FEBRUARY 2022
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Performances Magazine 12/21/22
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FEBRUARY ABOUT THE2022 PROGRAM
CONTENTS BOOK I • FEBRUARY 1–13
BOOK II • FEBRUARY 15–27
P1
FEB 1 Chamber Music: Chalifour Celebration
10 NEWS: P8 The Latest from the LA Phil 14 SUPPORT THE LA PHIL
FEB 3–6 LA Phil: Bronfman Plays Rachmaninoff’s Third
6 WELCOME MESSAGE FROM THE CEO 7
ABOUT THE LA PHIL
SPARKS
P13 FEB 7–8 Sparks P15 P21
FEB 11–12 LA Phil: Strauss, Smith, and Salonen
P1 P6
P11
FEB 15 Green Umbrella: Pekka Kuusisto + Ellen Reid FEB 18–20 LA Phil: Salonen Leads Bartók, Bjarnason, and Sibelius FEB 25 Father John Misty
P13 FEB 26 World Music: Mon Laferte
P15 FEB 27 FEB 13 Jazz: Colburn Celebrity Recital: Herbie Hancock Garrick Ohlsson
WALT DISNEY CONCERT HALL
cover images , clockwise from the top :
ESA-PEKKA SALONEN, MON LAFERTE, YEFIM BRONFMAN, AND HERBIE HANCOCK
2 PERFORMANCES MAGAZINE
Where Trav LAPHIL_WRAP_0222.indd 2
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On view February 15–May 8, 2022 Getty Center Painting detail: A Bacchanalian Revel before a Term, 1632–1633, Nicolas Poussin. © The National Gallery, London. Chris Emile image: © Marissa Mooney. Text and design © 2022 J. Paul Getty Trust
FREE ADMISSION
Where Traveller Poussin P3-1.indd 1 LAPHIL_WRAP_0222.indd 3
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Publisher Jeff Levy Art Director Carol Wakano Production Manager Glenda Mendez Production Artist Diana Gonzalez Digital Manager Lorenzo DelaRama Advertising Director Walter Lewis Account Directors Kerry Baggett, Jan Bussman, Jean Greene, Tina Marie Smith Circulation Manager Christine Noriega-Roessler
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Business Manager Leanne Killian Riggar Marketing/ Production manager Dawn Kiko Cheng Contact Us Advertising Walter.Lewis@ CaliforniaMediaGroup.com Website Lorenzo.DelaRama@ CaliforniaMediaGroup.com Circulation Christine.Roessler@ CaliforniaMediaGroup.com Honorary President Ted Levy For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 300 Los Angeles, CA 90034 Phone: 310.280.2880 Fax: 310.280.2890 Visit Performances Magazine online at socalpulse.com Performances Magazine is published by California Media Group to serve performing arts venues throughout the West. © 2022 California Media Group. All Rights Reserved.
Printed in the United States.
4 PERFORMANCES MAGAZINE
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LETTER FROM THE CEO
LOS ANGELES PHILHARMONIC ASSOCIATION
Board of Directors CHAIR
Jonathan Kagan*
Thomas L. Beckmen*
Darioush Khaledi Francois Mobasser
CEO
Margaret Morgan
Chad Smith
Leith O’Leary Louise Peebles
WELCOME! This month we are announcing plans for the Hollywood Bowl’s 100th season. From its first concert at the venue on an Easter morning in 1921 to its current stewardship of the amphitheater in partnership with Los Angeles County, the LA Phil is proud of its long relationship with the Hollywood Bowl. The Bowl is not just our summer home, it is a stage for all of Los Angeles. The founding of both the Hollywood Bowl and The Ford amphitheaters is indebted to visionary women: Artie Mason Carter and Christine Wetherill Stevenson, respectively. Carter tirelessly fundraised—even selling her diamond ring—to finance the first Bowl stage that from its humble origins would go on to host the likes of Igor Stravinsky, Roland Hayes, Jascha Heifetz, Duke Ellington, Ella Fitzgerald, and even The Beatles. Carter envisioned the Bowl as a musical gathering place for all audiences, saying, “People must first learn to sing together, and then they will learn to work together.” That sentiment is still at the heart of our mission at the LA Phil and Hollywood Bowl, and we hope to see you this summer as we celebrate 100 years of music at one of Los Angeles’ most cherished landmarks. Chad Smith Chief Executive Officer David C. Bohnett CEO Chair Los Angeles Philharmonic Association
VICE CHAIRS
R. Joseph Plascencia
David C. Bohnett*
Sandy Pressman
Reveta Bowers*
Richard Raffetto
Jane B. Eisner*
Ann Ronus
David Meline*
Laura Rosenwald
Diane Paul*
Nancy S. Sanders
Jay Rasulo*
G. Gabrielle Starr Jay Stein*
DIRECTORS
Christian Stracke*
Gregory A. Adams
Jason Subotky
Julie Andrews
Ronald D. Sugar*
Linda Brittan
Jack Suzar
Jennifer Broder
Sue Tsao
Kawanna Brown
Jon Vein
Andrea Chao-Kharma* Megan Watanabe R. Martin Chavez
Alyce de Roulet
Christian D.
Williamson
Chivaroli, JD
Irwin Winkler
Donald P. de Brier*
Debra Wong Yang
Louise D. Edgerton Marti Farley
HONORARY LIFE
Lisa Field
DIRECTORS
David A. Ford
Frank Gehry
Alfred Fraijo, Jr.
Lenore S. Greenberg
David Gindler
Bowen H. “Buzz”
Jennifer Miller Goff*
McCoy
Carol Colburn Grigor Antonia Hernandez*
*Executive Committee
Megan Hernandez
Member as of
Teena Hostovich
November 1, 2021
6 PERFORMANCES MAGAZINE
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ABOUT THE LA PHIL
GUSTAVO DUDAMEL Music & Artistic Director, Walt and Lilly Disney Chair Gustavo Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless advocacy for arts education, Dudamel has introduced classical music to new audiences around the world and has helped to provide access to the arts for countless people in underserved communities. As the Music & Artistic Director of the Los Angeles Philharmonic, now in his 12th season, Dudamel’s bold programming and expansive vision led The New York Times to herald the LA Phil as “the most important orchestra in America—period.” Over the course of the COVID-19 pandemic, Dudamel has committed even more time and energy to his mission of bringing music to people across the globe, firm in his conviction that the arts play an essential role in creating a more just, peaceful, and integrated society. A landmark event was the highly anticipated launch of Symphony, a touring virtual reality project in collaboration with “la Caixa” Foundation that features Dudamel and 101 musicians from 22 countries in a state-of-the-art, immersive VR film experience. The free touring exhibition, housed in two mobile pop-up cinemas, launched in Barcelona and will travel to hundreds of towns across Spain and Portugal in order to allow tens of thousands of people to have access to the power of symphonic music. In April 2021, it was announced that Dudamel would join the Paris Opera as its next Music Director, for six seasons beginning in August 2021. Dudamel has led more than 30 staged, semi-staged, and concert productions across the world’s major stages, including five staged
productions with Teatro alla Scala, productions at the Berlin and Vienna State Operas, the Metropolitan Opera in New York, and 13 operas in Los Angeles, with repertoire ranging from Così fan tutte to Carmen, from Otello to Tannhäuser, from West Side Story to contemporary operas by composers like John Adams and Oliver Knussen. As part of his inaugural season as Music Director of the Paris Opera, in fall 2021 Dudamel will conduct performances of Puccini’s Turandot and Mozart’s Le nozze di Figaro. Following his U.S. debut with the Los Angeles Philharmonic at the Hollywood Bowl in 2005, Dudamel became the orchestra’s music director starting in the 2009/10 season, and under his “THE RARE CLASSICAL direction the LA Phil has secured its place as one of the leading ARTIST TO HAVE orchestras in the world. Inspired by El Sistema, Dudamel, the LA CROSSED INTO POPPhil, and its community partners CULTURE CELEBRITY.” founded YOLA (Youth Orchestra Los Angeles) in 2007, now providing — The New York Times’ Zachary 1,300 young people with free Woolfe and Laura Cappelle instruments, intensive music instruction, academic support, and leadership training. In fall of 2021, YOLA opened its own permanent, which won the Grammy Award ® for purpose-built facility: The Judith Best Orchestral Performance). and Thomas L. Beckmen YOLA Dudamel’s advocacy for the power Center at Inglewood, designed by of music to unite, heal, and inspire architect Frank Gehry. is global in scope. Shaped by his One of the few classical transformative experience as a youth musicians to become a bona in Venezuela’s immersive musical fide pop culture phenomenon, training program El Sistema, he Dudamel conducted Bernstein’s created the Dudamel Foundation in iconic score for Steven Spielberg’s 2012 with the goal “to expand access to new adaptation of West Side Story. music and the arts by providing tools His extensive, multiple-Grammy and opportunities for young people to Award ®-winning discography shape their creative futures.” includes 57 releases, including For more information about recent Deutsche Grammophon LA Gustavo Dudamel, visit his official Phil recordings of the complete website at gustavodudamel.com Charles Ives symphonies and and Dudamel Foundation at Andrew Norman’s Sustain (both of dudamelfoundation.org.
PERFORMANCES MAGAZINE 7
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ABOUT THE LA PHIL
LOS ANGELES PHILHARMONIC The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, on stage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. 2021/22 marks the orchestra’s 103rd season. More than 250 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, The Ford, and the famed Hollywood Bowl. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the world-famous Hollywood Bowl, host to the finest artists from all
genres of music. Situated in a 32-acre park and under the stewardship of the LA Phil since December 2019, The Ford presents an eclectic summer season of music, dance, film, and family events that are reflective of the communities that comprise Los Angeles. The orchestra’s involvement with Los Angeles extends far beyond its venues, with wide-ranging performances in the schools, churches, and neighborhood centers of a vastly diverse community. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles), inspired by Venezuela’s revolutionary El Sistema. Through YOLA, the LA Phil and its community partners provide free instruments, intensive music instruction, and leadership training to nearly 1,300 students from underserved neighborhoods, empowering them to become vital citizens, leaders, and agents of change. In fall of 2021, YOLA opened its own permanent, purpose-built facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by architect Frank Gehry. The orchestra also undertakes
“SO FAR AHEAD OF OTHER AMERICAN ORCHESTRAS THAT IT IS IN COMPETITION MAINLY WITH ITS OWN PAST ACHIEVEMENTS.” — The New Yorker’s Alex Ross
tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season. The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy® Award-winning recordings featuring the music of Johannes Brahms, Charles Ives, and Andrew Norman. Deutsche Grammophon has released a comprehensive box set in honor of the orchestra’s Centennial. The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity. Their names are: Georg Schnéevoigt (1927-1929); Artur Rodziński (1929-1933); Otto Klemperer (1933-1939); Alfred Wallenstein (1943-1956); Eduard van Beinum (1956-1959); Zubin Mehta (1962-1978); Carlo Maria Giulini (1978-1984); André Previn (1985-1989); Esa-Pekka Salonen (1992-2009); and Gustavo Dudamel (2009-present).
8 PERFORMANCES MAGAZINE
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ABOUT THE LA PHIL
LOS ANGELES PHILHARMONIC Gustavo Dudamel Music & Artistic Director Walt and Lilly Disney Chair
Zubin Mehta Conductor Emeritus Esa-Pekka Salonen Conductor Laureate Susanna Mälkki Principal Guest Conductor
Ann Ronus Chair
Paolo Bortolameolli Associate Conductor John Adams
John and Samantha Williams Creative Chair
FIRST VIOLINS Martin Chalifour Principal Concertmaster
Marjorie Connell Wilson Chair
Nathan Cole First Associate Concertmaster
Ernest Fleischmann Chair
Bing Wang Associate Concertmaster
Barbara and Jay Rasulo Chair
Akiko Tarumoto Assistant Concertmaster Philharmonic Affiliates Chair
Rebecca Reale Michele Bovyer
Deanie and Jay Stein Chair
Rochelle Abramson Camille Avellano
Minyoung Chang I.H. Albert Sutnick Chair
Miika Gregg Tianyun Jia Jordan Koransky Mischa Lefkowitz Edith Markman Ashley Park Stacy Wetzel Justin Woo
SECOND VIOLINS Lyndon Johnston Taylor+ Principal Dorothy Rossel Lay Chair
Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal
Mark Houston Dalzell and James Dao-Dalzell Chair for Artistic Service to the Community
Ingrid Chun Jin-Shan Dai Chao-Hua Jin Nickolai Kurganov Varty Manouelian Michelle Tseng Suli Xue Gabriela Peña-Kim* Sydney Adedamola*
Eugene and Marilyn Stein LA Phil Resident Fellow Chair
VIOLAS Teng Li Principal
John Connell Chair
Dale Hikawa Silverman Associate Principal
Margaret and Jerrold L. Eberhardt Chair
* Judith and Thomas L. Beckmen LA Phil Resident Fellows +
on sabbatical
Ben Ullery Assistant Principal Dana Lawson Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel Jarrett Threadgill*
CELLOS Robert deMaine Principal
FLUTES
BASSOONS
Paul Radke
Denis Bouriakov Principal
Whitney Crockett Principal
Bass Trombone John Lofton
Virginia and Henry Mancini Chair
Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair
Shawn Mouser Associate Principal
Miller and Goff Family Chair
Michele Grego Evan Kuhlmann
(Vacant)
Ann Ronus Chair
Elise Shope Henry
Contrabassoon Evan Kuhlmann
Sarah Jackson
HORNS
Piccolo Sarah Jackson
John Cecil Bessell Chair
Mari L. Danihel Chair
Andrew Bain Principal
Bram and Elaine Goldsmith Chair
OBOES
Ben Hong Associate Principal
Carol Colburn Grigor Chair
Amy Jo Rhine
Marion Arthur Kuszyk+ Associate Principal
Elyse Lauzon
Sadie and Norman Lee Chair
Dahae Kim Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum
Principal (Vacant)
Anne Marie Gabriele Carolyn Hove English Horn Carolyn Hove
Alyce de Roulet Williamson Chair
Linda and Maynard Brittan Chair
CLARINETS
BASSES
Michele and Dudley Rauch Chair
Christopher Hanulik Principal
Burt Hara Associate Principal
Serge Oskotsky Brent Samuel
Diane Disney Miller and Ron Miller Chair
Oscar M. Meza Assistant Principal David Allen Moore Ted Botsford Jack Cousin Jory Herman Brian Johnson Peter Rofé Michael Fuller*
Boris Allakhverdyan Principal
Andrew Lowy David Howard E-Flat Clarinet Andrew Lowy Bass Clarinet David Howard
The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.
Gregory Roosa
Alan Scott Klee Chair Loring Charitable Trust Chair Reese and Doris Gothie Chair
Ethan Bearman Assistant
Bud and Barbara Hellman Chair
TRUMPETS Thomas Hooten Principal
TUBA TIMPANI Joseph Pereira Principal
Cecilia and Dudley Rauch Chair
PERCUSSION Matthew Howard Principal James Babor Perry Dreiman Wesley Sumpter*
Nancy and Leslie Abell LA Phil Resident Fellow Chair
KEYBOARDS Joanne Pearce Martin Katharine Bixby Hotchkis Chair
HARP
M. David and Diane Paul Chair
Emmanuel Ceysson
James Wilt Associate Principal
LIBRARIANS
Nancy and Donald de Brier Chair
Christopher Still
Ronald and Valerie Sugar Chair
Jeffrey Strong
TROMBONES David Rejano Cantero Principal James Miller Associate Principal
Judith and Thomas L. Beckmen Chair
Ann Ronus Chair
Stephen Biagini Benjamin Picard KT Somero
PERSONNEL MANAGER Jeffrey Neville
CONDUCTING FELLOWS François López-Ferrer Enluis Montes Olivar Camilo Téllez Chloé van Soeterstède
The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.
PERFORMANCES MAGAZINE 9
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NEWS
NEW LA PHIL CONCERTS AND EVENTS ANNOUNCED Last month, the LA Phil announced new additions to the spring 2022 calendar, including both concert performances at Walt Disney Concert Hall and Humanities events exploring festival themes through panel discussions, deep-dive conversations, film, and more. Rapper Nas joins Gustavo Dudamel and the LA Phil for a performance of his milestone album Illmatic. As part of the Gen X Festival, Thomas Adès curates a pair of programs: one featuring an international selection of Gen X composers (APR 22) and another highlighting Andrew Norman and John Corigliano (APR 23–24). Gen X icon Liz Phair performs hits from her catalog while special guests join for anthems of the era (MAY 10). Off the stage, the Gen X exploration includes a slate of humanities activities curated by Waiting to X-hale podcast hosts Karen Tongson and Wynter Mitchell-Rohrbaugh. Using Los Angeles as a lens, the pair will host a multimedia panel at The Ford focusing on the San Fernando Valley’s
left to right :
role in Gen X film (April 28), a live recording of the Waiting to X-hale podcast (May 1) at REDCAT, a conversation with writer Sarah Schulman about her work documenting the history of AIDS activism (MAY 3), a look at the influential LA food scene in the 1980s and 1990s with Good Food’s Evan Kleiman at Second Home Hollywood (MAY 4), and, finally, a screening, performance, and dance party at Zebulon, exploring LA’s 1990s queer nightlife (MAY 7). Newly announced for the Power to the People! festival is Canto en resistencia, a concert with Dudamel, the LA Phil, and special guests, exploring music of protest and activism by Latin American and American artists (JUNE 4). In addition to the festival performance of Ted Hearne, Saul Williams, and Patricia McGregor’s Pulitzer finalist piece Place, Williams visits the California African American Museum for a conversation exploring the intersection of art and politics in America (JUNE 2). For full details, visit laphil.com
County of Los Angeles BOARD OF SUPERVISORS Hilda L. Solis Holly Mitchell Chair Sheila J. Kuehl Janice K. Hahn Kathryn Barger
DEPARTMENT OF ARTS AND CULTURE Kristin Sakoda Director
COUNTY ARTS COMMISSION Constance Jolcuvar President Darnella Davidson Vice President Liane Weintraub Secretary Tim Dang Executive Committee Eric Hanks Immediate Past President Pamela Bright-Moon Leticia Buckley Patrisse Cullors Madeline Di Nonno Eric R. Eisenberg Helen Hernandez Alis Clausen Odenthal Jennifer Price-Letscher Rosalind Wyman 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 Department of Arts and Culture, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.
LIZ PHAIR, NAS, THOMAS ADÈS
10 PERFORMANCES MAGAZINE
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ABOUT THE LA PHIL
LOS ANGELES PHILHARMONIC ASSOCIATION Chad Smith
CHIEF EXECUTIVE OFFICER David C. Bohnett Chief Executive Officer Chair
Paula Michea
EXECUTIVE ASSISTANT TO THE CEO
EXECUTIVE TEAM Renae Williams Niles
CHIEF CONTENT & ENGAGEMENT OFFICER
Summer Bjork CHIEF OF STAFF
Margie Kim
CHIEF PHILANTHROPY OFFICER
Emanuel Maxwell
Ljiljana Grubisic
Laurel Harris
Herbie Hancock
Tomorrow Kitchen
ARCHIVES AND MUSEUM DIRECTOR CREATIVE CHAIR FOR JAZZ
Christine Lim
ARTISTIC ADMINISTRATOR
Daniel Mallampalli PROGRAMMING MANAGER
Rafael Mariño
CONCERT MANAGER, THE FORD
Maren Quanbeck MANAGER, ARTIST SERVICES
Meredith Reese DIGITAL ASSET MANAGER
Ayrten Rodriguez
CHIEF TALENT & EQUITY OFFICER
SENIOR PROGRAM MANAGER
GENERAL COUNSEL
ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR
Mona Patel
Daniel Song
CHIEF OPERATING OFFICER
Karen Sturges
CHIEF FINANCIAL OFFICER
SENIOR MANAGEMENT TEAM Nora Brady VICE PRESIDENT, MARKETING AND COMMUNICATIONS
Laura Connelly
GENERAL MANAGER, HOLLYWOOD BOWL; VICE PRESIDENT, PRODUCTION
Cynthia Fuentes DIRECTOR, THE FORD
Elsje Kibler-Vermaas VICE PRESIDENT, LEARNING
Sara Kim
VICE PRESIDENT, PHILANTHROPY
Meghan Martineau
VICE PRESIDENT, ARTISTIC PLANNING
Johanna Rees
VICE PRESIDENT, PRESENTATIONS
Julia Ward
DIRECTOR, HUMANITIES
ADMINISTRATION Jason Abbott ASSISTANT, OFFICE SERVICES
Michael Chang
DATABASE ADMINISTRATOR
Alex Hernandez
MANAGER, OFFICE SERVICES
Kevin Higa
CLOUD INFRASTRUCTURE ENGINEER
Dean Hughes SYSTEM SUPPORT III
Charles Koo
INFRASTRUCTURE MANAGER
Jeff Matchan
DIRECTOR, INFORMATION TECHNOLOGY
Sergio Menendez SYSTEM SUPPORT I
Angela Morrell TESSITURA SUPPORT
Sean Pinto
DATABASE APPLICATIONS MANAGER
Miguel A. Ponce, Jr. SYSTEM SUPPORT I
Christopher Prince TESSITURA SUPPORT
Mark Quinto
DIRECTOR, IT SERVICES
Aly Zacharias STAFF ATTORNEY
ARTISTIC PLANNING & PRESENTATIONS Kristen Flock-Ritchie PROGRAMMING MANAGER
Brian Grohl
PROGRAM MANAGER, POPS / MANAGER, HOLLYWOOD BOWL ORCHESTRA
Ebner Sobalvarro
AUDIENCE SERVICES Denise Alfred AUDIENCE SERVICES REPRESENTATIVE
Vilma Alvarez
PATRON / AUDIENCE SERVICES REPRESENTATIVE
Gloria Balcom
AUDIENCE SERVICES SUPERVISOR
Brendan Broms
AUDIENCE SERVICES SUPERVISOR
Jacqueline Ferger
AUDIENCE SERVICES REPRESENTATIVE
Stephen Gluck
AUDIENCE SERVICES REPRESENTATIVE
Jennifer Hugus
PATRON / AUDIENCE SERVICES REPRESENTATIVE
Bernie Keating
AUDIENCE SERVICES REPRESENTATIVE
Rosa Ochoa
AUDIENCE SERVICES SUPERVISOR
WALT DISNEY CONCERT HALL BOX OFFICE Spring Ake TICKET SELLER
Toliman Au
2ND ASSISTANT TREASURER
Donella Coffey
2ND ASSISTANT TREASURER
Christy Galasso 1ST ASSISTANT TREASURER
Veronika Garcia 1ST ASSISTANT TREASURER
Alex Hennich TICKET SELLER
Amy Lackow
2ND ASSISTANT TREASURER
Elia Luna TICKET SELLER
Page Messerly TREASURER
Ariana Morales
1ST ASSISTANT TREASURER
Carolina Orellana 2ND ASSISTANT TREASURER
Cathy Ramos TICKET SELLER
Elias Santos
2ND ASSISTANT TREASURER
John Tadena TICKET SELLER
Carlie Tomasulo 2ND ASSISTANT TREASURER
1ST ASSISTANT TREASURER
2ND ASSISTANT TREASURER
Jose Villasenor TICKET SELLER
FINANCE Jyoti Aaron CONTROLLER
Adriana Aguilar PAYROLL ADMINISTRATOR
Steven Cao
ACCOUNTING MANAGER
Katherine Franklin
VENUE OPERATIONS ACCOUNTANT
Shoaib Ghafoor SENIOR ACCOUNTANT
Lisa Hernandez
ACCOUNTS PAYABLE MANAGER
LaTonya Lindsey
ACCOUNTS PAYABLE COORDINATOR
Debbie Marcelo
FINANCIAL PLANNING MANAGER
Wade Mueller
TICKET SELLER
Angelia Franco TICKET SELLER
SOCIAL MEDIA MANAGER
Lushia Anson
ACCOUNTS PAYABLE SPECIALIST
Sierra Shultz STAFF ACCOUNTANT
HOLLYWOOD BOWL & THE FORD Mark Ladd ASSOCIATE DIRECTOR, OPERATIONS
Gina Leoni
OPERATIONS MANAGER, THE FORD
Patrice Lozano EVENT MANAGER
Edgar Tom
Michael Vitale
DIRECTOR, RETAIL SERVICES
TECHNICAL DIRECTOR
DIRECTOR, MARKETING
PRODUCTION ADMINISTRATOR
MANAGER, MARKETING COMMUNICATIONS DIRECTOR, SALES & CUSTOMER EXPERIENCE
PHILANTHROPY Robert Albini
DIGITAL OPERATIONS MANAGER
Joshua Alvarenga
Kelvin Vu
Bill Williams
Lisa Burlingham Charles Carroll Joe Carter
Toi Duckworth Elias Feghali
Malorie Barbee
DIRECTOR, ANNUAL GIVING & SPECIAL PROJECTS
Justin Foo
Julia Cole
ASSISTANT DIRECTOR, SALES AND CUSTOMER ENGAGEMENT
DIRECTOR, INSTITUTIONAL GIVING AND STEWARDSHIP
MANAGER, DIGITAL MARKETING
Victoria Dinu
CREATIVE COPYWRITER
Chelsea Downes
MAJOR GIFTS OFFICER
ANNUAL FUND OFFICER
Valeri Estrada
SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS
PHILANTHROPY OPERATIONS SPECIALIST
Jennifer Hoffner
Elan Fields
SENIOR ADVERTISING MANAGER
GIFT & DATA SPECIALIST
Linda Holloway
Genevieve Goetz
PATRON SERVICES MANAGER
GIFT PLANNING OFFICER
Sophie Jefferies
Jeffery Glover
DIRECTOR, PUBLIC RELATIONS
ASSISTANT MANAGER, ANNUAL FUND
Alexis Kaneshiro
Gerry Heise
GRAPHIC DESIGNER
SENIOR MAJOR GIFTS OFFICER
Brant Markley
MANAGER, REVENUE STRATEGIES & ANALYTICS
Jediah McCourt
MANAGER, CORPORATE PARTNERSHIPS
Ricky O’Bannon DIRECTOR, CONTENT
OPERATIONS MANAGER, HOLLYWOOD BOWL
DIRECTOR, CORPORATE PARTNERSHIPS
HR MANAGER
Melissa Magdaleno HR COORDINATOR
Frank Patano BENEFITS MANAGER
ASSOCIATE DIRECTOR, LEARNING
Anthony Crespo
PROGRAM MANAGER, YOLA AT TORRES
Camille Delaney-McNeil SENIOR MANAGER, YOLA
Julie Hernandez
FACILITIES MANAGER, BECKMEN YOLA CENTER
Lorenzo Johnson Gaudy Sanchez
YOLA ARTISTIC ADMINISTRATOR
Stephen Smith MANAGER, YOLA
Tristan Rodman
Anita Lawson
DIRECTOR, BOARD RELATIONS
Alan Alejandro Prieto
SENIOR COORDINATOR, MAJOR GIFTS
Susan Erburu Reardon
DIGITAL PRODUCER
Richard Rubio
DIRECTOR, GIFT PLANNING
AUDIENCE SERVICES MANAGER
Martin Sartini Garner CREATIVE COPYWRITER
Mary Smudde
Carina Sanchez
SENIOR MANAGER, RESEARCH AND PROSPECT DEVELOPMENT
Erica Sitko
ART DIRECTOR
DIRECTOR, STEWARDSHIP & PRINCIPAL GIFTS STRATEGY
Natalie Suarez
Peter Szumlas
Kahler Suzuki
SENIOR MANAGER, PHILANTHROPY OPERATIONS AND ANALYTICS
VIDEO PRODUCER
Tyler Teich
Jonathan Thomas
GIFT AND DATA SPECIALIST
Derek Traub
MARKETING DATABASE SPECIALIST
Lauren Winn
MANAGER, PHILANTHROPY COMMUNICATIONS
SENIOR PROJECT MANAGER, CREATIVE SERVICES
Kevin Tsao
ANNUAL FUND COORDINATOR
Morgan Walton
ORCHESTRA MANAGEMENT & PRODUCTION Shana Bey
MANAGER, SPECIAL EVENTS
Richard T. Watkins
ASSOCIATE DIRECTOR, PHILANTHROPY
ASSOCIATE ORCHESTRA PERSONNEL MANAGER
Jessie Farber
ASSOCIATE DIRECTOR, MEDIA INITIATIVES
Isabella Gorden PRODUCTION ASSOCIATE
Raymond Horwitz
MANAGER, INSTITUTIONAL GIVING
Allison Mitchell
DIRECTOR, BECKMEN YOLA CENTER
Fabian Fuertes
Julian Kehs
DONOR RELATIONS ASSOCIATE
Andrew Radden
CREATIVE DIRECTOR
LEARNING Emily Bourne
ASSISTANT MANAGER, SPECIAL EVENTS
Christina Magaña
MARKETING COORDINATOR, PROMOTIONS & PARTNERSHIPS
HUMAN RESOURCES Kristina Louie
Madison Huckaby
DIRECTOR, PHILANTHROPY OPERATIONS
Erin Puckett
DIRECTOR, OPERATIONS
Tom Waldron
DIRECTOR, MAJOR GIFTS
SENIOR MAJOR GIFTS OFFICER
ASSOCIATE DIRECTOR, AUDIENCE GROWTH & ENGAGEMENT
Annisha Hinkle
Lisa Renteria
Alex Rehberger
DIRECTOR, PRODUCTION
FINANCIAL PLANNING ANALYST PAYROLL ADMINISTRATOR
PRODUCTION MANAGER
PRODUCTION MANAGER
Janice Bartczak
Paul Gibson
Nina Phay
Kimberly Mitchell
DIRECTOR, DIGITAL
PAYROLL COORDINATOR
Yuri Park
SCHEDULING MANAGER
Christopher Slaughter
Scott Arenstein
Tara Gardner
Kristine Nichols
Tina Kane
PRODUCTION MANAGER
MARKETING & COMMUNICATIONS COORDINATOR
PAYROLL MANAGER
PROGRAM MANAGER, YOLA AT INGLEWOOD
BOX OFFICE — GROUP SERVICES Nancy Fitzgerald
MARKETING & COMMUNICATIONS Mary Allen
PROJECT MANAGER, MEDIA INITIATIVES
The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers.
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ENDOWMENT
ENDOWMENT DONORS
We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund. Jane Carruthers Pei-yuan Chia and Katherine Shen James and Paula Coburn Foundation The Geraldine P. Coombs Trust in memory of Gerie P. Coombs Mr. and Mrs. Terry Cox $20,000,000 TO Silvia and Kevin Dretzka $24,999,999 Allan and Diane Eisenman David Bohnett Foundation Christine and Daniel Ewell Arnold Gilberg, M.D., Ph.D. David and Paige Glickman $10,000,000 TO Nicholas T. Goldsborough $19,999,999 Gonda Family Foundation Margaret Grauman The Annenberg Foundation Kathryn Kert Green and Mark Green Colburn Foundation Joan and John F. Hotchkis Freya and Mark Ivener Ruth Jacobson $5,000,000 TO $9,999,999 Stephen A. Kanter, M.D. $500,000 TO $999,999 Anonymous Jo Ann and Charles Kaplan Ann and Martin Albert Dunard Fund USA Susanne and Paul Kester Abbott Brown Lenore S. and Vicki King Mr. George L. Cassat Bernard A. Greenberg Fund Mr. Alan S. Klee Zoe Cosgrove Carol Colburn Grigor Kathleen and Jerrold L. Eberhardt Sylvia Kunin Terri and Jerry M. Kohl Ann and Edward Leibon Los Angeles Philharmonic Affiliates Valerie Franklin Ellen and Mark Lipson Yvonne and Gordon Hessler Diane and Ron Miller B. and Lonis Liverman Ernest Mauk and Doyce Nunis Charitable Fund Glen Miya and Steven Llanusa Mr. and Mrs. David Meline M. David and Diane Paul Ms. Gloria Lothrop Sandy and Barry D. Pressman Ann and Robert Ronus Vicki and Kerry McCluggage Earl and Victoria Pushee Ronus Foundation David and Margaret Mgrublian William and Sally Rutter John and Samantha Williams Diane and Leon Morton Richard and Bradley Seeley Mary Pickford Foundation Christian Stracke Sally and Frank Raab $2,500,000 TO $4,999,999 Donna Swayze Mr. David Sanders Lee and Hope Landis Warner Peggy Bergmann YOLA Malcolm Schneer and Cathy Liu Endowment Fund in Memory YOLA Student Fund David and Linda Edna Weiss of Lenore Bergmann and Shaheen Foundation John Elmer Bergmann William E.B. and Laura K. Siart Lynn Booth/Otis Booth Foundation Magda and Frederick R. Waingrow $250,000 TO $499,999 Elaine and Bram Goldsmith Wasserman Foundation Norman and Sadie Lee Foundation Mr. Gregory A. Adams Robert Wood Baker Family Trust Karl H. Loring Syham Yohanna and Veronica and Robert Egelston Alfred E. Mann James W. Manns Gordon Family Foundation Elise Mudd Marvin Trust Ms. Kay Harland Barbara and Jay Rasulo Joan Green Harris Trust Flora L. Thornton $25,000 TO $99,999 Bud and Barbara Hellman Marie Baier Foundation Gerald L. Katell Dr. Richard Bardowell, M.D. $1,000,000 TO $2,499,999 Norma Kayser Jacqueline Briskin Joyce and Kent Kresa Lynn K. Altman Dona Burrell Raymond Lieberman Linda and Robert Attiyeh Ying Cai and Wann S. Lee Mr. Kevin MacCarthy and Judith and Thomas L. Beckmen Foundation Gordon Binder and Adele Haggarty Ms. Lauren Lexton Ann and Tony Cannon Jane and Marc B. Nathanson Helen and Peter Bing Y & S Nazarian Family Foundation Dee and Robert E. Cody William H. Brady, III The Colburn Fund Nancy and Sidney Petersen Linda and Maynard Brittan Mr. Allen Don Cornelsen Rice Family Foundation Richard and Norma Camp Ginny and John Cushman Robert Robinson Mr. and Mrs. Michael J. Connell Marilyn J. Dale Katharine and Thomas Stoever Mark Houston Dalzell and Mrs. Barbara A. Davis Sue Tsao James Dao-Dalzell Dr. and Mrs. Roger DeBard Alyce and Warren Williamson Mari L. Danihel Jennifer and Royce Diener Nancy and Donald de Brier Jane B. and Michael D. Eisner The Walt Disney Company The Englekirk Family $100,000 TO $249,999 Fairchild-Martindale Foundation Claudia and Mark Foster Mr. Robert J. Abernethy Eris and Larry Field Lillian and Stephen Frank William A. Allison Reese and Doris Gothie Dr. Suzanne Gemmell Rachel and Lee Ault Joan and John Hotchkis Paul and Florence Glaser W. Lee Bailey, M.D. Janeway Foundation Good Works Foundation Angela Bardowell Bernice and Wendell Jeffrey Anne Heineman Deborah Borda Carrie and Stuart Ketchum Ann and Jean Horton The Eli and Edythe Kenneth N. and Doreen R. Klee Drs. Judith and Herbert Hyman Broad Foundation
$25,000,000 AND ABOVE Walt and Lilly Disney Foundation Cecilia and Dudley Rauch
B. Allen and Dorothy Lay Los Angeles Philharmonic Committee Estate of Judith Lynne MaddocksBrown Foundation Ginny Mancini Raulee Marcus Barbara and Buzz McCoy Michele Moehring Merle and Peter Mullin William and Carolyn Powers Nancy and Barry Sanders Dody Waugh Small H. Russell Smith Foundation Deanie and Jay Stein Ronald and Valerie Sugar I.H. Sutnick
Albert E. and Nancy C. Jenkins Robert Jesberg and Michael J. Carmody Ms. Ann L. Kligman Sandra Krause and William Fitzgerald Michael and Emily Laskin Sarah and Ira R. Manson Carole McCormac Meitus Marital Trust Sharyl and Rafael Mendez, M.D. John Millard National Endowment for the Arts Alfred and Arlene Noreen Occidental Petroleum Corporation Dr. M. Lee Pearce Lois Rosen Anne and James Rothenberg Donald Tracy Rumford Family Trust The SahanDaywi Foundation Mrs. Nancie Schneider William and Luiginia Sheridan Virginia Skinner Living Trust Nancy and Richard Spelke Mary H. Statham Ms. Fran H. Tuchman Rhio H. Weir Mrs. Joseph F. Westheimer Jean Willingham Winnick Family Foundation Cheryl and Peter Ziegler Lynn and Roger Zino
LA PHIL MUSICIANS
Anonymous Kenneth Bonebrake Nancy and Martin Chalifour Brian Drake Perry Dreiman Barry Gold Christopher Hanulik John Hayhurst Jory and Selina Herman Ingrid Hutman Andrew Lowy Gloria Lum Joanne Pearce Martin Kazue Asawa McGregor Oscar and Diane Meza Mitchell Newman Peter Rofé Meredith Snow and Mark Zimoski Barry Socher Paul Stein Leticia Oaks Strong Lyndon and Beth Johnston Taylor Dennis Trembly Allison and Jim Wilt Suli Xue We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, 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 Philanthropy Department at contributions@laphil.org.
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HAVE A BALL THIS HOLIDAY SEASON!
PARTIN G TH O U G H T
reprogra mmed!
!
concerts
Performances Magazine unveils a digital program platform for shows and concerts
FAMILY-FRIENDLY SUNDAY MATINEES SEARCH NOV 28 & DEC 12 Find whatever it is you
DROP DOWN MENU Table of app contents.
ou ly.
want to know—easily. REGISTER Stay arts-engaged, access past programs.
ming-arts ues.
EVENINGS: SIGN IN Link to your performing-arts NOV 20, DEC 1, 4, 8 companies and venues.
Cinderella
THE ESSENTIALS Acts, scenes, synopses, repertory and notes.
THE PLAYERS Bios and background for cast, crew and creators.
CONTRIBUTORS Donors and sponsors who make it all possible—you!
glance on.
ALEB WACHS
NO RUSTLING PAGES, no killing trees.... Of all the innovations to have come out of the pandemic, the new Performances program platform, accessed on any digital device, may be least likely to disappear in the foreseeable future. Not only has its time come—it was long overdue. Performances provides the programs for 20 SoCal performingarts organizations, from the Los Angeles Philharmonic and the Ahmanson to San Diego Opera, where the app made its debut. PHOTOS COURTESY DUTCH NATIONAL OPERA
COURTESY L.A. PHIL
sider printed a limited mmemorative nts, will conCollectibles! will be less mption of petroms headed for gically minded, anding ovation. ert halls are g intermission. ement is our link and
WHAT’S ON What’s coming at a glance and ticket information.
L A CENERENTOL A
The touchless platform provides cast and player bios, donor and season updates and arts-centric features. Audiences receive a link and code word that instantly activate the app; QR codes are posted, too. Screens go dark when curtains rise and return with the house lights. Updates—repertory changes, understudy substitutions, significant donations—can be made right up to showtime, no inserts necessary. Other features include video and audio streams, translations and expanded biographies.
For those who consider printed programs keepsakes, a limited number, as well as commemorative issues for special events, will continue to be produced. Collectibles! Meanwhile, there will be less deforestation, consumption of petroleum inks and programs headed for landfills. For the ecologically minded, the platform gets a standing ovation. Theaters and concert halls are reopening after a long intermission. The stage is set, excitement is mounting. Activate your link and enjoy the shows. —CALEB WACHS
Tickets for ALL Budgets
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Half-Price Tickets for Children
COURTESY L.A. PHIL
d for tors.
LAOPERA.ORG 213.972.8001
10/12/21 1/12/22 3:52 2:52PM PM
PHOTOS COU
SUPPORT THE LA PHIL
CORPORATE PARTNERSHIPS The Los Angeles Philharmonic Association is honored to recognize our generous corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email jmccourt@laphil.org.
$250,000 TO $499,999
Pasadena Showcase House for the Arts Rolex
$100,000 TO $249,999
Anheuser-Busch Inc. Pepsi Beverage Group Postmates Toyota Motor North America Viking Cruises
$50,000 TO $99,999 Asahi José Iturbi Foundation United Airlines Winc Zevia
$25,000 TO $49,999 Cooper Tires G. Schirmer, Inc.
$10,000 TO $24,999 El Silencio
ANNUAL FUND
From the concerts that take place on stage at Walt Disney Concert Hall, Hollywood Bowl, and The Ford to the learning programs that fill our community with music, it is support from Annual Donors that sustained us during the COVID-19 shutdown and makes it possible to reopen our venues. 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 success.
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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, the Hollywood Bowl, and The Ford, as well as groundbreaking learning 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.
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PHILHARMONIC COUNCIL
Jack Suzar and Linda May, Co-Chairs Jonathan and Monique Kagan, Co-Chairs Winnie Kho and Chris Testa, Vice Chairs Christian and Tiffany Chivaroli, Vice Chairs The Philharmonic Council 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 learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.
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OPERA MEETS BALLET IN A SUBLIME, TRANSCENDENT UNION
JOHANN SEBASTIAN BACH’S
CONDUCTED BY JAMES CONLON CHOREOGRAPHY, STAGING AND DESIGN BY JOHN NEUMEIER. FEATURING THE HAMBURG BALLET
MAR 12 — 27
Tickets for AL Budgets: LAOPERA.ORG | 213.972.8001
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CHAMBER MUSIC
A Chalifour Celebration Members of the Los Angeles Philharmonic Liv Redpath, soprano Inon Barnatan, piano
SAINT-SAËNS
TUESDAY FEBRUARY 1, 2022 8PM
Fantaisie for Violin and Harp, Op. 124 (c. 14 minutes) Martin Chalifour, violin Emmanuel Ceysson, harp
PROKOFIEV 5 Melodies, Op. 35 (arr. for violin, voice, and piano) (c. 12 minutes) Andante Lento, ma non troppo Animato, ma non allegro Andantino, un poco scherzando Andante non troppo Liv Redpath, soprano Martin Chalifour, violin Kevin Fitz-Gerald, piano MOZART
Schon lacht der holde Frühling, K. 580 (c. 8 minutes) Liv Redpath, soprano Martin Chalifour, violin Kevin Fitz-Gerald, piano
Camille PÉPIN Indra (c. 6 minutes) Martin Chalifour, violin Kevin Fitz-Gerald, piano INTERMISSION CHAUSSON Concerto for Violin, Piano, and String Quartet, Op. 21 (c. 42 minutes) Décidé Sicilienne Grave Très animé Martin Chalifour, solo violin Nathan Cole, violin Bing Wang, violin Michael Larco, viola Robert deMaine, cello Inon Barnatan, piano
This performance is generously underwritten by Terri and Jerry Kohl.
Programs and artists subject to change.
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ABOUT THE PROGRAM
AT A GLANCE Tonight’s program is centered on French music, old and new, something the Los Angeles Philharmonic always programmed plenty of when I arrived during Esa-Pekka Salonen’s tenure. This is one of the things that attracted me to the LA Phil along with its significant contemporary music involvement. Along those lines, I am pleased to introduce the audience to a short recent work by French composer Camille Pépin. The opening Saint-Saëns duet with harp sets the tone for chamber music not often
FANTAISIE, OP. 124 Camille Saint-Saëns (1835–1921) At the age of 72, Saint-Saëns composed the Fantaisie for harp and violin in 1907 while enjoying some leisure time in the city of Bridger, on the Italian Riviera. He dedicated the duo to a pair of sisters, harpist Clara Eissler and violinist Marianne Eissler. It would become the second of three major pieces Saint-Saëns composed for harp including a previous Fantaisie, for solo harp (1893), and, eventually, the Morceau de concert for harp and orchestra (1918). The Fantaisie, Op. 124 for harp and violin is a virtuoso piece for both players, and the use of harp rather than the more typical piano lends a special, delicate if not magical sonority to this duo for two string players. As the title suggests, the work is a single movement of relaxed and spontaneous form comprising a number of distinct sections. The music is characteristic of Saint-Saëns as the traditional French composer: well crafted, clear, balanced, and charming. The opening material recurs towards the end for a light touch of symmetry. Perhaps inspired by the ambiance of the Italian Mediterranean, a particular section of the Fantaisie switches to the minor mode featuring a basso ostinato pattern in the harp with variations
programmed at regular chamber music festivals. I have always loved collaborating with singers with the goal of attuning the voice of my instrument to match theirs. The Prokofiev is a piece I grew up playing, and the Mozart with its obligato part is a wonderful chance to share the stage equally with a soprano. The second half features a unique piece of rare beauty by Chausson, an intimate yet powerful concerto for two that combines the best aspects of concerto and chamber music. —Martin Chalifour
from the violin in the manner of an old Italian Baroque dance form. © Kai Christiansen and earsense.org, the chamber music exploratorium
FIVE MELODIES FOR VIOLIN AND PIANO, OP. 35 Sergei Prokofiev (1891–1953) Prokofiev originally wrote the Five Melodies as vocalises for the Ukrainian soprano Nina Koshetz in 1920. This was two years after he fled the October Revolution in a sort of self-imposed exile and was trying to establish himself in the U.S. as a pianist and composer. He spent much of that year with his opera The Love for Three Oranges, preparing its Chicago premiere. When that was acrimoniously postponed, Prokofiev accepted some concert dates in California, where he did most of the work on the Five Melodies. “I am as ecstatic about California as it is about me,” he wrote from Los Angeles. Prokofiev finally conducted the premiere of his opera in 1921, with Koshetz singing the role of Fata Morgana, and that year they also gave the premiere of some of the Five Melodies in New York. Prokofiev found the set of five wordless songs impractical for regular performance however, and in 1925 he recomposed these exquisitely
shaped, sharply characterized miniatures for violin and piano. He adapted them very idiomatically— double stops, pizzicatos, harmonics, and all—for the violin, and gave the first performance with Pawel Kochánski. (Prokofiev also orchestrated one of the songs, and later arranged another for solo piano.) —John Henken
SCHON LACHT DER HOLDE FRÜHLING, K. 580 Wolfgang Amadeus Mozart (1756–1791) Though it might seem strange to audiences today, a common practice throughout the 18th and 19th centuries was the use of an insertion or “trunk” aria. Depending on the tastes or strengths of the singer performing in a revival of an opera, a new aria written by a later composer would be inserted into another composer’s already finished work, entirely replacing what was sung originally. In 1789, Mozart composed “Schon lacht der holde Frühling” to replace a love song in Giovanni Paisello’s Il barbiere di Siviglia. Mozart’s aria was written for soprano Josepha Hofer, a member of the musical Weber family and sister of Aloysia Weber (whom he had expressed
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interest in marrying) and half cousin to Carl Maria von Weber. Josepha was a muse for Mozart and would perform the Queen of the Night role in the premiere of The Magic Flute two years later. Like the famously demanding arias Mozart composed for Josepha as Queen of the Night, “Schon lacht der holde Frühling” was written to highlight the soprano’s technical mastery, complete with difficult leaps and showy runs. —Ricky O’Bannon
INDRA – HOMMAGE À LILI BOULANGER Camille Pépin (b. 1990) When Claire Bodin [artistic director of the Présences Féminines festival] asked me to write a piece in tribute to a woman composer of the past, I chose to pay tribute to Lili Boulanger (1893–1918). An outstanding composer and orchestrator, she was also a very beautiful woman, generous, and courageous, working behind the front lines for the benefit of civilians and soldiers mobilized during the First World War—all the while battling illness and continuing to compose. The first woman composer to win the Grand Prix de Rome in 1913, she opened a previously unknown path for women. Her success sheds light on the presence of women in a field hitherto “reserved” exclusively for men. To pay tribute to Lili Boulanger is not only to pay tribute to the incredible woman and musician that she was, but also to this path that she opened to women composers of future generations. I chose to write a piece inspired by Hindu mythology, in homage to her Vieille Prière Bouddhique (Old Buddhist Prayer), a work she completed in
March 1917. Indra was premiered in March 2017—one hundred years after the genesis of Lili Boulanger’s composition! Indra is the god of war and storm. Its attributes are lightning and rainbow. Endowed with magical powers, Indra confronts the snake Vrtra that holds back the celestial waters, thus making the world suffer from a great drought. Indra enters into a combat with the snake and delivers water from the sky by piercing the clouds. This is the myth that was my source of inspiration. I wanted to write a piece that was rhythmic, forceful, and dynamic, to pay tribute to the strength and courage of Lili Boulanger as a woman artist. Paying tribute to her today without taking into account her status as a woman is a luxury that we cannot yet afford. What’s more, I found it quite natural to choose this vigorous theme for a work dedicated to the pianist Célia Oneto Bensaïd and the violinist Raphaëlle Moreau who gave its premiere. The whole challenge of this work was to represent this power and determination: how to depict the vivacity and exaltation of the storm—of this combat— using only two instruments? And so I structured the piece by alternating agitated and pulsating episodes—warriorlike—with lighter and dancelike episodes—lively, airy. I looked for martial sounds by thinking of the work in truly “orchestral” terms like horn calls or bass drum accents. A brief episode of flute-like colors against the twinkle of the harp—magical and incantatory— evokes Indra’s magical powers, before returning to the pulsing agitation of the opening. —Camille Pépin (translated by Michail Sklansky)
CONCERTO FOR VIOLIN, PIANO, AND STRING QUARTET, OP. 21 Ernest Chausson (1855–1899) After the death of the stupendously talented Hector Berlioz in 1869, there remained only one Frenchman to challenge the somewhat frivolous national taste. A Belgian-born Parisian, Cesar Franck became the Pied Piper for serious-minded composers who sought to ennoble French music; of his followers Chausson was as ardent as any. Chausson was a rare breed of musician—the independently wealthy kind. This circumstance allowed him to change his life’s course, so that, after studying law, he came late to music, and to Professor Franck at age 26. In this wholly dedicated, humble organist-teacher-composer, the younger man found a kindred artistic soul, and in Franck’s mystic, introspective, earnest music—a style with which he could honestly identify. If at first, the Franck idiom weighed heavily on Chausson’s slender shoulders, in time it became less cumbersome. But make no mistake—the Franckian apple fell not far from the tree. Such a work as the present one is, from the core to the juices, the meat, and the skin, a thoroughly Franckian fruit. That is to say, the harmonic texture is heavily chromatic, the lyrical expressiveness rhapsodic and expansive, and the dramatics naively bombastic. The piece is also most unusual, in that, as its title readily suggests, it is frankly showy in a way that chamber music rarely is. Chausson treated the piece in something of a concerto grosso fashion, that is the violin and piano are the concertino (solo) instruments, and the string quartet the ripieno (orchestral) ones. Bravura, particularly for the thoroughly concerto-like piano part, is hardly ever held in check,
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although there are passages where the keyboard is accompanimental; but even then, its role is intricate and demanding. Even so, with all the brilliance of the writing, Chausson has managed remarkably to maintain a chamber-music framework in regard to textures and to the give-and-take between the solo duo and the quartet. The first movement opens with a slow introduction that has the piano declaiming a threenote motif that is to become the basis for the main theme of the animated movement proper. The first statement of the main theme,
made by the violin with piano in busy attendance and then viceversa, is one of the countless duo passages throughout the work. The quartet finally makes its grand entrance on the main theme, with low piano octaves lending sonorous support and high trills adding brilliance, and it is this kind of ensemble procedure that continues in various permutations throughout the entire work. The materials, which include a lyric second theme and a third idea, are developed extensively and brilliantly, but calmness brings the movement to a close. The brief
Sicilienne that follows is the kind of music that we find in Debussy’s early piano pieces—piquant, charming, and possessed of an hauteur that is uniquely French. However, even this fey material is treated to a moment of Chausson grandeur. In contrast, the third movement is deeply melancholy, beginning with a dirge-like violin– piano duo. This is aggressively morose music with only faint rays of sunshine piercing the darkness. The energetic Finale is, expectedly, elaborately virtuosic and brilliant, realizing the work’s title to the ultimate degree.
by Thomas Adès, Sebastian Currier, Avner Dorman, Alan Fletcher, Joseph Hallman, Alasdair Nicolson, Andrew Norman, and Matthias Pintscher. He recorded Beethoven’s complete piano concertos with Alan Gilbert and Academy of St. Martin in the Fields on the Pentatone label. Barnatan’s acclaimed discography also includes Rachmaninoff and Chopin Cello Sonatas, recorded with Weilerstein for Decca Classics; Darknesse Visible, named one of the New York Times’ “Best of 2012”; and his latest release, entitled Time Traveler’s Suite. For more information, visit inonbarnatan.com.
the Paris Opera, a job he won at the age of 22, and then with the Metropolitan Opera in New York for five full seasons. Born and raised in France, Ceysson was admitted unanimously to the Paris Conservatoire when he was only 16, and, in the course of the next 10 years, he went on to collect the highest international distinctions and prizes, securing an acclaimed solo career, as a recitalist appearing in major concert venues including Carnegie Hall’s Zankel Hall, Wigmore Hall, Salle Gaveau, Munich’s Gasteig, Wiener Konzerthaus, and Hyogo Concert Hall, and as soloist with such orchestras as the Bavarian Radio Orchestra, Deutsche Symphonie Orchester, RAI Orchestra Torino, Orchestre National de Lyon, and Orquesta Filarmónica de Bogotá. As a recording artist, he has released a wide range of solo, chamber music, and concerto repertoire for the harp on such labels as Naxos, BR Klassik, Naïve, and Aparte—a discography that has earned him acclaim from the specialized press.
ABOUT THE ARTISTS
INON BARNATAN
“One of the most admired pianists of his generation” (New York Times), Inon Barnatan is celebrated for his poetic sensibility, musical intelligence and consummate artistry. He inaugurated his tenure as Music Director of California’s La Jolla Music Society Summerfest in 2019. Barnatan is a regular soloist with many of the world’s foremost orchestras and conductors. He recently served for three seasons as the inaugural Artist-in-Association of the New York Philharmonic and recreated Beethoven’s legendary 1808 concert with the Cincinnati Symphony. The recipient of an Avery Fisher Career Grant and Lincoln Center’s Martin E. Segal Award, Barnatan is also a sought-after recitalist and chamber musician. He recently made his solo recital debut at Carnegie Hall’s Zankel Hall and reunited with frequent cello partner Alisa Weilerstein. Passionate about contemporary music, he has commissioned and performed works by many living composers, premiering pieces
EMMANUEL CEYSSON
Chosen from among 70 of his best peers in a totally blind and anonymous audition process, Emmanuel Ceysson joined the Los Angeles Philharmonic in September 2020. This exciting new position in a symphony orchestra comes after almost 15 years of playing principal harp in opera orchestras: first, with
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ABOUT THE ARTISTS
MARTIN CHALIFOUR
Martin Chalifour began his 26th season as Principal Concertmaster of the Los Angeles Philharmonic this fall. He graduated with honors from the Montreal Conservatory at the age of 18 and then moved to the United States to continue studies at the famed Curtis Institute of Music. Chalifour received a Certificate of Honor at the Tchaikovsky Competition in Moscow and is also a laureate of the prestigious Montreal International Competition. Apart from his LA Phil duties, he maintains an active solo career, playing a diverse repertoire of more than 60 concertos. Chalifour has appeared as soloist with conductors Pierre Boulez, Gustavo Dudamel, Charles Dutoit, Christoph Eschenbach, Sir Neville Marriner, and EsaPekka Salonen. Outside the U.S., he has played solos with the Auckland Philharmonia, the Montreal Symphony, the Hong Kong Philharmonic, the National Orchestra of Taiwan, and the Malaysian Philharmonic, among others. Chalifour began his orchestral career with the late Robert Shaw and the Atlanta Symphony, playing as Associate Concertmaster for six years. Subsequently, for five years he occupied the same position in the Cleveland Orchestra, where he also served as Acting Concertmaster under Christoph von Dohnányi. While in Cleveland, Chalifour taught at the Cleveland Institute of Music and was a founding member of the Cleveland Orchestra Piano Trio. Chalifour is a frequent guest at several summer music festivals, including the Sarasota Festival, the Mainly Mozart Festival, and the Reno Chamber Music Festival, where he served as Music Director last year.
Maintaining close ties with his native country, he has returned there often to teach and perform as soloist with various Canadian orchestras, most recently in Vancouver with Bramwell Tovey and in Hamilton with Gemma New. Martin Chalifour has recorded solo and chamber music for the Telarc, Northstar, and Yarlung labels. He teaches at Caltech and at the USC Thornton School of Music.
NATHAN COLE
First Associate Concertmaster Nathan Cole, who joined the LA Phil in 2011, has appeared as guest concertmaster with the orchestras of Pittsburgh, Minnesota, Houston, Ottawa, Seattle, and Oregon. He was previously a member of the Chicago Symphony and Principal Second Violin of the Saint Paul Chamber Orchestra. A native of Lexington, Kentucky, he made his debut with the Louisville Orchestra at the age of 10 while studying with Donna Wiehe. After eight years working with Daniel Mason, Cole enrolled at the Curtis Institute of Music. In addition to his studies there with Pamela Frank, Felix Galimir, Ida Kavafian, and Jaime Laredo, Cole formed the Grancino String Quartet, debuting in New York’s Weill Hall. Several summers at Marlboro enriched his love of chamber music. Nathan’s articles and videos on practicing, performing, teaching, and auditioning have helped thousands of violinists worldwide. Visit natesviolin.com for the complete collection. In addition to his online teaching, Nathan is currently on faculty at the Colburn School for the Performing Arts, with classes at the Colburn Conservatory and USC. His articles and photographs have also appeared in Strings, Symphony, and Chamber Music magazines.
Nathan is married to Akiko Tarumoto, the LA Phil’s Assistant Concertmaster. Together they host the weekly podcast Stand Partners for Life, an inside look at orchestra life, which can be heard at standpartnersforlife.com. Nathan and Akiko live in Pasadena with their three children.
ROBERT DEMAINE
Robert deMaine is an American virtuoso cellist who has been hailed by The New York Times as “an artist who makes one hang on every note.” He has distinguished himself as one of the finest and most versatile instrumentalists of his generation, performing to critical acclaim as soloist, recitalist, orchestra principal, recording artist, chamber musician, and composer/ arranger. In 2010, deMaine was a founding member of the highly acclaimed Ehnes String Quartet and completed several world tours and recordings with the ensemble. In 2012, he was invited to join the Los Angeles Philharmonic as Principal Cello. He collaborates often in a piano trio with violinist Hilary Hahn and pianist Natalie Zhu. A first-prize winner in many national and international competitions, deMaine was the first cellist ever to win the grand prize at San Francisco’s Irving M. Klein International Competition for Strings. As soloist, he has collaborated with many distinguished conductors, including Neeme Järvi, Peter Oundjian, Joseph Silverstein, and Leonard Slatkin, and has performed nearly all the major cello concertos with the Detroit Symphony Orchestra, where he served as principal cello for over a decade. His recording of the John Williams Cello Concerto
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is available on Naxos. His discography also includes the Haydn Cello Concertos with the Moravian Philharmonic of the Czech Republic, a recital CD of Grieg and Rachmaninoff sonatas with pianist Andrew Armstrong, and will soon comprise the complete works of Beethoven for piano and cello with pianist Peter Takács. DeMaine studied at the Juilliard School, the Eastman School of Music, the University of Southern California, Yale University, and the Kronberg Academy in Germany. Please visit robertdemaine.com to learn more.
KEVIN FITZ-GERALD
Pianist Kevin Fitz-Gerald enjoys a versatile performing career as recitalist, orchestra soloist, and chamber musician. His performances have garnered international acclaim and he has been recognized for his “hypnotically powerful and precise” pianism and “dynamic and distinguished” interpretations. His concert tours and performances have taken place in major concert halls, universities, and concert organizations throughout the U.S., Canada, Japan, China, Korea, Australia, Mexico, South America, the Mediterranean, and the Caribbean. Notable venues include Carnegie Recital Hall (New York), the Mormon Tabernacle (Utah), Walt Disney Concert Hall (Los Angeles), National Arts Centre (Ottawa), Roy Thompson Hall (Toronto), Place des Arts (Montreal), Izumi Hall (Osaka), Suntory Hall (Tokyo), National Gallery (Kingston), and Town Hall (Melbourne). He has appeared with several Canadian and American orchestras, including the Toronto Symphony, Montreal Symphony, Canadian Chamber Orchestra, CBC Radio
Orchestra, Calgary Philharmonic, Los Angeles Camerata, Utah Chamber Orchestra, and the Mormon Tabernacle Orchestra at Temple Square. Recent orchestral performances have included concertos by Dvořák, Mozart, Beethoven, Prokofiev, Mendelssohn, Balakirev, Rachmaninoff, Stravinsky, Berg, and Scharwenka. Fitz-Gerald’s concerts have frequently been recorded for local, national, and international radio and television networks in Canada, the U.S., South America, France, Japan, China, Korea, and Australia. His CD recordings can be found on the Summit, Quatro Corde, AFCM, Centaur, GM, Yamaha PianoSoft, and Ivory Classics records labels. In constant demand as a chamber musician, he has collaborated with internationally renowned artists such as Hagai Shaham, Patrick Gallois, Steven Isserlis, Anne Akiko Meyers, Richard Stoltzman, Alan Civil, Camilla Wicks, Midori, Eudice Shapiro, Milton Thomas, Karen Tuttle, Donald McInnes, and Ronald Leonard, and with the Bartók, St. Petersburg, and St. Lawrence string quartets. Born in Kelowna, British Columbia, Fitz-Gerald was a full scholarship student at the Victoria Conservatory of Music, the Banff Centre School of Fine Arts, and the Royal Conservatory of Music in Toronto, where his principal teachers were Marek Jablonski, Robin Wood, and Alma Brock-Smith. In addition, he has worked extensively with Menahem Pressler, John Perry, György Sebök, and Leon Fleisher. He has won several prestigious competitions, grants, and awards, including the Du Maurier Search for the Stars, CBC National Radio Auditions, and the Young Artists’ National Piano Competition.
MICHAEL LARCO
Michael Larco was Assistant Principal Violist of the Rochester Philharmonic Orchestra from 2005 to 2012 and joined the Los Angeles Philharmonic in July 2012. He has collaborated in concert with Lynn Harrell, Itzhak Perlman, Alisa Weilerstein, and Rachel Barton Pine. Recent appearances have included a Chicago “Dame Myra Hess” recital debut, broadcast live on WFMT, with pianist Soojin Ahn; performances at the Philadelphia Chamber Music Society with tenor Anthony Dean Griffey; Kravis Center for the Performing Arts (West Palm Beach); Zankel Hall at Carnegie Hall with Griffey and Warren Jones; Chamber Music Rochester (NY); Skaneateles Festival (NY); and Monadnock Music (NH). Larco was a founding member (2000-2005) of New York City-based Fountain Ensemble. He has served as principal violist of the Juilliard Orchestra and the Tanglewood Music Center Orchestra under Seiji Ozawa, Kurt Masur, and James Conlon. In recent seasons, he has performed in the New York Philharmonic, the Boston Symphony Orchestra, and the Philadelphia Orchestra, An active chamber musician and coach, Larco has been a faculty member at the Hartt School at the University of Hartford and School for Strings (NYC). Most recently, he has coached alongside the Biava String Quartet at the David Einfeldt Chamber Music Seminar at the Hartt School. Larco received his bachelor’s and master’s degrees from the Juilliard School, where he studied with Heidi Castleman, Misha Amory, and Samuel Rhodes. In 1999, Larco was awarded the Frank Huntington Beebe Scholarship for studies in Europe. While living in Italy (1999–2000), he studied both at the Mozarteum in Salzburg with Thomas Riebl and in Cremona with Bruno Giuranna.
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LIV REDPATH
Liv Redpath is quickly becoming a leading soprano leggero on the opera and concert stage today. During the 2021/22 season, she returns to the Deutsche Oper Berlin to make her debut in the title role of Lucia di Lammermoor, as well as the Metropolitan Opera where she covers two title roles: Aucoin’s Eurydice, conducted by Yannick Nézet-Séguin, and Simon Stone’s new production of Lucia di Lammermoor, conducted by Riccardo Frizza. Her concert performances include a Verbier Festival debut singing in Beethoven’s Symphony No. 9 with the Chamber Orchestra under the baton of Gábor Takács-Nagy; joining the Met Orchestra Chamber Ensemble and Maestro Nézet-Séguin to sing new arrangements of arias from Aucoin’s Eurydice in Weill Recital Hall at Carnegie Hall; a chamber music gala concert in honor of Martin Chalifour’s 25th anniversary with Los Angeles Philharmonic; a New Year’s Eve concert with American Bach Soloists featuring works of Handel, Rameau, and Purcell; and a Mozart Requiem with the Long Beach Symphony. In the 2020/21 season, Liv Redpath sang “Das himmlische Leben” from Mahler’s Symphony No. 4 with Gustavo Dudamel and the Los Angeles Philharmonic for their presentation Icons on Inspiration, introduced by Julie Andrews and broadcast on KCET. The artist was one of 12 finalists worldwide at the 2019 Operalia competition and sang under the baton of Plácido Domingo in Prague for the finalround concert. She received second prize, as well as the special French opera prize and audience favorite prize, at the 56th Tenor Viñas International
Contest at the Gran Teatre del Liceu in Barcelona and subsequently sang the winners concert held at Teatro Real in Madrid. A graduate of Harvard University and the Juilliard School, she is a former DomingoColburn-Stein Young Artist with the Los Angeles Opera.
BING WANG
Violinist Bing Wang joined the Los Angeles Philharmonic as Associate Concertmaster in 1994. She previously held the position of Principal Second Violin of the Cincinnati Symphony and has served on the faculty and as concertmaster at the Aspen Music Festival and School since 2003. Since 2009, she has also been Guest Concertmaster of her hometown orchestra, the Shanghai Symphony Orchestra, where her tenure was highlighted by a televised New Year’s concert conducted by Riccardo Muti. As a soloist, Wang has won critical praise for her appearances with the Los Angeles Philharmonic. In September 1997, during the Philharmonic’s celebration of the Brahms anniversary year, she performed the composer’s Double Concerto with EsaPekka Salonen at the Hollywood Bowl. She made her Walt Disney Concert Hall concerto debut in May of 2005 and appears annually as both concertmaster and soloist at the Hollywood Bowl under the baton of composer John Williams, performing his signature movie classics such as Schindler’s List and his arrangement of Fiddler on the Roof. Wang has appeared regularly with the American Youth Symphony since 1997, and she has also been featured as a soloist with
the Cincinnati Symphony, the Manhattan Symphony, and other orchestras. In 2002, she gave her first performances in China since emigrating to the U.S., touring as a soloist with the Shanghai Symphony Orchestra. Active as a chamber musician, Wang has collaborated with such distinguished artists as Lang Lang, Yefim Bronfman, Emanuel Ax, and Jean-Yves Thibaudet, among others. Chambermusic appearances include performances at the Théâtre du Châtelet in Paris, the Palais des Beaux-Arts in Brussels, and the Sanssouci Palace in Potsdam, Germany. She also performs regularly on the Philharmonic’s Green Umbrella and Chamber Music series. Bing Wang began studying the violin with her parents at the age of six. After coming to the U.S. to study with Berl Senofsky at the Peabody Conservatory, she received her master’s degree from the Manhattan School of Music under the tutelage of Glenn Dicterow. In 2012, Bing Wang was named an Adjunct Associate Professor at the USC Thornton School of Music.
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LOS ANGELES PHILHARMONIC
Bronfman Plays Rachmaninoff’s Third Los Angeles Philharmonic Philippe Jordan, conductor Yefim Bronfman, piano
THURSDAY FEBRUARY 3, 2022 8PM FRIDAY FEBRUARY 4 11AM SATURDAY FEBRUARY 5 8PM
BORODIN Overture to Prince Igor (c. 10 minutes) RACHMANINOFF Piano Concerto No. 3 in D minor, Op. 30 (c. 39 minutes) Allegro ma non tanto Intermezzo Finale Yefim Bronfman
SUNDAY FEBRUARY 6 2PM
INTERMISSION PROKOFIEV Suite from Romeo and Juliet (c. 35 minutes) Montagues and Capulets The Young Juliet Madrigal Minuet Masks Romeo and Juliet Friar Laurence Death of Tybalt Romeo and Juliet Before Parting Romeo at Juliet’s Tomb Death of Juliet
Official Timepiece of the Los Angeles Philharmonic Thursday’s performance is made possible by the generous support of the Elaine and Bram Goldsmith Great Artists Fund. Concerts in the Thursday 2 subscription series are generously supported by the Otis Booth Foundation. Saturday’s performance is generously supported by Pasadena Showcase House for the Arts.
Programs and artists subject to change.
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AT A GLANCE So Russian!
Russia’s secular art music has always been concerned with aspects of national identity, in part because it came late to the game. It is not really surprising that Alexander Borodin was a composer by avocation rather than profession, since there were no Russian conservatories or professional concert orchestras when he was born, or that his great (and unfinished) work was Prince Igor, an opera about Russian political and cultural expansion.
OVERTURE TO PRINCE IGOR Alexander Borodin (1833–1887) Composed: 1869–1887 Orchestration: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings First Los Angeles Philharmonic performance: August 6, 1942, Thomas Beecham conducting Little could he have known what life had in store for him when, at age 25, with a medical degree in hand, Alexander Borodin went to Heidelberg to do research in chemistry. While there, the world of music opened up to him, and he became as immersed in it as he was in science. Wagner operas, and the works of Mendelssohn, Chopin, and Schumann—many introduced to him by a young pianist who was to become his wife—were the volatile elements that produced a passion that became the source of new-found joy. Unfortunately, considering his full-time occupation as a very successful chemist, music—or rather, finding time for it—also became a source of frustration. After leaving Heidelberg and traveling throughout Europe, Borodin returned to Mother Russia where,
But once going, Russian musical institutions quickly produced a flood of extraordinary talent, such as the phenomenal composer-pianists Sergei Rachmaninoff and Sergei Prokofiev. Both were distinctively individual creative artists and yet both were also self-consciously and identifiably Russian, as these dramatically different but quintessentially Russian works demonstrate. Inescapably Russian, perhaps: as John Updike wrote, “Russia is so Russian!” —John Henken
along with the other members of the “Mighty Five” (Balakirev, Cui, Mussorgsky, and Rimsky-Korsakov), he began to research his country’s folk music and then to use it as a basis for his compositions. Obviously, Borodin was a man of determination and energy, for in his second occupation he was able to be extremely productive, writing a variety of works including symphonies, chamber music, songs, piano pieces, and the opera Prince Igor. Indeed, crucial to the story of Borodin and to virtually all the music he wrote was that opera. He planned it as early as 1869, but ironically, although he worked on it at various times throughout his life, it remained unfinished at his death in 1887. The setting of the opera is Russia in the 12th century, and the story deals with the battles of the Prince and the Polovtsi. The opera was completed by Rimsky-Korsakov (who also completed and/or reworked many of Mussorgsky’s pieces) and Alexander Glazunov. Part of the finishing-up work had to do with the Overture, which was one of the last parts Borodin undertook to write. According to an account of the situation, the composer had played the Overture—which he based on various themes from
the opera—at the piano for friends but had not yet written it down. Glazunov’s reconstruction of it was accomplished by his referring to the particular sections of the opera that corresponded to Borodin’s outline and consulting sketches found in the composer’s effects. —Orrin Howard
PIANO CONCERTO NO. 3 IN D MINOR, OP. 30 Sergei Rachmaninoff (1873–1943) Composed: 1909 Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, triangle), strings, and solo piano First Los Angeles Philharmonic performance: January 2, 1930, Artur Rodzinski conducting, with Vladimir Horowitz, soloist Right around the time Stravinsky was emerging as Russia’s great avant-gardiste, his fellow countryman Sergei Rachmaninoff was embarking on the second phase of his stellar career as a concert pianist in the Romantic tradition. Rachmaninoff had
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been a student of Arensky, who had been a student of RimskyKorsakov, and of Taneyev, who had studied with Tchaikovsky. Thus, Rachmaninoff straddled two Russias—both chronologically, between the composers of “old Russia” and the Soviets, and aesthetically, between the Nationalism of Rimsky-Korsakov and the academic Romanticism of Tchaikovsky. 1909 marked the beginning of Rachmaninoff’s last years in Russia leading up to the Bolshevik Revolution. He was now performing more as a pianist and conductor than composing, but he began the Third Piano Concerto in the summer of 1909 at his home at Ivanovka, in southern Russia, for a planned American concert tour that fall. Premiered by the composer with the New York Symphony under Walter Damrosch on November 28, 1909, the piece was recognized as characteristic Rachmaninoff: excruciatingly difficult piano writing with sprawling chords and magnificent lines, lush orchestral textures, and moody, bittersweet melodies. And although today it is considered a pinnacle of Romantic concerto writing, the Third Concerto was performed by few besides Rachmaninoff himself until Horowitz introduced it to the mainstream. The themes of the entire work are presented in the first movement. First, a dotted rhythmic motive serves as the motor of the whole concerto. The opening Allegro begins in the orchestra, and the piano overlays the melancholic but dignified first theme. Fragments of the second theme are introduced by the horn, clarinet, trumpet, oboe, and piano, then it is fully stated in the strings, a staccato-figure variation on the rhythmic motive that evolves into a sweet, singing tune. The
development is a long crescendo/ accelerando in which the two themes seem to morph together, and the orchestral accompaniment is in a constant taffy-pull with the piano’s elaborate phrases. The wintry Intermezzo is introduced by the orchestra, and after 32 measures, the piano storms in and dissolves into stillness. The theme is developed in the remote key of D-flat, alternately brooding and calm. In the middle section, the mood brightens considerably with a waltz in 3/8, outlining the tune in the context of fluttering triplets. The sullen mood returns, and one last grand gesture explodes into the alla breve Finale. Here again are variations on those initial two themes; it’s the velocity, the rhythmic ferocity, and hammering staccato that create variety and interest. A middle scherzando section presents decorative piano variations on the second theme over a calm orchestra scene. The return of tempo brings the concerto to a close with furious drive, the piano playing thick chords in a percussive staccato. —Meg Ryan
SUITE FROM ROMEO AND JULIET Sergei Prokofiev (1891–1953) Composed: 1935 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, tenor saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bells, cymbals, maracas, snare drum, tambourine, triangle, xylophone), harp, celesta, piano, and strings First Los Angeles Philharmonic performance: May 19, 1959, Yuri Faier, conducting the complete ballet
After moving back to the Soviet Union in 1933 following a self-imposed exile of fifteen years, Sergei Prokofiev suddenly found a new sense of purpose as a composer. Composed in a burst of frenzied activity during the summer of 1935, Romeo and Juliet nevertheless proved to be controversial even before a note of the music was heard in public. After the directors of the Bolshoi Ballet in Moscow read through the score and pronounced it “impossible to dance to,” Prokofiev, in a cold rage, extracted two suites from the ballet in 1936. Guessing— correctly—that the suites would create a demand to hear the work in its entirety, Prokofiev soon had the pleasure of seeing the Bolshoi and its bitter rival, the Kirov Ballet of Leningrad, vie for the right of the first production. The honor of the first Soviet performance fell to the Kirov on January 11, 1940, some two years after Romeo and Juliet had been given its world premiere in Brno, Czechoslovakia, in December of 1938. In spite of its considerable length–at nearly two and a half hours, it is the most ambitious of Prokofiev’s non-operatic scores— Romeo and Juliet is a carefully molded musical and emotional structure in which the music is not only intimately related to the stage action but is also a selfreferential dramatic construct that can readily stand on its own. “Montagues and Capulets” is made up of two widely spaced moments from the ballet: the slow, threatening music which accompanies the Duke’s order that the warring families must cease fighting on pain of death, and, from the ballroom scene, the menacing and slightly oafish Dance of the Knights, which hints that the gentleman may have forgotten to take off their armor. “The Young Juliet” brilliantly captures the rapidly changing
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moods of the character’s adolescent personality. “Madrigal” is the deceptively simple title for the music accompanying Romeo’s first awakenings of passion for the lovely young maiden he spies at the Capulets’ ball. The guests who arrive at the ball do so dancing a slightly pompous “Minuet” (they will leave to the Gavotte that Prokofiev initially used as the third movement of his “Classical” Symphony). “Masks,” which immediately follows the Minuet in the ballet, describes—with the aid of tense percussion and nose-thumbing winds—the stealthy arrival of Romeo, Mercutio, and Benvolio in the enemy stronghold. “Romeo and Juliet” is the most sensitive musical treatment the celebrated “balcony scene” has yet received. The harp and muted violins suggest the expectant stillness; Romeo
enters gently in the strings, answered by Juliet’s graceful flute. Following two ecstatic outbursts, the music gives itself back to the silence of the evening. The cleric “Friar Laurence” is represented by a pair of themes, one in bassoons, tuba and harp, the other in divided cellos. The “Death of Tybalt” forms the shattering conclusion of Act II. The music first describes the savage yet strangely high-spirited fight in which Mercutio is slain by Tybalt—neither fully aware of the seriousness of the situation until it is too late—and then the furious duel, underscored by sharp, percussive jabs and brutal dissonances, in which Romeo avenges Mercutio’s death. Heavy, measured thuds of the timpani herald Tybalt’s funeral procession, bringing the scene to a close. “Romeo and Juliet Before Parting” is an impassioned, highly developed section built
on the theme of Romeo’s love. The soaring music is shot through with intimations of impending misfortune. In “Romeo at Juliet’s Tomb,” the love theme points up his grief with overwhelming poignance. At the very end, a contrabassoon speaks as from the depths of the tomb but is silenced by soft shimmering strings above, which a piccolo intones a single high note while cellos and bass clarinet throb as in deep sorrow. “Death of Juliet” is the Adagio that ends the ballet when Juliet awakens to find Romeo dead beside her and decides to follow him. Prokofiev depicts the full measure of the tragedy here with a swelling summation of vast poignancy, including an emotionally intense reference to the music of “The Young Juliet.” It ends quietly, ebbing away like Juliet’s life. — compiled from notes by Orrin Howard and Jim Svejda
career that has taken him to all the world’s major opera houses, festivals, and orchestras. He has been Music Director of the Wiener Staatsoper since September 2020 and opened his first season with new productions of Madama Butterfly, Parsifal, and Macbeth along with revivals of Der Rosenkavalier and Le nozze di Figaro. This season, he will conduct new productions of Don Giovanni, Wozzek, and Tristan und Isolde, as well as revivals of Parsifal, Rosenkavalier, and Capriccio. Philippe Jordan’s career on the podium began as Kapellmeister at Germany’s Stadttheater Ulm and at the Staatsoper Unter den Linden in Berlin. From 2001 to 2004, he was principal conductor
of Graz Opera and the Graz Philharmonic Orchestra. During that period, he also debuted at several of the world’s leading opera houses and festivals, such as the Metropolitan Opera, Royal Opera House, Covent Garden, Teatro alla Scala, Bavarian State Opera, the Vienna State Opera, and Festspielhaus Baden-Baden, and the festivals of Aix-enProvence, Glyndebourne, and Salzburg. From 2006 to 2010, he returned to the Berlin State Opera as principal guest conductor. In the summer of 2012, he debuted at the Bayreuth Festival with Parsifal, and followed this up in 2017 with Bayreuth’s new production of Die Meistersinger von Nürnberg, which he continued to conduct in subsequent years.
ABOUT THE ARTISTS
PHILIPPE JORDAN
Coming from an artistic Swiss family, Philippe Jordan is regarded as one of the most established and important conductors of our time, with a
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Between 2009 and 2021, Jordan was musical director of the Opéra National de Paris, where he conducted numerous premieres and revivals, including Moses und Aron, La damnation de Faust, Der Rosenkavalier, Samson et Dalila, Lohengrin, Don Carlos (original French version), Les Troyens, Don Giovanni, a new production of Borodin’s Prince Igor, and Wagner’s “Ring” cycle in a concert version. From 2014 to 2020, Jordan has also been principal conductor of the Wiener Symphoniker. Together with the orchestra he has developed complete cycles of Schubert’s symphonies, Beethoven’s symphonies and piano concertos, a cycle of Bach’s masses and oratorios, and contrast-filled programs of Bruckner´s last three symphonies coupled with modern classics by Kurtág, Ligeti, and Scelsi. In the symphonic field, Jordan has conducted the world’s most famous orchestras, including the Berliner and Wiener Philharmoniker, Münchner Philharmoniker, Wiener Symphoniker, London Symphony Orchestra, Orchestra Dell’Accademia Nazionale di Santa Cecilia in Rome, Tonhalle Orchester Zürich, Chamber Orchestra of Europe, Mahler Chamber Orchestra, Gustav Mahler Jugendorchester, and the symphony orchestras of Seattle, St. Louis, Dallas, Detroit, Chicago, Cleveland, Philadelphia, Washington, DC, Minnesota, Montreal, Los Angeles, New York, and San Francisco. His upcoming orchestra engagements include the Symphonieorchester des Bayerischen Rundfunks, the Berliner Philharmoniker, the Israel Philharmonic Orchestra,
the Boston Symphony Orchestra, the Teatro del Maggio Musicale Fiorentino, and the Webern Symphonie Orchester.
YEFIM BRONFMAN
Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors, and recital series. His commanding technique, power, and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike. In the wake of worldwide cancellations beginning in spring 2020, his 2020/21 season began in January 2021 with the Concertgebouworkest, followed by Bayerischer Rundfunk Orchestra, Berlin Philharmonic, and London’s Philharmonia in special programs recorded for streaming. Concerts in North America continued with Dallas, Philadelphia, New York, Atlanta, Houston, and Pittsburgh orchestras despite restrictions imposed by COVID-19, followed by summer in Vail (Philadelphia Orchestra), Aspen, Tanglewood
(Boston Symphony), and Grand Tetons. As 2021/22 Artist-inResidence with the Amsterdam Concertgebouw, the season began on tour with the orchestra in Europe and will conclude with the world premiere of a concerto commissioned for him from Elena Firsova. The fall continued with the Enescu Festival, Bucharest, and return visits to the New York and Los Angeles philharmonic orchestras and the symphony orchestras of Boston, Houston, St. Louis, San Francisco, Montreal, San Diego, Pittsburgh, Oregon, San Antonio, Cincinnati, and Palm Beach. In recital, he can be heard in California, Arizona, New Mexico, Chicago, and at Carnegie Hall, as well as internationally in Italy, Russia, Spain, and Germany. With the Munich Philharmonic, he will visit Vienna and Frankfurt; Luxembourg and Paris with the Concertgebouw; London with the Philharmonia, and Israel with the Israel Philharmonic. Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973; there he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at the Juilliard School, Marlboro School of Music, and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists; in 2010, he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University and, in 2015, with an honorary doctorate from the Manhattan School of Music.
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Sparks Russell Mael Ron Mael
MONDAY FEBRUARY 7, 2022 8PM TUESDAY FEBRUARY 8 8PM
Tonight’s program is presented without intermission. Programs and artists subject to change.
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SPARKS
Internationally acclaimed recording artists Sparks (brothers Ron and Russell Mael) have released 23 creatively bold albums since their debut in 1972. Moving to London from their native Los Angeles in 1974, Sparks released their third album, the influential Kimono My House, which quickly became
a worldwide phenomenon, setting the tone for the band’s creative output to follow. Since that time, Sparks have created a unique musical legacy both on record and in live performance. In 2008, they performed all 21 of their albums (to date) in their entirety over the course of 21 nights. Their highly visual stage presentations have
been viewed throughout the world, including stops in Japan’s Fuji Rock Festival, London’s Royal Festival Hall, and the 2011 LA Film Festival. Sparks have been cited as a major influence on musicians as varied as Morrissey, Björk, The Ramones, Faith No More, Sonic Youth, and Nirvana. Hippopotamus, their 23rd album, received unanimous acclaim on its release in 2017, subsequently appearing on many “Album of the Year” lists. The accompanying world tour saw Sparks and their band play a set that was euphoric, vital, brilliant, and uncompromisingly typical of a band that refuses to rest on their laurels. Their 24th studio album—A Steady Drip, Drip, Drip—was released digitally in 2020. Two films have been released: Annette—written by Sparks and directed by Leos Carax—and The Sparks Brothers, a documentary film directed by Edgar Wright.
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LOS ANGELES PHILHARMONIC
Strauss, Smith, and Salonen Los Angeles Philharmonic Esa-Pekka Salonen, conductor James McVinnie, organ
FRIDAY FEBRUARY 11, 2022 8PM SATURDAY FEBRUARY 12 2PM
Esa-Pekka SALONEN Fog (U.S. premiere of orchestral version) (c. 10 minutes) Gabriella SMITH Breathing Forests (world premiere, LA Phil commission with generous support from the Lenore S. and Bernard A. Greenberg Fund) (c. 25 minutes) Grow Breathe Burn James McVinnie INTERMISSION R. STRAUSS
Also sprach Zarathustra, Op. 30 (c. 33 minutes)
Official Timepiece of the Los Angeles Philharmonic Michael Wilson is Walt Disney Concert Hall Organ Conservator. Manuel Rosales and Kevin Cartwright are principal technicians for the Walt Disney Concert Hall organ.
Programs and artists subject to change.
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AT A GLANCE Of Fog, Forests, and Philosophy
The titular fog in Esa-Pekka Salonen’s piece is an anacronym for Frank Owen Gehry, and the piece is music “about” the Prelude from Bach’s E-major Partita for solo violin, the first music Salonen and the architect heard in Walt Disney Concert Hall while it was under construction. Salonen describes the ways the Bach comes in and out of focus as dreamlike, but that also suggests the way shapes seem to shift in a meteorological fog.
FOG (ORCHESTRAL VERSION) Esa-Pekka Salonen (b. 1958) Composed: 2019 Orchestration: piccolo, flute, oboe, English horn, clarinet, bass clarinet, bassoon, contrabassoon, 2 horns, timpani, percussion (vibraphone, glockenspiel, congas, tam-tam), harp, piano, and strings First Los Angeles Philharmonic performance: February 11, 2022, Esa-Pekka Salonen conducting With Walt Disney Concert Hall under construction ahead of its grand opening in 2007, architect Frank Gehry made a late-night phone call to LA Phil’s then Music Director, EsaPekka Salonen. The reason, as Salonen later recalled, was simple: to hear music fill the concert hall. Salonen in turn called Principal Concertmaster Martin Chalifour and asked him to meet him and Gehry onsite. At the time, the spot where the Walt Disney Concert Hall stage would be built was still a gaping hole at the center
At its core, Fog is about how we experience music and its place in a human life. In Breathing Forests, Gabriella Smith’s new organ concerto, the composer sounds an ecological warning about our role in nature, lighting a musical fire that is both destructive and renewing. Richard Strauss’ tone poem is also concerned with humanity’s place in nature, and echoes of its spectacular “Sunrise” fanfare resonate throughout as elusively and essentially as the Bach does in Fog. —John Henken
of a construction site. Gehry and Salonen stood in the balcony as Chalifour readied his violin just in front of the stage’s void—all three men wore the mandatory hard hats. “We were incredibly nervous because obviously that was the first critical moment [to hear] how does music sound in this place?” Salonen said in an interview. “And then Martin started playing the E-major Prelude from [Bach’s] Partita, and all these beautiful sounds floated in the air. We were so happy. It was a tearful moment for both of us.” Many years later, when Salonen was asked to compose something in honor of Gehry’s 90th birthday, he turned to that pivotal moment. Fog is a fantasy around that Bach Prelude, imagined through a dream. Paying homage to Gehry in multiple ways, the name is both a play on the architect’s initials (Frank Owen Gehry) and Gehry’s sailboat, Foggy. Adding another layer to his tribute, Salonen’s harmonies use a musical spelling of Frank’s name: F–A–G–E–H (H being the German designation for B natural). —Ricky O’Bannon
BREATHING FORESTS Gabriella Smith (b. 1991) Composed: 2021 Orchestration: piccolo, 2 flutes, 3 oboes, 3 clarinets (3rd=E-flat clarinet), 2 bassoons, 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, strings, and solo organ First Los Angeles Philharmonic performance: February 11, 2022, Esa-Pekka Salonen conducting Breathing Forests is a reflection on the complex relationship between humans, forests, climate change, and fire. The massive sound and architecture of the organ feels something like the grandeur of a forest to me, and its breath reminiscent of the glorious exchange of carbon dioxide to oxygen that forests perform on a massive scale. Because of their role as one of our planet’s biggest carbon sinks, forests are more essential now than ever before. But I can’t think of them without feeling an immense sadness that we are losing more and more of these forests each year.
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Growing up in California, I’ve experienced wildfire throughout my life, but never the massive and devastating wildfires that have now become the norm, exacerbated by climate change and increasing levels of drought and heat. At the same time, fire is a vital part of many ecosystems, and decades of fire suppression and policy against prescribed burns is also, in part, responsible for much of the devastation and loss of control of wildfires in recent years. Breathing Forests is in three contiguous movements (“Grow,” “Breathe,” “Burn”) that roughly follow the traditional fast–slow–fast concerto form. The piece is a sonic forest, growing, breathing, burning, and regenerating, containing both sadness for the losses we can never get back, and joy—a celebration of forest ecosystems and their vital role in the fight against climate change, a celebration of all those participating in the fight for our future, and an invitation to get to work. —Gabriella Smith
ALSO SPRACH ZARATHUSTRA, OP. 30 Richard Strauss (1864–1949) Composed: 1896 Orchestration: piccolo, 3 flutes (3rd=2nd piccolo), 3 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, 2 tubas, timpani, percussion (bass drum, chime, cymbals, glockenspiel, triangle), 2 harps, organ, and strings
First Los Angeles Philharmonic performance: July 30, 1929, Eugene Goossens conducting For some, Also sprach Zarathustra was the most memorable feature of Stanley Kubrick’s 2001: A Space Odyssey—more foreground than background music. Nevertheless, the non-concertgoing public probably remains largely ignorant of what happens in Zarathustra after its colossal 21-bar opening, featured in the 1968 film, culminating in that stupendous brass-and-percussion bang and celebrated skullnumbing organ blast. Zarathustra is a tone poem, that is, a free-form symphonic piece that either tells a story or, as is the case here, suggests the moods of a literary text. The composer initially disavowed any connection between his music and Friedrich Nietzsche’s knotty philosophical work of the same name—beyond being inspired by its poetic imagery and, particularly, its evocative chapter headings, eight of which Strauss employed as nonspecific guides in his score. Also sprach Zarathustra was composed in 1896, the year in which Strauss became chief conductor of the Bavarian State Opera in Munich. The city of his birth prized him greatly as a conductor, but the conservative public, and the impresarios serving that public, considered his compositions rather outré. Thus, the premiere was given in Frankfurt, with the composer conducting. The fiery debate that swirled
around the score when it was new was caused less by the music than by the conflicting programs Strauss proposed at varying times as its subject matter. Before the Frankfurt premiere, he authorized the following to be printed: “First movement: Sunrise. Man feels the power of God. Andante religioso. But man still longs. He plunges into passion (second movement) and finds no peace. He turns toward science and tries in vain to solve life’s problems in a fugue (third movement). The agreeable dance tunes sound, and he becomes an individual. His soul soars upward while the world sinks far below him.” But that was neither his first nor last word on the subject. Strauss decided finally to put the matter to rest by prefacing the published score with the words of Nietzsche’s opening paragraphs, the “Ode to the Sun,” concluding with the exhortation to the creative spirit: “For too long we have dreamt music, now let us awake. We were nightwalkers. Let us now be daywalkers.” The titles of the eight sections that follow the brass-percussion-organ depiction of the Sunrise were the only other programmatic clues left by the composer. After the Sunrise introduction come “Of the Forest-dwellers”; “Of the Great Yearning”; “Of Joys and Passions”; “Dirge”; and “Of Science”— wherein the opening, three-note C-major theme of the Sunrise, by now associated with Zarathustra himself, evolves into a spectacular fugue. In the subsequent “The Convalescent,” the
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preceding fugal subject reaches a peak of frenzied complexity before winding down to a gentle cello solo. With “The Dance Song,” Nietzsche’s ferocious philosopher, Zarathustra, breaks into a waltz. Some pro-Strauss critics have cited this as the composer’s glorification of the Life Force,
while detractors point to it as an example of his wretched taste. In all likelihood, it is at once indicative of Richard Strauss’ affection for another (unrelated) Strauss, the Waltz King himself, and his (Richard’s) sense of humor, which included not taking himself nearly as seriously as his listeners did. The climax of the waltz melts
into the finale, “The Night Wanderer’s Song,” announced by a bell tolling midnight and concluding peacefully, with high woodwinds repeating, ever more softly, a B-major chord, while at the bottom of the orchestra the basses play the low C with which Also sprach Zarathustra began. —Herbert Glass
ABOUT THE ARTISTS
ESA-PEKKA SALONEN
Esa-Pekka Salonen’s restless innovation drives him constantly to reposition classical music in the 21st century. He is known as both a composer and conductor and is currently the Music Director of the San Francisco Symphony. He is the Conductor Laureate for both the Swedish Radio Symphony Orchestra and the Los Angeles Philharmonic, where he was Music Director from 1992 until 2009, and Conductor Emeritus for the Philharmonia
Orchestra, where he was Principal Conductor & Artistic Advisor from 2008 until 2021. As a member of the faculty of the Colburn School, he develops, leads, and directs the pre-professional Negaunee Conducting Program. Salonen co-founded—and from 2003 until 2018 served as the Artistic Director for—the annual Baltic Sea Festival, which invites celebrated artists to promote unity and ecological awareness among the countries around the Baltic Sea. Salonen began his second season as Music Director of the San Francisco Symphony with the Opening Night Gala, before leading the Symphony in 12 weeks of programming across the season, including festival programs exploring the music of Stravinsky and musical expressions of the myth of Prometheus. The SFSymphony+ digital programming, which Salonen spearheaded in 2021, also continues this season; both digital-exclusive programming and live-to-digital archival recordings are planned. Other
highlights of the San Francisco season include premieres of two commissioned works from Bryce Dessner and Fang Man, a Peter Sellars-led performance of Stravinsky’s Oedipus Rex, and a synesthetic performance of Scriabin’s Prometheus. Salonen performs 13 programs across Europe and North America this season, beginning with a concert of Strauss and Bruckner with the Filarmonica della Scala. He then leads the Orchestre de Paris in two programs in Paris, before joining the Finnish Radio Symphony Orchestra for the world premiere of his new Clarinet Concerto. In January, Salonen joined the NDR Elbphilharmonie Orchestra for two weeks of programming as part of Elbphilharmonie Hamburg’s two-season residency, Multiverse EsaPekka Salonen. He later rejoins the Orchestre de Paris for two more programs in Paris and five concerts abroad in Brescia, Bergamo, Torino, Milan, and Ferrara, Italy. As Music Director of the Los Angeles Philharmonic for
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17 years, Salonen is widely credited with revitalizing the organization. Maintaining his close ties with the Los Angeles musical community, he is a frequent and celebrated guest of both the Philharmonic and the Colburn Orchestra. This season, he leads the Colburn Orchestra in a program of Shostakovich and Bruckner. He then conducts the LA Phil in two programs, including world premiere performances of two new commissions from Gabriella Smith and Daníel Bjarnason, and the U.S. premiere of a new orchestral version of his piece Fog. Salonen is known for his enthusiastic adoption of emerging technology. His projects have included the Philharmonia’s Virtual Orchestra, the award-winning RE-RITE and Universe of Sound immersive installations, and the much-hailed app for iPad, The Orchestra. In 2015, he addressed the Apple Distinguished Educator conference on the uses of technology in music education, and in 2020, his interactive AI opera installation Laila, presented with the Finnish National Opera and Ballet, was awarded the Fedora Digital Prize. Salonen’s compositions are inventive and cerebral, ranging from playful early works such as the UNESCO Rostrum Prize-winning Floof to the Grawemeyer Awardwinning Violin Concerto and recently recorded Cello Concerto. This season’s programmed compositions include Gemini, which had its world premiere in 2019; Fog, a Frank Gehry tribute
appearing in a new version for orchestra; Objets Trouvés, which made its concert premiere at the Ojai Festival; the Dada-inspired Karawane, and the world premiere of his Clarinet Concerto. Salonen has an extensive and varied recording career, both as a conductor and composer. His recent recordings include Richard Strauss’ Four Last Songs, recorded with Lise Davidsen and the Philharmonia Orchestra; Bartók’s Miraculous Mandarin and Dance Suite, also with the Philharmonia; Stravinsky’s Perséphone, featuring Andrew Staples, Pauline Cheviller, and the Finnish National Opera, and a 2018 box set of his complete Sony recordings. His compositions appear on releases from Sony, Deutsche Grammophon, and Decca; his Piano Concerto (with Yefim Bronfman), Violin Concerto (with Leila Josefowicz), and Cello Concerto (with Yo-Yo Ma) all appear on recordings conducted by Salonen himself. Salonen is the recipient of many major awards. In 1995, he received the Royal Philharmonic Society’s Opera Award and two years later, its Conductor Award. Salonen was awarded the Litteris et Artibus medal, one of Sweden’s highest honors, by the King of Sweden in 1996. In 1998, the French government awarded him the rank of Officier of the Ordre des Arts et des Lettres. In addition to receiving both the Pro Finlandia Medal of the Order of the Lion of Finland and the Helsinki Medal, he was named Commander, First Class of the Order of the Lion of Finland by the President
of Finland. Musical America named him its Musician of the Year in 2006, and he was elected an honorary member of the American Academy of Arts and Sciences in 2010. He was the recipient of the 2014 Nemmers Composition Prize, which included a residency at the Henry and Leigh Bienen School of Music at Northwestern University and performances by the Chicago Symphony Orchestra. In 2020, he was appointed an honorary Knight Commander of the Order of the British Empire (KBE) by the Queen of England. To date, Salonen has received seven honorary doctorates in four different countries.
JAMES MCVINNIE
James McVinnie’s work as a performer encompasses music from the 16th century to the present day. His boundless approach to music-making has lead him to collaborations with many leading figures in music including Philip Glass, Tom Jenkinson/Squarepusher,
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Angelique Kidjo, Nico Muhly, Martin Creed, David Lang, Richard Reed Parry, Bryce Dessner, and Darkstar, many of whom have written large-scale works for him. He has released music on Bedroom Community, Orange Mountain Music, and Warp Records labels. The 2021/22 season sees the launch of the James McVinnie Ensemble, a collective of virtuoso keyboardists from London that specialize in new music. The ensemble’s roots go back to 2017 with a performance at London’s Barbican Centre of Philip Glass’ Music in Twelve Parts—the only performance in the piece’s history given by anyone other than the composer’s own Ensemble. Concerts at Bold Tendencies,
London, in September 2021 featured composer portraits of Gabriella Smith, Philip Glass, and John Adams, and those at London’s Barbican Centre in November 2021 featured Philip Glass’ Glassworks and Chris P Thompson’s True Stories & Rational Numbers for keyboards in just intonation. In 2021/22, McVinnie will give the first performances of an hour-long work for organ and 1-bit electronics written for him by Tristan Perich and of a new concerto written for him by Gabriella Smith with the Los Angeles Philharmonic led by Esa Pekka Salonen, as well as making solo appearances in France, at the Hidden Notes Festival, and the BBC Proms with the BBC Concert Orchestra for the U.K.
premiere of Samy Moussa’s A Globe Itself Infolding. James McVinnie was Assistant Organist of Westminster Abbey between 2008 and 2011. Prior to this appointment, he held similar positions at St. Paul’s Cathedral, St. Albans Cathedral, and Clare College, Cambridge, where he studied music. His teachers were Sarah Baldock, Thomas Trotter, and Hans Fagius. He made his debut at London’s Royal Festival Hall in March 2014, giving one of the six reopening recitals on the refurbished iconic 1954 Harrison & Harrison organ. He made his solo debut in the Salzburg Festival at age 26 performing with the Freiburg Baroque Orchestra under Ivor Bolton.
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COLBURN CELEBRITY RECITAL
Garrick Ohlsson Garrick Ohlsson, piano
CHOPIN
Nocturne in F major, Op. 15, No. 1 Nocturne in B major, Op. 9, No. 3
CHOPIN
Barcarolle, Op. 60
CHOPIN
Fantaisie in F minor, Op. 49
CHOPIN
Scherzo No. 3 in C-sharp minor, Op. 39
SUNDAY FEBRUARY 13, 2022 7:30PM
INTERMISSION CHOPIN
Impromptu No. 2 in F-sharp major, Op. 36
CHOPIN Piano Sonata No. 3 in B minor, Op. 58 Allegro maestoso Molto vivace Largo Presto non tanto
Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association. Media Partner: KPCC
Programs and artists subject to change.
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AT A GLANCE All-Chopin
All-Chopin programs are not all that unusual on recital stages; in spite of the fact that the Polish composer’s style is so singular and distinct, there is still enough variety throughout his catalog of solo piano works to sustain endless interest. Garrick
NOCTURNE, OP. 15, NO. 1, NOCTURNE, OP. 9, NO. 3; Composed: 1830–33 As much as Benjamin Britten bristled at the “old idea” of a brooding creator working through the night (quipping that “nighttime is for sleeping”), the eerie calm of the dark has motivated many composers, perhaps none more famously than Frédéric Chopin. Inspired by Irishman John Field who pioneered the Romantic nocturne style—though even Mozart wrote several notturnos—Chopin’s nocturnes were celebrated by his contemporaries and remain some of his most enduring works. A nocturne is a short character piece for piano that evokes some aspect of the night, ranging from wistful melancholy to longing. The left hand plays broken chords as an accompaniment to the right hand’s often vocal-styled melody. While the technical demands are simple, nocturnes are expressively open to the pianist to linger or add a lilt to a phrase—befitting their dreamy nocturnal character. The first of the present two pieces (Op. 15, No. 1) is broken into an A-B-A structure, shifting abruptly from a pastoral theme to a stormy second theme before resolving peacefully. The Op. 9, No. 3 Nocturne has a similar ternary structure but is written in a triplet
Ohlsson’s Chopin agenda this evening, touching as it does upon familiar and unfamiliar works large and small, provides an overview of a genius whose influence on all of music, not only that for the keyboard, is an acknowledged fact.
meter with a waltz-like melody that was unusual for the genre. The dance shifts into a dramatic second theme, before returning to the nostalgic and light opening material. —Ricky O’Bannon
BARCAROLLE, OP. 60 Composed: 1846 “I should like now to finish my violoncello sonata, barcarolle and something else I don’t know how to name,” wrote Chopin in a letter of December 1845. Working through debilitating illness and the grinding conclusion of his unhappy relationship with the writer George Sand, Chopin published in the following summer his Barcarolle, Op. 60, and the “something else” known eventually as the Polonaise-Fantaisie, Op. 61—consecutive towering masterpieces of his final years. Drawn from two Italian words, barca or boat, and rollo or rower, the barcarolle was a beloved 19th-century cliché: the gently rocking romantic songs of Venetian gondoliers. Chopin’s Barcarolle is anything but that. Working with a broad 12/8 time signature, Chopin’s watery undulations begin calmly, but upon their return in the final third of the piece, build like the immense swells of the open ocean—no moonlit canal scene here, but a relentless and dramatic escalation. —Grant Hiroshima
FANTAISIE IN F MINOR, OP. 49 Composed: 1841 Flights of fancy, the making of fantasies, breaking the bonds of formal structures—that was what gave the early 19th-century Romantics their modus operandi and their greatest joy. Yet, we find that beginning in the late 16th century, the title Fantasy (in one of its many spellings—Fantaisie in French, Fantasia in Italian, Phantasie in German, and plain old Fantasy in English) began to be applied to keyboard pieces in which the nature of improvisation played an important role, and/ or in which formal strictness was somewhat relaxed—in other words, pieces that took flights of fancy. The freedom of these flights appealed even to the most highly disciplined of composers, for examples, Bach in his Chromatic Fantasy and Fugue, Mozart in his D-minor Fantasy, and Beethoven in his two sonatas titled quasi una Fantasia, to name just a few. Curiously, even though the composers of the post-Beethoven era needed no special license for their flights of fancy, we find the title Fantasy used by the most freedom loving of the breed— Schumann and Chopin. What is even more curious is that the present work by Chopin is probably the most tightly structured of that composer’s large compositions.
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To be sure, Chopin’s title Fantaisie is confirmed by the aura of drama that pervades its pages, by the outbursts of passion and the multi-shades of temperament that crowd upon one another, by the large design of grand expressiveness. Yet throughout, Chopin remains in control of the various elements with as certain a formal grasp as he ever attained. Tellingly, he accomplished this not by slavishly adhering to an established form, but by allowing the materials to create their own inevitable structure. The work was composed in 1841, the most harmonious year in his stormy relationship with the author George Sand (the pen name of Amandine-Aurore-Lucile Dupin, Baroness Dudevant). Many of his masterpieces in miniature had already been written—waltzes, etudes, preludes, mazurkas, etc.—all verifying Schumann’s ringing words of discovery in 1831, “Hats off, gentlemen, a genius.” The Fantaisie opens with an extended slow section built on a pair of two-measure ideas, the first a descending, halting figure, the second a legato but still severe thought. There is great portent of drama here and it is borne out by the subsequent materials that gather force and lead to an agitated single-note theme over a triplet accompaniment. An airy double-note theme in major key follows, but it is routed by a fierce triplet passage that climbs to the upper reaches of the keyboard and then careens down. This signals an ever-increasing show of emotion which, after four precision-defying sets of octaves in contrary motion, explodes in angry repeated chords. These are followed by a strangely aimless march, after which nowfamiliar materials are brought back, with only one new, meditative thought remaining to be presented. After the repetitions have gathered strength and urgency, the meditative melody interrupts,
this time with great force, but very soon, in a dramatic masterstroke, it dissolves into a gentle, pleading recitative. After a pause, harplike figures in major reach for the top of the keyboard, and after another pause, two chords, as if intoning a ringing, perhaps cynical “amen,” close the Fantaisie, not in F minor, but in seriously resolute A-flat major. —Orrin Howard
SCHERZO NO. 3, OP. 39 Composed: 1839 Several of Chopin’s large works came in fours, though not composed consecutively: there are four Impromptus, four Ballades, and the same number of Scherzos. And they are all extraordinary. The Third Scherzo, composed in 1839, is a big-boned work but not nearly so large and complex as the B-flat-minor Scherzo. The simple opening sets the tone with its urgent octave passages that lead to a lovely section with a simple chorale melody interspersed with sprays of notes falling from on high. A somewhat complex ending relies on octaves for excitement and the piece ends in the major mode.
IMPROMPTU NO. 2, OP. 36 Composed: 1839 Chopin composed four compositions that are called Impromptus, the first was the Fantaisie-impromptu of 1835, a piece that became widely known several years back for having yielded the hit tune “I’m Always Chasing Rainbows”; the F-sharp-major Impromptu was the third. Composed in 1839, it is a more substantial work than its delightful but lightweight predecessor in A-flat. Substantial but also enigmatic, in having a nocturnal main theme, sung in single notes in the right hand after a six-measure preface in the left hand that sighs gently, and then a lengthy episode
that is a jolting contrast to the opening lyricism. Beginning softly with a dotted figure in single notes in the left hand and the right hand sounding a military motif, the section grows in stark intensity as the left-hand single notes become leaping octaves and the dynamic increases to a very loud level. The effect is frightening in its intensity, but when its strength is spent, the main theme returns (in F major) to be exquisitely embellished and enlivened by flowing triplets in the accompaniment. Toward the end, Chopin changes gears again, this time to create a small etude as the right hand spews fountains of very fast notes across the keyboard. When this effusive activity stops, there is a simple, almost prayer-like chorale for eight measures, and then, as if recalling the battle section, the piece ends with two very loud chords. —Orrin Howard
SONATA NO. 3 IN B MINOR, OP. 58 Composed: 1844 Coming on the heels of the emotional melancholy of the closing measures of the Impromptu, Op. 36, the bold intensity of the Allegro maestoso opening of the B-minor Sonata is certain to have a heightened visceral effect. A rapid descending figure, one that is to be exploited throughout the first movement, is a dramatic clarion call: Chopin making a fist. A propulsive chordal procession follows the initial statement of the important figure, and there is a series of other ideas before the entry of the lovely nocturne-like secondary theme in D major. Yet another parade of themes follows, all of the materials cut from Chopin’s best musical bolt. If there is any faltering in the movement, it is in a diffuse development that begins with a halting contrapuntal procedure and carries on with some pianistic gymnastics that can seem uncharacteristically awkward
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(at least in some hands). As he did in the Second (“Funeral March”) Sonata, Chopin brings back only the movement’s secondary theme in the recapitulation, and the movement ends brilliantly in the key of B major. The Scherzo second movement, a quicksilver (Molto vivace), etude-like tour de force in the distant key of E-flat major, has a serene, sustained middle section (which is suddenly pulled back
to B major). There is exhilaration of the most compelling kind in this light-as-air music. Following the bravura close, extreme contrast is to be expected in the Largo third movement, which caresses the ear with a combination of somewhat nervous lyricism and swooning etherealness, both carried to extreme though lovely lengths. With its amazingly harmonized series of 14 octave Fs in the right
hand forming an introduction, the Presto non tanto Finale emerges as a movement of rock-ribbed musical strength and genuine technical élan. It is a demon to perform, but spectacularly rewarding for the player who can bring off both the massive virtuosity and the heroic sweep. In its way, the movement is Chopin’s Appassionata, but with an ending in exuberant (B) major. —Orrin Howard
Francisco, Montreal, Los Angeles, London, and a number of cities across North America. A frequent guest with the orchestras in Australia, he has recently visited Perth, Brisbane, Melbourne, Sydney, Adelaide, and Hobart as well as the New Zealand Symphony in Wellington and Auckland. In February 2020, he accomplished a seven-city recital tour across Australia just prior to the closure of the concert world due to COVID-19. Since that time and as a faculty member of San Francisco Conservatory of Music, he has been able to contribute to keeping music alive for a number of organizations with live or recorded recital streams, including a duo program with Kirill Gerstein, with whom he will tour the U.S. in winter 2022. With the re-opening of concert activity in the U.S. in summer 2021, he appeared with the Indianapolis and Cleveland orchestras, in recital in San Francisco, Brevard Festival, and in four Brahms recitals at Chicago’s Ravinia Festival. The 2021/22 season began with the KBS orchestra, Seoul, followed by Atlanta, Dallas, Seattle symphony orchestras, with the BBC Glasgow, and with European orchestras in Prague, Hamburg, Lyon, and St. Petersburg. In recital, he can be heard in Los Angeles, Houston, Kansas City, as well as Poland, Germany, and England.
An avid chamber musician, Ohlsson has collaborated with the Cleveland, Emerson, Tokyo, and Takács string quartets, including most recently the Boston Chamber Players on tour in Europe. Together with violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. Passionate about singing and singers, Ohlsson has appeared in recital with such legendary artists as Magda Olivero, Jessye Norman, and Ewa Podleś. He can be heard on the Arabesque, RCA Victor Red Seal, Angel, BMG, Delos, Hänssler, Nonesuch, Telarc, Hyperion, and Virgin Classics labels. A native of White Plains, NY, Garrick Ohlsson began his piano studies at the age of eight, at the Westchester Conservatory of Music; at 13, he entered the Juilliard School in New York City. He has been awarded first prizes in the Busoni and Montreal piano competitions, the Gold Medal at the International Chopin Competition in Warsaw (1970), the Avery Fisher Prize (1994), the University Musical Society Distinguished Artist Award in Ann Arbor, MI (1998), the Jean Gimbel Lane Prize in Piano Performance by the Northwestern University Bienen School of Music (2014), and the Gloria Artis Gold Medal for cultural merit by the Polish Deputy Culture Minister.
ABOUT THE ARTIST
GARRICK OHLSSON
Pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Chopin, he commands an enormous repertoire ranging over the entire piano literature: he has come to be noted for his masterly performances of the works of Mozart, Beethoven, and Schubert, as well as the Romantic repertoire. To date, he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century. In 2018/19 season, Ohlsson launched an ambitious project, spread over multiple seasons, exploring the complete solo piano works of Brahms in four programs to be heard in New York, San
P24 PERFORMANCES MAGAZINE
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PERFORMANCES MAGAZINE 17
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ANNUAL DONORS
ANNUAL DONORS The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil between September 2020 and August 2021.
$1,000,000 AND ABOVE Anonymous (5)
Judith and L. Beckmen Judith andThomas Thomas L. Beckmen
Ann and Robert
Ronus
$500,000 TO $999,999 Norman and Sadie Sadie Lee Lee Foundation
Foundation Music Center Music Center Foundation
Foundation
$200,000 TO $499,999 Anonymous The Walt and Lilly Gordon P. Getty Nancy and Disney Foundation Max H. Gluck Leslie Abell Louise and Brad Foundation Amazon Studios Edgerton/Edgerton Tylie Jones Colburn Foundation Foundation
Terri and Jerry M. Kohl Mr. and Mrs. David Meline
Pasadena Showcase David and House for the Arts Linda Shaheen The Rafael & Luisa de MarchenaHuyke Foundation
Los Angeles County Department of Arts and Culture Molly Munger and Stephen English The Music Man Foundation
Mr. and Mrs. Jason O’Leary M. David and Diane Paul Barbara and Jay Rasulo
James D. Rigler/Lloyd Deanie and E. Rigler—Lawrence Jay Stein E. Deutsch Toyota Motor Sales Foundation U.S.A., Inc. James and Laura Sue Tsao Rosenwald/Orinoco Foundation
Berta and Frank Gehry Kiki and David I. Gindler GRoW @ Annenberg/ Gregory A. Weingarten John C. Harpole and Gabrielle Starr Mr. and Mrs. Enrique Hernandez, Jr. Yvonne Hessler The Hirsh Family Ms. Teena Hostovich and Mr. Doug Martinet Monique and Jonathan Kagan W.M. Keck Foundation Paul Kester
Ms. Sarah H. Ketterer Darioush and Shahpar Khaledi Dr. Ralph A. Korpman Ginny Mancini Linda May and Jack Suzar Barbara and Buzz McCoy Anne Akiko Meyers and Jason Subotky David and Margaret Mgrublian Maureen and Stanley Moore National Endowment for the Arts Soham Patel and Jennifer Broder
Mrs. Louise Peebles Peninsula Committee Mr. and Mrs. Bruce Peters Ms. Linda L. Pierce Lorena and R. Joseph Plascencia Sandy and Barry D. Pressman Richard and Ariane Raffetto Wendy and Ken Ruby Nancy S. and Barry Sanders Debra Wong Yang and John W. Spiegel Marilyn and Eugene Stein Mr. Michael L. Stern Christian Stracke
City of Los Angeles Department of Cultural Affairs Dan Clivner Mr. Richard W. Colburn
Becca and Orna and David Jonathan Congdon Delrahim Mr. and Mrs. Malsi Doyle-Forman Jonathan Cookler and Michael Donelle Dadigan Forman Lynette and Edison Michael C. Davis International
$100,000 TO $199,999 Anonymous The Blue Ribbon R. Martin Chavez Nancy and Donald de Brier The Walt Disney Company Dunard Fund USA
The Eisner Foundation Ms. Lisa Field Jenny Miller Goff Lenore S. and Bernard A. Greenberg Fund
$50,000 TO $99,999 Andrea ChaoKharma and Kenneth Kharma Chivaroli and Associates, Tiffany and Christian Chivaroli Mr. and Mrs. Robert Cook Ms. Mari L. Danihel Kelvin and Hana Davis, in honor of Mary Davis Kathleen and Jerry L. Eberhardt Jane B. and Michael D. Eisner Marti C. Farley Mr. Walter Fidler David and Eve Ford Alfred Fraijo
Ronald and Valerie Sugar Hideya Terashima and Megan Watanabe Ms. Sherry Hall Tomeo and Mr. Don Tomeo Ellen GoldsmithVein and Jon Vein John and Marilyn Wells Family Foundation Alyce de Roulet Williamson Margo and Irwin Winkler Ellen and Arnold Zetcher
$25,000 TO $49,999 Anonymous (2) Herb Alpert Foundation Debra and Benjamin Ansell Samuel and Erin Biggs
Mr. and Mrs. Norris The Capital Group J. Bishton, Jr. Companies Jill Black Zalben Charitable Michele Brustin Foundation Oleg and Esther S. M. Tatiana Butenko Chui Chao Lois and Rene Cailliet City National Bank
18 PERFORMANCES MAGAZINE
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UPCOMING CONCERTS
Anonymous (7) Anonymous in honor of Dr. Suzanne Gemmell Mr. Gregory A. Adams Julie Andrews Ms. Kate Angelo and Mr. Francois Mobasser Ms. Wallis Annenberg David Bohnett Foundation Lynn A. Booth Bob and Reveta Bowers Linda and Maynard Brittan Kawanna and Jay Brown
Th CS Sor we art at N ma Th an Sor
Gregory Porter
The Soraya has long been at the epicenter of Jazz—from CSUN’s nationally respected Jazz studies program, to the Soraya’s stellar reputation for Jazz programming. This year, we’re dialing up our investment in America’s one true original art form with our first annual, month-long jazz festival: Jazz at Naz. Our festival features five events including two major main stage performances plus three consecutive nights of The Soraya’s immersive Jazz Club—hosted right on our stage, an intimate and immersive experience that has become a Soraya trademark.
Sat February 19 | 8PM Harold López-Nussa Jazz Club
Wynton Marsalis
Fri February 18 | 8PM Gretchen Parlato Jazz Club
Harold López-Nussa
Thu February 17 | 8PM Gerald Clayton Jazz Club
Gretchen Parlato
Thu February 10 | 8PM An Evening with Gregory Porter
Gerald Clayton
UPCOMING CONCERTS
Sat February 5 | 8PM Jazz at Lincoln Center Orchestra with Wynton Marsalis
TheSorayaStage | TheSoraya.org | (818) 677-3000
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ANNUAL DONORS
T IC K E S TA R T ATS T $
35
22 21 2 AT AMBASSADOR AUDITORIUM
Welcome Back!
BAROQUE: BRANDENBURG 5
JANUARY 22 | 2PM & 8PM Nicholas McGegan, conductor Aubree Oliverson, violin Martha Chan, flute Bogang Hwang, harpsichord
TCHAIKOVSKY VIOLIN CONCERTO FEBRUARY 12 | 2PM & 8PM Lidiya Yankovskaya, conductor Chee-Yun, violin
MOZART SYMPHONY No. 40
MARCH 19 | 2PM & 8PM Brett Mitchell, conductor Aldo López-Gavilán, piano
BEETHOVEN SYMPHONY No. 5 APRIL 30 | 2PM & 8PM Keitaro Harada, conductor Valentina Lisitsa, piano
6 2 6 . 7 9 3 . 7 1 7 2 | PA S A D E N A S Y M P H O N Y- P O P S . O R G
Marianna J. Fisher and David Fisher Foothill Philharmonic Committee Drs. Jessie and Steven Galson Good Works Foundation and Laura Donnelley The Green Foundation Renée and Paul Haas Dwight Hare and Stephanie Bergsma Harman Family Foundation Mr. Philip Hettema Mr. and Mrs. Daniel Paul Horwitz Mr. and Mrs. James L. Hunter Mr. and Mrs. William H. Hurt Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Linda and Donald Kaplan Winnie Kho and Chris Testa Vicki King Mr. and Mrs. Kenneth N. Klee Lana Del Rey Ken Lemberger and Linda Sasson Renee and Meyer Luskin Roger Lustberg and Cheryl Petersen The Seth MacFarlane Foundation Ashley McCarthy and Bret Barker Ms. Kim McCarthy and Mr. Ben Cheng Dwayne and Eileen McKenzie Michael and Lori Milken Family Foundation Joel and Joanne Mogy Mr. Robert W. Olsen Jennifer and Evan Rosenfeld Mr. Bennett Rosenthal Katy and Michael S. Saei Mr. Lee C. Samson Ellen and Richard Sandler Elizabeth and Justus Schlichting Randy and Susan Snyder Dwight Stuart Youth Fund Michael Frazier Thompson Mr. and Mrs. Thomas E. Unterman David H. Vena Meredith Jackson and Jan Voboril Debra and John Warfel Stasia Washington Mindy and David Weiner Bob and Nita Hirsch Family Foundation Tye Ouzounian and Karyn A. Wong David Zuckerman and Ellie Kanner
$15,000 TO $24,999 Anonymous (6) Drew and Susan Adams Honorable and Mrs. Richard Adler The Aversano Family Trust Ms. Elizabeth Barbatelli Susan Baumgarten Mr. and Mrs. Phil Becker Dr. William Benbassat Miles and Joni Benickes Mr. and Mrs. Adam Berger
20 PERFORMANCES MAGAZINE
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We are so
EXCITED
to welcome you!
CAP UCLA, your home for contemporary performance, returns this spring to Royce Hall and The Theatre at Ace Hotel.
Join us
cap.ucla.edu
TICKETS ON SALE THURSDAY, JAN 20
DANCE
RONALD K. BROWN
The Equality of Night and Day: First Glimpse and Upside Down
CONTEMPORARY CLASSICAL
JENNIFER KOH & DAVÓNE TINES Everything Rises
ROOTS
TOSHI REAGON & BIGLOVELY CONTEMPORARY CLASSICAL
GLOBAL MUSIC
DAKHABRAKHA WORDS & IDEAS
ANTHONY DE MARE Liaisons: Re-Imagining Sondheim from the Piano Featuring the new LIAISONS 2020 Commissions in honor of Sondheim’s 90th Birthday
DAVID SEDARIS
Thank you to our sponsors: We are thrilled to welcome you back to in-person events! Your health and safety remain our highest priorities, and we are continually adapting our protocols in line with state and federal guidance.
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Robert and Joan Blackman Family Foundation Ying Cai & Wann S. Lee Foundation Hyon Chough and Maurice Singer Sarah and Roger Chrisman Jennifer Diener Julia Stearns Dockweiler Charitable Foundation Van and Francine Durrer Dr. and Mrs. William M. Duxler Geoff Emery Bob and Mary Estrin Mr. and Mrs. Josh Friedman Gary and Cindy Frischling
The Rosalinde and Arthur Gilbert Foundation Mr. James Gleason Carrie and Rob Glicksteen Goodman Family Foundation Robert and Lori Goodman Mr. and Mrs. Ken Gouw Mr. Bill Grubman Vicken and Susan J. Haleblian Stephen T. Hearst Diane Henderson MD Carol and Warner Henry Marion and Tod Hindin Gerry Hinkley and Allen Briskin Fritz Hoelscher Mr. Eugene Kapaloski Tobe and Greg Karns
Mr. and Mrs. Robert A. Kasirer Ms. Nancy Katayama Sandi and Kevin Kayse Larry and Lisa Kohorn Vicki Lan Mr. and Mrs. Keith Landenberger League of American Orchestras’ Catalyst Fund David Lee Allyn and Jeffrey L. Levine Mr. and Mrs. Simon K.C. Li Theresa Macellaro/ The Macellaro Law Firm The Mailman Foundation Raulee Marcus MasterCard
Jonathan and Delia Matz Ms. Irene Mecchi Marcy Miller Mr. Weston F. Milliken Deena and Edward Nahmias Mr. and Mrs. Dan Napier Shelby Notkin and Teresita Tinajero Christine M. Ofiesh Mr. Charles B. Ortner Ana Paludi and Michael Lebovitz Gregory Pickert and Beth Price John Peter Robinson and Denise Hudson Linda and Tony Rubin The SahanDaywi Foundation Mr. and Mrs. Theodore Sanborn
Ron and Melissa Sanders Dena and Irv Schechter/ The Hyman Levine Family Foundation: L’DOR V’DOR Evy and Fred Scholder Family Marc Seltzer and Christina Snyder Jill and Neil Sheffield Mr. and Mrs. Howard A. Sherwood Grady and Shelley Smith Mr. and Mrs. Richard Sondheimer The Specialty Family Foundation Mr. Lev Spiro and Ms. Melissa Rosenberg
Lisa and Wayne Stelmar Mrs. Zenia Stept Tracey BoldemannTatkin and Stan Tatkin Elinor and Rubin Turner Judith and Dr. John Uphold Noralisa Villarreal and John Matthew Trott Tee Vo and Chester Wang Frank Wagner and Lynn O’Hearn Wagner Warner Bros. Wells Fargo Libby Wilson, MD Mahvash and Farrok Yazdi Karl and Dian Zeile Bobbi and Walter Zifkin
Dr. and Mrs. Bruce Gainsley Greg and Etty Goetzman Harriett and Richard E. Gold Mr. and Mrs. Louis L. Gonda Tricia and Richard Grey Beverly and Felix Grossman Mr. and Mrs. David Haft Laurie and Chris Harbert Karen Hillenburg Linda Joyce Hodge Mr. Tyler Holcomb Dr. Louise Horvitz and Carrie Fishman Mr. Frank J. Intiso Michele and James Jackoway Kristi Jackson and William Newby Robin and Gary Jacobs Dr. William B. Jones Kashper Family Foundation Mr. and Mrs. Stephen Keller
Remembering Lynn Wheeler Kinikin Mr. Gary Kirkpatrick and Mrs. Rebeccah Bush Kirkpatrick Stephanie and Randy Klopfleisch Nickie and Marc Kubasak Mr. and Mrs. Norman A. Levin Dr. Stuart Levine and Dr. Donna Richey Ms. Agnes Lew Maria and Matthew Lichtenberg Ellen and Mark Lipson Macy’s Marshall Field’s Emil Ellis Farrar and Bill Ramackers Lisa and Willem Mesdag Ms. Marlane Meyer Mrs. Judith S. Mishkin Wendy Stark Morrissey Ms. Christine Muller and Mr. John Swanson
Ms. Kari Nakama NBC Universal Anthony and Olivia Neece Kenneth T. and Eileen L. Norris Foundation Mr. and Mrs. Peter O’Malley D. Orenstein & J. Lu Loren Pannier Glenn Pittson Mrs. Paula Pitzer Mr. and Mrs. Arnold Porath Lee Ramer Frederick and Julie Reisz Gary Satin Alexander and Mariette Sawchuk Samantha and Marc Sedaka Mr. and Mrs. Arnold Seidel Dr. Donald Seligman and Dr. Jon Zimmermann Neil Selman and Cynthia Chapman Gloria Sherwood The Sikand Foundation
June Simmons Angelina and Mark Speare Joseph and Suzanne Sposato Mr. and Mrs. Mark Stern James C. Stewart Charitable Foundation Priscilla and Curtis S. Tamkin Thomas and Elayne Techentin Mr. and Mrs. Terry Volk Dr. Marlene M. Schultz and Philip M. Walent Bryan D. Weissman and Jennifer Resnik Mr. and Mrs. Howard Zelikow Susan Zolla, In Memory of Edward M. Zolla Kevork and Elizabeth Zoryan
$10,000 TO $14,999 Anonymous (4) Mr. Robert J. Abernethy B. Allen and Dorothy Lay Bank of America Stephanie Barron Sondra Behrens Phyllis and Sandy Beim Mr. Mark and Pat Benjamin Mr. Barry W. Berkett Suzette and Monroe Berkman Brass Ring Foundation Campagna Family Trust Ms. Nancy Carson and Mr. Chris Tobin Chevron Products Company Jay and Nadege Conger Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Julie and Stan Dorobek
Larry and Janet Duitsman Mr. and Mrs. Brack W. Duker Victoria Dummer and Brion Allen Dr. Paul and Patti Eisenberg Ms. Robin Eisenman and Mr. Maurice LaMarche Ms. Annmarie Eldering and Ms. Anne Vandenabeele Ella Fitzgerald Charitable Fund FairchildMartindale Foundation Bonnie and Ronald Fein Mr. Tommy Finkelstein and Mr. Dan Chang Daniel and Maryann Fong Tatiana Freitas Joan Friedman, Ph.D. and Robert N. Braun, M.D. Dr. and Mrs. David Fung
$7,500 TO $9,999 Isaac Barinholtz and Erica Hanson Ellis N. Beesley, Jr. M.D. Ms. Marjorie Blatt Committee of Professional Women
Tim and Neda Disney Cathy and Mr. Lawrence Mark Loucheim N. Field Mr. and Mrs. Alexandra S. Boutie Lucas Glickman and Dr. and Mrs. Gayle Whittemore Jeffrey Morris Ellie and Mark Lainer
Santa MonicaVargo Physical Westside Therapy Philharmonic Hope Warschaw Committee and John Law United Way of Bob and Greater Los Angeles Dorothy Webb Christine Upton
Doris Weitz and Alexander Williams Westside Committee
22 PERFORMANCES MAGAZINE
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BOOK BY
MIKE LEW AND REHANA LEW MIRZA
MUSIC & LYRICS BY
SAM WILLMOTT
ADDITIONAL MUSIC BY
DEEP SINGH
MUSICAL STAGING BY
LISA SHRIVER
CHOREOGRAPHY BY
RUJUTA VAIDYA DIRECTED BY
STAFFORD ARIMA
MARCH 8 – APRIL 17 SCAN AND ENTER TO WIN A Night of Theatre + a Luxurious Stay at The Lodge at Torrey Pines for Two!
Transportation not included. 1 valid entry per person. Terms and conditions apply.
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LaJollaPlayhouse.org
1/10/22 4:06 PM
$5,500 TO $7,499 Anonymous (2) Ms. Janet Abbink and Mr. Henry Abbink Alex Alben Bobken & Hasmik Amirian Art and Pat Antin Sandra Aronberg, M.D. and Charles Aronberg, M.D. Ms. Judith A. Avery Ms. Linda Babcock Mr. Mustapha Baha Pamela and Jeffrey Balton Mrs. Linda E. Barnes Mr. Barry Beitler Maria and Bill Bell Mr. Herbert M. Berk Ms. Gail K. Bernstein Mitchell Bloom Roz and Peter Bonerz Mr. and Mrs. Hal Borthwick Dr. and Mrs. Hans Bozler Ms. Lynne Brickner Mr. and Mrs. Steven Bristing
Mr. Stuart D. Buchalter Mr. and Mrs. Tom R. Camp Fanya Carter, Ph.D. Mr. and Mrs. Ronald Clements Mr. David Colburn Mr. and Mrs. Richard W. Cook Mr. and Mrs. Leo David Cary Davidson and Andrew Ogilvie Ms. Rosette Delug The Randee and Ken Devlin Foundation John and Leslie Dorman Joycelyn Fawaz Mr. and Mrs. Michael M. Flynn The Franke Family Trust Beth Gertmenian Ms. Karen Caffee and Mr. Manuel Grace Lee Graff Foundation Mr. and Mrs. Paul Guerin Mr. William Hair
Stephen and Hope Heaney Mr. Jeffrey Hendel Stephen D. Henry and Rudy M. Oclaray Myrna and Uri Herscher Family Foundation Roberta and Burt Horwitch Mr. and Mrs. Tim C. Johnson Mr. and Mrs. Steaven K. Jones, Jr. Marilee and Fred Karlsen Marty and Cari Kavinoky Mr. Mark Kim and Ms. Jeehyun Lee Ms. Ann L. Kligman Mr. and Mrs. Stephen A. Kolodny Sandra Krause and William Fitzgerald Naomi and Fred Kurata Mr. and Mrs. Ronald B. Labowe Katherine Lance Mr. and Mrs. Jack D. Lantz
Mr. George Lee Marie and Edward Lewis Meg Lodise Los Angeles Philharmonic Affiliates Luppe and Paula Luppen Mr. Roger I. MacFarlane Sandra Cumings Malamed and Kenneth D. Malamed Leslie and Ray Mathiasen Dr. and Mrs. Gene Matzkin Lawry Meister Mr. and Mrs. Dana Messina Ms. Lillian Mueller Mrs. Cynthia Nelson Mr. and Mrs. Randy Newman Ms. Margo Leonetti O’Connell Ms. Debra Pelton and Mr. Jon Johannessen Robert J. Posek, M.D.
James S. Pratty, M.D. Mr. and Mrs. Wayne Ratkovich Mr. Eduardo Repetto Hon. Vicki Reynolds and Mr. Murray Pepper Cathleen and Scott Richland Murphy and Ed Romano and Family Ms. Rita Rothman Mr. and Mrs. Matthew Rowland Dr. and Mrs. Bernard Salick Malcolm Schneer Family Trust Pamela and Russ Shimizu Mr. Adam Sidy Ms. Ruth M. Simon Mr. and Mrs. Peter R. Skinner Leah R. Sklar Mr. Douglas H. Smith Virginia Sogomonian and Rich Weiss Mason A. Sommers, Ph.D and Rami Izic, M.F.T.
Ms. Laura Stanford-Turner Ms. Randi Tahara Mr. and Mrs. Randall Tamura Andrew Tapper and Mary Ann Weyman Mr. Avedis Tavitian Dr. James Thompson and Dr. Diane Birnbaumer Warren B. and Nancy L. Tucker Perry Vidalakis Mr. Nate Walker Acorn Paper Products Company Western Allied Corp Mr. Robert E. Willett David and Michele Wilson Mr. Steve Winfield Karen and Rick Wolfen Rosalind Wyman Mr. and Mrs. Richard Wynne Mr. Nabih Youssef
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24 PERFORMANCES MAGAZINE
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$3,500 TO $5,499 Anonymous (7) Pacific Harmony Foundation Edgar Aleman Alex J. Ettl Foundation Alan and Halina Alter Mr. and Mrs. Daniel E. Altman American Federation of Musicians Local 47 Mr. Robert C. Anderson Dr. Philip Anthony Myla Azer Bank Of America Charitable Gift Fund Mr. James Barker Catherine and Josephe Battaglia Newton and Rochelle Becker Charitable Trust Benjamin Family Foundation Michael and Hedvah Berg Mr. Stephen Bergens Mr. Malcolm Bersohn Eileen Bigelow and Brien J. Bigelow
Mr. and Mrs. Richard Birnholz Dr. Andrew C. Blaine and Dr. Leigh Lindsey Mr. Kenneth Blakeley Shawn Blakeslee Thomas J. Blumenthal Bobrick Washroom Equipment Inc Joan N. Borinstein Mr. Gary Boston Mrs. Susan Bowey Anita and Joel Boxer Dr. Noel G. Boyle Lynn Gordon and Jon Braun Mrs. Marie Brazil Mrs. William Brand and Ms. Carla B. Breitner Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Kevin Brockman Charles Brown Sue and Barry Brucker Thy Bui
Business and Professional Committee Dr. and Mrs. R. Melvin Butler Victor Carabello Diana Reid and Marc Chazaud Mr. Louis Chertkow Dr. and Mrs. Michael M. Churukian Susan and David Cole Ms. Laurie Dahlerbruch Mr. James Davidson and Mr. Michael Nunez Ms. Mary Denove Wanda Denson-Low and Ronald Low Dr. Eknath Deo R. Stephen Doan and Donna E. Doan Sean Dugan and Joe Custer Douglas Durst Encore Joyce and David Evans Dr. and Mrs. Arthur A. Fleisher, II
Mrs. Diane Forester Mr. Michael Fox Mr. and Mrs. Alan M. Gasmer Dr. Tim A. Gault, Sr. Dr. and Mrs. Stephen A. Geller Mr. and Mrs. Ronald Gertz Susan and Jaime Gesundheit Jason Gilbert Tina Warsaw Gittelson Glendale Philharmonic Committee Sheila Golden Dr. Patricia Goldring Carol Goldsmith Dr. Ellen Smith Graff Mr. Charles Gross Mr. Frank Gruber and Ms. Janet Levin Mr. Jack L. Edelstein Mr. Gary M. Gugelchuk Mr. and Mrs. Pierre Habis Trish Harrison and John Runnette Mr. and Mrs. Brian L. Harvey
Byron and DeAnne Hayes Mr. Rex Heinke and Judge Margaret Nagle Dryden & Brian Helgoe Arlene Hirschkowitz Janice and Laurence Hoffmann Heather and Chris Holme Eugene and Katinka Holt Andrei and Luiza Iancu Illig Construction Company Michael Insalago Ms. Margaret Jacob Mr. Sean Johnson Ms. Marcia Jones and Mr. George Arias Robin and Craig Justice Mr. and Mrs. David S. Karton Dr. and Mrs. David Kawanishi Kayne, Anderson and Rudnick
Richard Kelton Mr. and Mrs. Jon Kirchner Michael and Patricia Klowden Carol Krause Brett Kroha and Ryan Bean Joan and Chris Larkin James D. Laur Craig Lawson and Terry Peters Mr. Tom Leanse Mr. Robert Leevan Andrew and Grace Liang Ms. Joanne Lindquist Jeffrey and Lori Litow Family Trust Long Beach Auxiliary Mr. Jerry Longarzo and Ms. Diana Longarzo Anita Lorber Susan Disney Lord and Scott Lord Los Angeles Philharmonic Committee Mr. and Mrs. Ronald Manzani
LIMITED ENGAGEMENT MARCH 4 - APRIL 10
PERFORMANCES MAGAZINE 25
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ANNUAL DONORS
INTERNATIONAL CURTAIN CALL 2022 Deluxe Opera & Music Tours VIENNA WAGNER RING PLUS
(May 19 – May 30, 2022) DER RING DES NIBELUNGEN: Conductor: Alex Kolber; Production: Sven-Eric Bechtolf Sets/Costumes:Rolf/Marianne Glittenberg Nina Stemme (Brünnhilde) Szilvia Vörös (Fricka); John Lundgren (Wotan/ Wanderer); Daniel Behle (Loge); Jochen Schmeckenbecher(Alberich); Jörg Schneider (Mime); Noa Beinart (Erda); Dimitri Belosselskiy(Fafner/Hunding/ Hagen); Stuart Skelton (Siegmund); Lise Davidsen (Sieglinde); Michael Weinius (Siegfried); PLUS I PURITANI (Yende; Tagliaavini, Osborn); BORIS GUDUNOV (Gochashvili, Abdrazakov, Ebenstein, Kowaljow, Golovnin /Weigle); DIE JARHRESZEITEN- THE SEASONS BALLET (Handel). Guided Tours to important Vienna sites & Museums + Excursions to: Danube Valley– [Melk Abbey–Danube Cruise–Durnstein]; Vienna Woods– [Mayerling–Heiligenkreuz–Baden]. 5-Star Deluxe Hotel Grand–Vienna
MILAN – VERONA – VENICE June 23 – July 8, 2022
MILAN (La Scala): LA GIOCANDA (Yoncheva, Barcellona; Schrott, Sartori, Frontali/Chaslin); RIGOLETTO (Sierra; Pretti, Amartüvshin/Gamba). VERONA (Arena): CARMEN; NABUCCO; LA TRAVIATA; and AIDA [Casts to be announced]. VENICE (La Fenice): PETER GRIMES (Bell, Fulgoni; Gunnell, Doss/Valcuha). Guided Tours of Important Sites of Milan, Verona, & Venice –Including VIP Backstage Scala Opera House & Museum. Excursions to Lakes Maggiori & Garda-Sirmione; and Mantua (Ducal Palace & Palazzo del Te). – 5-Star Hotels – Westin Palace–Milan; Due Torri–Verona; Danieli–Venice
GLYNDEBOURNE LONDON & GARSINGTON July 8 – 20, 2022
GLYNDEBOURNE FESTIVAL: LE NOZZE DI FIGARO (Woodbury, Park, Pogoreic; Cedel, Olvera/Carter); LA BOHEME (Véliz, Mpofu; Long Long, Scofield/De Souza). LONDON (Royal Opera- Covent Garden): OTELLO (Bassénz; Thomas, Maltman/Rustioni); CAVALLERIA RUSTICANA & PAGLIACCI (Rachvelishvili, Jaho; Kaufmann, Platanias, Olivieri,/Pappano); ATTILLA (Radvanovsky; Abdrazakov, Keenlyside, Calleja). GARSINGTON FESTIVAL: RUSALKA & COSI FAN TUTTE [Casts to be announced]. Guided Tours Include: London– Westminster Abbey, Buckingham Palace, Tower of London, St. Paul, Tate Museums, Parliament And Churchill War Rooms. Excursions to Brighton – Royal Pavillion. – 5-Star Hotels – The May Fair – London & Grand Hotel – Eastbourne- Sussex
International Curtain Call 3313 Patricia Avenue, Los Angeles, CA 90064 Ph: (310) 204-4934; (888) 354-0250 E-Mail: Icctours1@aol.com www.IccOperaTours.com
Mona and Frank Mapel Mr. Allan Marks and Dr. Mara Cohen Mr. and Mrs. Stanley Maron Paul Martin Milli M. Martinez and Don Wilson Vilma S. Martinez, Esq. Ms. Phyllis Massino Dr. and Mrs. Allen W. Mathies Mr. Gary J. Matus Mr. William McCune Mrs. Velma V. McKelvey Kelly Sutherlin McLeod and Steven B. McLeod Mr. Sheldon and Dr. Linda Mehr Robert L. Mendow Mr. and Mrs. David Michaelson Ms. Barbara J. Miller Janet Minami Mr. and Mrs. William Mingst Cynthia Miscikowski Robert and Claudia Modlin Linda and John Moore Harvey Motulsky and Lisa Norton Mr. Jose Luis Nazar Mr. and Mrs. Robert Neely Mr. Richard Newcome and Mr. Mark Enos Dick and Chris Newman / C & R Newman Family Foundation Mahnaz and David Newman Ms. Kimberly Nicholas Steven A. Nissen Howard and Inna Ockelmann David Olson and Ruth Stevens Ms. Jean Oppenheimer Mr. and Mrs. Richard Orkand Kim and P.F. James Overton Ms. Melissa Papp-Green Patricia Pengra Mary E. Petit and Eleanor Torres Mr. Brian Platz Mr. Jeff Polak and Mrs. Lauren Reisman Polak Lyle and Lisi Poncher Mrs. Ruth S. Popkin Andrew Powell Joyce and David Primes Ms. Miriam Rain Dr. Robert Rauschenberger Rita and Norton Reamer Ms. Pamela P. Reis Dr. Susan F. Rice Christine Robert Robinson Family Foundation Rock River Mrs. Laura H. Rockwell Mr. and Mrs. William C. Roen Lois Rosen Mrs. Jaclyn Rosenberg Dr. James M. Rosser Mr. Steven F. Roth Mimi Rotter Dr. Michael Rudolph
S.S. Russin III Living Trust Ann M. Ryder San Marino-Pasadena Philharmonic Committee Britta Lindgren Dr. and Mrs. Heinrich Schelbert Elliot Gordon and Carol Schwartz Carol (Jackie) and Charles Schwartz Michael Sedrak Dr. and Mrs. Hervey Segall Ms. Amy J. Shadur-Stein Ruth and Mitchell Shapiro Mr. Steven Shapiro Hope and Richard N. Shaw Mrs. Elise Sinay Spilker H. Russell Smith Foundation Mr. Steven Smith Dr. Michael Sopher and Dr. Debra Vilinsky SouthWest Heights Philharmonic Committee Shondell and Ed Spiegel Mr. Donald Spuehler and Mrs. Jill Roth Spuehler Ms. Angelika Stauffer Mr. Scott Stephens Mr. Adrian B. Stern Takehiko Suzuki Mr. Marc A. Tamaroff Scott Thomas Mr. and Mrs. Harlan H. Thompson Ms. Evangeline M. Thomson Arlette M. Towner Mr. and Mrs. Jim Tranovich Mr. and Mrs. Leonard Unger Kathy Valentino The Valley Committees for the Los Angeles Philharmonic Mr. and Mrs. Peter J. Van Haften VIP Rubber Company Jenny Vogel Mr. Jules Vogel Felise Wachtel Christopher V. Walker Mr. Darryl Wash Craig R. Webb and Melinda Taylor Mr. William A. Weber Rose and Ben Weinstein Abby and Ray Weiss Mr. and Mrs. Doug M. Weitman Robert and Penny White Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom Linda and John Woodall Mr. Kevin Yoder Mrs. Lillian Zacky Rudolf H. Ziesenhenne Mr. Sanford Zisman and Ms. Janis Frame
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 the list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.
26 PERFORMANCES MAGAZINE
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HERE’S TO YOU City of Los Angeles Eric Garcetti Mayor Mike Feuer City Attorney Ron Galperin Controller
97%
CITY COUNCIL
Bob Blumenfield Mike Bonin Joe Buscaino Gilbert Cedillo Kevin de León Marqueece Harris-Dawson Karly Katona Caretaker Paul Koretz Paul Krekorian John S. Lee Nury Martinez President Mitch O’Farrell Curren D. Price, Jr. Nithya Raman Monica Rodriguez
of audiences read the program.
65%
million readers annually.
support advertisers who support the arts.
Call us to advertise 310-280-2880 We entertain great ideas.
DEPARTMENT OF CULTURAL AFFAIRS Daniel Tarica Acting General Manager
6.2
A MODERN RETELLING OF RICHARD III
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CULTURAL AFFAIRS COMMISSION
1/11/22 12:53 PM
Elissa Scrafano President Thien Ho Vice President Evonne Gallardo Charmaine Jefferson Ray Jimenez Eric Paquette Robert Vinson
WALT DISNEY CONCERT HALL HOUSE STAFF Ronald H. Galbraith Master Carpenter John Phillips Property Master Marcus Conroy Master Electrician Kevin F. Wapner Master Audio/Video Greg Flusty House Manager The stage crew is represented by the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada, Local No. 33.
Gregg Mozgala
By MIKE LEW
Now - feb 27
Directed by MORITZ VON STUELPNAGEL
PERFORMANCES MAGAZINE 27
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Welcome to The Music Center! We are so glad to have you back! Safety is our number one priority, and we promise to provide you the best, safest experience possible on our campus. We are working with both the State of California and the Los Angeles County Department of Public Health and have embraced the highest standards of safety, sanitation and security. Visit musiccenter.org/safety for more information. No matter the state of our world, we know the arts add joy to our lives and offer opportunities for self-expression and connection to one another. We are honored you have chosen to experience the arts at The Music Center. #WeBelieveinArts @musiccenterla General Information (213) 972-7211 | musiccenter.org Support The Music Center (213) 972-3333 | musiccenter.org/support
Situated on the ancestral and sacred land of the Tongva and many other indigenous groups who call these grounds home, The Music Center acknowledges and honors with gratitude the land itself and the First People who have been its steward throughout the generations.
2021/2022 BOARD OF DIRECTORS
OFFICERS
GENERAL COUNSEL
Cindy Miscikowski Chair
Rollin A. Ransom
Robert J. Abernethy Vice Chair
DIRECTORS EMERITI
Darrell R. Brown Vice Chair Rachel S. Moore President & CEO Diane G. Medina Secretary Susan M. Wegleitner Treasurer William Taylor Assistant Treasurer and Chief Financial Officer
MEMBERS AT LARGE
Charles F. Adams William H. Ahmanson Wallis Annenberg Jill C. Baldauf Susan E. Baumgarten Phoebe Beasley Thomas L. Beckmen Kimaada M. Brown Dannielle Campos Greg T. Geyer Lisa Gilford Jeffrey M. Hill Maria Rosario Jackson Carl Jordan Stefanie Kane Terri M. Kohl Kent Kresa Cary J. Lefton Keith R. Leonard, Jr. David B. Lippman Richard Lynn Martinez Mattie McFadden Lawson Elizabeth Michelson Darrell D. Miller Shelby Notkin Michael J. Pagano Cynthia M. Patton Karen Kay Platt Joseph J. Rice Melissa Romain Beverly P. Ryder Maria S. Salinas Lisa See Mimi Song Matthew J. Spence Johnese Spisso Philip A. Swan Walter F. Ulloa Timothy S. Wahl Jennifer M. Walske Alyce de Roulet Williamson Jay S. Wintrob
Peter K. Barker Judith L. Beckmen Ronald W. Burkle John B. Emerson ** Richard M. Ferry Brindell Gottlieb Bernard A. Greenberg Stephen F. Hinchliffe, Jr. Glen A. Holden Edward J. McAniff Walter M. Mirisch Fredric M. Roberts Richard K. Roeder Claire L. Rothman Joni J. Smith Lisa Specht ** Cynthia A. Telles James A. Thomas Andrea L. Van de Kamp ** Thomas R. Weinberger Rosalind W. Wyman ** Chair Emeritus Current as of November 1, 2021
Photos: John McCoy for The Music Center; right photo: ABT’s Katherine Williams and Blaine Hoven perform the pas de deux in A Time There Was at The Music Center.
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BOARD OF SUPERVISORS COUNTY OF LOS ANGELES Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.
Holly J. Mitchell Chair, Second District
Sheila Kuehl Chair Pro Tem, Third District
Janice Hahn Supervisor, Fourth District
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Hilda L. Solis Supervisor, First District
Kathryn Barger Supervisor, Fifth District
1/5/22 11:22 AM
Live at The Music Center
TUE 1 FEB / 8:00 p.m. Chamber Music: A Chalifour Celebration LA PHIL @ Walt Disney Concert Hall THU 3 FEB / 8:00 p.m. Bronfman Plays Rachmaninoff’s Third LA PHIL @ Walt Disney Concert Hall Thru 2/6/2022 MON 7 FEB / 8:00 p.m. Sparks LA PHIL @ Walt Disney Concert Hall Thru 2/8/2022 Visit musiccenter.org for additional information on all upcoming events.
@musiccenterla
FRI 11 FEB / 8:00 p.m. Strauss, Smith, and Salonen LA PHIL @ Walt Disney Concert Hall Thru 2/12/2022 FRI 11 FEB / 8:00 p.m. Live at The Music Center: Concerts Celebrating Jerry Moss THE MUSIC CENTER @ Dorothy Chandler Pavilion Thru 2/12/2022 SAT 12 FEB / 11:00 a.m. Toyota Symphonies for Youth LA PHIL @ Walt Disney Concert Hall Also 2/19/2022 SUN 13 FEB / 7:30 p.m. Colburn Celebrity Recital: Garrick Ohlsson LA PHIL @ Walt Disney Concert Hall TUE 15 FEB / 8:00 p.m. Green Umbrella: Pekka Kuusisto + Ellen Reid LA PHIL @ Walt Disney Concert Hall
FRI 18 FEB / 11:00 a.m. Salonen Leads Bartók, Bjarnason, and Sibelius LA PHIL @ Walt Disney Concert Hall Thru 2/20/2022 SUN 20 FEB / 7:00 p.m. Esmail / Martin LOS ANGELES MASTER CHORALE @ Walt Disney Concert Hall SAT 26 FEB / 8:00 p.m. Mon Laferte LA PHIL @ Walt Disney Concert Hall SUN 27 FEB / 7:30 p.m. Herbie Hancock LA PHIL @ Walt Disney Concert Hall
FEB
TUE 1 FEB / 8:00 p.m. Everybody’s Talking About Jamie CENTER THEATRE GROUP @ Ahmanson Theatre Thru 2/20/2022
Photo: Will T. Yang for The Music Center
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DANCE RETURNS TO THE MUSIC CENTER! H A M B U RG BA L L E T J O H N N EU M EI ER B ER N S T EI N DA N CES LIVE ORCHESTRA
MARCH 11, 13 AND 19
The Music Center’s Dorothy Chandler Pavilion musiccenter.org/hamburg | (213) 972-0711 GROUPS OF 10+: (213) 972-8555 | mcgroupsales@musiccenter.org Bernstein Dances. Photo by Kiran West.
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A LV IN A IL E Y® A M ER I C A N DA N CE T H E AT ER APRIL 6–10
The Music Center’s Dorothy Chandler Pavilion
musiccenter.org/ailey | (213) 972-0711
GROUPS OF 10+: (213) 972-8555 | mcgroupsales@musiccenter.org Alvin Ailey American Dance Theater. Photo by Dario Calmese
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LIVE WITH A SMILE LAUGH OFTEN LOVE A LOT.... ENJOY THE ARTS
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