, and Los Angeles City Councilmember David Ryu, Los Angeles Philharmonic Board Chair Diane B. Paul, Los Angeles Philharmonic CEO & President Deborah Borda, and Los Angeles Philharmonic Executive Director Gail Samuel. Special thanks to Wells Fargo for its generous support of Opening Night.

For details and information about donor benefits, please call 213.972.7557 or visit LAPhil.com/Give.

GUSTAVO DUDAMEL Music & Artistic Director

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FOOD + WINE

NESW EASON THIS

We are thrilled to launch our new culinary program, brought to life by James Beard Award-winning chef Suzanne Goin and business partner Caroline Styne, of celebrated local restaurants Lucques, a.o.c., Tavern, and The Larder.

STREET FOOD & SNACKS

KITCHEN 22

Locations throughout the Bowl grounds feature the diverse multi-cultural foods of Los Angeles: street tacos, burgers, specialty hot dogs, bánh mì, pizza, rotisserie chicken, BBQ, and popcorn.

Burgers, fries, sandwiches, salads, and Spanish Fried Chicken.

THE WINE BAR BY A.O.C. THE BACKYARD

MARKETPLACES Specialty sandwiches, salads, cheese + charcuterie plates, snacks, beer, and wine.

SUPPER IN YOUR BOX SEAT Order ahead for full-service meals from Suzanne’s summer supper menus served in your box seats.

LUCQUES AT THE CIRCLE

THE SWEET SHOP

Fine dining for subscribers of the Pool Circle, with a seasonal madeto-order menu and exceptional wine list, styled from the awardwinning restaurant Lucques.

Candies, cookies, brownies, and rotating artisan baked goods.

Inspired by the gorgeous hills surrounding the Bowl, this newly designed al fresco space has the feel of your coolest friend’s chic backyard. Two large wood-burning grills are the focus of this farmers’ market-driven, family-style restaurant serving shared plates of grilled fish, chops, steaks, grains, greens, and an extensive raw bar.

L.A.’s favorite wine bar comes to life at the Bowl, featuring artisanal cheese and charcuterie, market-fresh salads, grilled fish, and meats. The wine list, curated by Caroline Styne, features only wines that are farmed sustainably, organically, or biodynamically, and are made by small-production, artisanal winemakers. A selection of craft brew and farmers’ market-driven cocktails made with soju and other wine-based liquors complete the offerings.

SEE MENUS AND ORDER AHEAD: HollywoodBowl.com/FoodAndWine • 323.850.1885

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LUXURY PROPERTIES

COAST TO COAST

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NEWS

NEWS FROM THE LA PHIL NEW MUSICIANS Cellist Dahae Kim has joined the Los Angeles Philharmonic as Assistant Principal. Previously she served as Assistant Principal Cello of the Detroit Symphony Orchestra. She has been featured as soloist with the DSO in the Benjamin Lees Concerto for String Quartet and Orchestra led by Leonard Slatkin, and with the Detroit Medical Orchestra performing the Saint-Saëns Cello Concerto No. 1 in 2014.

Trombonist David Rejano Cantero was born in Badajoz (Spain), and initially studied music at the Conservatory in Madrid. Then he moved to the Conservatoire National Supérieur de Musique et de Danse de Paris, with professor Gilles Millière, where he graduated with the Diplôme de Formation Supérieur – Mention très bien à l’unanimité and the Prix Spécial du Jury. He joins the Los Angeles Philharmonic as Principal Trombone this month.

Andre Academy (Spain), and has provided masterclasses all over the world, including Japan, France, Germany, South Korea, Austria, China, and Guatemala. Rejano appears frequently as soloist and teacher at different festivals, such as the Concours National de Trombone de France, the Festival Européen du Trombone (Strasbourg), the Sapporo Festival, the Summer Brass Festival, and the International Trombone Festival. David Rejano Cantero is an Antoine Courtois Artist.

IN MEMORIAM

Dahae completed her studies at the New England Conservatory of Music in 2013 as the recipient of the Gregor Piatigorsky Scholarship, earning bachelor’s and master’s degrees as a student of Laurence Lesser and Paul Katz. She also studied privately with famed cellist Bernard Greenhouse, formerly of the Beaux Arts Trio. She won first place in the 2010 Hudson Valley Philharmonic Strings Competition, returning the following year to perform Shostakovich’s Cello Concerto No. 1. She was a participant at the Tanglewood Music Center for three years and served as Principal Cello of the National Repertory Orchestra in the summer of 2012, where she also performed as soloist in the Lalo Cello Concerto. As a chamber musician she has performed on numerous occasions in Jordan and Ozawa Hall, and coached with members of the Cleveland, Takács, Borromeo, and Juilliard string quartets. Dahae was born in Seoul, Korea, and first studied music with her mother, who taught her piano and violin. She moved to Rockland County, New York with her family at age eight, where she took up cello studies with Irene Sharp and New York Philharmonic cellist Qiang Tu.

As a student, David Rejano Cantero was a member of several youth orchestras, among them the National Youth Orchestra of Spain, the European Union Youth Orchestra, and the West-Eastern Divan Orchestra (with Daniel Barenboim and Pierre Boulez). He has performed as guest Principal Trombone with the Berliner Philharmoniker, the Orchestre National de France, the Orchestre de l’Opéra de Paris, and the Symphonieorchester des Bayerischen Rundfunks, under the direction of conductors such as Kurt Masur, Valery Gergiev, Zubin Mehta, Lorin Maazel, Gustavo Dudamel, Daniel Barenboim, and Andris Nelsons. From 2002 to 2007 David Rejano Cantero was Principal Trombone with the Orquesta Sinfónica de Navarra, from 2007 to 2010 Principal Trombone with the Orquesta del Gran Teatro del Liceo de Barcelona, and from 2010 to 2016 Principal Trombone with the Münchner Philharmoniker. David is very active teaching and giving masterclasses as well as coaching youth orchestras. He teaches at the Brass Academy Alicante and the Maurice

The Los Angeles Philharmonic family was saddened by the passing of former bassist Arni Heiderich on March 27. Heiderich was born June 25, 1927 in Minneapolis, Minnesota, the second son of parents who were both accomplished classical musicians. He was a champion boxer by the age of 18. After serving in the Navy during WWII, he moved to Los Angeles with his family in 1947. A talented violinist, he then took up the string bass, and was eventually hired by Zubin Mehta to join the Los Angeles Philharmonic in 1964, a prestigious career that spanned 35 years, until 1999. He married Lilyan Beggins in 1954 and is survived by their three children. He was pre-deceased by his loving companion of 39 years, Barbara Luthy. Other beloved survivors include Barbara’s three children and their descendants, several nieces and nephews, and their families.

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LISTENING TO MUSIC CAN LOWER YOUR BLOOD PRESSURE.

A BOUT THE LA PHIL

LOS ANGELES PHILHARMONIC ASSOCIATION Deborah Borda

PRESIDENT AND CHIEF EXECUTIVE OFFICER DAVID C. BOHNETT PRESIDENTIAL CHAIR

Gail Samuel

EXECUTIVE DIRECTOR

John Schwerbel

Milo Martin

Ebner Sobalvarro

Richard Martinez

ARTISTIC PLANNING COORDINATOR

ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

CHIEF OPERATING OFFICER

AUDIENCE SERVICES

Chris Ayzoukian

Denise Alfred

Chad Smith

VICE PRESIDENT, PHILHARMONIC AND PRODUCTION

Michael DeMartini VICE PRESIDENT AND CHIEF FINANCIAL OFFICER

AUDIENCE SERVICES REPRESENTATIVE

Gloria Balcom

AUDIENCE SERVICES SUPERVISOR

Grace Chapron

Kathleen Kane

AUDIENCE SERVICES REPRESENTATIVE

Shana Mathur

AUDIENCE SERVICES REPRESENTATIVE

VICE PRESIDENT, PHILANTHROPY

VICE PRESIDENT, MARKETING AND COMMUNICATIONS

Mona Patel

VICE PRESIDENT, HUMAN RESOURCES AND GENERAL COUNSEL

ADMINISTRATION Maxwell Adams

EXECUTIVE ASSISTANT TO THE VICE PRESIDENT AND CFO

Susan Bragg

ADMINISTRATIVE ASSISTANT TO THE PRESIDENT AND CEO

Jacqueline Ferger Linda Holloway

PATRON SERVICES MANAGER

Jennifer Hugus

PATRON / AUDIENCE SERVICES REPRESENTATIVE

Bernie Keating

AUDIENCE SERVICES REPRESENTATIVE

Sarah Mears

AUDIENCE SERVICES SUPERVISOR

Aurelio Minchaca

AUDIENCE SERVICES REPRESENTATIVE

Barbara Morgan

2ND ASSISTANT TREASURER

TICKET SELLER

Mark Primiano TICKET SELLER

Marz Richards

2ND ASSISTANT TREASURER

Patrick Rourke TICKET SELLER

Tom Sheppard

BOX OFFICE TREASURER

Steve Sims

1ST ASSISTANT TREASURER

Kevin Smith

2ND ASSISTANT TREASURER

Mike Salerno

DEVELOPMENT OPERATIONS SPECIALIST

Carina Sanchez RESEARCH ANALYST

Erica Sitko

CAMPAIGN MANAGER

Stefanie Sprester

DIRECTOR, CORPORATE SPONSORSHIP

Derek Traub ASSOCIATE DIRECTOR, GIFT PLANNING AND PRINCIPAL GIFTS

Michelle Vogel

CORPORATE SPONSORSHIP PROJECT MANAGER

Dean Hughes

SYSTEMS SUPPORT SPECIALIST, DESKTOP

Charles Koo

INFRASTRUCTURE MANAGER

Amanda La Pierre

HUMAN RESOURCES COORDINATOR

Pilar Leon

EXECUTIVE ASSISTANT TO THE PRESIDENT AND CEO

Rik Martin

ADMINISTRATIVE SERVICES MANAGER

Jeff Matchan

DIRECTOR OF INFORMATION TECHNOLOGY

Angela Morrell

AUDIENCE SERVICES REPRESENTATIVE

Sherry Wallace

AUDIENCE SERVICES COORDINATOR

Barbara Whitesides

AUDIENCE SERVICES REPRESENTATIVE

Marcus Ake

David Cranton

2ND ASSISTANT TREASURER

Shawn Newmann

Shawana Deloach

EXECUTIVE ASSISTANT TO THE EXECUTIVE DIRECTOR

Sean Pinto

DATABASE APPLICATIONS MANAGER

Miguel A. Ponce, Jr.

ADMINISTRATIVE SERVICES ASSISTANT

Christopher Prince

APPLICATION SUPPORT TECHNICIAN

Manuel Reed

SYSTEMS SUPPORT SPECIALIST, DESKTOP

Jamy Sweet

DATA WAREHOUSE SPECIALIST

Shannon Thal

SENIOR BENEFITS MANAGER

ARTISTIC PLANNING Nate Bachhuber

TICKET SELLER

Matthew Dolce TICKET SELLER

Nancy Fitzgerald

TICKET SELLER (GROUP SERVICES)

Angelia Franco

DIRECTOR, MAJOR GIFTS

SENIOR RESEARCH MANAGER

Mark Wilson TICKET SELLER

EDUCATION

Lili Herrera

1ST ASSISTANT TREASURER

Summer Bjork

Taundewei Hodge

Megan Henschel

MANAGER OF ARTIST SERVICES

Meghan Martineau ASSOCIATE DIRECTOR, ARTISTIC PLANNING

Ayrten Rodriguez

ARCHIVIST

DEVELOPMENT Robert Albini

Joshua Alvarenga

SENIOR MAJOR GIFTS OFFICER

Malorie Barbee

DEVELOPMENT OPERATIONS COORDINATOR

Julia Cole

DIRECTOR, INSTITUTIONAL GIVING AND STEWARDSHIP

Shelley De Leon

MANAGER, GIFT PLANNING

Joseph Feneck

MANAGER, VOLUNTEER ACTIVITIES

Max Giaccone

CORPORATE SPONSORSHIP COORDINATOR

Genevieve Goetz

SENIOR MAJOR GIFTS OFFICER

Julianna Herrera

DONOR RELATIONS COORDINATOR

DIRECTOR, INDIVIDUAL GIVING

Anita Lawson

DIRECTOR, DEVELOPMENT OPERATIONS

Angie Lee

ASSOCIATE MANAGER, SPECIAL EVENTS

Sara Mountjoy-Pepka

ARTIST LIAISON

COLLABORATIVE LEARNING MANAGER

Sarah Little

EDUCATION PROJECT MANAGER

Gretchen Nielsen

DIRECTOR OF EDUCATIONAL INITIATIVES

FINANCE

BOARD LIAISON

ASSISTANT MANAGER, ANNUAL FUND

Stephanie Prom

VOLUNTEER ACTIVITIES COORDINATOR

Susan Erburu Reardon DIRECTOR, GIFT PLANNING

SCHEDULING MANAGER AND PRODUCTION ASSOCIATE

PUBLIC RELATIONS DIRECTOR OF PUBLIC RELATIONS

PUBLIC RELATIONS COORDINATOR

Lisa White

Janice Bartczak

DIRECTOR, RETAIL SERVICES

Nora Brady

DIRECTOR OF MARKETING

Charles Carroll ADVERTISING MANAGER

Joe Carter

DIRECTOR OF SALES AND CUSTOMER SERVICE

Gretchen Citrin ART DIRECTOR

HOLLYWOOD BOWL SUMMER STAFF Chris Donovan VIDEO DIRECTOR

Norm Levin VIDEO DIRECTOR

Nikki Pierce

ASSISTANT STAGE MANAGER

Kenneth Shapiro VIDEO DIRECTOR

Fred Vogler SOUND DESIGNER

Ellen Whalen

ASSISTANT STAGE MANAGER

Jay Winters

LIGHTING DESIGNER

Xyra Aranda

Brian Dawes

Lynn Banal

Cynthia Fuentes

Ida Chan

Paul Gibson

Albert Diaz

John Henken

Jairo Flores

Raymond Horwitz

Tamir Gilboa

Sierra Lever

Kim Kevorkian

Yuko Makuuchi

Hai Tran

STAFF ACCOUNTANT

ASSISTANT CONTROLLER

CONTROLLER / TREASURER

David Cherpin

DIRECTOR OF FINANCIAL PLANNING

Mark Crane

INSURANCE COORDINATOR

Shani French

ACCOUNTS PAYABLE ASSISTANT

Lisa Hernandez

ACCOUNTS PAYABLE SUPERVISOR

Lorena Jimenez PAYROLL COORDINATOR

CREATIVE SERVICES COORDINATOR

MARKETING MANAGER, PROMOTIONS AND PARTNERSHIPS

STAFF WRITER

PUBLICATIONS EDITOR

MANAGER, DIGITAL CONTENT

MARKETING ASSISTANT

ASSISTANT MANAGER, RETAIL OPERATIONS

Teddy Abat LOT MANAGER

Edwin Bonilla

FACILITIES SERVICE MANAGER

LOT MANAGER

VALET PARKING MANAGER

PARKING ADMINISTRATOR

LOT MANAGER

Robert Young

Brant Markley

BOWL SECURITY

Ino Mercado

IATSE LOCAL 33

Debbie Marcelo

MANAGER, AUDIENCE DEVELOPMENT

Barbara Trokan

ASSISTANT MANAGER

Kathy Williams

DIGITAL PRODUCER

MASTER CARPENTER / UNION STEWARD

David Van Norden

Andy Kassan

SENIOR BUDGET ANALYST

PAYROLL SUPERVISOR

STAFF ACCOUNTANT

GRANT WRITER

Jason Horst

2ND ASSISTANT TREASURER (GROUP SERVICES)

ASSOCIATE EDITOR, PUBLICATIONS

Lisa Burlingham

Allison Mitchell

Tomorrow Kitchen

Dennis Bade

Amy Kirkland

2ND ASSISTANT TREASURER (PLAYBOY/SUMMERSOUNDS)

2ND ASSISTANT TREASURER

Bill Williams

PUBLICIST

MARKETING & COMMUNICATIONS

Steven Lacoste

Kimberly Havens 1ST ASSISTANT TREASURER

EDUCATION PROJECT MANAGER

PROGRAM ADVISOR FOR JAZZ

EDUCATION PROJECT MANAGER

ARCHIVES AND MUSEUM DIRECTOR

Sara Kim

Russell Healey

EDUCATION PROJECT MANAGER

Herbie Hancock

ASSOCIATE DIRECTOR, SALES AND MARKETING

Jen Kehs

TICKET SELLER

Angelica Cortez

HOUSE MANAGER

Rada Jovicic

Nathaniel Harris

1ST ASSISTANT TREASURER

SOCIAL INNOVATION MANAGER

Tom Waldron

Ljiljana Grubisic

Christina Hall

ARTISTIC ADMINISTRATOR

CENTENNIAL DIRECTOR

DIRECTOR OF COMMUNITY AND GOVERNMENT AFFAIRS

Noricel Cole Fulay 1ST ASSISTANT TREASURER (GROUP SERVICES)

ASSOCIATE DIRECTOR, PRODUCTION

Andrew Schwartz

TICKET SELLER

EXECUTIVE ASSISTANT TO THE VP OF PHILANTHROPY

Laurel Harris

Jeff Wallace

Darlene Chan, FestivalWest Inc.

TICKET SELLER (GROUP SERVICES)

STAGE MANAGER

Natalie White

Richard Werner

Michael Cocks

APPLICATION SUPPORT TECHNICIAN

Kelvin Vu

Sophie Jefferies

TICKET SELLER (GROUP SERVICES)

Alejandra Cabrales 2ND ASSISTANT TREASURER

DIRECTOR, HOLLYWOOD BOWL OPERATIONS

PRODUCTION MANAGER

WILLIAM POWERS & CAROLYN POWERS CREATIVE CHAIR FOR JAZZ

SENIOR MANAGER, ANNUAL FUND / MEMBERSHIP

Irene Chow

Edgar Tom

Michael Vitale

Richard T. Watkins

TICKET SELLER

PRODUCTION COORDINATOR

ASSOCIATE DIRECTOR, PRODUCTION

SENIOR MANAGER, DEVELOPMENT COMMUNICATIONS

SENIOR MAJOR GIFTS OFFICER

BOX OFFICE – HOLLYWOOD BOWL

Jo Slama

Taylor Saleeby

Jose Villasenor

Randolph Stephen John Tadena

POOL CIRCLE MANAGER

ORCHESTRA PERSONNEL ADMINISTRATOR

2ND ASSISTANT TREASURER

Samantha Ganeku INFRASTRUCTURE ENGINEER

Johanna Rees

Megan McGrath

Fabio Tassone

Loribeth Gregory

Kevin Higa

THEATER MAINTENANCE MANAGER

PRODUCTION MANAGER

Julia Ward

MANAGER, SPECIAL EVENTS

Leni Isaacs Boorstin

AUDIENCE SERVICES SUPERVISOR

George Portillo

Lee Helms

Morgan Walton

TICKET SELLER

Claudia Rhodes

HUMAN RESOURCES MANAGER

TRANSIT MANAGER

ORCHESTRA MANAGEMENT

Sarah Stanley

AUDIENCE SERVICES MANAGER

AUDIENCE SERVICES REPRESENTATIVE

Michael Oliver

Ruben Reyes

ATTORNEY / SENIOR CONTRACTS MANAGER

Ruth Cwik

OPERATIONS COORDINATOR

Kimberley Valentine

Anwar Nasir

AUDIENCE SERVICES REPRESENTATIVE

Gina Leoni

SENIOR WRITER

Phil Bravo

BENEFITS COORDINATOR

ASSISTANT DIRECTOR OF OPERATIONS

ASSOCIATE DIRECTOR OF PRESENTATIONS

COMMUNITY & GOVERNMENT AFFAIRS

Lauren Coakley

Mark Ladd

HOLLYWOOD BOWL & PRESENTATIONS Kerri Bershon

OPERATIONS ADMINISTRATOR, HOLLYWOOD BOWL

Anousone Muongpack ASSISTANT MANAGER, MUSIC BUYER

Michael J. Ruppert

PROJECT MANAGER, TESSITURA IMPLEMENTATION

PROPERTY MANAGER

Gil Samuelian

Jonathan Thomas

MASTER AUDIO-VISUAL

Celeste Tabora

ASSISTANT AUDIO-VISUAL

Kylee Garton

DIRECTOR, DIGITAL INITIATIVES

Brian Grohl

MARKETING COORDINATOR

PROGRAM MANAGER, POPS / MANAGER, HOLLYWOOD BOWL ORCHESTRA

Don Quick

MASTER ELECTRICIAN

ASSOCIATE CREATIVE DIRECTOR

MARKETING DATABASE SPECIALIST

CONCERT MANAGER, HOLLYWOOD BOWL ORCHESTRA AND PRESENTATIONS

ASSISTANT ELECTRICIAN

Natalie Suarez

Laura Connelly

DIRECTOR OF PRESENTATIONS

Dave Cole

Josephine van Willigenburg Fran Wheatley ART DIRECTOR

Michael Sheppard Kevin Wapner

The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers.

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COUNTY OF LOS ANGELES

BOARD OF SUPERVISORS

Michael D. Antonovich Don Knabe Hilda L. Solis CHAIR

Sheila Kuehl Mark Ridley-Thomas Sachi Hamai CHIEF EXECUTIVE OFFICER

COUNTY ARTS COMMISSION

Bettina Korek PRESIDENT

Pamela Bright-Moon VICE PRESIDENT

Betty Haagen SECRETARY

Helen Hernandez EXECUTIVE COMMITTEE

Eric Hanks Constance Jolcuvar Peter Lesnik Claudia Margolis Kathryn McDonnell Alis Clausen Odenthal Norma Provencio Pichardo Claire Peeps David Valdez Hope Warschaw Rosalind Wyman Laura Zucker

The Los Angeles County Arts Commission fosters excellence, diversity, vitality, understanding, and accessibility of the arts in Los Angeles County, encompassing 88 municipalities, and provides leadership in cultural services. The Arts Commission funds 364 nonprofit arts organizations through a two-year $9 million grant program, implements Arts for All, the regional initiative dedicated to ensuring all students receive quality arts education in the County’s 81 public school districts, programs and operates the Ford Theatres, funds the largest arts internship program in the country, and manages the County’s civic art policy. The Arts Commission also produces free community programs, including the Emmy® Award-winning LA County Holiday Celebration for public television. lacountyarts.org.

The Los Angeles Philharmonic Association’s programs are made possible, in part, by generous grants from the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.

EXECUTIVE DIRECTOR

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DONORS

ENDOWMENT DONORS We are honored to recognize donors to our Endowment Fund, whose generosity ensures a living tradition of world-class music at Walt Disney Concert Hall and the Hollywood Bowl. The following list represents contributions to the Los Angeles Philharmonic Endowment Fund.

$25 MILLION Walt and Lilly Disney Foundation

$20 MILLION David Bohnett Foundation

$10 MILLION The Annenberg Foundation Colburn Foundation

$5 MILLION The Eli and Edythe Broad Foundation Lenore S. and Bernard A. Greenberg Fund Terri and Jerry M. Kohl M. David and Diane Paul Ronus Foundation

$2.5 MILLION Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann Dunard Fund USA Carol Colburn Grigor Alfred E. Mann Flora L. Thornton

$1 MILLION Linda and Robert Attiyeh Judith and Thomas L. Beckmen Gordon and Adele Binder Helen and Peter S. Bing William H. Brady, III Richard and Norma Camp Michael J. Connell Foundation The Walt Disney Company Fairchild-Martindale Foundation Eris and Larry Field Kiki and David I. Gindler Mr. and Mrs. Bram Goldsmith Joan and John F. Hotchkis Norman and Sadie Lee Foundation Los Angeles Philharmonic Committee Karl H. Loring Ginny Mancini E. Peter Mauk, Jr./Doyce B. Nunis, Jr. Barbara and Buzz McCoy Elise Mudd Marvin Trust Beatrix and Martin Padway William Powers and Carolyn Powers Cecilia and Dudley Rauch H. Russell Smith Foundation Ronald and Valerie Sugar

$500,000 TO $999,999 Ann and Martin Albert Betty Freeman Gertrude and Arthur Friedman

Monique and Jon Kagan Dorothy and B. Allen Lay Earl and Victoria Pushee William and Sally Rutter Dody Waugh Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

$250,000 TO $499,999 Linda and Maynard Brittan Linda and Abbott Brown Mark Houston Dalzell Margaret and Jerrold Eberhardt Veronica and Robert Egelston Gordon Family Foundation William Randolph Hearst Foundation Yvonne and Gordon Hessler The Kaplan Family Trust Gerald L. Katell Ms. Norma D. Kayser Carrie and Stuart Ketchum The Estate of Raymond A. Lieberman Los Angeles Philharmonic Affiliates Merle and Peter Mullin Jane and Marc Nathanson The Ralph M. Parsons Foundation Nancy and Sidney Petersen Sandy and Barry D. Pressman Rice Family Foundation Robert Robinson Alyce and Warren B. Williamson

$100,000 TO $249,999 Anonymous Rachel and Lee Ault W. Lee Bailey, M.D. Baker Family Trust Deborah Borda Jacqueline Briskin Jane G. Carruthers David A. Clark The James and Paula Coburn Foundation Silvia and Kevin Dretzka Christine and Daniel Ewell Eva G. and William D. Fremont Arnold Gilberg, M.D., Ph.D. Gonda Family Foundation The Estate of Fay Bettye Green Kathryn Kert Green and Mark Green Bud and Barbara Hellman H. Kirkland Jones and Yuri Long-Jones Jo Ann and Charles Kaplan Susanne and Paul Kester Vicki King Sylvia Kunin The L. Franc Scheuer Trust Ann and Edward Leibon Ellen and Mark Lipson Ms. Helen McKenna Minturn Family Foundation National Endowment for the Arts

Soraya and Younes Nazarian Margaret M. Parmaley Edith Peluse Mary Pickford Foundation Sally and Frank Raab Nancy S. and Barry Sanders David and Linda Shaheen Foundation William and Luigina Sheridan Mr. and Mrs. William E.B. Siart Katherine and Thomas Stoever Geoffrey and Margot Tyrrash Wasserman Foundation

$25,000 TO $99,999 Anonymous (2) Mr. Robert J. Abernethy William A. Allison Joe Austin Marie Baier Foundation Angela Bardowell Richard Bardowell, M.D. Alvin W. Bisher Lynn and Otis Booth Dorothy Burke Ann and Tony Cannon Hannah Carter Dee and Robert E. Cody The Colburn Fund Community Foundation Silicon Valley The Geraldine P. Coombs Trust Mr. Allen Don Cornelsen Terry Cox Ginny and John Cushman Marilyn J. Dale Mrs. Barbara A. Davis Nancy and Donald de Brier Dr. and Mrs. Roger DeBard Jennifer and Royce Diener Allan and Diane Eisenman Robert E. Englekirk Ernest Fleischmann Claudia and Mark Foster Lillian and Stephen Frank Tomas Fuller and William Kelly Dr. Suzanne Gemmell Ms. Jeanne M. Giovannoni Paul and Florence Glaser David and Paige Glickman Good Works Foundation Margaret Grauman The Harris Family Foundation Joan Green Harris Trust Anne Heineman Linda Joyce Hodge In and Ki Hong Jean W. Horton Drs. Judith and Herbert Hyman Bernice and Wendell Jeffrey Albert E. and Nancy C. Jenkins Charitable Trust Robert Jesberg and Michael J. Carmody C.W. & Irene Johnson Family Trust Stephen A. Kanter, M.D. Hugh W. Kennedy

Sandra Krause and William Fitzgerald Sarah F. Manson Vicki and Kerry McCluggage Meitus Marital Trust Sharyl and Rafael Mendez, M.D. John D. Millard Diane and Leon Morton Alfren and Arlene Noreen Occidental Petroleum Corporation M. Lee Pearce Ann and Robert Ronus Lois Rosen James M. Rosser Anne and James Rothenberg Donald Tracy Rumford SahanDaywi Foundation Charles I. Schneider and Nancy Barrier Virginia Skinner Living Trust Nancy and Richard Spelke Mary H. Statham Mr. and Mrs. Robert M. Stevens Priscilla and Curtis Tamkin Don Taylor Ms. Fran H. Tuchman Magda and Frederick R. Waingrow Rhio H. Weir Jean E. Willingham Winnick Family Foundation Cheryl and Peter Ziegler Lynn and Roger Zino

LOS ANGELES PHILHARMONIC MUSICIANS Martin Chalifour Brian Drake Barry Gold Christopher Hanulik Ingrid Hutman Gloria Lum Joanne Pearce Martin Kazue Asawa McGregor Oscar M. Meza Mitchell Newman Peter Rofé Meredith Snow Barry Socher Paul Stein Leticia Oaks Strong Dennis Trembly James Wilt Suli Xue We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions up to $24,999, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Development Office at 213.972.7557. Thank you.

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The Art of Performance 2016-17 SEASON Nels Cline Music from “Lovers” plus Big Lazy Bamberg Symphony

with Christoph Eschenbach and Ray Chen - violin

- conductor

Charles Lloyd & The Marvels

Bill Frisell with Reuben Rogers, Eric Harland and Greg Leisz featuring

José González & The Göteborg String Theory Dianne Reeves

Pat Metheny with

Antonio Sanchez, Linda Oh & Gwilym Simcock

Kurt Weill’s Lost in the Stars

Photo: Charles Lloyd by Dorothy Darr

Magnetic Fields 50 Song Memoir

AND MORE...

ALL NEW SEASON

Individual Tickets On Sale Now

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DONORS

CORPORATE, FOUNDATION, AND GOVERNMENT GIFTS We are honored to recognize corporate, foundation, and government donors who generously support the mission of the Los Angeles Philharmonic Association: to perform, present, and promote music in its many varied forms at the highest level of excellence to a large and diverse audience. We are deeply grateful for the following contributions to the Los Angeles Philharmonic and the Hollywood Bowl received between April 2015 and April 2016.

$250,000 AND ABOVE Anonymous Acura American Airlines, Inc. Andy & Bill Concerts, LLP BMW Margaret A. Cargill Foundation Colburn Foundation The Walt Disney Company The Walt and Lilly Disney Foundation Ann and Gordon Getty Foundation

Max H. Gluck Foundation The James Irvine Foundation Legacy Foundation Fund Andrew W. Mellon Foundation MUFG Union Bank, N.A. The Ralph M. Parsons Foundation Rolex Watch USA, Inc. The Rose Hills Foundation The Wallace Foundation Transit Systems Unlimited Inc.

$100,000 TO $249,999 Amgen Foundation Anheuser-Busch Michael J. Connell Foundation The Eisner Foundation Heineken JPMorgan Chase Foundation Los Angeles County Arts Commission

National Endowment for the Arts Pasadena Showcase House for the Arts Rosenthal Family Foundation Toyota Motor Sales U.S.A., Inc. Viking Cruises WINC

$50,000 TO $99,999 City of Los Angeles, Department of Cultural Affairs Edison International The Rosalinde and Arthur Gilbert Foundation Hubert’s Lemonade

The José Iturbi Foundation The Norman and Sadie Lee Foundation Target Corporation

$25,000 TO $49,999 Anonymous The Herb Alpert Foundation Ameriprise Financial California Community Foundation The Capital Group Companies Charitable Foundation Cooper Tire & Rubber Joseph & Bessie Feinberg Foundation

Golden Road Brewing Harman Family Foundation The Adam Mickiewicz Institute as part of the Polska Music program The Barbro Osher Pro Suecia Foundation The Jay and Rose Phillips Family Foundation of California Sunset Marquis

$10,000 TO $24,999 County of Los Angeles Julia Stearns Dockweiler Charitable Foundation Fairchild-Martindale Foundation Ella Fitzgerald Charitable Foundation League of American Orchestras’ Getty Education and Community Investment Grants Program

Morgan Stanley Community Affairs Foundation Kenneth T. and Eileen L. Norris Foundation Sony Pictures Entertainment, Inc. The Specialty Family Foundation Dwight Stuart Youth Fund Warner Bros.

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Holiday Benefit M O N D AY, D E C E M B E R 5 , 2 016 The Beverly Hilton Los Angeles

The Nutcracker D E C E M B E R 9 –18 , 2 016 Segerstrom Center for the Ar ts Costa Mesa

Gillian Murphy and James Whiteside in The Nutcracker. Photo: Rosalie O’Connor.

EXPERIENCE AMERICAN BALLET THEATRE IN SOUTHERN CALIFORNIA

F O R M O R E I N F O R M AT I O N , P L E A S E V I S I T W W W . A B T. O R G / H O L I D AY B E N E F I T O R C A L L ( 212 ) 4 7 7- 3 0 3 0 x 3 2 3 9 .

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COUNTY OF LOS ANGELES DEPARTMENT OF PARKS AND RECREATION

NEWS FROM DIRECTOR JOHN WICKER As you look forward to a wonderful evening under the stars at the iconic Hollywood Bowl, I am proud to say that the Bowl is one of our 179 County parks. The Department is extremely pleased to operate the Bowl through a collaborative partnership with the Los Angeles Philharmonic. Our guiding principle in the Department of Parks and Recreation is Parks Make Life Better! Our team of dedicated employees and volunteers work hard every day to ensure we offer safe, clean, and beautiful facilities with a wide variety of programming opportunities. As we move forward to ensure Parks Make Life Better!, we are undergoing a series of initiatives to enhance the recreational opportunities in Los Angeles County. We recently completed a historic and significant undertaking of a comprehensive Countywide Parks and Recreation Needs Assessment. Under the direction of the Los Angeles County Board of Supervisors, with 40 Steering Committee Members appointed by Board offices, a Technical Advisory Committee, and representatives from cities, advocacy groups, community-based organizations, subject matter experts, and community members at large, a total of 148 community workshops were conducted in just 14 months. This unprecedented effort resulted in the documentation of the highest needs for existing parks and recreation facilities in cities and unincorporated areas, and it clearly identified the scope, scale, and location of park needs throughout Los Angeles County. The information, which will help

direct future park-funding opportunities, can be viewed at lacountyparkneeds.org. Efforts are underway to automate our recreational programming and park rentals. So everyone will soon be able to easily access and sign up for low cost swim lessons and other programs online along with reserving one of our meeting rooms for your next event. And, if you haven’t had a chance, please take a look at our Trails website at trails.lacounty.gov. This comprehensive website provides information on more than 200 miles of multi-use trails within Los Angeles County including elevation, weather, what you will see on the trail, and much more. Thank you for letting me share information about some of our ongoing efforts and commitment to recreational opportunities with you and now, please sit back and enjoy the show!

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National Council of Jewish Women | Los Angeles

Youth Educational Programs and Services Teaching the next generation one child at a time through art and literacy programs in schools, shelters and community-based programs.

Your Donations to NCJW |LA’s Council Thrift Shops Directly Support Our Youth Programs

Donate Today! Make a Difference! Shopping: 10 am–6 pm Donation drop-off: 10 am–5:30 pm 800-400-6259 8 Convenient Locations

www.ncjwla.org CouncilThriftFullPgHBowl.indd 1

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NEWS

BOWL MOBILE APP

YOUR PERSONAL GUIDE Are you wondering what is coming up on the Bowl calendar, or where you can find new culinary treats from Food + Wine? How to find which of your friends are at the concert, or do you want to check out and share photos? The latest version of LA Phil’s Hollywood Bowl app puts everything you need for visiting the Bowl at your fingertips in a completely refreshed, easy-to-use experience. Among the features of the app is a detailed concert calendar, with options to shop for tickets and search concerts by genre. You can also create a list of your favorite concerts and easily access your shows! An interactive map allows you to find exactly what you are searching for by filtering locations. You can explore the huge variety of new culinary options with the Food + Wine section. A new social integration, the app includes a “Find Your Friends” feature, so you can catch up with friends at every event. You can get your photo featured in the app’s #HOLLYWOODBOWL social feed by sharing your tagged images through social media and, of course, connect with the Bowl’s social media accounts through Facebook, Instagram, Twitter, Snapchat, and YouTube. You can discover our most in-demand Bowl Store products and get information about transportation and about the Bowl’s history and museum, as well as its philanthropy initiatives. The Hollywood Bowl app is available for both iOS and Android at Apple’s App Store or Googleplay; or find links at HollywoodBowl.com/connect/mobile.

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wallis16

Photo by ustin Bernhaut

JACK Quartet

THEATER For the Record: Scorsese The American Revolution* Merrily We Roll Along Morgan’s Journey* Kneehigh’s 946: The Amazing Story of Adolphus Tips Edward Albee’s At Home at the Zoo Filter Theatre & RSC’s Twelfth Night Complicite/Simon McBurney’s The Encounter Elephant & Piggie’s We are in a Play!* Peter Brook’s Battlefield The Pride Hershey Felder’s Our Great Tchaikovsky * Theater for Young Audiences

MUSIC

Harlem Quartet Zukerman Trio Kyle Riabko: Bacharach Reimagined

The

JACK Quartet J The Brubeck Brothers Quartet Joyce Yang The KalichsteinLaredo-Robinson Trio Stephen Schwartz

Wallis 2016 2017 Season

Subscribe today for priority seating at TheWallis.org/Subscribe CONNECT WITH US:

TheWallis.org 310.746.4000

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Dan Zanes & Friends Ralph Kirshbaum & Shai Wosner Colburn Piano Extravaganz feat. Thibaudet & Bidini Eddie Palmieri Latin Jazz Septet Andsnes & Hamelin Diane Schuur Santa Cecilia Orchestra Trio Benjamin Grosvenor Brooklyn Rider Gay Men’s Chorus of LA

DANCE

Carmen de Lavallade’s As I Remember it Jacob Jonas The Company Limón Dance Company Paul Taylor Dance Company Matthew Bourne's Early Adventures Ezralow Dance

6/21/16 2:30 PM 7/6/16 4:17 PM

FOOD + WINE

Picnic Bags for the Hollywood Bowl

A SUMMER RECIPE This summer the L.A. food world is alive with buzz about the new food and beverage services at the Bowl. Hollywood Bowl Food + Wine has been developed by the LA Phil with The Lucques Group’s James Beard Award-winning chef Suzanne Goin and business partner Caroline Styne. You may see a run-down of the services on page 36. Here we offer an entrée from them, with comments from Suzanne and Caroline.

BEVERLY HILLS | 310.276.0615

Season the hanger steak with the sliced chile, black pepper, and thyme and let sit out at room temperature at least an hour before grilling.

WESTLAKE | 805.418.1760 *HOLLYWOOD | 323.856.5530* *Complimentary Event Parking with purchase of Picnic Bag from Hollywood location.*

+ In a small bowl, use a fork to mash the butter and Roquefort together until they are well combined. Set aside.

Restrictions apply.

View Menu at TheGrill.com Please Call to Order 24 Hours in Advance

BURBANK | 818.840.6464 CENTURY BLVD | 310.665.0149 SANTA MONICA | 310.309.2170

• 3 pounds hanger steak, trimmed • 1 tablespoon thinly sliced chile de árbol • 1 tablespoon cracked black pepper • 1 tablespoon thyme leaves • 2 tablespoons unsalted butter, softened • 2 tablespoons crumbled Roquefort or other good blue cheese • 1/4 cup extra virgin olive oil • 1 pint cherry tomatoes, cut in half • 1/2 lemon for juicing • 1 tablespoon chopped parsley • 1 tablespoon sliced opal basil • 6 ounces cleaned arugula • Kosher salt and freshly ground black pepper

GRILLED HANGER STEAK WITH ROQUEFORT BUTTER, CHERRY TOMATOES, AND ARUGULA • SERVES 6 • EASY / MEDIUM DIFFICULT — IT’S JUST COOKING THE MEAT CORRECTLY • PREP TIME: 15 MIN • COOK TIME: 20 MIN

Hanger steak is one of my favorite cuts – it has great meaty flavor and satisfying toothy chew. Always a favorite at a.o.c, it works just as well room temperature as it does right off the grill. Just remember to slice the meat against the grain – otherwise the meat can be super chewy. —Suzanne The steak in this recipe gets a big punch of flavor from the luscious Roquefort butter. For me, the ideal pairing is a dark, juicy Syrah from California’s Central Coast. These wines are loaded with black fruit notes and aspects of meat and black pepper that are the perfect companion to this summer picnic entrée. —Caroline

+ When you are ready to cook the meat, brush it lightly with 2 tablespoons olive oil and season with salt. Place the steak on the hottest part of the grill, to get a nice sear on the outside. Cook about 3 minutes, turn the meat a quarter-turn, and cook another minute or two. Turn the meat over, and move it to a cooler spot on the grill. Cook another minute or two for medium rare. Rest the steaks on a wire rack set over a baking sheet.

+ In a small bowl, season the cherry tomatoes with salt and pepper and toss them with 2 tablespoons olive oil, a generous squeeze of lemon juice, and the parsley and basil.

S th

Scatter the arugula on a platter, slice the steak against the grain, and lay the slices over the arugula. Top with dollops of the Roquefort butter and spoon the cherry tomatoes over the top.

Les

The

View Menu at DailyGrill.com Please Call to Order 24 Hours in Advance

52 PERFORMANCES MAGAZINE

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SANTA MONICA COLLEGE PERFORMING ARTS CENTER

16/17

Single tickets now on sale! thebroadstage.com Les 7 Doigts de la Mainâ&#x20AC;&#x2122;s Cuisine & Confessions Theater at The Broad Stage made possible in part by a generous gift from Laurie and Bill Benenson.

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HOLLYWOOD BOWL MUSEUM

NEW EXHIBITION

Group insurance coverage for television production and post production companies.

✓ Over 20 years experience in the television industry ✓ Los Angeles-based, national coverage ✓ Affordable Care Act compliant ✓ Online enrollment

PacFed Benefit Administrators CA License # 0B09747

Find out more!

Visit the Hollywood Bowl Museum for a new exhibition, “Attention Pilots: Hollywood Bowl and the Skies Above.” Opening June 7, 2016, the exhibition looks into the unique and long-standing efforts by the Los Angeles Philharmonic Association, which operates the Hollywood Bowl, to keep the skies above the venue clear. On display are vintage posters and archival video clips. A natural amphitheater in a major metropolis, with few signs of surrounding urbanity, is a rare thing. This exhibition looks into the behind-the-scenes efforts by the Los Angeles Philharmonic to preserve one of the key environmental features of the Hollywood Bowl – a quiet oasis where live music can be heard under the stars in the middle of the buzzing city. The exhibition’s core visual component comes from the ‘no fly’ posters produced since the 1970s by the LA Phil. These posters advise pilots of low-flying airplanes and helicopters to stay away from the venue and reduce noise when the searchlights are on. The exhibition also includes hundreds of small colorful planes hovering above the space between the two floors of the Museum. The Hollywood Bowl Museum is open Tuesday through Friday, 10 AM to 5 PM (off season). Summer season hours are Tuesday – Saturday 10 AM until show time and Sundays 4 PM until show time. The Museum is located on Peppertree Lane immediately on your left as you enter the Bowl grounds from Highland Avenue. For more information, visit HollywoodBowl.com/museum.

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RISE

THE BEST PLACE IN L.A. TO SEE STARS

This is where individuals rise, and through them, we all do. See how CSUN graduates elevate Los Angeles at CSUN.EDU/RISE

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VOLUNTEERS

HOLLYWOOD BOWL SOCIETY

2016–17 MAIN STAGE SEASON

IT'S A NEW DAY

The Hollywood Bowl Society is a dynamic volunteer-based fundraising group dedicated to supporting the Los Angeles Philharmonic’s activities at the Hollywood Bowl. By joining the Hollywood Bowl Society, you can help support the LA Phil’s music education and community programs. MEMBER PRIVILEGES INCLUDE: • Box Seats available for select concerts • Invitations to parties, including the Fourth of July Fireworks Spectacular • Participation in the annual Summer Fundraiser • Invitations to special rehearsals at the Bowl • Special VIP events for Patron and Donor members during the year and during the Bowl season

CINDERELLA | FALSTAFF | LA TRAVIATA

• “Top of the Bowl” events with pre-concert activities at the Volunteer Cottage and seats in the top section of the Bowl • 10% discount at The Bowl Store

dētour

new directions in opera

For more information about this committee and its benefits, please call 323.850.2165 or visit HollywoodBowl.com.

PIOTR BECZALA | SOLDIER SONGS | TRAGEDY OF CARMEN

“A

THIS CHANGES EVERYTHING For best seats, subscribe today Single tickets on sale August 1 SDOPERA.ORG | 619.533.7000 PHOTOS: KINGMOND YOUNG | JEAN-BAPTISTE MILLOT | GLMMR | JOHN RUSSELL

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LA MIRADA THEATRE FOR THE PERFORMING ARTS TICKETS AND SEASON SUBSCRIPTIONS ON SALE NOW!

“INTENSELY EMOTIONAL.” - Variety SEPT 16 – OCT 9, 2016

“A REMARKABLE PIECE OF THEATRE… A MASTERPIECE.”- The London Times OCT 21 – NOV 13, 2016

“KNOCKS YOU BACK ON YOUR HEELS. JUST LIKE LOVE.” - Rolling Stone JAN 20 – FEB 12, 2017

BONUS ADD-ON!

“A RAVISHING FUSION OF DRAMA, DANCE AND SONG.” – LA Times

ONE OF THE MOST ENDURING WORKS OF MUSICAL THEATRE

APR 21 – MAY 14, 2017

JUNE 2 – 25, 2017

MAY 20, 2017

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CITY OF LOS ANGELES

Eric Garcetti MAYOR

Mike Feuer CITY ATTORNEY

Ron Galperin CONTROLLER

CITY COUNCIL Bob Blumenfield Mike Bonin Joe Buscaino Gilbert Cedillo Mitchell Englander Felipe Fuentes Marqueece Harris-Dawson Jose Huizar Paul Koretz Paul Krekorian Nury Martinez Mitch O’Farrell Curren D. Price, Jr. David Ryu Herb J. Wesson, Jr. PRESIDENT

DEPARTMENT OF CULTURAL AFFAIRS

Danielle Brazell GENERAL MANAGER

Hand Carved Pen in Violin Case by Jack Cousin

ORCHESTRATIONS Artisan Gifts by Classical Musicians

CULTURAL AFFAIRS COMMISSION Maria Bell Mari Edelman Javier Gonzalez Charmaine Jefferson Sonia Molina Eric Paquette PRESIDENT

Artisan Gifts Handcrafted By LA Phil Double Bassist & Renowned Fine Art Woodworker Jack Cousin

More online from Jack Cousin & Andrea Comsky

etsy.com/shop/orchestrations 58 PERFORMANCES MAGAZINE

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AHBSP-LAPM-070116-H_BOWL.pdf

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DONORS

ANNUAL FUND The LA Phil is pleased to recognize and thank donors to our Annual Fund. The following list includes donors who have contributed $2,000 or more to the Annual Fund and Special Events between April 2015 and April 2016. The LA Phil gratefully acknowledges Al Mann’s leadership gift of $10 million to make possible the Alfred E. Mann Los Angeles Philharmonic Association Administrative Building.

$200,000 AND ABOVE Anonymous (3) The Blue Ribbon Louise and Brad Edgerton/ Edgerton Foundation Dunard Fund USA Kiki and David I. Gindler Monique and Jon Kagan Music Center Foundation

Diane and M. David Paul Lloyd E. Rigler - Lawrence E. Deutsch Foundation Mr. and Mrs. Robert E. G. Ronus James and Laura Rosenwald/ Orinoco Foundation Wells Fargo Foundation

$100,000 TO $199,999 Lynn A. Booth Linda and Maynard Brittan Mark Houston Dalzell Ms. Mari L. Danihel Nancy and Donald de Brier Jane B. and Michael D. Eisner Mr. Lawrence N. Field Ms. Erika J. Glazer Lenore S. and Bernard Greenberg Mr. and Mrs. James L. Hunter Kenneth Kamins and Judith Selbst Kamins Darioush and Shahpar Khaledi

Terri and Jerry M. Kohl Mr. Robert Kotick Mr. and Mrs. Simon K.C. Li Mr. Kevin MacCarthy and Ms. Lauren Lexton William C. Powers Dudley Rauch Jennifer and Evan Rosenfeld Eva and Marc Stern Christian and Sutton Stracke Alyce and Warren B. Williamson Margo and Irwin Winkler Ms. Marilyn Ziering

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Ronald Litzinger Mr. and Mrs. John V. Mallory Barbara and Buzz McCoy Lisa and Willem Mesdag Diane and Ron Miller Maureen and Stanley Moore Y & S Nazarian Family Foundation Dick and Chris Newman/C & R Newman Family Foundation Peninsula Committee for the Los Angeles Philharmonic Sandy and Barry D. Pressman Barbara and Jay Rasulo Mr. and Mrs. Christopher Rising Nancy S. and Barry Sanders Elizabeth and Justus Schlichting Ken & Carol Schultz Foundation David and Linda Shaheen Ronald and Valerie Sugar Linda May and Jack Suzar Ticketmaster Corporation Sue Tsao Judith and Dr. John Uphold John and Marilyn Wells Family Foundation Wells Fargo Foundation Ellen and Arnold Zetcher

60 PERFORMANCES MAGAZINE HollywoodBowl_social_2016.indd 1

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“Family stereotypes and racial politics clash with reality during a raucous drug intervention!” — The Hollywood Reporter

“Easily one of the funniest plays of the year!” — TheaterMania.com

This barbecue ain’t no picnic.

From Obie and Helen Hayes Award-winning playwright Robert O’Hara and director Colman Domingo, Barbecue skewers any ideas we have about the families we think we know.

TICKETS ON SALE NOW • ON STAGE SEPT 6 – OCT 16 @GEFFENPLAYHOUSE | 310.208.5454

GEFFENPLAYHOUSE.ORG/BARBECUE Geffen Playhouse is a not-for-profit organization dedicated to enriching the cultural life of Los Angeles through plays and educational programs that inform, entertain and inspire.

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DONORS

continued from pg. 60

$25,000 TO $49,999

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Anonymous (2) Mr. Robert J. Abernethy John Adams and Deborah O’Grady Nancy and Michael Alder Miles and Joni Benickes Robert and Joan Blackman Family Foundation Mr. and Mrs. Stephen A. Block The Eli and Edythe Broad Foundation Mr. Ronald W. Burkle Business and Professional Committee for the Los Angeles Philharmonic Association Joseph and Mara Carieri Chevron Products Company James and Paula Coburn Foundation Mr. Richard W. Colburn Donelle Dadigan The Walt Disney Company Geoff Emery Mrs. Danielle Erem Retha Evans and Douglas Diener The Feintech Family Ms. Nancy Ferguson Foothill Philharmonic Committee Joan Friedman, Ph.D. and Robert N. Braun, M.D. Dr. Hilary Garland Alexandra S. Glickman and Gayle Whittemore Liz and Peter Goulds Grundhofer Family Foundation Dwight Hare and Stephanie Bergsma Liz Levitt Hirsch Mr. and Mrs. William H. Hurt International Committee for the Los Angeles Philharmonic Association Bernice and Wendell Jeffrey Tylie Jones Gary Kading Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Terri and Michael Kaplan Paul and Susanne Kester Vicki King Mr. and Mrs. Kenneth N. Klee Leslie Lassiter Renee and Meyer Luskin Theresa Macellaro / The Macellaro Law Firm Manatt, Phelps & Phillips, LLP Barbara and Garry Marshall Liliane Quon McCain Janis B. McEldowney Kelly Sutherlin McLeod and Steven B. McLeod Mr. and Mrs. David Meline Mr. Jack Miller Jenny Miller-Goff Darcie Denkert Notkin and Shelby Notkin Mr. and Mrs. Peter O’Malley Ms. Linda L. Pierce Linda and Tony Rubin Wendy and Ken Ruby Katy and Michael S. Saei Mr. and Mrs. Lee C. Samson Mr. and Mrs. Richard Sandler Carla Sands Mr. and Mrs. Gerry Schwartz SEI Institutional Group Dr. Chester Semel Randy and Susan Snyder Mr. Jeff Soref and Mr. Paul Lombardi Marilyn and Eugene Stein Mrs. Faith F. Strong Mr. Avedis Tavitian Ms. Barbera H. Thornhill Toyota Motor Sales U.S.A., Inc. Mr. Jon Vein and Mrs. Ellen Goldsmith-Vein Mr. and Mrs. John Williams Mr. and Mrs. Farrok Yazdi Mrs. Lillian Zacky Mary Hayley and Selim K. Zilkha

continued on pg. 82

NewYork

62 PERFORMANCES MAGAZINE

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HOLLYWOOD BOWL

AUGUST 2 - 7, 2016 Tango Under the Stars with Dudamel

Gladys Knight • Tower of Power

Stravinsky’s Firebird

P10

Tchaikovsky Spectacular

P16

KCRW’s World Festival

P21

PERFORMANCES MAGAZINE P1

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PROGRAM

TUESDAY AUGUST 2, 2016 8PM

TANGO UNDER THE STARS WITH DUDAMEL Los Angeles Philharmonic Gustavo Dudamel, CONDUCTOR Angel Romero, GUITAR Seth Asarnow, BANDONEÓN Tango Buenos Aires

PIAZZOLLA

Tangazo Lalo SCHIFRIN

Concerto for Guitar and Orchestra No. 2, Concierto de la Amistad Angel Romero I NT E R MI SSI ON GINASTERA

Four Dances from Estancia Los trabajadores agrícolas Danza del trigo Los peones de hacienda Malambo PIAZZOLLA

La muerte del ángel Adiós Nonino Oblivion Libertango Tango Buenos Aires Seth Asarnow

Ofﬁcial Automotive Partner of the Hollywood Bowl

Ofﬁcial Airline of the Hollywood Bowl

Ofﬁcial Cruise Line of the Hollywood Bowl

American Airlines is a proud sponsor of the Hollywood Bowl. Programs and artists subject to change.

Pianos provided by Steinway Piano Gallery – Beverly Hills.

P2 PERFORMANCES MAGAZINE

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ABOUT THE PROGRAM

NOTES BY JOHN HENKEN Astor Piazzolla, almost inevitably, is the tie that binds this Argentine program. Piazzolla learned to play the bandoneón (the button accordion brought to Argentina by German immigrants) as a child in New York. When his family returned to Argentina, he found work in several prominent bands, eventually forming his own tango orchestra. After study with Ginastera and Boulanger, he began to make a radical break with traditional tango music, focusing his work after 1955 on his own small ensembles – tangos for listening rather than for dancing, as he once said, although dance companies around the world use his visceral, highly kinetic music. Most of his roughly 750 works are tangos, but he also composed the musical María de Buenos Aires, several concertos, film scores, and pieces for string quartet. “I had two great teachers,” Piazzolla said, “Nadia Boulanger and Alberto Ginastera. A third I found in the cold room of a pensión, in the cabarets of the ’40s, in the cafés with boxes and orchestras, in the people yesterday and today, in the sound of the streets. This third teacher is called Buenos Aires: it taught me the secrets of the tango.”

TANGAZO Astor Piazzolla (1921-1992) Piazzolla enjoyed tango-related puns and allusions, and Tangazo joins a long list of works such as Tangus Dei, Tangata del alba, Libertango, Tristango, etc. Tangazo opens with chromatic lines grumbling up from basses and cellos into an introduction of searing harmonic intensity. Flute, clarinet, and percussion usher in a jittery tango, first given to the oboe. There are poised lyrical episodes, including a slow section featuring horn solos, but there is an edge to this music not softened by the dying ending. Or at least there should be. Tangazo was first performed in 1970 in Washington, D.C., by the Ensemble Musical de Buenos Aires, not entirely to Piazzolla’s satisfaction. “The Ensemble Musical de Buenos Aires gave a good account of it,” he later recalled, “but somewhere it lost a pinch of

salt and pepper. Those classical musicians are like that – they are from Buenos Aires, Argentineans, and yet it seems that the tango shames them. That is an old division that exists between the classical and the popular. The musicians of the Colón [the legendary Buenos Aires opera house] look at those of the tango as if they were trash. And it should not be so. It is a big lie. Some of the musicians of the Colón deserve to be in the worst nightclub in Buenos Aires. As I have played in some of those places, I can speak with knowledge of the subject.”

ASTOR PIAZZOLLA

CONCERTO FOR GUITAR AND ORCHESTRA NO. 2, CONCIERTO DE LA AMISTAD Lalo Schifrin (b. 1932) “I could say it like the tango says: three friends we always were – Lalo Schifrin, Waldo de los Ríos, and I,” Piazzolla said a few years before he died. “One went the jazz way: Lalo. Another chose folk music: Waldo. And I got into tango. “I was the first to emigrate, in 1954. Lalo I believe left in ’58, also for the United States. Waldo ended up in Spain in the 1960s. We had many things in common. None of us got stuck in the sentimentality of the nostalgia for dulce de leche, the café, or the barbecue. We went looking for a destiny that was closed to us here. “Lalo was drowning in weekend dance gigs. Today he is a figure on a worldwide scale. Three years ago [1987] we reunited [Schifrin had played piano for Piazzolla in Paris in 1955] to record my Concerto for Bandoneón and Orchestra, something that was a thrill for both us.” (That recording, with the composer as soloist and Schifrin conducting the Orchestra of St. Luke’s on Nonesuch, also includes Piazzolla’s Three Tangos for Bandoneón and Orchestra and is still in print.) Schifrin did indeed go the jazz way, coming to the U.S. at the invitation of Dizzy Gillespie, and he is still, 26 years after Piazzolla’s remarks, a figure known worldwide, primarily for his film and television scores. Among his less well-known scores is the 1998 Carlos Saura film Tango, which included a survey of earlier tangos, among them Piazzolla’s Calambre, as well as original jazz tangos by Schifrin.

LALO SCHIFRIN

Schifrin also has a small but distinguished body of concert music, including a guitar concerto written for Angel Romero, which the guitarist premiered at the Hollywood Bowl in 1984, with Neal Stulberg leading the Los Angeles Philharmonic. “The first time I heard Angel Romero’s guitar playing, I was mesmerized not only by his impeccable technique, but also by the passion he has invested in every single note,” Schifrin has written in the score for his new guitar concerto, the Concierto de la Amistad (Concerto of Friendship) dedicated to Romero. “That is why I wrote for him my first guitar concerto a few

PERFORMANCES MAGAZINE P3

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ABOUT THE PROGRAM

years back, which he recorded with the London Philharmonic Orchestra. “But that was not enough for me. Now I have decided to offer him a second concerto in order to continue our musical journey together. This will be not only our tribute to our long friendship, but also an invitation to music lovers, all over, to join us.” “I lost contact with [Schifrin] for a while, but he resurfaced recently,” Romero said in a Classical Guitar magazine interview. “He called and said that he felt inspired to write me a second concerto. I thought it was a great idea. He titled it Concierto de la Amistad. It’s a fantastic work. He finished it in just two months.” The new work stands in the line of its older sibling in its lively rhythmic and metrical games, fresh tunes, and remarkably imaginative scoring, full of enchanting orchestral solos and duos, with the harp a frequent shadow and alter ego to the guitar. It is cast in three clearly and classically structured movements, each with subsections and cadenzas. Also like the older concerto, it makes aural reference to a wide range of influences, particularly Rodrigo – and Rodrigo’s recontextualization of music by the Spanish Baroque composer/guitarist Gaspar Sanz. One reference, important in this context, comes at the end of the guitar’s first solo, with the heavy plucking of the instrument’s six open strings, bottom to top. This is a gesture found in a lot of guitar music, but that sonority is also one of the prime musical symbols that Ginastera used in his early music, including the ballet Estancia, to evoke Argentine gaucho culture.

thing that I would further develop with Nadia Boulanger in Paris. I spent almost five years with him, and I remember that time not only because of the technique I learned but the humanism he taught me. “Alberto used to say that a musician could not just stay in his scores. He would say that a musician has to know about painting, literature, theater, film. For me this was like getting an electric shock. In those days I was playing with [tango great Aníbal] Troilo, and with the majority of my colleagues I could only talk about soccer and gambling.” Estancia had been commissioned by Lincoln Kirstein and his American Ballet Caravan, which disbanded in 1942, leaving the new work in unstaged limbo for ten years. Ginastera, however, extracted this suite of four dances from it in 1943 as a concert work. As might be expected, the music is vigorously, almost relentlessly, rhythmic. An estancia is a ranch or farm, and the first dance presents the quite athletic farm workers. Lyrical respite comes with the “Danza del trigo,” wheat fields gently swaying, but the boisterous, energetic workers return with “Los peones de hacienda” (The Ranch Hands). The malambo, a traditional gaucho dance competition, was another national musical symbol for Ginastera, and he wrote a breathtaking hyper-malambo for the Estancia finale.

LA MUERTE DEL ÁNGEL ADIÓS NONINO OBLIVION LIBERTANGO Astor Piazzolla

FOUR DANCES FROM ESTANCIA Alberto Ginastera (1916-1983) Alberto Ginastera was only three years out of the National Conservatory himself, when Piazzolla turned up on his doorstep in 1941 as his first pupil, following up a chance recommendation for a teacher. Ginastera had already achieved a notable success with his ballet Panambí and was at work on another, Estancia. “Ginastera was the teacher who gave me the foundation,” Piazzolla later recalled. “With him I learned orchestration, still one of my strong points, and every-

From the 1960s comes La muerte del ángel (from a series of ‘angel’ pieces, first recorded in 1962), one of the distinctive pieces with which Piazzolla shook the conservative world of tango. “Nuevo tango = tango + tragedy + comedy + whorehouse” was an equation Piazzolla used to define his new direction. To that could be added greater harmonic sophistication – chromatic lines over chains of dominant sequences, much like Baroque ground bass forms – and an elusive jazz swing. Most are in an A-B-A song form, with a poignant lyrical core surrounded by Piazzolla’s character-

ALBERTO GINASTERA

istically slashing abstraction of the basic tango rhythm. Piazzolla was in Puerto Rico on a not-very-successful tour in 1959 when his father (“Nonino,” the Italian-Argentinian equivalent of “Grampa”) died in a bicycle accident in the family hometown of Mar del Plata. He wrote this magnificently nostalgic elegy in New York a little later, based on an earlier tango also named for his father. 1982 was a very productive year for Piazzolla. Among other activities, including a hugely popular performance in Buenos Aires at the height of the Falklands War, he travelled to Italy to record his score for Marco Bellochio’s film Henry IV, starring Marcello Mastroianni as the Mad King and Claudia Cardinale as Matilda. The elegiac Oblivion, one of his most often recorded and arranged works, comes from that score. Libertango was the title track for a recording of mostly new music that Piazzolla made in Italy in 1974 with a small orchestra. (Adiós Nonino was also on the disc in a new arrangement; all the other pieces were titled ‘X’tango – Meditango, Undertango, Violentango, Novitango, Amelitango, Tristango.) It is another of Piazzolla’s popular pieces, recorded and arranged by artists ranging from Yo-Yo Ma to Grace Jones.

P4 PERFORMANCES MAGAZINE

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ABOUT THE ARTISTS

For a biography of conductor GUSTAVO DUDAMEL, please see page 18. Hailed for his superior artistry as an iconic master of the classical guitar, ANGEL ROMERO is heralded by audiences and critics alike in the music world as an eminent soloist and conductor. As one of the most sought-after musicians on the concert stage, he has appeared in major cultural centers worldwide, including solos with leading orchestras such as the New York Phil-harmonic, the Cleveland Orchestra, the Royal Philharmonic, the New World Symphony, the Israel Philharmonic, and the Royal Concertgebouw Orchestra. As a conductor, Romero has led orchestras around the globe, including the Pittsburgh Symphony, the Academy of St. Martin in the Fields, the Royal Philharmonic, the Berlin Symphoniker, the Beijing Philharmonic, the Shanghai Symphony, the Bogotá Philharmonic, and the NDR Radiophilharmonie. Regardless of his role on stage, his driving intensity and flawless control mark him as a true master of music. Angel Romero’s performance of Joaquín Rodrigo’s famed Concierto de Aranjuez with the Los Angeles Philharmonic at Walt Disney Concert Hall, under the baton of Gustavo Dudamel, was one of the highlights of Romero’s performances in 2015. In February 2000, he was presented with the Grand Cross of Isabel la Católica, Spain’s highest national honor, and was knighted Sir Angel Romero in recognition of his astounding musical accomplishments. In 2007, Angel Romero received the Recording Academy President’s Merit Award from the organization which produces the Grammy awards, for his musical contributions and professional career achievements. Romero made his debut with the Los Angeles Philharmonic at the age of 16, also performing Rodrigo’s Concierto de Aranjuez. He grew up under the tutelage of the great composer and together they worked on a special project, the concerto Rincones de España, which Romero composed based on themes that Rodrigo collected and dedicated to him. One of the biggest highlights of this year for Romero has been the opportunity to rehearse and perform composer Lalo Schifrin’s newest work, Concierto de

la Amistad, a tribute to his friendship with Romero. In Romero’s words: “Lalo Schifrin and I have had a very long and dear friendship. To say that I love and admire him as a composer would be an understatement. I consider him to be like a brother and mentor, but I also look up to Lalo with the knowledge that he is truly a treasure of music.”

SETH ASARNOW, a native of the Bay Area, has a repertoire consisting of hundreds of tangos. His bandoneón playing is heard on recordings that range in style from traditional tango to pop. Asarnow has composed film scores and has played on film soundtracks, and he works regularly with some of the finest tango dancers in the world. He made his debut with the San Francisco Symphony in 2007 and performed with them again in January 2014. Other performance highlights include Piazzolla’s Four Seasons with Donald Runnicles and members of the San Francisco Opera Orchestra, as well as concerts with orchestras and chamber ensembles throughout Northern California. He also appeared on NBC’s Dancing with the Stars, performing with the cast of the Broadway show Forever Tango.

Asarnow is also the bandoneonist and musical director of the show Tango Adamor, the Los Angeles Tango Festival, and Nora’s Tango Week, an international festival now in its nineteenth year in the Bay Area. He also directs and performs often with his Sexteto Tipico, one of the few authentic traditional tango groups in the United States. Seth Asarnow’s musical influences include Aníbal Troilo, Leopoldo Federico, and Astor Piazzolla, whom he met in 1989. TANGO BUENOS AIRES has become one of Argentina’s great cultural exports, known throughout the Americas, Europe, and the Far East as the most authentic and uncompromising representative of the tango. Tango Buenos Aires was created for the Jazmines Festival at the famous Buenos Aires cabaret Michelangelo by renowned composer and tango director Osvaldo Requena. The company met with tremendous success and was immediately added to the season of the Teatro General San Martín Municipal. In 1986, the company traveled to the United States in order to represent Argentina at the Latin-American Festival, which took place at the Delacorte Theatre in New

PERFORMANCES MAGAZINE P5

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ABOUT THE ARTISTS

York City’s Central Park during the month of August. This event was followed by an extensive tour throughout the United States, along with trips to Mexico, Puerto Rico, and El Salvador, followed by a return to the United States via Miami and San Francisco. In December 1986, the group appeared on NHK television in Tokyo, and it completed 62 performances throughout Japan, as well as a CD recording for Sony entitled Quejas de Bandoneón. In 1987, the company undertook a lengthy tour of the principal cities of Argentina, performing at the Spring Festival in Bariloche, the Galli Auditorium in Mendoza, the Municipal Theatre in Ciudad de Rosario, in Santa Rosa La Pampa, and in the city of Rio Negro. The company also appeared on television channels for the S.A.D.A.I.C. series and in the series sponsored by the Argentinean Ministry of Culture before ending the season at the Auditorio in Mar del Plata. In March 1989, the company traveled to Berlin and Frankfurt, Germany, to Granada, Spain for the International Tango Festival, and to Madrid for performances at the Teatro de la Villa and at the National Auditorium. In October 1989 the company began a Latin-American tour, appearing in Quito and Guayaquil in Ecuador, in Mexico, and ending in Los Angeles. In March 1990, Tango Buenos Aires participated in the International Festival in Adelaide, Australia and in April, the company performed at the New Zealand Festival. In June 1991, the company traveled to Southeast Asia, giving performances in Singapore, Kuala Lumpur, and Bangkok.

Under the patronage of the President of Argentina, the company introduced the tango to Indonesia for the first time ever. In 1992 Tango Buenos Aires performed in Santiago, Chile and on Chilean television, with further performances in Viña del Mar and a subsequent trip to Brazil, performing at the Memorial. 1993 was a year of extensive travel in Argentina, Spain (Granada, Madrid, and Andalucia), Finland, and Chile (Vitacura, Santiago, Viña del Mar, and Valparaiso). Beginning in November, the company toured Malaysia, Japan, and China. In Beijing, the company hosted a series of unprecedented master classes and residencies with Chinese dancers at the Dance University of Beijing, teaching the origin and evolution of the tango to further international understanding and cooperation. In 1994, Tango Buenos Aires traveled to Spain, performing for the third time at the sixth International Festival in Granada, and also performing at the University and National Auditorium in Madrid. In June, the company took part in performances and master classes at the Kuopio Festival in Finland, and also performed in Copenhagen, followed by another trip to Malaysia. The company spent most of 1995 performing in Buenos Aires and touring throughout South America, culminating in a season at Buenos Aires’ Museo Fernández Blanco, Teatro General San Martín, and the Teatro Presidente Alvear. In 1996 Tango Buenos Aires toured Portugal and Greece, and ended the year with a tour of Japan that extended into January 1997.

Tango Buenos Aires toured the United States for its first coast-to-coast tour during the 1998/99 season to great critical and popular acclaim. In June 1999, the renowned pianist Cristian Zárate succeeded Osvaldo Requena as music director, and Pablo Mainetti, one of the world’s great bandoneón players, joined the orchestra. In 2005 Julian Vat, a prolific composer and leading musician, assumed the title of music director. The company returned to North America in the winter of 2003 for a two-and-a-halfmonth tour of the United States. Due to the extraordinary success of this tour, the company returned in the fall of 2007 and winter of 2011 for a two-month coastto-coast tour of the United States. The company returned again in January 2015 and undertook a two-and-a-half-month coast-to-coast tour of the United States and Canada. Due to the continued artistic and financial success of the previous tours, Tango Buenos Aires will undertake another coastto-coast tour of the United States and Canada in the period September through December 2017 with a brand new program entitled “The Spirit of Argentina.”

TANGO BUENOS AIRES Miram Larici & Leonardo Barrionuevo Guiovanna Dan & Guillermo De Fazio Rolando Sandoval & Parissa Shahrdar aka Sandor and Parissa Elizabeth Roocella & Claudio Otero Zita Gonzalez & Hector Falcon

P6 PERFORMANCES MAGAZINE

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PROGRAM

WEDNESDAY AUGUST 3, 2016 8PM

GLADYS KNIGHT TOWER OF POWER TOWER OF POWER

GLADYS KNIGHT

Emilio Castilio

Gladys Knight

TENOR SAX

VOCALS

Marcus Scott

Merald Knight

LEAD VOCAL

SPECIAL GUEST

Tom Politzer

Leon Turner

TENOR SAX

MUSICAL DIRECTOR

Doc Kupka

Darryl Woolfolk

BARITONE SAX

DRUMS

Sal Cracchiolo Adolfo Acosta

James Davis

TRUMPET

Joseph Green

David Garibaldi

BASS

DRUMS

Yuko Tamura

Rocco Prestia

KEYBOARDS

BASS

Alexus Hoover Brandon Smith Porcha Clay JaVonté Pollard

Jerry Cortez GUITAR

Roger Smith B3/KEYBOARDS

GUITAR

BACKGROUND VOCALS

I N TERMI SSI ON

Ofﬁcial Automotive Partner of the Hollywood Bowl

Ofﬁcial Airline of the Hollywood Bowl

Ofﬁcial Cruise Line of the Hollywood Bowl

American Airlines is a proud sponsor of the Hollywood Bowl. Programs and artists subject to change.

Pianos provided by Steinway Piano Gallery – Beverly Hills.

PERFORMANCES MAGAZINE P7

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ABOUT THE ARTISTS

GLADYS KNIGHT The great ones endure, and Gladys Knight has long been one of the greatest. Very few singers over the last 50 years have matched her unassailable artistry. This seven-time Grammy winner has enjoyed No. 1 hits in pop, gospel, R&B, and Adult Contemporary, and has triumphed in film, television, and live performance. In her first effort since 2013’s Another Journey, summer 2014 marked the release of Where My Heart Belongs, a new inspiration gospel album. Knight is a two-time Grammy winner in the gospel category, and Where My Heart Belongs recently won an NAACP Image Award for Outstanding Gospel Album. Another Journey enjoyed success from the hit “I Who Have Nothing” as well as the up-tempo track “Settle,” produced by Randy Jackson, with whom she previously collaborated on her Grammy-winning album At Last. Knight also enjoyed the success of her song “You and I Ain’t Nothin’ No More,” which appeared over the end credits of the critically acclaimed Lee Daniels film The Butler. Georgia-born, Knight began performing gospel music at age four in the Mount Mariah Baptist Church and sang as a guest soloist with the Morris Brown College Choir. Three years later, she won the grand prize on television’s “Ted Mack’s Amateur Hour,” and the following year, she, along with her brother Bubba, her sister Brenda, and her cousins William and Elenor Guest, formed The Pips. In 1959, Brenda and Elenor left the group, replaced by cousin Edward Patten and friend Langston George. The group was renamed Gladys Knight & The Pips, and following George’s departure in 1962, the classic line-up was in place. The group debuted their first album in 1960, when Knight was just 16. With Knight singing lead and The Pips providing lush harmonies and graceful choreography, the group went on to achieve icon status, having recorded some of the most memorable songs of the 1960s, 1970s and 1980s. Top 20 hits, like “Every Beat of My Heart,” “Letter Full of Tears,” “I Heard it Through the Grapevine,” and “If I Were Your Woman,” set the stage for an amazing run in the mid-1970s, with Top 10 gold-certified singles like “Neither One of Us (Wants to be the First to Say Goodbye),” “I’ve Got to Use My Imagination,” “Best Thing to Ever Happen to

Me,” and the No. 1 smash “Midnight Train to Georgia” established Gladys Knight and The Pips as the premiere pop/R&B vocal ensemble in the world. The party kept rolling with hits like “On and On” from the Academy Award-nominated soundtrack of Curtis Mayfield’s Claudine, the 1974 comedy about love in the inner city. Knight enjoyed another No. 1 hit in 1985 when she teamed with Stevie Wonder, Elton John, and Dionne Warwick on “That’s What Friends are For.” All told, Knight has recorded more than 38 albums over the years, including the solo albums Good Woman (1991), Just for You (1994), the inspirational Many Different Roads (1999), and At Last (2001). Her involvement in other creative undertakings, business ventures, and humanitarian activities has been extensive, and has brought her honors from industry and community alike. In 1986, she produced and starred in the Cable Ace Award-winning Sisters in the Name of Love, an HBO special co-starring Dionne Warwick and Patti LaBelle. That same year, she showcased her acting ability when she co-starred with Flip Wilson in the CBS comedy Charlie & Co. Other acting roles followed on such TV shows as Benson, The Jeffersons, and New York Undercover, and

in such television films as Pipe Dreams, An Enemy Among Us, and Desperado. She recorded the title theme for the James Bond movie License to Kill (1989). In 1999, she completed a starring run on Broadway in the smash musical hit Smokey Joe’s Café. In 1995, Knight earned her star on the Hollywood Walk of Fame, and the next year, Gladys Knight & The Pips were inducted into the Rock & Roll Hall of Fame. Knight published an autobiography, Between Each Line of Pain and Glory (a line taken from her million-selling recording “Best Thing That Ever Happened to Me”) in 1997, and the next year, she and The Pips were presented with the Lifetime Achievement Award from the Rhythm & Blues Hall of Fame. In 2004, Knight received the Lifetime Achievement Award at the annual BET Awards ceremony. A humanitarian and philanthropist, Knight has devoted to various worthy causes, including the American Diabetes Association – for which she is a national spokesperson, the American Cancer Society, the Minority AIDS Project, amFAR, and Crisis Intervention. She has been honored by numerous organizations as well, including the NAACP Legal Defense Fund, Congress of Racial Equality (CORE), and

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ABOUT THE ARTISTS

B’Nai Brith, and she is a recent recipient of BET’s Lifetime Achievement Award. Today, Knight helps oversee her busy career from the Las Vegas headquarters of Shakeji, Inc., her personal entertainment corporation. She is a mother, great-grandmother, performer, and a businesswoman with a spiritual outlook on her life. Her faith in God has been the driving force behind all of Knight’s endeavors, guiding her through her many successes.

TOWER OF POWER’s musical odyssey actually began in 1968 when Emilio Castillo met Stephen “Doc” Kupka in July of that year. When Doc auditioned during a band rehearsal at Emilio’s house, Emilio’s father called him into the kitchen and offered the following advice: “Hire that guy, he’s got something.” Doc and his signature baritone sax sound were now in the band, and on August 13, 1968, Tower of Power, as we know them today, began playing gigs, and soon became very well known in the area. Many other bands came out of the San Francisco Bay area in the late ’60s. Bands like The Grateful Dead, Jefferson Airplane, Santana, Big Brother, Journey, Cold Blood, and others all helped to define the “San

Francisco Sound.” Tower of Power has always claimed Oakland, California as their hometown. Playing area venues and making a name for themselves, Tower of Power’s big break was just around the corner. After playing at a Tuesday night audition at the Fillmore in 1970, Tower was signed to Bill Graham’s San Francisco records and their first album, East Bay Grease, was recorded. All of the compositions were original tunes written by Castillo and Kupka. Their next album, Bump City, was recorded on the Warner Bros. label, and this led to a string of hits and memorable albums that include many of the songs that TOP fans come out in force to hear, even to this day. Over the years, the Tower of Power horns have recorded with hundreds of artists as diverse as Aerosmith, Elton John, Little Feat, Phish, Santana, Heart, and many others, forever infusing the radio airwaves with Tower’s musical DNA. Since the beginning, Tower of Power has never stopped touring and recording. Always in demand, the band never fails to entertain and amaze their fans. Tower is truly blessed to have a dedicated following that often travels to see the band, and in many cases fans will plan their vacation or work schedule around an appearance of TOP.

Tower celebrated their 40th anniversary in 2008 at a very special reunion show at the Fillmore Auditorium in San Francisco. In addition to the ten current members of the band, another 20 musicians and vocalists that at one time held a position with the band appeared with them. That show was filmed and is available on DVD. Of the ten current members, Emilio Castillo, Rocco Prestia, Stephen Kupka, and David Garibaldi are four of the band’s founding members. Their dedication to the music, their creative writing, and their original vision still guides Tower of Power. Each year Tower of Power tours the United States, Japan, and Europe, playing to sold out crowds all over the world. Recent releases include their 40th Anniversary Concert Blu Ray recorded at the Fillmore Auditorium in San Francisco and Hipper Than Hip, a remastered gem that was tucked away in the Warner Bros. vault since 1974. Tower has never been busier or more in demand. New generations of fans come to see the band perform as their timeless music continues to excite fans of all ages. Please visit towerofpower.com for more band history, information on alumni members, and regular updates on Tower of Power.

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PROGRAM

THURSDAY

AUGUST 4, 2016 8PM

STRAVINSKY’S FIREBIRD Los Angeles Philharmonic Ben Gernon, CONDUCTOR Janni Younge, DIRECTOR Jay Pather, CHOREOGRAPHER

DEBUSSY

La mer From Dawn to Midday on the Sea Play of the Waves Dialogue of the Wind and the Sea BRITTEN

Four Sea Interludes from Peter Grimes Dawn: Lento e tranquillo Sunday Morning: Allegro spiritoso Moonlight: Andante comodo e rubato Storm: Presto con fuoco I NT ERMI SSI ON STRAVINSKY

The Firebird Janni Younge, DIRECTOR Jay Pather, CHOREOGRAPHER

Ofﬁcial Automotive Partner of the Hollywood Bowl Programs and artists subject to change.

Ofﬁcial Airline of the Hollywood Bowl

Ofﬁcial Cruise Line of the Hollywood Bowl

Pianos provided by Steinway Piano Gallery – Beverly Hills.

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ABOUT THE PROGRAM

LA MER Claude Debussy (1862-1918) “It’s a fact often neglected that music has this over painting, that it can represent all the variations of color and light in one go,” Debussy wrote after finishing La mer in 1905. Debussy was a lifelong admirer of several artists whose maritime paintings come to mind as one listens to La mer, especially J.M.W. Turner and Claude Monet. Monet’s “Impression, Rising Sun” had introduced the idea of impressionism to Europe, an idea that many contemporaries applied to Debussy’s music. It is telling, however, that Debussy, who never liked being called a musical impressionist, used a Japanese print, Hokusai’s “The Wave,” for the title page of La mer. It is an image whose boiling, foaming sea presents a stunning contrast to the sedate, shimmering waters of Monet’s work. La mer presents both aspects of the sea, taking advantage of the orchestra’s ability to conjure up color and light, as well as the transformation over time of these images that music allows. Debussy orchestrates the work in planes rather than homogeneously. It’s almost like chamber music on a vast scale. The strings are divided into 12 and even 15 parts at some points, and the score calls, at times, for six solo cellos. Trumpet fanfares present the sea, waves crashing, in all of its grandeur, and flute arabesques seemingly shimmer over its sun-drenched surface. Such orchestration reaches back into French music of the late 1820s and early 1830s, to a time when what critics then dubbed “the orchestral revolution” was taking place in the hands of composers like Berlioz. The work is in three sections, which can be viewed as an opening allegro, a scherzo, and a finale. One analysis argues that the opening movement, “From Dawn to Midday on the Sea,” starts with an arch-form introduction followed by an idiosyncratic rondo, a strophic section, a transition, and a coda, with smaller formal divisions in each of these sections. Such rigorous use of form makes the sections almost seem formless, with each having the feeling of a free fantasy. In its alternation of playfulness, majesty, and mystery, Debussy’s music is a stunning orchestral portrait as unpredictable as the sea itself. — John Mangum

FOUR SEA INTERLUDES FROM PETER GRIMES Benjamin Britten (1913-1976) The Sea Interludes from Benjamin Britten’s first successful opera, Peter Grimes, are scene changes by a master of the scene change. They not only take the listener from one physical location to another (at times seeming to go out to sea and back), but also explore the turmoil in the characters’ minds as coastal villagers hound the misanthropic loner fisherman Grimes to self-destruction after the mysterious, but accidental, deaths of two of his apprentices. Because each Interlude in the opera leads into the following scene without pause, Britten rewrote their endings to make them self-contained concert pieces. “Dawn” bridges the Prologue (following a duet between Peter and Ellen Orford, the schoolteacher he hopes to marry) and the early morning of Act I. Britten divides his orchestra into three choirs: flutes and violins play a high, largely static melody, against which the harp, violas, and clarinets interject shimmering arpeggios. The rest of the orchestra interrupts periodically with ominously surging chords. In “Sunday Morning,” which begins Act II, large church bells are suggested by clanging thirds from opposing pairs of horns, and later by actual bells. Woodwinds, strings, and trumpets represent smaller bells, while a flute evokes waking birds. A sweeping violin melody at the end is, in the opera, Ellen’s song greeting the morning. “Moonlight,” which again bridges night and the following day, is the prologue to Act III, after the death of Grimes’ second apprentice. It is an unsettling blend of motion and stasis, built around the “second inversion” chord. In classical concertos it’s the chord on which everything pauses for the cadenza before the end, and it retains a feeling of penultimate-ness. Stringing many such chords together creates a feeling of instability. “Storm,” from Act I, begins with Grimes outdoors as a storm approaches and ends in a pub where townspeople wait out the same storm. The consoling theme heard when the storm music subsides is the melody to which Grimes has just sung “What harbor shelters peace, away from tidal waves, away from storms?” — Howard Posner

THE FIREBIRD Igor Stravinsky (1882-1971) “A glimpse of Tchaikovsky was to become one of my most treasured memories,” said Igor Stravinsky of an event that occurred in 1893, when he was eleven. Throughout his life, the supremely cool, intellectual 20th-century master had an abiding affection for the surpassingly emotional 19th-century composer, and he found occasions in his own music to pay “heartfelt homage to Tchaikovsky’s wonderful talent.” One of the strongest links between the two was the bond of Russian nationalism; another was their natural inclination for ballet music. Stravinsky, always keenly appreciative of Tchaikovsky’s vast contributions to the literature of music for dance in his three full-length ballets, Swan Lake, The Sleeping Beauty, and The Nutcracker, must have felt the hand of destiny upon him when asked by Ballets Russes director Serge Diaghilev to write the score for the ballet, The Firebird, a plum originally intended for Russian composer Anatol Liadov. The latter, unable to produce the music on Diaghilev’s time schedule, forfeited the splendid opportunity. Poor Liadov. Lucky Stravinsky. The ballet, with choreography by Fokine, was premiered in Paris on June 25, 1910, with spectacular results. The world of ballet and the world of music were never to be quite the same again. It is true that at that time Stravinsky had not yet freed himself from traditionalism, and Firebird’s score shows large traces of Rimsky-Korsakov (his teacher, to whom the work is dedicated) in the luminous brilliance of the orchestration; a plan similar to the one Rimsky used in his opera, The Golden Cockerel, in which the human characters have simple, straightforward themes, the supernatural ones exotic, chromatic motifs; and the use of folk material. But even with its “old Russian” heritage showing, the score surges with newness and with the stunning and original elements which in his next two ballets, Petrushka and The Rite of Spring, were to be exploited more fully: primitivism; ostinatos – insistently repeated patterns of rhythm or melody, or both; rhythmic dynamism; and pungent harmonies. — Orrin Howard

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INTRODUCTION This production of The Firebird, directed by Janni Younge and choreographed by Jay Pather, is a puppet and dance performance set to Stravinsky’s original score. Janni Younge’s Firebird draws on the symbolism and dramaturgy of Fokine’s original choreography (based on figures from Russian folklore) and reinterprets them in a contemporary South African setting, using larger-than-life puppets and African dance forms. The Firebird began as a conversation between IMG Artists and Handspring Puppet Company in early 2013. The proposal from IMGA was to create a puppet theater production to be performed to live classical music in large summer concert venues throughout the U.S. As the idea took hold The Firebird was settled on partly for its powerfully rich and moving musical score and partly for its association with mythic content, a world that has profound resonances with that of puppetry. Janni Younge Productions’ interpretation of The Firebird has emerged through a creative collaboration spanning the last two years. This process began with an extensive series of conversations between Janni Younge and Jay Pather. As notebooks filled with sketches, storyboards, and plans, the concept began to take shape. The first performance workshop was held with the cast in May 2015; a week of exploration of the concept, of testing puppetry suggestions, and finding a common language between the artists in the room. Both Janni and Jay work in association with their casts in the creation of the material on the floor, welcoming diverse voices, movement styles, and nuanced puppetry detail. As with the puppet performance and choreography, the puppet design process has drawn on the great skill of the artists in the team. Janni, Andy Jones, and Jonah Delange worked together from the earliest concept for the puppets, through the construction of maquettes, and finally into full-scale giant puppets. The collective creative process for The Firebird has called on each member of the team to go beyond previous experience. The massive challenge of this project could only

be met through an extraordinary level of artistry and commitment. Janni Younge Productions is enormously grateful to the extensive team of people involved in the production and creation of this show: IMG Artists for believing in it from before it was born; Jay Pather for nurturing and nourishing its evolution; Andy Jones and Jonah Delange for giving it wings; Daniel Eppel for feeling Stravinsky and giving us more; Michael Clarke for painting many, many pictures; Mannie Mannim for painting with light and being the godfather; Birrie Le Roux for sensitive creations in fabric; the cast for giving every ounce of your energy and then some more; Pieter-Jan Kapp for getting things to hang out where they should; Robyn Sacks for getting things in order; Jzadir Belknap for keeping it all together; and to Luke Younge for seeing the big picture keeping Janni in one piece. Janni Younge Productions thanks Handspring Puppet Company for a great foundation of support without which The Firebird would not have been possible. After its presentation at Artscape, The Firebird travels to the National Arts Festival and then on to the United States where it will be met by live orchestras. Performances will be seen at the Mann Centre (Philadelphia Orchestra), Wolf Trap (National Symphony Orchestra), Ravinia (Chicago Symphony Orchestra), Sun Valley Pavilion (Sun Valley Summer Symphony), Hollywood Bowl (Los Angeles Philharmonic), concluding at the Saratoga Performing Arts Center (Philadelphia Orchestra). THE CHARACTERS The Seeker – performed by Jackie Manyaapelo The Seeker is the central figure who sets out on a journey to find her place in her world. This rite of passage pulls her in different directions, as she is both inspired by her vision of perfection and angry at the injustices in her society. She is torn between the fragile sense of confidence and the doubt that eats away at her, pulling her ideas out of the sky and forcing her to look deeper. As she builds her sense of herself within her social context, she is confronted by her own ideas. She has to draw in new reserves to allow her true balanced power to emerge.

The Alchemist of Honesty – performed by Ntombi Gasa Holding a deep and quiet wisdom, old as the ancestors, she knows the importance of being aware and present to the opposing forces at play. She is The Seeker’s intuition, her guide. She helps her balance the creative and destructive impulses, bringing them together to birth a fully formed idea and support it with power and vision. The Creative – performed by paper and bird puppets and Sean Oelf The Creative is the inspired impulse to generate; it is the idea taking flight. The ability to imagine and then hold a vision until the imagined becomes a reality. This is the passion that generates new life and new livelihoods. The Creative manifests images of wellbeing and visions of purity and joy. The Creative is possessive. As the Creative constructs it becomes attached to ideas, ignoring suffering and defending accumulated wealth and power. The Creative burns with inspiration, passion, delight and also greed. The Innocents – performed by the children puppets These are the fragile and half-formed ideas that emerge in the creative process. They are the playful and harmonious vision of integration and care. They are also an ideal, a simplification, and as such they and fragile. Only the more complete and fully formed idea is able to live in the face of the fire in the Seeker’s mind. The Destructive – performed by sticks, snakes, and the beast puppets, and Nkanyiso Kunene The Destructive is the mistrust that looks below the surface. This is the doubt that destabilises the creative idea and the status quo. The Destructive is the insight that pierces the veneer and shatters the surface layer letting the unacknowledged be seen. The Destructive pulls the Creative apart, forcing it to reconfigure. The Destructive is the anger that can tear down monuments and false idols but which can also burn and break the Innocents caught in its blaze. The Destructive burns through the surface, burns away excess, burns up everything in its path, creating a clearing from which the new can rise.

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ABOUT THE PRODUCTION

SYNOPSIS The central figure of this interpretation of The Firebird is a young woman, the Seeker, on a quest to liberate her internal power. Her journey can be read on both an internal psychological level as well as on a societal level, where it mirrors South Africa’s story since the fall of apartheid. As she ventures into the uncertain territory of self-expression, she is at first uplifted and inspired. Her sense of potential and of a new life stir within her and she allows her passion to take flight. Surrounding her is a spirit of optimism about South Africa’s transformation. However she soon encounters fear and doubt and her fragile sense of confidence seems to dissolve before her eyes. She awakens to the realities of inequality and profound national anger and suffering — her inspiration lost as the necessity of facing the depth of her being and the

complexity of her context asserts itself. Her courage swells the forces of creativity again, taking the form of more distinct birds. Out of her inspiration are born her ideas. Fragile and open, they are fragments of children. She celebrates integration and intercultural acceptance. She is filled with a sense of plenty and well-being as development and new projects abound. However, as she becomes attached to her ideals, the forces which once gave her freedom become restrictive and oppressive. She finds herself separated from the heart of her ideas, unable to reach the child. The Seeker sees that the ideals of plenty and well-being have become a veneer hiding ongoing inequality. She sees that the inflation of her ideas has made them ludicrous and somehow fragile. She feels that the attachment to her ideas has made them simplistic. She recognizes that the foundations are weak. She calls on her

critical insight (the snake-like creatures) to tear down the illusions she has built and pull her ideas apart. As she generates this whirlwind of destruction the force of her passion and creativity rise inside her manifest as a giant bird. The seduction and possessive attachment she feels are pitted against her critical destruction. She loses control as these powerful forces fight for the domination of her mind. The intensity of this confrontation gives the Seeker the capacity to break open the egg of her mind, within which lies the true source of her power. Rising from the destruction, the dragon balances the forces of creativity and destruction. Empowered by this balance she is able to reform her idea, this time as a complete child. As she feels the life in her idea, she trusts its strength and her new vision of integrated dynamics takes flight.

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ABOUT THE PRODUCTION

CHOREOGRAPHER’S NOTE Tell a story: When I was given the chance to bring together dance and puppetry to Stravinsky’s score, the prospect seemed so seductive and, given my interdisciplinary bent, so clear and simple. In the doing, of course, one comes to terms with the fact that dance and puppetry are actually such polar opposites. Dance wriggles out of specific meanings, puppetry is built on specifics. Moreover, Stravinsky’s score, despite its complex, discursive, stream-of consciousness structure, is surprisingly narrative. So the choreography had to complement, match as well as depart from the narrative, specific nature of these components. Nonetheless, in the choreography, I wanted to work with the tangential quality of dance to provide fluidity — when meaning is created and then disappears in flux. Tell our story: Janni Younge’s proposition that we used the central ideas of The Firebird as a metaphor for a South African story was compelling. The Firebird

is essentially about the quest for regeneration and the original ballet makes clear demarcations between good and evil. This re-imagining of Firebird in South Africa had to provide other layers. Through an extensive workshop process we probed the themes of promised land, the promise of a democracy, of equity and well-being for all, and the innocence of that dream. Of course this dream shatters with the pressing realities of the unfinished business of material equity. The doubt and rising rage is, however, always accompanied by the firebird metaphor, a source of creativity, the ability to make and chart new ground. When both forces work in opposition to each other there is potential for great destruction and drawing the disparate ideas of rage and creation together suggests a regeneration that is not superficial. A diverse layering of styles of dance then became very important. Classical African dances and ballet in the earlier parts of the work help us probe the naiveté of the

original rainbow nation. Contemporary South African dance is by nature influenced heavily by classical African dance as it is by classical ballet, so in the latter parts of the work, these classical forms are also quite present within the contemporary style. In wanting to create a palette of voices and styles of dance the choice of a range of dancers who contribute to the choreography, was crucial. Just tell the stories: When the toyi-toyi, a dance of protest and a derivative of Southern African dance, is juxtaposed with a classical pas de deux between a puppet and a dancer, the complexities of contemporary South Africa are achingly present. These bodies flung together and having to make sense of each other and with each other bring up challenge, resistance, resilience, fear, and hope. The intensities of the context under which the work is created asks us as artists to go beyond just being clever, to succumb to telling a story, our story, the stories.

The 2015/16 season sees Ben Gernon working with all the major London and BBC orchestras, including débuts with the Philharmonia Orchestra, Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Hamburg Symphony (for Beethoven’s Choral Symphony), and Milwaukee Symphony. He continues his warm relationships with the LPO and LSO and returns to Scottish Chamber Orchestra for a tour of Scotland and recordings of music by Peter Maxwell Davies. Ben has given two BBC Proms: September 2014 with the Scottish Chamber Orchestra, featuring the music of Peter Maxwell Davies on the occasion of his 80th birthday, and in 2012 conducting the Tansy Davies “Composer Portrait.” The 2014/15 season saw Ben conducting the BBC Symphony Orchestra in the studio, BBC National Orchestra of Wales in the studio and on a four-concert tour of Wales, and a BBC Philharmonic studio concert. He continues his relationships with the London Symphony Orchestra and London Philharmonic, in schools and family concerts,

after highly successful earlier visits. Other season highlights include débuts with Luxembourg Philharmonic, New Japan Philharmonic, Vancouver Symphony, National Philharmonic of Russia, Nagoya Philharmonic, Glyndebourne Festival ˇa for Carmen), (assistant to Jakob Hrus and return visits to Scottish Chamber Orchestra, BBC Symphony Orchestra, and Ulster Orchestra. In the opera house, future plans include The Marriage of Figaro at Stuttgart Opera, and he has already conducted a speciallycrafted arrangement of Mozart’s Die Entführung aus dem Serail at the Salzburg Festival to critical acclaim. Ben Gernon studied at the Guildhall School of Music and Drama, where he currently holds the position Professor of Musicianship, specially created for him. He is mentored by Sian Edwards and was until his death by the late Sir Colin Davis. In Summer 2013 BBC Music Magazine featured him as their “Rising Star: Great artist of tomorrow.”

ABOUT THE CONDUCTOR In 2013, BEN GERNON won the internationally acclaimed Nestlé and Salzburg Festival Young Conductor’s Award, a unanimous decision by the jury, led by Ingo Metzmacher. Ben’s conducting of Beethoven and Peter Maxwell Davies with the Camerata Salzburg led immediately to an invitation to tour the UK with them in March 2015. As part of the Nestlé Award, Gernon made his debut with the Gustav Mahler Jugendorchester at the Salzburg Festival conducting Prokofiev’s Symphony No. 5. He was appointed a Dudamel Fellow with the Los Angeles Philharmonic in 2013/14, where he assisted on a variety of projects and conducted both Symphonies for Youth and schools concerts. His fellowship now complete, he is delighted to return to conduct the Los Angeles Philharmonic at the Hollywood Bowl in August 2016.

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CREDITS

PRODUCER

JANNI YOUNGE

IMG Artists International and Janni Younge Productions DIRECTOR

Janni Younge CHOREOGRAPHER

Jay Pather PUPPET DESIGN

Janni Younge with Jonah Delange and Andy Jones, assisted by Peter Collard LIGHTING DESIGN

Mannie Manim COSTUMES

Birrie le Roux SOUND DESIGN & ADDITIONAL MUSIC

Daniel Eppel ANIMATION

Michael Clark CAST

Jacqueline Manyaapelo Beren Belknap Nkosinathi Mngomezulu Craig Leo Dunty La Trobe Elvis Sibeko Oleksii Ishchenko Mxolisi Nkomonde Andile Vellem Zandile Constable Nkanyiso Kunene Shaun Oelf Thulisile Binda Ntombikayise Gasa Sbusiso Gantsa PRODUCTION MANAGER

Pieter Jan-Kapp STAGE MANAGER

Robyn Sacks PRODUCTION ASSISTANT

Jzadir Belknap ASM & PUPPET TECHNICIAN

Jonah DeLange DANCE FACILITATOR

Fiona Du Plooy

FABRIC ENGINEER

TECHNICAL CONSULTANTS

Phyllis Midlane

Alan Serritslev (structural engineer) RW&BH Eng CC (aluminum component engineer) Gravitron Special Effects (Fire) Louis Christie (3D and engineering design)

PUPPET CONSTRUCTION

Janni Younge Jonah Delange Andy Jones Kyle Daniels Phyllis Midlane Zweliyashacuma Ncombela Peter Collard assisted by Philani Xhaga Thokozani Dickson Nandolo Luke Younge Sivuyile Gaji Auther Mthintwini Khulile Sobahle Fikiswa Nandolo Alistor Kennedy Lillian Myers Ben Dan Houten

The Firebird made possible thanks to its commissioning partners Los Angeles Philharmonic Association Mann Center for the Performing Arts Wolf Trap Foundation for the Performing Arts featuring the National Symphony Orchestra Ravinia Festival Sun Valley Summer Symphony Saratoga Performing Arts Center

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PROGRAM

FRIDAY SATURDAY AUGUST 5, 6, 2016 8PM

TCHAIKOVSKY SPECTACULAR Los Angeles Philharmonic Gustavo Dudamel, CONDUCTOR Dancers from American Ballet Theatre Gillian Murphy Hee Seo Cory Stearns Alexandre Hammoudi USC Trojan Marching Band Dr. Arthur C. Bartner, DIRECTOR

TCHAIKOVSKY

Capriccio italien

Selections from Swan Lake Act III, No. 15: Allegro giusto

TCHAIKOVSKY

Selections from Swan Lake Introduction Scene Act I, No. 2: Waltz Act II, No. 13: Part I, tempo di valse Act II, No. 13: Part IV, Dance of the Cygnets Act II, White Swan pas de deux

Act III, Black Swan pas de deux Gillian Murphy and Alexandre Hammoudi TCHAIKOVSKY

1812 Overture USC Trojan Marching Band

with fireworks

Hee Seo and Cory Stearns Act II, No. 13: Part VI, tempo di valse Act II, No. 13: Part VII, coda

Pyrotechnics by Souza

Eric S. Elias PYROTECHNIC OPERATOR IN CHARGE

I NT E RMI SSI ON

Ofﬁcial Automotive Partner of the Hollywood Bowl

Ofﬁcial Airline of the Hollywood Bowl

Ofﬁcial Cruise Line of the Hollywood Bowl

Viking Cruises is a proud sponsor of the Hollywood Bowl. Programs and artists subject to change.

American Airlines is a proud sponsor of the Hollywood Bowl.

MEDIA SPONSOR (8/5):

Pianos provided by Steinway Piano Gallery – Beverly Hills.

MEDIA SPONSOR (8/6):

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ABOUT THE PROGRAM

Music by Peter Ilyich Tchaikovsky (1840-1893)

CAPRICCIO ITALIEN

SELECTIONS FROM SWAN LAKE For over a century, Swan Lake has been the ballet, the source of the visual cliches that say “ballet” to the non-ballet public. But it was a flop, a victim of poor staging and choreography, when it premiered at the Bolshoi Theater in March 1877, and was forgotten during Tchaikovsky’s lifetime. He laid his score aside, and his plans to revise it and extract an orchestral suite were unfulfilled at his death. Nobody now knows exactly what the “original” version was like (if there can be said to be one, since there were changes made even during the brief run of performances). The ballet score as we know it was done posthumously by other hands. The ballet is constructed in four acts. In the first, a prince celebrates his coming of age at his palace, in anticipation of a ball the following night where he is to choose his bride. In the second act, a late-night hunting expedition takes the prince to a lake where a sorcerer has cast a spell on young maidens, turning them into swans for no particularly good reason. They can take their human form only between midnight and dawn, which is when the prince finds them and, this being ballet, Photo: Gene Schiavone

Tchaikovsky composed his exhilarating Capriccio italien during a dark period in his life. The recent death of his father and the 25th anniversary of his mother’s death had upset the composer. Before he left Paris for Rome in December 1879, Tchaikovsky received news that his old homosexual acquaintance Prince Golitsyn and the prince’s lover were also staying in Italy’s capital. This threw the composer, who was always torn apart by his own homosexuality and any reminders of it, into the depths of despair. Writing to his brother Modest, he declared, “You will not believe the horror that Golitsyn and Masalitinov (the prince’s lover) instill in me. I like them both, but have grown terribly unused to them. For God’s sake, prepare them for the thought that I am dreadfully depressed by my work... that I lock myself in my room all day until dinner.” The composer did manage to rein in his neuroses long enough to absorb some local color, taking in carnival at the end of January. He jotted down much of the music that he heard there and spent time poring over collections of Italian folk songs and dances during his holiday. His ethnography and researches are reflected in the Capriccio, with its bright primary colors and uncomplicated tunefulness. The work,

though conceived by a deeply troubled Tchaikovsky, is one of the most direct he ever composed, a swaggering paean to a city that obviously stirred something in the soul of this most sensitive of composers. — John Mangum

Hee Seo and Roman Zhurbin in Swan Lake.

immediately falls in love with swan-maiden Odette [the White Swan]. The third act is the ball, where the sorcerer appears with his daughter, Odile [the Black Swan], to whom the prince then swears undying love because the sorcerer has transformed her to look like Odette. (This also features national/ethnic divertissements from the guests.) The truth is revealed in the final act at the lake, where the spell is broken and the prince and Odette die a romantic death together or live happily ever after, depending on which version is being staged. — Howard Posner

1812 OVERTURE Triumph is the order of the day in Tchaikovsky’s 1812 Overture. The work’s official title is The Year 1812, a Festival Overture to Mark the Consecration of the Cathedral of Christ the Savior, which was in Moscow. Tchaikovsky wrote the occasional piece in less than a week – his capacity to compose quickly was legendary. Anton Rubinstein, his teacher at the Moscow Conservatory, remembered one instance when the young Tchaikovsky, asked to submit a few contrapuntal variations, turned in over 200. The commission for the Overture came from Nikolai Rubinstein, who was in charge of organizing music for an exhibition that took place in 1882 (after a year’s postponement). The Overture’s first performance took place on August 20, not outside the Cathedral of Christ the Savior as is often assumed, but in a concert hall expressly built for the exhibition. The cathedral was built to commemorate the Russian defeat of Napoleon in 1812, and Tchaikovsky crafted a suitably patriotic work for the occasion. He used the Russian Empire’s national anthem, “God Save the Tsar,” to open and usher in the close of the work, also incorporating a folk melody borrowed from his forgotten opera The Voyevoda and the French national anthem, “La Marseillaise.” What most remember about the Overture, however, is its use of cannons, first to mark the French defeat, then during the final, celebratory dance that follows the second, triumphant statement of “God Save the Tsar.” — John Mangum

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For a biography of conductor GUSTAVO DUDAMEL, please see page 18.

Raised in Florence, South Carolina, GILLIAN MURPHY began her ballet training at the age of three in Belgium and continued her ballet classes at the age of five in South Carolina. After training in South Carolina as a member of the Columbia City Ballet, she continued her studies at the University of North Carolina School of the Arts. Under the tutelage of Melissa Hayden, she danced principal roles in several of the school’s ballet productions, including The Nutcracker and George Balanchine’s Concerto Barocco, Western Symphony, Tarantella, and Theme and Variations. In 1994, at the age of 15, Murphy was a finalist at the Jackson International Ballet Competition. In 1995, she was awarded the Prix de Lausanne Espoir after performing the final round at the Bolshoi Theatre in Moscow. In 1996, she was a National Foundation for Advancement in the Arts Level I awardee and a Presidential Scholar nominee. In 1998, she was honored with a Princess Grace Foundation-USA grant. The Princess Grace Foundation awarded her its highest honor, the Statue Award in 2009. She was awarded an Honorary Doctorate from her alma mater, the University of North Carolina School of the Arts, during commencement ceremonies in May 2014. Murphy has appeared as a guest artist in Japan, Mexico, Germany, Italy, Canada, and throughout the United States. She made her debut with the Mariinsky Ballet in March 2008, dancing Odette-Odile in Swan Lake. Other guest appearances

include the Royal Swedish Ballet; the Mariinsky Ballet; the world premiere of a new production of The Nutcracker, directed and choreographed by Ethan Stiefel for the University of North Carolina School of the Arts; and Nikiya in La Bayadère with The Australian Ballet in November 2014. Murphy joined American Ballet Theatre as a member of the corps de ballet in August 1996 and was promoted to Soloist in 1999 and Principal Dancer in 2002. Her repertoire with the company includes Polyhymnia in Apollo, Nikiya and Gamzatti in La Bayadère, the Ballerina in The Bright Stream, Cinderella in Frederick Ashton’s Cinderella, Cinderella in James Kudelka’s Cinderella, Swanilda in Coppélia, Medora and Gulnare in Le Corsaire, Kitri in Don Quixote, Titania in The Dream, the Accused in Fall River Legend, the second girl in Fancy Free, Lise in La Fille mal gardée, the pas de deux Flames of Paris, Grand Pas Classique, Myrta in Giselle, the Queen of Hearts in Jeu de Cartes, Known by Heart pas de deux, Manon in Lady of the Camellias, Lescaut’s Mistress in Manon, the Sugar Plum Fairy in Kevin McKenzie’s The Nutcracker, Desdemona in Othello, Other Dances, Hagar in Pillar of Fire, Raymonda in Raymonda, Juliet in Romeo and Juliet, Juliet in Romeo and Juliet (Romeo’s Farewell to Juliet), Princess Aurora in Ratmansky’s The Sleeping Beauty, Princess Aurora and the Lilac Fairy in The Sleeping Beauty, OdetteOdile in Swan Lake, Sylvia in Sylvia, the first and third movements in Symphony in C, the Tchaikovsky Pas de Deux, the ballerina in Theme and Variations, and leading roles in Allegro Brillante, Bach Partita, Ballet Imperial, Ballo della Regina, Baroque Game, Birthday Offering, Paul Taylor’s Black Tuesday, The Brahms-Haydn Variations, Clear, Désir, Diversion of Angels, Drink to Me Only With Thine Eyes, Duets, Études, From Here on Out, Gong, In the Upper Room, Meadow, Les Patineurs, Piano Concerto No. 1, Pretty Good Year, Push Comes to Shove, Raymonda Divertissements, Sinfonietta, Les Sylphides, and Symphonie Concertante. Murphy has also performed featured roles in Company B, The Elements, Overgrown Path, and Without Words. She created Clara, the Princess in Alexei Ratmansky’s The Nutcracker, and

leading roles in After You, Glow – Stop, Kaleidoscope, One of Three, Rabbit and Rogue, Thirteen Diversions, and Within You Without You: A Tribute to George Harrison. Murphy danced Odette-Odile in the ABT telecast of Swan Lake and also appeared in the ABT telecast of Le Corsaire. Other television credits include the Washington Opera’s Die Fledermaus and, in November 2010, an appearance on the series Gossip Girl. During November 1999, she also participated in the Melissa Hayden Project, part of the Balanchine Foundation’s video series filming dancers who worked with George Balanchine teaching their roles to young performers. The Foundation filmed Hayden teaching Murphy the pas de deux from Stars and Stripes and Donizetti Variations. Murphy was seen in the feature film Center Stage and also appeared in the sequel, Center Stage 2: Turn It Up.

Born in Seoul, South Korea, HEE SEO began her ballet training in her hometown at the Sun-hwa Arts Middle School. She was awarded a three-year full scholarship to continue her training at the Universal Ballet Academy in Washington, D.C. In 2003, Seo won a scholarship to train at the John Cranko Ballet Academy in Stuttgart. She is the recipient of the 2003 Prix de Lausanne Award and the 2003 Grand Prix at the Youth American Grand Prix in New York. Seo joined ABT’s Studio Company in 2004, the main company as an apprentice in May 2005, and the corps de ballet in March 2006. Seo was appointed a Soloist in August 2010 and a Principal Dancer in July 2012.

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Her repertoire with the company includes Polyhymnia in Apollo; Nikiya, Gamzatti, a Lead D’Jampe, and a Shade in La Bayadère; Cinderella in Frederick Ashton’s Cinderella; Twig in James Kudelka’s Cinderella; Prayer in Coppélia; Mercedes and a flower girl in Don Quixote; Glove Seller in Gaîté Parisienne; Giselle and Zulma in Giselle; Caroline in Jardin Aux Lilas; Olympia in Lady of the Camellias; Natalia Petrovna in A Month in the Country; Clara, the Princess and one of the Nutcracker’s Sisters in The Nutcracker; Tatiana in Onegin; Natalia in On the Dnieper; Juliet in Romeo and Juliet; Princess Aurora in Ratmansky’s The Sleeping Beauty; Princess Aurora, the Lilac Fairy, the Fairy of Sincerity, and Princess Florine in The Sleeping Beauty; Odette-Odile, the pas de trois, the Polish Princess, and a big swan in Swan Lake; the Swan Lake, Act III Pas de Deux; the Sylph in La Sylphide; Prelude in Les Sylphides; Ceres in Sylvia; Thaïs pas de deux; and roles in Ballo della Regina, Birthday Offering, The Brahms-Haydn Variations, Chamber Symphony, Dark Elegies, Drink to Me Only With Thine Eyes, Duets, From Here on Out, The Leaves Are Fading, Monotones II, Overgrown Path, Raymonda Divertissements, Seven Sonatas, Thirteen Diversion, and Valse Fantaisie. She created a leading role in With a Chance of Rain.

Born in Long Island, New York, CORY STEARNS began his classical training at Seiskaya Ballet with Mme. Valia Seiskaya. At 15, he participated in the Youth America Grand Prix and was offered a full scholar-

ship to the Royal Ballet School in London. During his training there, he performed in Madrid, Moscow, Milan, and Germany. His repertory included principal roles in Mark Annear’s Mendelssohn Concerto, Kenneth MacMillan’s Concerto, Kirk Peterson’s Eyes That Gently Touch, Robert Hill’s Piano Concerto No. 2, and Barry Moreland’s Fearful Symmetries. In March 2004, Stearns appeared with Kylie Minogue in her music video Chocolate. Upon graduating, with honors, from the Royal Ballet School, he received, for the second year, the Dame Ruth Railton Award for excellence in dance. Stearns joined American Ballet Theatre’s Studio Company in September 2004, the main company as an apprentice in January 2005 and as a member of the corps de ballet in January 2006. He was appointed a Soloist in January 2009 and a Principal Dancer in January 2011. Stearns’ repertory with the company includes The Man in AfterEffect; Solor in La Bayadère; The Ballerina in The Bright Stream; a featured role in Brief Fling; Her Prince Charming in Cinderella; Conrad in Le Corsaire; Basilio and Espada in Don Quixote; Oberon in The Dream; a leading role in Études; Second Sailor in Fancy Free; Kaschei in Firebird; Baron in Gaîté Parisienne; Albrecht in Giselle; Grand Pas Classique; Her Lover in Jardin aux Lilas; Armand Duval in Lady of the Camellias; The Leaves Are Fading pas de deux; Des Grieux in Manon; Beliaev in A Month in the Country; His Friend in The Moor’s Pavane; the Nutcracker-Prince in Alexei Ratmansky’s The Nutcracker; Onegin in Onegin; Iago and a Carnival Dancer in Othello; Man From the House Opposite in Pillar of Fire; Romeo and Paris in Romeo and Juliet; the Terrestrial in Shadowplay; Prince Désiré in Ratmansky’s The Sleeping Beauty; Prince Désiré, the Celtic Prince, and a Fairy Knight in The Sleeping Beauty; Prince Siegfried and von Rothbart in Swan Lake, Act III; James in La Sylphide; the Poet in Les Sylphides; Orion and Apollo in Sylvia; Prospero in The Tempest; The Awakening pas de deux; leading roles in Allegro Brillante, Duo Concertant, Études, Monotones II, Raymonda Divertissements, and With a Chance of Rain; and roles in The Brahms-Haydn Variations, Citizen, Drink to Me Only With Thine Eyes, Duets,

Everything Doesn’t Happen at Once, In the Upper Room, The Leaves Are Fading, Overgrown Path, Rabbit and Rogue, Raymonda Divertissements, Symphony in C, and Thirteen Diversions. Stearns created roles in From Here On Out, One of Three, Piano Concerto No. 1, and Private Light. Stearns won the 2009 Erik Bruhn Prize for best male dancer.

Born in Paris, France, ALEXANDRE HAMMOUDI began his training at ten with Max Bozzoni of the Paris Opera Ballet. He continued his training at the Academy of Dance Salle Playel in Paris from 19961999, and received further training at the English National Ballet School in London and at the School of American Ballet, both on full scholarship. Hammoudi has won numerous international competitions, including the Trophée Arabesque and the Biarritz Dance Competition. At 17, Hammoudi became a member of the National Ballet of Cuba and toured South America with that company, dancing roles in Carmen, Cinderella, Don Quixote, the peasant pas de deux in Giselle, and the pas de six and mazurka in Swan Lake. Hammoudi joined ABT’s Studio Company in 2002; in April 2003, he joined the main company as an apprentice, and became a member of the company’s corps de ballet in April 2004. He was appointed a Soloist in July 2012. His repertory with the company includes the Rajah in La Bayadère, Pyotr and the Lead Highlander in The Bright Stream, Cavalier and Prince in Ashton’s Cinderella, Lead Mazurka/Czardas

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in Coppélia, Espada in Don Quixote, Duo Concertant, Ivan in Alexei Ratmansky’s Firebird, Albrecht in Giselle, The Man She Must Marry in Jardin aux Lilas, the Jailer in Manon, the Nutcracker-Prince in Alexei Ratmansky’s The Nutcracker, Olga’s Fiancé in On the Dnieper, Othello in Othello, Friend of the Family in Pillar of Fire, Romeo and Paris in Romeo and Juliet, Prince Désiré in Ratmansky’s The Sleeping Beauty, the Spanish Prince, a Fairy Knight, and the Act II Pas de Deux in The Sleeping Beauty, Prince Siegfried, the Act III Pas de Deux, and von Rothbart (Ballroom) in Swan Lake, Orion and Apollo in Sylvia, a featured role in Brief Fling, and roles in AfterEffect, Black Tuesday, The Brahms-Haydn Variations, Clear, Continuo, Désir, Glow – Stop, The Leaves Are Fading, Monotones II, Overgrown Path, Private Light, Raymonda Divertissements, Sinfonietta, Symphony #9, and Symphony in C. He created the Spanish Dance in Ratmansky’s The Nutcracker, the Spanish Prince in Alexei Ratmansky’s The Sleeping Beauty, and roles in Everything Doesn’t Happen at Once, From Here on Out, Pretty Good Year, Seven Sonatas, and Thirteen Diversions. Hammoudi has been dancing all over Spain as a guest artist with Ángel Corella and Stars of American Ballet.

The USC TROJAN MARCHING BAND is known throughout the country as one of college football’s most spirited and innovative bands, and around the world for its frequent appearances in Hollywood. Founded in 1880, the Trojan Marching Band (TMB) has been led by director Dr. Arthur C. Bartner for the past 46 years. Arriving at USC in 1970, Bartner revolutionized the band by introducing the distinctive “drive-it” style of marching and incorporating modern hits into its repertoire. Named the “Best Band in College Football” by USA Today, the TMB is a prominent representative of the university with over 350 engagements each year. It has truly earned its nickname, “The Spirit of Troy,” for its commitment to ’SC and its tireless support of Trojan athletics. Dating back to John Phillip Sousa’s appearance with the band in 1924, the band has continuously attracted famous guest artists. Henry Mancini, Quincy

Jones, Diana Ross, Neil Diamond, Slash, Jason Derulo, and Dexter Holland of The Offspring have all appeared with the TMB. The Spirit of Troy made its own guest appearances with the rock group Fleetwood Mac on its hit 1979 album Tusk, and 1997 reunion album The Dance. Combined, the records sold over seven million copies, earning the band two platinum albums, a feat unmatched by any other college band. In 2010, The Spirit of Troy also became the first marching band to play at the renowned Coachella music festival and has since appeared there twice more, most recently playing with Major Lazer on the main stage this past spring. Because of its frequent exposure on the small and silver screens, the TMB has become known as “Hollywood’s Band.” The band can be heard on the soundtrack to the 2013 animated feature The Croods and seen in such films as The Naked Gun and the Academy Award-winning Forrest Gump. Indeed, the Academy Awards telecast itself has featured the band three times: in 1976, 2000, and 2009. At the 81st Annual Academy Awards, the drumline – in top hats and tuxes – accompanied Beyoncé and Hugh Jackman in a Baz Luhrmann-produced salute to the Hollywood musical. Earlier that year, the band appeared at the 51st Grammy Awards, collaborating with British alternative rock group Radiohead on one of the most acclaimed performances of the night. This was the TMB’s second appearance on the Grammys in five years. Some of the TMB’s other television

appearances include guest spots on Glee, The Voice, American Idol, The Tonight Show, How I Met Your Mother, Dancing with the Stars, and SportsCenter. In 2007 the band broke into the world of major print media with an appearance in the Sports Illustrated Swimsuit Issue. The TMB was one of two college marching bands chosen for this first-of-its-kind pictorial, which featured thirteen pages of supermodels posed with band members. In 2013 the band appeared in a pictorial for Vanity Fair’s annual Hollywood Issue. During its summer vacations, the band stays busy, traveling the world as goodwill ambassadors for the university. The Spirit of Troy performed at the 50th Anniversary of D-Day in Normandy, France; at the 2003 and 2004 International Chinese New Year’s Parade in Hong Kong; on the Great Wall of China in 2004; in front of the Roman Colosseum in 2006 and on Rio de Janeiro’s Ipanema Beach in 2008. The band has also had the privilege of performing at five World Expositions, in Australia (1988), Spain (1992), Portugal (1998), Japan (2005), China (2010), and Italy’s Expo 2015. In February the Trojans were the first American group to perform at Macao’s Chinese New Year Parade. The Spirit of Troy was a part of the 800-strong All-American College Marching Band – directed by Dr. Bartner – which performed at the 1984 Summer Olympic Games. Dr. Bartner has also led the TMB at Super Bowls, the World Series, the World Cup, and regularly at the Hollywood Bowl. — Brett Padelford

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PROGRAM

SUNDAY AUGUST 7, 2016 7PM

KCRW’s World Festival

SUFJAN STEVENS KURT VILE AND THE VIOLATORS IBEYI IBEYI

SUFJAN STEVENS

Lisa Kainde Diaz

Sufjan Stevens

VOCALS/PIANO

VOCALS/GUITAR/KEYBOARD/BANJO

Naomi Diaz

Casey Foubert

VOCALS/PERCUSSION

GUITARS/KEYBOARDS

KURT VILE AND THE VIOLATORS Kurt Vile GUITAR/BANJO/VOCALS

Jesse Trbovich GUITAR/BASS/KEYBOARDS

Rob Laakso GUITAR/BASS/KEYBOARDS

Kyle Spence DRUMS

James McAlister DRUMS/PERCUSSION

Dawn Landes DANCER/VOCALS

Cat Martino DANCER/VOCALS

Yuuki Matthews BASS GUITAR

Reggie Pace HORNS/PERCUSSION

Sam Koff John Hulley HORNS

Farmer Dave Scher KEYBOARDS, PEDAL STEEL GUITAR

I N TERMI SSI ON

KCRW DJ Chris Douridas HOST

Ofﬁcial Automotive Partner of the Hollywood Bowl

Ofﬁcial Airline of the Hollywood Bowl

Ofﬁcial Cruise Line of the Hollywood Bowl

is a proud sponsor of the Hollywood Bowl. Programs and artists subject to change.

Pianos provided by Steinway Piano Gallery – Beverly Hills.

MEDIA SPONSOR:

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SUFJAN STEVENS Sufjan Stevens is a singer-songwriter currently living in Brooklyn, NY. A preoccupation with epic concepts has motivated two state records (Michigan and Illinois), a collection of sacred and biblical songs (Seven Swans), an electronic album for the animals of the Chinese zodiac (Enjoy Your Rabbit), two Christmas box sets (Songs for Christmas, vol. 1-5 and Silver & Gold, vol. 6-10), and a programmatic tone poem for the Brooklyn-Queens Expressway (The BQE). In 2010 Sufjan released an expansive EP (All Delighted People) and the full length The Age of Adz, a collection of songs partly inspired by the outsider artist Royal Robertson. His most recent release is a forthcoming album entitled Carrie & Lowell. Born in Detroit and raised in Northern Michigan, Sufjan attended Hope College, in Holland, Michigan, and the masters program for writers at the New School for Social Research.

KURT VILE Having been the subject and willing conspirator of many intentional lies planted in Sonic Youth bios over the years, I know first hand the way album lore can bend reality to its truth. After the infamous Byron Coley originated the SY “Trilogy” myth in the Murray Street bio, we had no choice but to fulfill those expectations with Sonic Nurse. “Why did you decide to make a trilogy?” was always the first question asked in interviews around that time. But this is Kurt Vile’s bio, and I won’t do that to him. Anyway, Kurt does his own myth making; a boy/man with an old soul voice in the age of digital everything becoming something else, which is why this focused, brilliantly clear, and seemingly candid record is a breath of fresh air. Recorded and mixed in a number of locations, including Los Angeles and Joshua Tree, b’lieve i’m goin down… is a handshake across the country, East to

West Coast, thru the dustbowl history (“valley of ashes”) of Woody “honest straight-forward talk” Guthrie, and a Cali canyon dead still night floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of singer-songwriter upcycling. In Kurt’s words, “I wanted to get back into the habit of writing a sad song on my couch, with nobody waiting on me. I really wanted it to sound like it’s on my couch — not in a lo-fi way, just more unguarded and vulnerable.” For a record that plays like a cohesive acoustic experience, its musicality marks Kurt’s departure from an electric guitar experience to include a range of instrumentation with a large group of players. From the banjo he plays on “I’m an Outlaw” to the piano and lapsteel on “Life Like This,” and the myriad other instruments on other songs, including farfisa, resonator, arps, horns, and synth, one never thinks about what exactly you’re

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listening to as it all serves the song. The heart of the record is “Stand Inside.” The music is quiet and the melody, like a hymn, folds in on itself, and embraces full strength in a sexy, floating forcelessness that slowly gathers into a wave that doesn’t go where you think it will or rather gives in to itself and celebrates a man willing to be defined by a woman and his love for her as witness to each other’s

lives… Don’t stand by my side, stand inside gives up roleplaying for true exposure and vulnerability. It’s a weird, accepting, mature record, acknowledging the inherent immaturity of being a person whether father, husband, partner, adult, musician, not perfect, but compelling for its understanding … that’s life though so sad to say… I love this record, b’lieve i’m goin down. — Kim Gordon

IBEYI Lisa and Naomi Díaz are the daughters of the late Cuban percussionist Angá Díaz. Naomi plays percussion instruments, the cajón and the batas, and Lisa plays piano. Together the twins have learned the songs of their father’s culture, Yoruba. Yoruba travelled from West Africa to Cuba with slavery in the 1700s. The Yoruba people have the highest twinning rate in the world, and twins occupy an important position within Yoruba culture. Ibeyi is pronounced “ee-bey-ee” and translates as “Twins” in Yoruban. Ibeyi sing in English and Yoruban, and have created a minimalist sound that merges elements of their heritage with their natural love of modern music as teenagers growing up in Paris, citing artists such as James Blake and King Krule among their wide range of influences. Ibeyi’s self-titled debut album for XL, with Richard Russell on production, was released last year. “Their single ‘River’ is essentially a gospel song sung over a sparse beat, and it is both awesome and otherworldly.” (Stereogum) “You’re unlikely to hear anything as startlingly original all year.” (NME) “If this doesn’t lift your spirit, literally nothing will.” (Disco Naivete)

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NEXT WEEK AT THE BOWL

JEFF BECK

ANDREW MANZE

Tue AUG 9 8pm MAGICAL MOZART Los Angeles Philharmonic Andrew Manze, CONDUCTOR Arabella Steinbacher, VIOLIN MOZART Don Giovanni Overture MOZART Violin Concerto No. 5 MOZART Symphony No. 41, “Jupiter”

Thu AUG 11 8pm BEETHOVEN & SCHUBERT Los Angeles Philharmonic Andrew Manze, CONDUCTOR Francesco Piemontesi, PIANO BEETHOVEN Piano Concerto No. 4 SCHUBERT Symphony No. 9, “Great C-major”

Wed AUG 10 8pm 50 YEARS OF JEFF BECK Steven Tyler, SPECIAL GUEST Beth Hart, SPECIAL GUEST BUDDY GUY Celebrated guitarist and Rock & Roll Hall of Fame inductee Jeff Beck marks 50 momentous years of electrifying live performances with this very special appearance. One of the most widely acclaimed guitarists in popular music, Beck is known for his wild mix of blues, funk, and jazz rock, as well as collaborations with countless luminaries. Legendary Chicago bluesman, the Real Deal, Buddy Guy opens the night.

Fri/Sat AUG 12-13 8pm An Olympic Carnival SERGIO MENDES & 50 YEARS OF BRASIL ’66 Herb Alpert and Lani Hall, SPECIAL GUESTS Dianne Reeves and Romero Lubambo, SPECIAL GUESTS Hollywood Bowl Orchestra Thomas Wilkins, CONDUCTOR Viver Brasil • Angel Blue, SOPRANO We salute the XXXI Olympiad in Rio de Janeiro with an electrifying evening of samba, capoeira, Bloco-Afro drummers, and fireworks!

SERGIO MENDES

Sun AUG 14 7:30pm RODRIGO Y GABRIELA Hollywood Bowl Orchestra Thomas Wilkins, CONDUCTOR Mexican guitar heroes Rodrigo y Gabriela return for a magical collaboration with orchestra.

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continued from pg. 62

$15,000 TO $24,999 Anonymous (3) ABC Entertainment Drew and Susan Adams Honorable and Mrs. Richard Adler Dr. Benjamin and Debra Ansell The Aversano Family Trust Lorrie and Dan Baldwin Mr. and Mrs. Bret Barker Judy and Leigh Bardugo Dr. William Benbassat Barbara Bernstein and Stephen R. Bernstein Laurel and Eric Bernt Samuel Biggs and Erin Rose Mr. and Mrs. Norris J. Bishton, Jr. John and Annette Brende Marla Campagna Ms. Nancy Carson Par and Sharon Chadha Pei-yuan Chia and Katherine Shen Chivaroli and Associates Dan Clivner and Steven Cochran Mr. and Mrs. Jonathan Cookler Lynette and Michael C. Davis Ron de Salvo Victoria Seaver Dean, Patrick Seaver, Carlton Seaver David and Orna Delrahim Malsi Doyle and Michael Forman Mary and Robert Estrin Good Works Foundation and Laura Donnelley Elizabeth Hofert-Dailey Trust Ms. Lisa Field Daniel and Maryann Fong Drs. Harold and Gloria Frankl Lillian and Steve Frank Mr. Arthur J. Gallagher Jo Ann and Julian Ganz, Jr. Leslie A. Goodman Lori and Robert Goodman The Gorfaine/Schwartz Agency Mr. and Mrs. Daniel M. Gottlieb Diane and Peter H. Gray Tricia and Richard Grey Marnie and Dan Gruen Renée and Paul Haas Mr. and Mrs. Irwin Helford and Family Dr. Diane J. Henderson Carol and Warner Henry Susan and Tom Hertz Yvonne Hessler Mr. Philip Hettema Fern and Arnold Heyman Marion and Tod Hindin Gerry Hinkley and Allen Briskin Hollywood Bowl Patroness Committee Linda and Donald Kaplan Anne and Michael Keating Lisa and Larry Kohorn KPMG LLP Carol Krause Ms. Zorina Kroop Bob and Pamela Krupka Ms. Robin Eisenman and Mr. Maurice LaMarche Charlotte and Thomas Lane Phyllis and Ken Lemberger Allyn and Jeffrey L. Levine Morelle and Dr. Norman D. Levine Lydia and Charles Levy Ms. Agnes Lew Marie and Edward Lewis Anita Lorber Los Angeles Philharmonic Affiliates Lillian Lovelace The Luppe & Paula Luppen Family Foundation Mr. and Mrs. Roger H. Lustberg Ginny Mancini Raulee Marcus Matt Construction Corporation Dwayne and Eileen McKenzie

Sharyl and Rafael Mendez, M.D. Dr. Richard N. Merkin Marcy Miller David and Margaret Mgrublian Joel and Joanne Mogy MUFG Union Bank, N.A. Deena and Edward Nahmias Mr. and Mrs. Dan Napier Mary Jayne Parker and Beckie Yon Parsons Corporation Catherine Partridge Mr. and Mrs. R. Joseph Plascencia Gregory Pickert Ms. Carol Price Mrs. Michelle Rohe Robyn and Steven Ross Tom Safran The SahanDaywi Foundation Ron and Melissa Sanders Dr. and Mrs. Heinrich Schelbert Mr. and Mrs. Arnold Seidel Dr. Donald Seligman and Dr. Jon Zimmermann Marc Seltzer and Christina Snyder Mr. James J. Sepe Elliott Sernel & Larry Falconio Eric Small Lisa and Wayne Stelmar Mr. James C. Stewart Tracey and Stanley Tatkin Suzanne and Michael E. Tennenbaum Teshinsky Family Foundation Mr. and Mrs. Thomas E. Unterman Noralisa Villarreal and John Matthew Trott Jan and Meredith Voboril Charles and Miriam Vogel Mindy and David Weiner Dr. Libby F. Wilson Karl and Dian Zeile Richard S. Ziman David Zuckerman and Ellie Kanner-Zuckerman

$10,000 TO $14,999 Anonymous (4) Sara and Robert Adler Julie Andrews Art and Pat Antin Mr. and Mrs. Mustapha Baha Susan Baumgarten The Honorable Frank and Kathy Baxter Phyllis and Sandy Beim Mr. Mark Benjamin Joyce and Stanley Black and Family Roz and Peter Bonerz Alex Bouzari Brass Ring Foundation Kevin and Claudia Bright Mr. and Mrs. Steven Bristing Mrs. Linda L. Brown Lyn and Frank Campbell The Cloobeck Family Collingwood Foundation Jay and Nadege Conger Mr. and Mrs. Robert Cook Don and Zoe Cosgrove Kelvin L. Davis Dr. and Mrs. Aurelio de la Vega Robert and Patty Dickman Jennifer and Royce Diener Anna Sanders Eigler Bonnie and Ronald Fein Jen and Ted Fentin Mr. Tommy Finkelstein and Mr. Dan Chang The Franke Family Trust Tomas Fuller and William Kelly Mr. Gary Galiher Mr. and Mrs. James P. Gauer The Gillis Family Mr. and Mrs. Herbert Glaser Paige and David Glickman Mr. and Mrs. Abner D. Goldstine

Julia and Ken Gouw Mr. Jeff Green Ms. Lynn Gretkowski Mr. and Mrs. Paul Guerin Vicken and Susan J. Haleblian Carolyn and Bernard Hamilton Laurie and Chris Harbert Denise and Robert Hayman Stephen T. Hearst Dr. and Mrs. Alan M. Heilpern Bud and Barbara Hellman Andrew Hewitt Mr. Raymond W. Holdsworth Dr. Louise Horvitz and Carrie Fishman Ms. Kristi Jackson and Mr. William Newby Robin and Gary Jacobs Dr. William B. Jones Marvin Jubas Stephen A. Kanter, M.D. Mr. and Mrs. Kenneth Karmin Ms. Nancy Katayama Gerald L. Katell Suzanne and Richard Kayne Sandi and Kevin Kayse Mr. & Mrs. Stephen Keller Kem Productions, Inc. Estate of Dale E. Kern Carla Kirkeby and John Lee Cary Kleinman Mr. and Mrs. Stephen A. Kolodny Sandra Krause and William Fitzgerald Mr. Seth Krugliak Marisa Silver and Ken Kwapis Ellie and Mark Lainer Tom and Sandy Lallas Mr. and Mrs. B. Allen Lay David Lee Lauren B. Leichtman and Arthur E. Levine Audrey Davis and Peter Dan Levin The Hyman Levine Family Foundation: L’DOR V’DOR Dr. Stuart Levine Peachy Levy Maria and Matthew Lichtenberg Mr. Steven L. Llanusa and Dr. Glenn Miya Robert W. Lovelace and Alicia Miñana Mr. Prem Manjooran Sandra Cumings Malamed & Kenneth D. Malamed Mr. Michael Martinet Jonathan and Delia Matz Kathleen Maurer Foundation Dr. Robert Mendez Mr. and Mrs. Dana Messina Mr. and Mrs. Michael Milken Mr. Weston F. Milliken Haydee and Carlos A. Mollura Ms. Susan Morad at Worldwide Integrated Resources, Inc. Ms. Kari Nakama NBC Universal Christine M. Ofiesh Mr. David Orenstein and Mr. Dixon Lu Loren Pannier Lyle and Lisi Poncher Mr. and Mrs. Alan C. Rakov Rita and Norton Reamer Robert Gore Rifkind Foundation Mr. and Mrs. Richard Roberts Lois Rosen Thomas C. Sadler and Dr. Eila C. Skinner Dr. and Mrs. Bernard Salick Mr. and Mrs. Esa-Pekka Salonen Santa Monica-Westside Philharmonic Committee Dr. Warren and Katherine Schlinger Mr. Dino Schofield Evy and Fred Scholder Family Samantha and Marc Sedaka Neil Selman and Cynthia Chapman Gloria Sherwood

Mr. Bill J. Silva Patricia and Stanley Silver Grady and Shelley Smith Mr. and Mrs. Richard Sondheimer Angelina and Mark Speare Mr. Lev Spiro and Ms. Melissa Rosenberg Suzanne and Joseph Sposato Stein Family Fund - Judie Stein Drs. Ellen and James Strauss Mr. Brandon Sugimoto Mr. Ed and Peggy Summers Priscilla and Curtis S. Tamkin Michael Frazier Thompson Elinor and Rubin Turner Mr. and Mrs. Terry Volk Mr. Nate Walker Dorothy C. Waugh Roberta Weintraub and Ira Krinsky Westside Committee for the Los Angeles Philharmonic Mr. and Mrs. Gary Winnick Robbi J. Work Mr. and Mrs. Howard Zelikow Bobbi and Walter Zifkin Susan Zolla, In Memory of Edward M. Zolla

$7,500 TO $9,999 Anonymous Arnon and Camille Adar Dr. and Mrs. Frank Agrama Mr. and Mrs. Stephen L. Allen Richard Bardowell, M.D. Karen and Jonathan Bass Mr. and Mrs. Roy A. Battocchio Maria and Bill Bell Terry and Fran Buchanan Barbara and George Byrne Chicago Title Company Mr. and Mrs. Ronald Clements The Randee and Ken Devlin Foundation Tim and Neda Disney Julie and Stan Dorobek Mr. David A. Drummond Mr. and Mrs. Gerald Du Manoir Gail and James Ellis Mr. C. Randolph Fishburn and Mr. Andrew Sands Ms. Kimberly Friedman Dr. and Mrs. Bruce Gainsley Leslie and Cliff Gilbert-Lurie Henry J. Gonzalez, M.D. Ms. Paula M. Grigsby Mr. and Mrs. David Haddad Hancock Park Associates The Hollywood Bowl Society Mr. and Mrs. Daniel Paul Horwitz Dr. and Mrs. Mel Hoshiko Mr. Andrei Iancu Dr. and Mrs. Robert M. Karns Mr. Gary Kirkpatrick Michael and Patricia Klowden Dr. Ralph A. Korpman Mr. and Mrs. Stanley Kramer Rick and Jan Lesser Mr. and Mrs. Norman A. Levin Anita and Saul Levine Susan Disney Lord and Scott Lord Los Angeles Lakers Shelly and Dennis Lowe Mr. and Mrs. Alfred E. Mann Mrs. Lydia McCroskey Mr. Sheldon and Dr. Linda Mehr Mr. and Mrs. Rick Merrill Mr. Jose Luis Nazar Ms. Rozann Newman Nicholas Nikolov and Valeria Rico-Nikolov Larry and Beth Peerce Mr. and Mrs. Joseph P. Perna Mr. Rupert Perry, CBE Joyce and David Primes Mr. Robert G. Rifkind

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continued from pg. 82

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Mr. and Mrs. Steaven K. Jones, Jr. Eileen and Ken Kaplan Marty and Cari Kavinoky Richard Kelton Richard Kendall and Lisa See Dr. and Mrs. Robert Koblin Mrs. Joan Kroll Ms. Phyllis Kupferstein and Mr. Donald O. Farkas Ms. Linda Gassoumis Mr. and Mrs. Jack D. Lantz Mr. George Lee Mr. and Mrs. Michael J. Lesser Randi Levine Dr. and Mrs. Rendel L. Levonian Ellen and Mark Lipson Pamela Mass Leslie and Ray Mathiasen Mr. and Mrs. Thomas E. McCarthy Ms. Barbara J. Miller O’Malley and Ann Miller Moore McLennan, LLP Mr. Brian R. Morrow Mr. and Mrs. Angelo R. Mozilo Ms. Lillian Mueller Mrs. Cynthia Nelson Mr. and Mrs. Randy Newman Ms. Jeri L. Nowlen Irene and Edward Ojdana Glenn Pittson Robert J. Posek, M.D. Sandra and Lawrence Post Quality Production Services Sally and Frank Raab Hon. Vicki Reynolds and Mr. Murray Pepper Mr. and Mrs. Frederic Rheinstein Mr. and Mrs. Scott H. Richland Sharon and Nelson Rising Ms. Elizabeth Davis Rogers Mr. and Mrs. Brad Rosenberg Ms. Rita Rothman Mr. and Mrs. Bill H. Rowland Dr. Michael Rudolph Mr. and Mrs. Paul Rutter Ms. Yoriko Saneyoshi and Ms. Kay Harrington Mr. Alexander Sawchuk Ruth and Mitchell Shapiro Dr. John L. Sherman Mr. Kevin Shields Mr. and Mrs. William E. B. Siart Mr. Adam Sidy June Simmons Mr. and Mrs. Martin A. Sklar Mr. Douglas H. Smith Virginia Sogomonian and Rich Weiss Curtis W. Spencer III, M.D. Roger Stewart Maia and Richard Suckle and The Anna & Benjamin Suckle Foundation Mr. Ward Sylvester Mr. Kenenth Szalai Mr. and Mrs. Randall Tamura Ms. Janet Teagle Keith and Cecelia Terasaki Warren B. and Nancy L. Tucker Billie and Richard Udko Joan Velazquez and Joel Kozberg Felise Wachtel Christopher V. Walker Fredda and Bruce Wasserman Bob and Dorothy Webb Western Health Mr. Robert E. Willett Karen and Richard Wolfen Mr. and Mrs. Richard Wynne Mr. Nabih Youssef

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continued from pg. 85

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88 PERFORMANCES MAGAZINE

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Mr. James Herzfeld Mr. Clair Higgins Mr. Bob Hirsch Mr. and Mrs. Paul Hirsch Mr. Fritz Hoelscher Ms. Judy Hohman Mrs. Katherine M. Horgan Dr. Alice Huang and Dr. David Baltimore Ms. Julia Huang Mr. Arthur Huberman and Ms. Debra S. Kanoff Frances and Loretta Hung Foundation Illig Construction Company Mr. and Mrs. Jeremy Ireland Dr. and Mrs. Robert M. Itami Mr. Gregory Jackson Mr. and Mrs. Leonard Jaffe Ms. Lorri L. Jean and Ms. Gina M. Calvelli Mrs. Michelle Joanou Ms. Marcia Jones Mr. William Jordan Kristofer Jorstad Mr. Ken Kahan Kathleen L. Kane Mr. and Mrs. James Kang Karen and Don Karl Marilee and Fred Karlsen Kayne, Anderson & Rudnick Mr. Stephen Keck Ms. Karin Kemenes Mr. John Kern Dr. and Mrs. Andrew B. Kim Laura King and Charles Nagurka Ms. Madeleine A. Kleiner Mrs. Elizabeth Koen Dr. Stanley G. Korenman and Ms. Ann Pollack Mrs. Rosalie Kornblau Ms. Sharon Krischer KTN Enterprises, Inc. Dr. and Mrs. Kihong Kwon Carole and Norm La Caze Mrs. Estelyn La Hive Mr. and Mrs. Keith Landenberger Thomas and Gloria Lang Mrs. Grace E. Latt Constance Lawton Cynthia Lee, M.D. Mr. Randall Lee and Ms. Stella M. Jeong Dr. Bob Leibowitz The Honorable Lisa Lench Alan J. Levi and Sondra Currie-Levi Dr. and Mrs. Albert Levine Mr. and Mrs. Edward B. Levine Lolly Levy Mr. and Mrs. Alvin P. Lewis Ms. Catherine Lewis Mr. David Licata Mr. Greg Lipstone Mr. Lewis Lipstone Ms. Bonnie Lockrem Mr. and Mrs. Steve Loeb Ms. Cindy M. Lopez Los Angeles Philharmonic Affiliates at Large Los Angeles Philharmonic Committee Mr. and Mrs. Ronald Low Ms. Marion Lowry Mr. and Mrs. Boutie Lucas Dr. and Mrs. Franklin W. Lusby Mr. Roger I. MacFarlane Susan and John MacLaurin Dr. and Mrs. Jamshid Maddahi Ms. Wendie D. Malick Carol and Doug Mancino Mr. and Mrs. John W. Maniatakis Dorrie and Paul Markovits Vilma S. Martinez, Esq. Mrs. Suzanne Marx

Dr. and Mrs. Allen W. Mathies Mr. Gary J. Matus Mr. Pascale McCracken Ms. Meighan McLafferty Ms. Irene Mecchi Mr. Robert Mendow Dr. Yolanda Mendoza Mr. Jorge Mestman Mr. and Mrs. Bruce A. Meyer Ms. Michelle Michaels Mr. and Mrs. Michael D. Miller Mr. Andrew and Rosemarie Millstein Mr. Henry Minami Mr. Marc Mitchell Dr. Robert Modlin Montessori School Linda and John Moore Mr. Sean Moriarty Toni Hollander Morse and Lawrence Morse Rosanne and Mel Nachman Mr. and Mrs. Richard Nahigian Dr. David Neer Ms. Tricia Nelson Mr. Steven Neu Mr. and Mrs. John W. Newbold Mr. Michael B. Nissman Mr. and Mrs. Oberfeld Mr. and Mrs. Arthur J. Ochoa Ms. Margo Leonetti O’Connell Mr. Frank O’Dea Harriet & Richard Orkand Family Educational Foundation Linda and Ed Ornitz Mr. and Mrs. John B. Orr Mr. and Mrs. David Overton Kim and P.F. James Overton Ms. Natalie C. Park Mr. Jamshid Parvaresh and Mrs. Pardis Mirzai Bob and Brana Paster Foundation Mr. Thomas C. Payne Marjorie and Joseph Perloff Mr. Jack Perry Ms. Iris Peters Mr. Alan Pick Mrs. Charlotte Pinsky Mr. Joel Pollack Mr. Mark E. Pollack Mr. Christopher K. Poole Mrs. Ruth S. Popkin Mr. Arnold Porath Debbie and Rick Powell Mr. Albert Praw John R. Privitelli Mrs. Lilian Prusan Max Ramberg Mrs. Miriam Rand Mr. and Mrs. Jerome Rapport Gay and Ronald Redcay Mr. Alfonso Reina Mr. and Mrs. Richard G. Reinis, Esq. Mr. and Mrs. W. Randolph Reiss Mr. and Mrs. Frank Renek William J. Resnick, M.D. Ms. Elizabeth Roberts Ms. Iva C. Roberts Ms. Kristina Rodgers Mr. Albert Roer Ari Rosenblatt, D.D.S. Michael S. Rosenblum and Sheri Bloomberg Mr. Richard Rosenthal and Ms. Katherine Spillar Mr. Bradley Ross and Ms. Linda McDonough Joyce and Deane Ross Mrs. Florence Roth Mimi Rotter Mr. and Mrs. Matthew Rowland Ms. Karen Roxborough Mr. Larry Ruderman Ms. Penny L. Russell-Smith Mr. Adam Saitman Ms. Melanie Salata Fitch

Mr. and Mrs. Maxwell Salter Gail Samuel and William Christian Mr. and Mrs. Michael Sanders Carol (Jackie) and Charles Schwartz Dr. and Mrs. Hervey Segall Dr. and Mrs. Hooshang Semnani Mr. Majid M. Seyedi-Rezvani Mr. and Mrs. Jeffrey Alan Seymour Mr. Hovav Shacham Ms. Rita Shamban-Hahn Adam Shell and Carla Christofferson Mr. Chris Sheridan Mr. and Mrs. Manny Silverman Mr. and Mrs. Peter R. Skinner Professor Judy and Dr. William Sloan Cynthia and John Smet Daniel and Tracy Soiseth Al and Joyce Sommer SouthWest Heights Philharmonic Committee Speakers Bureau of the LAPA Mr. and Mrs. Richard Spelke Ms. Elizabeth B. Spelman Mrs. Elise Sinay Spilker Ian and Pamela Spiszman Marilyn and Eugene Stein Mr. and Mrs. Joseph Stein Dr. Evangelina Ramirez Stockwell Robert and Joan Sugar Ms. I.H. Sutnick Mr. Bradley Tabach-Bank Mr. Akio Tagawa and Ms. Yui Suzuki Mr. David Takata Mr. Glenn Tan Mr. Stephen S. Taylor Thomas and Elayne Techentin Ms. Jennifer Terry Mr. James Thompson Tichenor & Thorp Architects, Inc. Mr. and Mrs. William P. Tinkley Mr. and Mrs. Harris Toibb Joan Tours Townsend Bonnie K. Trapp Terrye Underwood Christine Upton Ms. Sylvianna Van De Water Vargo Physical Therapy Mr. and Mrs. Zev Vered Frank Wagner Mr. and Mrs. Barton Wald Mr. Robert M. Walp Hope Warschaw and John Law Mr. Nicholas N. Weber Mr. and Mrs. William S. Weisinger, Jr. Ms. Abby Silverman Weiss and Mr. Ray F. Weiss Mr. and Mrs. Max K. Weissberg Dr. Robert Weissman Ms. Cynthia White Ms. Margaret E. White Mr. and Mrs. Steven White Mr. William A. White Mr. and Mrs. David Wilson Mr. and Mrs. Larry Wolf Dr. Terris Wolff Mr. and Mrs. Geoffrey Yarema Mr. Dylan Yolles Mr. William Zak Marshall S. Zolla Rachel and Michael Zugsmith Mr. Kenneth Zurek Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit LAPhil.com. If your name has been misspelled or omitted from this list in error, please contact the Development Office at 213.972.7557. Thank you.

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metro.net

Go Metro to the Bowl. connect with the hollywood bowl shuttle near hollywood & highland. Coming back to the Bowl this season? Go Metro! Exit at the Hollywood/Highland Station and take a shuttle at Orange Dr right to the gate. Operated by the Bowl, this service makes it easier than ever to enjoy a musical summer evening. The shuttle is free to Metro customers â&#x20AC;&#x201C; just show your valid TAP card when you board.

14-1915eb ÂŠ2014 lacmta

To plan your best route to the Hollywood/ Highland Station, call 323.GO.METRO or use the Trip Planner at metro.net.

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16-2391

metro.net

a M ad Ar re ca di Vi a lla M on ro vi a Du ar te /C Ir ity w of in da Ho le pe Az us a Do AP w nt U/ ow Ci n tr us Co lle ge

Metro Rail & Busway

Chatsworth

Si er r

Memorial Park

SAN GABRIEL VALLEY

Del Mar Fillmore

Los Angeles River

Heritage Sq

al C

Lincoln/Cypress

Union Station Amtrak & Metrolink LAX FlyAway

El M on te

Chinatown

L ro lin A k

PURPLE LINE EXTENSION

Southwest Museum

Ca lS ta t M et e

WESTSIDE

Highland Park

M ed ic

CENTRAL LA

South Pasadena

LA C+ US C

Warner Ctr

Ca no ga De So to Pi er ce Co Ta lle m ge pa Re se da Ba lb oa W oo dl ey Se pu lv ed Va a n Nu ys W oo dm an Va lle y Co La lle ur ge el Ca ny on No rt W h ils H Un ol hi ly re iv w er /W oo W sa Ho es d ils lC te lly No hi ity rn w rm re/ /S oo Ho t d/ an ud lly Hi di io w gh e oo Ci Ho la ty d/ lly n V d Ve Ve Ve w i n W rm rm rm oo e ils d/ on on on hi W W t/ t/ t/ re es es Su Sa Be /V te tla nt ns ve er rn a ke rl e m t M y on /M on t ac ic a Ar th ur Pa rk Ci vi Gr c C a t Pa nd r/ rk

Roscoe Sherman Way

La ke

SAN FERNANDO VALLEY

Nordhoff

Al le n

Amtrak & Metrolink

So to

EASTSIDE

San Pedro St

SOUTH LA

Los Angeles River

Washington Vernon Slauson Manchester

UNDER CONSTRUCTION

Willowbrook/ Rosa Parks

Rosecrans

Compton

El Segundo

Harbor Gateway Transit Ctr

Artesia

Carson

Wardlow

Douglas Redondo Beach

Be ac h La Bl ke w oo d No Bl rw al k

103rd St/ Watts Towers

Lo ng

Ha rb or Fw Av al y on

Av ia tio n/ Ha LA w X th or n Cr e / en Le sh nn aw ox Ve rm At o he nt ns /

Firestone

LAX

Del Amo

Pacific Coast Hwy

Pacific Av

5th St

Downtown Long Beach

1st St

North Hollywood to Union Station Wilshire/Western to Union Station

Blue Line

Downtown LA to Long Beach

GATEWAY CITIES

Pacific Coast Hwy Anaheim St

Metro Rail Red Line

Purple Line

Willow St

SOUTH BAY

Transfer Station Busway Street Service

Florence

Mariposa

Rail Station

Bu s St wa at y io n

37th St/ USC

Slauson CRENSHAW/ LAX LINE

Li t Ar tle ts To Di ky st o/ Pi co /A M ar lis ia o ch iP la za

St /S M M on C ic St a /B Ex er po ga /B m ot un Ex dy po /S ep W ul es ve tw da oo Pa d/ Ra lm nc s ho Cu Pa lv rk er Ci La ty Ci en eg Ex a/ po Je /L ffe a rs Br Fa on ea rm da l e Ex po /C re Ex ns po ha /W w es Ex t er po n /V er Ex m on Je p Pa o ffe t rk rs /U on SC /U SC

Grand/LATTC

26 th

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17 th

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In di an a M Ea ar av st ill LA a Ci vi c Ct r At la nt ic

REGIONAL

CONNECTOR 7th St/Metro Ctr Pershing Pico Square LATTC/Ortho Institute DOWNTOWN

Expo Line

Downtown LA to Santa Monica

Green Line

Redondo Beach to Norwalk

Gold Line

East Los Angeles to Azusa

Metro Busway Orange Line

Chatsworth to North Hollywood

Silver Line

San Pedro to El Monte Street Service in Downtown LA and San Pedro

Regional Rail Amtrak

amtrak.com

Metrolink

Airport Shuttle LAX FlyAway lawa.org/flyaway

MAY 2016 Subject totoChange MAY 2016 Subject Change

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SUPPORT THE PHIL

ANNUAL FUND From the concerts that take place on stage at Walt Disney Concert Hall and the Hollywood Bowl, to the education programs that fill our community with music, it is support from Annual Donors that makes our work possible. We hope you, too, will consider joining the LA Phil family. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music – sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation, at any level, is critical to our vitality and success.

FRIENDS OF THE LA PHIL Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall and the Hollywood Bowl as well as groundbreaking educational initiatives such as YOLA, which provides free after-school music instruction to children in underserved communities throughout Los Angeles. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, please call 213.972.7557.

BOARD OF OVERSEERS Jack Suzar and Linda May, Chairs Jonathan and Monique Kagan, Vice Chairs The Board of Overseers is a vital leadership group, providing critical resources in support of the LA Phil’s general operations. Their vision and generosity enables the LA Phil to recruit the best musicians, invest in groundbreaking educational initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Board of Overseers. For more information, please call 213.972.7209.

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GENERAL INFORMATION INFORMATION GENERAL

SMOKING POLICY By law (LACC 17.04.645), smoking is not permitted on the Hollywood Bowl grounds, except in designated areas. Violators are subject to removal. Smoking in any other areas could lead to arrest and would be considered a misdemeanor.

CONCERT CONDUCT If the behavior of a patron or patrons near you becomes disruptive, the incident should be reported to the nearest usher or security person. To report an incident discreetly during an event, a call or text can be placed to the Customer Courtesy Line at 323.387.3190. For the full Code of Conduct visit HollywoodBowl.com/conduct.

FIRST AID In case of illness or injury, please see an usher, who will escort you to the First Aid Station.

LOST AND FOUND Any lost articles found on concert nights may be claimed at the Operations Office the next morning. Unclaimed articles are kept for 30 days from the date on which they are found. For information, call 323.850.2060.

PHOTOGRAPHS Your use of a ticket constitutes acknowledgment of willingness to appear in photographs taken in public areas of the Hollywood Bowl and releases the Los Angeles Philharmonic Association, its lessees, and all others from liability resulting from the use of such photographs.

PATRONS WITH DISABILITIES For information detailing accessible seating, restrooms, dining, on-site transportation, assistive listening devices, or any further information, please request the Map of the Hollywood Bowl for Patrons with Disabilities by phoning 323.850.2125. Please ask for Accessible Services, or log on to our website at HollywoodBowl.com.

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GET THE NEW HOLLYWOOD BOWL APP Enhance your visit with an interactive map, explore Food + Wine and connect with friends! Download it from the App Store or Google Play.

48 96 PERFORMANCES PERFORMANCES MAGAZINE

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