Performances Magazine | Walt Disney Concert Hall, May-June 2022

MAY–JUNE 2022

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MAY–JUNE ABOUT THE2022 PROGRAM

CONTENTS 6 7

WELCOME MESSAGE FROM THE CEO ABOUT THE LA PHIL

10 NEWS: The Latest from the LA Phil 18 SUPPORT THE LA PHIL P1 PROGRAM NOTES NATHANIEL GUMBS

BOOK I • MAY 1–29 MAY 1 LA Phil: Nas with the LA Phil MAY 3 Colburn Celebrity Recital: Daniil Trifonov MAY 5–8 LA Phil: The Rite of Spring and Estancia with Dudamel MAY 10 Liz Phair: Don’t Holdyrbreath

MARÍA DUEÑAS

EMMYLOU HARRIS

MAY 12–13 LA Phil: Dudamel Conducts Revueltas and Petrushka MAY 14–15 LA Phil: Ortiz, Villa-Lobos, and The Firebird with Dudamel MAY 26–29 LA Phil: Dudamel Conducts Beethoven’s 9th MAY 29 Organ: Hold On, We Shall Overcome! with Nathaniel Gumbs

BOOK II • JUNE 2–14 JUNE 8 JUNE 2 & 5 World Music: LA Phil: Mon Laferte Power to the People! • Still and Negrón with Dudamel JUNE 11 Songbook: JUNE 4 Emmylou Harris LA Phil: Power to the People! • JUNE 14 Canto en resistencia World Music: Ólafur Arnalds JUNE 7 Green Umbrella: Power to the People! • Place

cover images, clockwise from top left: GUSTAVO DUDAMEL, J’NAI BRIDGES, LIZ PHAIR, NAS, MON LAFERTE, DANIIL TRIFONOV.

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© 2022 J. Paul Getty Trust

Giving thanks for 25 years It’s the Getty Center’s 25th anniversary, and we can’t wait to celebrate with you. Join us for a summer of festivals, concerts, special exhibitions, and family fun. Thank you for making these last 25 years unforgettable.

FREE ADMISSION | Plan your visit

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HERE’S TO YOU

Publisher Jeff Levy Art Director Carol Wakano Production Manager Glenda Mendez Production Artist Diana Gonzalez Digital Manager Lorenzo Dela Rama Advertising Director Walter Lewis Account Directors Kerry Baggett, Jan Bussman, Jean Greene, Tina Marie Smith Circulation Manager Christine Noriega-Roessler

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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! May begins with the second half of our festival that explores the artistic voice and impact of Generation X. In both our concerts on stage and Humanities programs happening across the city, the LA Phil is spotlighting the contributions and issues raised by the so-called “slacker generation.” Later in the month, Gustavo Dudamel leads three of Igor Stravinsky’s ballets as well as Beethoven’s timeless Ninth, but each of these concerts also features new works commissioned as part of the Pan-American Music Initiative. This five-year campaign is a signature of Gustavo’s creative vision for the LA Phil and his belief that music helps build bridges between cultures. Across five weeks, Dudamel conducts six world premieres by leading composers from across Latin America and records major works by Villa-Lobos, Ginastera, and Revueltas.

In late May and early June, the LA Phil sees the return of Power to the People!, a festival that was cut short in March of 2020 when the pandemic forced the closure of stages worldwide. Curated by Gustavo Dudamel and LA Phil Creative Chair for Jazz Herbie Hancock, Power to the People! celebrates the role artists have played and continue to play in advancing social change, civil rights, and humanitarian causes either by shining a light on injustice or asking us to envision the world as it could be.

We are honored to bring back events canceled during the festival’s first incarnation as well as new programs with top artists and thought leaders who speak truth to our moment.

VICE CHAIRS

R. Joseph Plascencia

David C. Bohnett*

Sandy Pressman

Reveta Bowers*

Richard Raffetto

Jane B. Eisner*

Laura Rosenwald

David Meline*

G. Gabrielle Starr

Diane Paul*

Jay Stein*

Jay Rasulo*

Christian Stracke* Jason Subotky

DIRECTORS

Ronald D. Sugar*

Gregory A. Adams

Jack Suzar

Julie Andrews

Sue Tsao

Linda Brittan

Jon Vein

Jennifer Broder

Megan Watanabe

Kawanna Brown

Alyce de Roulet

Andrea Chao-Kharma*

Williamson

R. Martin Chavez

Irwin Winkler

Christian D.

Debra Wong Yang

Chivaroli, JD Donald P. de Brier*

HONORARY LIFE

Louise D. Edgerton

DIRECTORS

Marti Farley

Frank Gehry

Lisa Field

Lenore S. Greenberg

David A. Ford

Bowen H. “Buzz”

Alfred Fraijo, Jr.

McCoy

David Gindler Jennifer Miller Goff* Carol Colburn Grigor

*Executive Committee

Antonia Hernandez*

Member as of

Megan Hernandez

November 1, 2021

Teena Hostovich

Chad Smith Chief Executive Officer David C. Bohnett CEO Chair Los Angeles Philharmonic Association

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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, Dudamel is conducting 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.

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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).

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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 Jung Eun Kang 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 Bram and Elaine Goldsmith Chair

Ben Hong Associate Principal Sadie and Norman Lee Chair

Dahae Kim Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum

Linda and Maynard Brittan Chair

Serge Oskotsky Brent Samuel

BASSES Christopher Hanulik Principal

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*

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 Ann Ronus Chair

Michele Grego Evan Kuhlmann

Elise Shope Henry

Contrabassoon Evan Kuhlmann

Sarah Jackson

HORNS

Mari L. Danihel Chair

Piccolo Sarah Jackson

OBOES Principal (Vacant) Carol Colburn Grigor Chair

Marion Arthur Kuszyk+ Associate Principal Anne Marie Gabriele Carolyn Hove English Horn Carolyn Hove

Alyce de Roulet Williamson Chair

CLARINETS Boris Allakhverdyan Principal Michele and Dudley Rauch Chair

Burt Hara Associate 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.

Miller and Goff Family Chair

TUBA (Vacant)

TIMPANI Joseph Pereira Principal

Cecilia and Dudley Rauch Chair

Andrew Bain Principal

PERCUSSION

Gregory Roosa

Matthew Howard Principal

John Cecil Bessell Chair Alan Scott Klee Chair

Amy Jo Rhine

Loring Charitable Trust Chair

Elyse Lauzon

Reese and Doris Gothie Chair

Ethan Bearman Assistant

Bud and Barbara Hellman Chair

TRUMPETS Thomas Hooten Principal

M. David and Diane Paul Chair

James Wilt Associate Principal Nancy and Donald de Brier Chair

Christopher Still

Ronald and Valerie Sugar Chair

Jeffrey Strong

TROMBONES David Rejano Cantero Principal James Miller Associate 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 Emmanuel Ceysson Ann Ronus Chair

LIBRARIANS Stephen Biagini Benjamin Picard KT Somero

CONDUCTING FELLOWS François López-Ferrer Enluis Montes Olivar Camilo Téllez Chloé van Soeterstède

Judith and Thomas L. Beckmen Chair

The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

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NEWS

ANI DIFRANCO TALKS GEN X, ACTIVISM ON SOUND/STAGE Ani DiFranco became an icon in the ’90s and beyond for her indie sensibility and outspoken, no-holds-barred songwriting. Her music welcomed those who felt society’s boundaries were drawn to exclude them, offering both empowerment and a call to arms to reshape those rules. DiFranco recently performed on the LA Phil’s digital concert series Sound/Stage as part of the Gen X Festival. She spoke with Wynter Mitchell-Rohrbaugh and Karen Tongson—curators of the festival’s Humanities events and the hosts of the Waiting to X-hale podcast—to talk about her activism, what it means to be part of Gen X, and how her music and mission have evolved since she first started.

Read excerpts from that interview below and visit laphil.org/soundstage to watch DiFranco’s full interview and performance for free on Sound/Stage.

WMR: When did you know that you were different?

AD: I mean, I guess there’s no moment. It’s that sort of slow evolution, but I guess I know it in those moments when I pull out a 30-year-old song and it’s a different experience and it’s almost like, “Oh, that means something else now because I’m standing in a different place singing it.”

WYNTER MITCHELL-ROHRBAUGH: Ani, welcome to the Hollywood Bowl. Thank you for joining us.

KAREN TONGSON: It’s such a pleasure to have you back here in Los Angeles.

You performed “If He Tries Anything,” which is one of [your] classic sing-along live

songs. There was a kind of wisdom and mellowness to the way it happened [in this Sound/Stage performance].

ANI DIFRANCO: Yeah, but that’s the cool thing about playing songs for 30 years, even the same song is completely different when you are a completely remade person singing it.

WMR: Has your brand of disruption evolved?

AD: I feel like it has evolved but it hasn’t changed. When I was 19 or 20, it was like, “f*** the patriarchy. I’m not your object.”

I knew instinctually as a young pop [singer] that I needed room for myself that I didn’t have, and that I needed safety. My existence affirmed that in a way,

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NEWS

[and] that was how my feminism started out. And 30 years later, I’m recommitting because I do feel that “smash the patriarchy,” it sounds kinda funny. But I feel like the fundamental imbalance of patriarchy cannot but lead to every other imbalance that we experience. Just simply put, diversity is essential for good decision-making for good design. And if you don’t have women at the table, you’re gonna end up with a bad design that does not serve everyone. Emancipating women, empowering women is the first step to really addressing all these other social diseases that we have. We need that balance first. We need women’s voices, equal volume, but it’s not just for women. It’s for all people.

KT: We kind of like conscripted you into Gen X and we didn’t even get a chance to ask what you feel about that category because, you know, the kind of cultural stereotype of Gen X is often very masculine, and it’s one that’s about the slacker, but Ani DiFranco in the nineties was extremely active and pushing the floor.

AD: Oh, I was busy.

KT: And very DIY [do it yourself]. The other aspect of Gen X that we don’t focus as much on and I think we should is the DIY aspect of creating worlds out of systems that were already broken.

AD: I mean, I guess I never could really keep it straight. Gen X, Gen Y, Gen [whatever]. If you’re talking about the ’90s, that is a very particular moment. It was the last moment pre-internet.

And the thing I thought was the

coolest about [the stages before the] internet is that it was not monetized and curated by some higher power. You know, I think people have thought about my indie-girl mission, that it was about keeping control and it was about not having to answer to the man. And I guess in some ways it was, but for me it was always more about, I don’t wanna propel corporate systems that co-opt culture that take something that’s organic and alive and comes out of people in a community.

Then, of course, there was the advent of social media and all of these very deep controls now that we’re only beginning to understand. Sometimes I listen to my old songs, and I hear these references to phone booths and even TV. Like I was all about fighting the TV and the mind control, [and now] TV seems like child’s play. So there’s a lot to miss about that more innocent age.

WMR: You have a son and daughter and they’re considered Gen Alpha. Do you think that it’s harder on your son or your daughter to sort of

move into their own identity because there’s this sort of notion that they’re closer to X than they would be Millennial?

AD: I really feel heartened by the change that I see in the world they’re coming up in [as opposed to] the world I came up in. There is a lot that these kids know that we had to fight for. We were talking about capitalism, and we were talking about white supremacy, and we were talking about the patriarchy. It’s incredible to hear those terms on the TV now and to feel that more critical mass of people who are looking at these systems critically.

I hope that now there’s been enough of us growing older and bringing new young people into the fight. So much is available to them. And when you’re not sheltered and unexposed you can interact with the humanity of all kinds of people and know deeply that we are all one family. So, I do think that they can do wonderful things, and I’d have to believe this is the sea change. And we were sort of on the forefront of this wave of resistance.

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NEWS

THE VISION OF THE BECKMEN YOLA CENTER The Judith and Thomas L. Beckmen YOLA Center is a state-of-the-art music learning and performance facility and a home base for YOLA (Youth Orchestra Los Angeles) and the YOLA National Festival, which brings together young musicians from around the country. The building, which was designed by Frank Gehry, is now home to more than 130 young musicians from Inglewood and the surrounding area, whose number will grow to 500. The Beckmen YOLA Center is meant to be a gathering place, a neighborhood center, a blank space where the musicians of the future are able to project—and chase—their artistic visions. Ahead of its opening last fall, we asked Gustavo Dudamel, LA Phil Vice President of Learning Elsje Kibler-Vermaas, and YOLA musicians Laura Garcia and Dalanie Harris to tell us more about the YOLA Center and what it will mean to young musicians and the community.

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NEWS

GUSTAVO DUDAMEL (MUSIC & ARTISTIC DIRECTOR): It’s such an important thing for young artists to have a good space to build their dreams and to be inspired. Spaces inspire us, they inspire the orchestra to play better and to connect with the audience.

It will be a place where people will come and listen to beautiful music, and also, at the same time, it will be full of children and young people learning and playing around.

Music fills the community with the power of harmony—and we need that in our society.

Our young people need to have the best: the best instruments, the best teachers, and of course, the best venues. […] It will be an inspirational temple for all these kids.

DALANIE HARRIS (YOLA ALUMNA): YOLA hasn’t had a chance to have full control over what [its] spaces are used for, because it’s always been in collaboration with someone else. I think it’s cool that they’re able to think about stuff like that. It’s not like you drop your kid off here, and then you just go do something and come back. You can be here and be a part of what’s going on. […] I feel like there [will be] a rush of curiosity, like what is all this for and in kind of disbelief. I don’t know of any other place like this in Inglewood or close to Inglewood.

ELSJE KIBLER-VERMAAS (LA PHIL VICE PRESIDENT OF LEARNING): It’s really important for us and for the city also to acknowledge that our programs are specifically designed for the community.

The students who enter the program are recruited from within the local schools here. It will also be the space where we’re able to gather all our national programs.

The YOLA National Symposium will be hosted from the Beckmen YOLA Center in person, but we’ll also be fully equipped to invite people to come in through digital learning—and we will be able to stream our concerts from within the performance hall.

LAURA GARCIA (YOLA ALUMNA): I think it’s definitely going to develop community relationships both within YOLA and with the city of Inglewood. […] I think working with YOLA National and seeing students from different El Sistema–based programs who have different ideas about it—it was interesting to see them come together as one and build something completely new out of their ideas and learn how to become comfortable with each other.

Photos by Joshua White / JWPictures.com

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NEWS

LA PHIL BROADCASTS ON KUSC The Los Angeles Philharmonic and Classical KUSC continue their annual radio broadcast partnership, reaching listeners in Southern California, as well as online.

Thirteen concerts, recorded during the LA Phil’s 2021/22 season, feature the orchestra with an impressive roster of guest artists and conductors, and an eclectic repertoire including six world premieres and two U.S. premieres. Through the organizations’ ongoing partnership with WFMT Radio Network, the 2022 broadcast series will also be syndicated nationwide.

The next concert in the series airs on KUSC’s SoCal Sunday Night program, the station’s weekly local concert spotlight, on May 1 and features Mattias Pintscher leading the LA Phil in Ravel’s Menuet antique, Le tombeau de Couperin, and Boléro, along with Mozart’s Piano Concerto No. 21, featuring pianist Sunwook Kim. Each concert in the series will also be streamed for one week, on-demand at the KUSC website, immediately following the broadcasts.

Additional series highlights feature performances by noted soloists, including (in order of appearance) Martin Chalifour, violin; Gerald Clayton, piano; Igor Levit, piano; Víkingur Ólafsson, piano; Sergio Tiempo, piano; Hilary Hahn, violin; Jeanine De Bique, soprano; Taylor Raven, mezzo-soprano; Issachah Savage, tenor; José Antonio López, bass; J’Nai Bridges, mezzo-soprano; and the Los Angeles Master Chorale.

In addition to several concerts conducted by Gustavo Dudamel, guest conductors include (in order of appearance) Xian Zhang, Thomas Wilkins, Elim Chan, Esa-Pekka Salonen (Conductor Laureate), Ludovic Morlot, Paavo Järvi, and David Robertson.

The series, hosted by KUSC’s Brian Lauritzen, features interviews with soloists and orchestra members, offering unique insights and giving listeners a more in-depth perspective. For details of remaining broadcasts this season, please visit laphil.com/kusc

SCHEDULE OF UPCOMING BROADCASTS

SoCal Sundays at 7pm on KUSC MAY 1

Matthias Pintscher, conductor Sunwook Kim, piano RAVEL MOZART RAVEL RAVEL

Menuet antique Piano Concerto No. 21, K. 467 Le tombeau de Couperin Boléro

MAY 8

Xian Zhang, conductor Martin Chalifour, violin Nokuthula NGWENYAMA Julia ADOLPHE BEETHOVEN

Primal Message Woven Loom, Silver Spindle (world premiere, LA Phil commission) Symphony No. 7

MAY 15

Thomas Wilkins, conductor Gerald Clayton, piano ELLINGTON ELLINGTON ELLINGTON ELLINGTON

Night Creature New World A-Comin’ Black, Brown & Beige The River Suite

MAY 22

Elim Chan, conductor Igor Levit, piano Elizabeth OGONEK BEETHOVEN MENDELSSOHN

Cloudline (U.S. premiere, LA Phil commission) Piano Concerto No. 3 Symphony No. 4, “Italian”

MAY 29

Esa-Pekka Salonen, conductor Víkingur Ólafsson, piano BARTÓK Daníel BJARNASON SIBELIUS

Music for Strings, Percussion, and Celesta Feast (world premiere, LA Phil commission) Symphony No. 7

14 PERFORMANCES MAGAZINE

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bach's b-minor mass JUNE 25, 2 PM JUNE 26, 7 PM

LEARN MORE L A M A ST E R C H O R A L E .O R G G R A N T G E R S H O N , K I K I & D AV I D G I N D L E R A R T I S T I C D I R E C T O R J E N N Y W O N G , A S S O C I AT E A R T I S T I C D I R E C T O R R E E N A E S M A I L , S W A N FA M I LY A R T I S T- I N - R E S I D E N C E

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NEWS

HOLLYWOOD

BOWL 100 VINYL BOX SET In its first 100 years, the Hollywood Bowl hosted legendary performances from some of the biggest names in music history. The Los Angeles Philharmonic has called the Bowl home for decades and has made a tradition of presenting unparalleled artistry in a gorgeous setting.

Frank Sinatra caused a sensation when he became the first pop musician to sing with an orchestra on the Bowl stage. Rock artists brought the counterculture into one of LA’s most esteemed venues.

Annual musicals, star-studded specials, titans of jazz—if it’s soul-stirring or foot-tapping, it’s happened at the Bowl.

And now, you can bring the Bowl’s history home with the Hollywood Bowl 100 vinyl box set. Beautifully designed to reflect the diversity of sounds that have made the Bowl one of LA’s richest cultural institutions, the set comprises seven LPs of

recordings made live on the Bowl stage—including some from as far back as 1928. The set captures the sonic heritage of the Bowl’s first century, with performances by everyone from the LA Phil—led by conductors including Eugene Goosens, Igor Stravinsky, Zubin Mehta, and Gustavo Dudamel—to The Doors to Audra McDonald, with frequent stops between. Order your copy this summer, available exclusively from laphilstore.com, and get ready to relive some of the greatest moments of the Hollywood Bowl’s first 100 years. Each purchase includes a limited-edition tote bag.

County of Los Angeles BOARD OF SUPERVISORS Hilda L. Solis Holly Mitchell Chair Sheila J. Kuehl Chair Pro Tem 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.

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LOS ANGELES PHILHARMONIC ASSOCIATION

Chad Smith

Brian Grohl

Paula Michea

Ljiljana Grubisic

CHIEF EXECUTIVE OFFICER David C. Bohnett Chief Executive Officer Chair EXECUTIVE ASSISTANT TO THE CEO

EXECUTIVE TEAM Renae Williams Niles

PROGRAM MANAGER, POPS / MANAGER, HOLLYWOOD BOWL ORCHESTRA ARCHIVES AND MUSEUM DIRECTOR

Herbie Hancock

CREATIVE CHAIR FOR JAZZ

Christine Lim

ARTISTIC ADMINISTRATOR

CHIEF CONTENT & ENGAGEMENT OFFICER

Daniel Mallampalli

CHIEF OF STAFF

Rafael Mariño

CHIEF PHILANTHROPY OFFICER

Maren Quanbeck

CHIEF TALENT & EQUITY OFFICER

Meredith Reese

GENERAL COUNSEL

Ayrten Rodriguez

CHIEF OPERATING OFFICER

Ebner Sobalvarro

Summer Bjork Margie Kim

Emanuel Maxwell Mona Patel

Daniel Song

Karen Sturges

CHIEF FINANCIAL OFFICER

PROGRAMMING MANAGER PROGRAM MANAGER

MANAGER, ARTIST SERVICES DIGITAL ASSET MANAGER

SENIOR PROGRAM MANAGER ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

Adriana Aguilar

PAYROLL ADMINISTRATOR

Steven Cao

Scott Arenstein

STAFF ACCOUNTANT

Janice Bartczak

VENUE ACCOUNTING SUPERVISOR

Lisa Burlingham

SENIOR ACCOUNTANT

Charles Carroll

ACCOUNTS PAYABLE MANAGER

Joe Carter

ACCOUNTS PAYABLE COORDINATOR

Toi Duckworth

FINANCIAL PLANNING MANAGER

Elias Feghali

Josh Dias

Katherine Franklin Shoaib Ghafoor Lisa Hernandez

LaTonya Lindsey Debbie Marcelo Wade Mueller PAYROLL MANAGER

Nina Phay

Denise Alfred

Lisa Renteria

Nora Brady

Vilma Alvarez

Sierra Shultz

Laura Connelly

PATRON / AUDIENCE SERVICES REPRESENTATIVE

Brendan Broms

PAYROLL ADMINISTRATOR ACCOUNTS PAYABLE SPECIALIST STAFF ACCOUNTANT

OPERATIONS ADMINISTRATOR

AUDIENCE SERVICES REPRESENTATIVE

PARKING & TRAFFIC MANAGER

Mark Ladd

ASSOCIATE DIRECTOR, OPERATIONS

VICE PRESIDENT, ARTISTIC PLANNING

WALT DISNEY CONCERT HALL BOX OFFICE

VICE PRESIDENT, PRESENTATIONS

Toliman Au

Patrice Lozano

Donella Coffey

Megan Ly-Lim

DIRECTOR, HUMANITIES

2ND ASSISTANT TREASURER 2ND ASSISTANT TREASURER

Gina Leoni

OPERATIONS MANAGER, THE FORD EVENT MANAGER

Veronika Garcia

MANAGER, CREATIVE PARTNERSHIPS, THE FORD

Alex Hennich

OPERATIONS MANAGER, HOLLYWOOD BOWL

Stephanie Bates COVID MONITOR

Michael Chang

DATABASE ADMINISTRATOR

Alex Hernandez

MANAGER, OFFICE SERVICES

Kevin Higa

CLOUD INFRASTRUCTURE ENGINEER

Dean Hughes SYSTEM SUPPORT III

Charles Koo

INFRASTRUCTURE MANAGER

Kevin Ma

SENIOR MANAGER, STRATEGIC INITIATIVES

Jeff Matchan

DIRECTOR, INFORMATION TECHNOLOGY

Sergio Menendez SYSTEM SUPPORT I

Edward Mesina

INFRASTRUCTURE ENGINEER

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 DIRECTOR, LEGAL

ARTISTIC PLANNING & PRESENTATIONS Emily Davis ARTIST LIAISON

Kristen Flock-Ritchie

Andrea Miller Tom Waldron

TICKET SELLER

Amy Lackow

2ND ASSISTANT TREASURER

HUMAN RESOURCES

Elia Luna

TICKET SELLER

Walter Castillo

Page Messerly

DIRECTOR, HR

Kristina Louie

TREASURER

Ariana Morales

1ST ASSISTANT TREASURER

Carolina Orellana

2ND ASSISTANT TREASURER

Cathy Ramos

HR MANAGER

Melissa Magdaleno HR COORDINATOR

Frank Patano BENEFITS MANAGER

LEARNING

2ND ASSISTANT TREASURER

Emily Bourne

John Tadena TICKET SELLER

Carlie Tomasulo

2ND ASSISTANT TREASURER

BOX OFFICE — GROUP SERVICES Nancy Fitzgerald

Genevieve Goetz GIFT PLANNING OFFICER

Jeffery Glover

Ricky O’Bannon

Gerry Heise

SENIOR MAJOR GIFTS OFFICER

Ashley Helm

Madison Huckaby

Rosa Ochoa

ASSISTANT MANAGER, SPECIAL EVENTS

AUDIENCE SERVICES MANAGER

Julian Kehs

MANAGER, INSTITUTIONAL GIVING

MARKETING COORDINATOR, PROMOTIONS & PARTNERSHIPS

Christina Magaña

DONOR RELATIONS ASSOCIATE

DIRECTOR, CORPORATE PARTNERSHIPS

Allison Mitchell

DIGITAL PRODUCER

Sophie Nelson

CREATIVE COPYWRITER

Alan Alejandro Prieto

ART DIRECTOR

Susan Erburu Reardon

CREATIVE DIRECTOR

Ragan Reviere

VIDEO PRODUCER

Carina Sanchez

Tristan Rodman

DIRECTOR, BOARD RELATIONS DONOR RELATIONS ASSISTANT

Martin Sartini Garner

SENIOR COORDINATOR, MAJOR GIFTS

Mary Smudde

DIRECTOR, GIFT PLANNING

Natalie Suarez

DIRECTOR/PRODUCER, SPECIAL EVENTS

Kahler Suzuki Jonathan Thomas

MARKETING DATABASE SPECIALIST

Holly Wallace

SENIOR MANAGER, RESEARCH AND PROSPECT DEVELOPMENT

Erica Sitko

DIRECTOR, STEWARDSHIP & PRINCIPAL GIFT STRATEGY

Lauren Winn

Peter Szumlas

SENIOR PROJECT MANAGER, CREATIVE SERVICES

SENIOR MANAGER, PHILANTHROPY OPERATIONS AND ANALYTICS

ASSOCIATE DIRECTOR, LEARNING

Anthony Crespo

ASSISTANT MANAGER, ANNUAL FUND

ASSISTANT MANAGER, SPECIAL EVENTS

DIRECTOR, CONTENT

Tyler Teich

DIRECTOR, YOLA

ORCHESTRA MANAGEMENT & MEDIA INITIATIVES

SENIOR MANAGER, YOLA

Shana Bey

Kevin Tsao

FACILITIES MANAGER, BECKMEN YOLA CENTER

Jessica Farber

Morgan Walton

PROGRAM MANAGER, YOLA AT INGLEWOOD

Raymond Horwitz

Richard T. Watkins

PROGRAM MANAGER, YOLA AT TORRES

Camille Delaney-McNeil Fabian Fuertes

Julie Hernandez

DIRECTOR, ORCHESTRA MANAGEMENT ASSOCIATE DIRECTOR, MEDIA INITIATIVES

Gaudy Sanchez

PRODUCTION

Stephen Smith

PRODUCTION ASSOCIATE

ASSISTANT MANAGER, YOLA YOLA ARTISTIC ADMINISTRATOR MANAGER, YOLA

TICKET SELLER

FINANCE

MARKETING & COMMUNICATIONS

Jyoti Aaron

Mary Allen

CONTROLLER

GIFT & DATA SPECIALIST

RETAIL MANAGER, MERCHANDISING

1ST ASSISTANT TREASURER

Jose Villasenor

Elan Fields

Ino Mercado

Diana Melgar

2ND ASSISTANT TREASURER

SENIOR RESEARCH ANALYST

MANAGER, CORPORATE PARTNERSHIPS

TICKET SELLER

Tomorrow Kitchen

Joel Fernandez

Jediah McCourt

Lorenzo Johnson

Laurel Harris

PHILANTHROPY OPERATIONS SPECIALIST

GRAPHIC DESIGNER

TICKET SELLER

Angelia Franco

Valeri Estrada

PUBLICIST

TICKET SELLER

Elias Santos

ANNUAL FUND OFFICER

Alexis Kaneshiro

Andrew Radden

Jason Abbott

1ST ASSISTANT TREASURER

Chelsea Downes

Sophie Jefferies

Erin Puckett

Christy Galasso

ASSISTANT, OFFICE SERVICES

DIRECTOR, INSTITUTIONAL GIVING AND STEWARDSHIP

PATRON SERVICES MANAGER

OPERATIONS COORDINATOR, HOLLYWOOD BOWL

ADMINISTRATION

1ST ASSISTANT TREASURER

Julia Cole

Jennifer Hoffner

Norm Kinard

Julia Ward

SENIOR COORDINATOR, GIFT PLANNING

SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS

Bernie Keating

Johanna Rees

Taylor Burrows

Annisha Hinkle

VICE PRESIDENT, LEARNING

Meghan Martineau

DIRECTOR, ANNUAL GIVING & SPECIAL PROJECTS

SENIOR ADVERTISING MANAGER

PATRON / AUDIENCE SERVICES REPRESENTATIVE

VICE PRESIDENT, PHILANTHROPY

Malorie Barbee

CREATIVE COPYWRITER

DIRECTOR, PUBLIC RELATIONS

Sara Kim

SENIOR MAJOR GIFTS OFFICER

Paul Gibson

Angelina Grego

Elsje Kibler-Vermaas

Joshua Alvarenga

MANAGER, DIGITAL MARKETING

Jennifer Hugus

PHILANTHROPY DIRECTOR, MAJOR GIFTS

ASSISTANT DIRECTOR, SALES AND CUSTOMER ENGAGEMENT

DIRECTOR, THE FORD

Cynthia Fuentes

PRODUCTION ADMINISTRATOR

Robert Albini

ASSOCIATE DIRECTOR, AUDIENCE GROWTH & ENGAGEMENT

Jacqueline Ferger

AUDIENCE SERVICES REPRESENTATIVE

Bill Williams

DIGITAL OPERATIONS MANAGER

Linda Holloway

GENERAL MANAGER, HOLLYWOOD BOWL; VICE PRESIDENT, PRODUCTION

TECHNICAL DIRECTOR

DIRECTOR, SALES & CUSTOMER EXPERIENCE

HOLLYWOOD BOWL & THE FORD

AUDIENCE SERVICES SUPERVISOR

Kelvin Vu

MANAGER, MARKETING COMMUNICATIONS

Tara Gardner

FINANCIAL PLANNING ANALYST

Christopher Slaughter DIRECTOR, PRODUCTION

DIRECTOR, MARKETING

Yuri Park

PAYROLL COORDINATOR

PRODUCTION MANAGER

Michael Vitale

DIRECTOR, RETAIL SERVICES

Kristine Nichols

Alex Grossman

PRODUCTION MANAGER

DIRECTOR, DIGITAL

Justin Foo

AUDIENCE SERVICES

VICE PRESIDENT, MARKETING AND COMMUNICATIONS

MARKETING & COMMUNICATIONS COORDINATOR

ACCOUNTING MANAGER

SENIOR MANAGEMENT TEAM

AUDIENCE SERVICES REPRESENTATIVE

Lushia Anson

SOCIAL MEDIA MANAGER

PROJECT MANAGER, MEDIA INITIATIVES

Isabella Gorden Tina Kane

SCHEDULING MANAGER

Taylor Lockwood

ASSOCIATE PRODUCTION MANAGER

GIFT AND DATA SPECIALIST

Derek Traub

MANAGER, PHILANTHROPY COMMUNICATIONS ANNUAL FUND COORDINATOR ASSOCIATE DIRECTOR, SPECIAL EVENTS AND AFFILIATES ASSOCIATE DIRECTOR, PHILANTHROPY

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

Kimberly Mitchell PRODUCTION MANAGER

PROGRAMMING MANAGER

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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

Kaiser Permanente Pasadena Showcase House for the Arts Rolex Toyota Motor North America

$100,000 TO $249,999 Anheuser-Busch Inc. Pepsi Beverage Group Postmates 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.

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.

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.

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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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 as of December 31, 2021. $25,000,000 AND ABOVE

Walt and Lilly Disney Foundation Cecilia and Dudley Rauch

$20,000,000 TO $24,999,999

David Bohnett Foundation

$10,000,000 TO $19,000,000

The Annenberg Foundation Colburn Foundation

$5,000,000 TO $9,999,999

Anonymous Dunard Fund USA Lenore S. and Bernard A. Greenberg Fund Carol Colburn Grigor Terri and Jerry M. Kohl Los Angeles Philharmonic Affiliates Diane and Ron Miller Charitable Fund M. David and Diane Paul Ann and Robert Ronus Ronus Foundation John and Samantha Williams

$2,500,000 TO $4,999,999

Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann Lynn Booth/Otis Booth Foundation Elaine and Bram Goldsmith Norman and Sadie Lee Foundation Karl H. Loring Alfred E. Mann Elise Mudd Marvin Trust Barbara and Jay Rasulo Flora L. Thornton

$1,000,000 TO $2,499,999

Linda and Robert Attiyeh Judith and Thomas Beckmen Gordon Binder and Adele Haggarty Helen and Peter Bing William H. Brady, III Linda and Maynard Brittan Richard and Norma Camp Mr. and Mrs. Michael J. Connell Mark Houston Dalzell and James Dao-Dalzell Mari L. Danihel Nancy and Donald de Brier The Walt Disney Company Fairchild-Martindale Foundation Eris and Larry Field Reese and Doris Gothie Joan and John Hotchkis Janeway Foundation Bernice and Wendell Jeffrey Carrie and Stuart Ketchum Kenneth N. and Doreen R. Klee B. Allen and Dorothy Lay Los Angeles Philharmonic Committee

Estate of Judith Lynne MaddocksBrown Foundation Ginny Mancini Raulee Marcus Barbara and Buzz McCoy Merle and Peter Mullin William and Carolyn Powers H. Russell Smith Foundation Deanie and Jay Stein Ronald and Valerie Sugar I.H. Sutnick

Mr. and Mrs. Terry Cox Silvia and Kevin Dretzka Allan and Diane Eisenman Christine and Daniel Ewell Arnold Gilberg, M.D., Ph.D. David and Paige Glickman Nicholas T. Goldsborough Gonda Family Foundation Margaret Grauman Kathryn Kert Green and Mark Green Joan and John F. Hotchkis Freya and Mark Ivener $500,000 TO $999,999 Ruth Jacobson Ann and Martin Albert Stephen A. Kanter, M.D. Abbott Brown Jo Ann and Charles Kaplan Mr. George L. Cassat Yates Keir Kathleen and Jerrold L. Eberhardt Susanne and Paul Kester Valerie Franklin Vicki King Yvonne and Gordon Hessler Sylvia Kunin Ernest Mauk and Doyce Nunis Ann and Edward Leibon Mr. and Mrs. David Meline Ellen and Mark Lipson Sandy and Barry D. Pressman B. and Lonis Liverman Earl and Victoria Pushee Glen Miya and Steven Llanusa William and Sally Rutter Ms. Gloria Lothrop Nancy and Barry Sanders Vicki and Kerry McCluggage Richard and Bradley Seeley David and Margaret Mgrublian Christian Stracke Diane and Leon Morton Donna Swayze Mary Pickford Foundation Lee and Hope Landis Warner Sally and Frank Raab YOLA Student Fund Mr. David Sanders Edna Weiss Malcolm Schneer and Cathy Liu David and Linda $250,000 TO $499,999 Shaheen Foundation William E.B. and Laura K. Siart Mr. Gregory A. Adams Magda and Frederick R. Waingrow Baker Family Trust Wasserman Foundation Veronica and Robert Egelston Robert Wood Gordon Family Foundation Syham Yohanna Ms. Kay Harland and James W. Manns Joan Green Harris Trust Bud and Barbara Hellman Gerald L. Katell $25,000 TO $99,999 Norma Kayser Marie Baier Foundation Joyce and Kent Kresa Dr. Richard Bardowell, M.D. Raymond Lieberman Jacqueline Briskin Mr. Kevin MacCarthy Dona Burrell and Ms. Lauren Lexton Ying Cai & Wann S. Lee Foundation Jane and Marc B. Nathanson Ann and Tony Cannon Y & S Nazarian Family Foundation Dee and Robert E. Cody Nancy and Sidney Petersen The Colburn Fund Rice Family Foundation Mr. Allen Don Cornelsen Robert Robinson Ginny and John Cushman Katharine and Thomas Stoever Marilyn J. Dale Sue Tsao Mrs. Barbara A. Davis Alyce and Warren Williamson Dr. and Mrs. Roger DeBard Jennifer and Royce Diener Jane B. and Michael D. Eisner The Englekirk Family Mr. Robert J. Abernethy Claudia and Mark Foster William A. Allison Lillian and Stephen Frank Rachel and Lee Ault Dr. Suzanne Gemmell W. Lee Bailey, M.D. Paul and Florence Glaser Angela Bardowell Good Works Foundation Deborah Borda Anne Heineman The Eli and Edythe Ann and Jean Horton Broad Foundation Drs. Judith and Herbert Hyman Jane Carruthers Albert E. and Nancy C. Jenkins James and Paula Robert Jesberg and Coburn Foundation Michael J. Carmody The Geraldine P. Coombs Trust in Ms. Ann L. Kligman memory of Gerie P. Coombs

$100,000 TO $249,999

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. Thank you.

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Nas with the LA Phil Nas Los Angeles Philharmonic Gustavo Dudamel, conductor

SUNDAY MAY 1, 2022 7:30PM

Tonight’s program is presented without intermission.

Programs and artists subject to change.

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ABOUT THE ARTISTS

NAS

Nas (Nasir Jones) first reached an international audience when his track “Halftime” was tapped by producer MC Serch as the opening cut on 1992’s Zebrahead movie soundtrack.

After he signed to Columbia Records, the first full-length album by this poet and rhymemaster arrived in 1994: Illmatic.

The RIAA platinum hip-hop landmark featured “It Ain’t Hard To Tell,” “The World Is Yours,” and “One.” 1996 brought the breakthrough double-platinum It Was Written (#1 R&B album for seven weeks, #1 pop album for four weeks), with his first major crossover singles “Street Dreams” and “If I Ruled the World (Imagine That).” Success continued with the doubleplatinum I Am in 1999 (again, #1 pop album and #1 R&B album),

with the chart singles “Nas Is Like,” “Hate Me Now” (featuring Puff Daddy), and “You Won’t See Me Tonight” (featuring Aaliyah).

Subsequent albums by Nas included the RIAA platinum Nastradamus (1999, #2 R&B album, #7 pop album, with “Nastradamus” and “You Owe Me,” featuring Ginuwine); the platinum Stillmatic (2001, #1 R&B album, #5 pop album, with “Got Ur Self A…,” “One Mic,” and “Rule”); the platinum God’s Son (2002, #1 R&B album, with huge R&B/pop crossover hits “Made You Look” and “I Can”); and the platinum double-CD Street’s Disciple (2004, #2 R&B album, #5 pop album, with “Bridging the Gap” and “Just a Moment”). And his 2012 album Life Is Good earned him four Grammy nominations, including Best Rap Album, and is certified RIAA gold. His latest album King’s Disease II (2021) was nominated for Best Rap Album at the 2022 Grammys Awards.

Over the years, Nas has also been the featured guest on a number of crossover hits by other artists, among them by Allure (“Head Over Heels,” 1997); Missy Elliott (the #1 “Hot Boyz,” 1999); fellow Queensbridge rapper Mobb Deep (“It’s Mine,” 1999); Jagged Edge (“I Got It 2,” 2002); J-Lo (“I’m Gonna Be Alright,” 2002); Kanye West (“Classic (Better Than I’ve Ever Been),”

2006); DJ Khaled (“Nas Album Done,” 2016); Swizz Beats (“Echo,” 2018); and Jhene Aiko (“10K Hours,” 2020).

In addition to his successful career in music, Nas has pursued a career in motion pictures that began with his co-starring role (alongside DMX) in 1998’s cult classic crime drama Belly, a film by director Hype Williams (with whom Nas has done several music videos).

Most recently, he was the executive producer of the 2016 Netflix series The Get Down.

Nas is also the co-founder of Mass Appeal Records.

GUSTAVO DUDAMEL

For a biography of conductor Gustavo Dudamel, please turn to page 7.

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COLBURN CELEBRITY RECITAL

Daniil Trifonov Daniil Trifonov, piano

SZYMANOWSKI

TUESDAY MAY 3, 2022 8PM

Piano Sonata No. 3, Op. 36 (c. 15 minutes)

DEBUSSY Pour le piano (c. 11 minutes)

Prélude Sarabande Toccata

PROKOFIEV Sarcasms, Op. 17 (c. 12 minutes)

Tempestoso Allegro rubato Allegro precipitato Smanioso Precipitosissimo

INTERMISSION BRAHMS Piano Sonata No. 3 in F minor, Op. 5 (c. 28 minutes)

Allegro maestoso

Andante espressivo Scherzo: Allegro energico—Trio Intermezzo: Andante molto Finale: Allegro moderato ma rubato

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Media Sponsor: KPCC

Programs and artists subject to change.

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ABOUT THE PROGRAM

PIANO SONATA NO. 3, OP. 36 Karol Szymanowski (1882– 1937) Composed: 1917 Karol Szymanowski was a peripatetic man of many places, both literally as a frequent traveler and metaphorically as a stylistic omnivore in a period of great artistic changes. Though emphatically and explicitly a Polish composer, he was born in Ukraine on an estate near Kiev [present-day Kyiv], moving in 1901 to Warsaw, where he continued the musical studies he had begun with his wealthy parents and at a music school run by relatives. He had a very productive and successful period in Vienna and traveled in southern Italy, Sicily, North Africa, and France.

Szymanowski spent most of the World War I years back at the family estate, composing prolifically in a new style greatly influenced

by Debussy and Ravel. His Third Piano Sonata was one of the last works of that period, written in 1917, before the shattering upheaval of

the October Revolution.

Dedicated to the pianist and conductor Alexander Siloti, the sonata is a formidable work that merges the cooler sonorities of French Impressionism with heated Germanic Late-Romanticism.

With the exception of the mournful Adagio, however, there is a light and humorous touch to much of it; even the technically imposing fugal finale is marked “Scherzando e buffo.” —John Henken

POUR LE PIANO Claude Debussy (1862–1918) Composed: 1894–1901 Pour le piano—yes, indeed, for the piano! Debussy’s title not only describes his composition, but this entire recital program as well. This is music written by pianists for pianists. Music that explores the instrument’s chameleon power to mimic the intimacy of the singing human voice, and, moments later, to roar with the

grandeur of a symphony orchestra. Music that tests the piano’s seemingly infinite range of expression, from a limpid frieze-like stasis, to throbbing demonic ecstasy.

No instrument places in the hands of a single musician this vastness of possibility.

When musicologists and reference books are obliged to draw a line between the old and the new, between the musical legacy of the Romantic era and the onset of modern music, they draw it with the music of Claude Debussy. It is not a surprise that, as a harbinger of innovation, Debussy was routinely deprecated by his contemporaries. In 1911, the powerful New York critic James Huneker wrote ironically: “It is impossible to conceive a finer vehicle of expression than that invented by Debussy through the simple yet original process of abolishing rhythm, melody, and tonality from music and thus leaving nothing but atmosphere.”

An opinion not shared by succeeding generations. To the venerated pianist Claudio Arrau, Debussy was “one of

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the great geniuses. His music is absolutely unique. It’s like the music of another planet.”

Pour le piano was published in 1901, though the second of its three sections dates, in an earlier incarnation, back to 1894. The titles of these sections are redolent of a musical era two centuries before: prelude, saraband, and toccata are terms we associate with Bach and the Baroque dance suite, not the dawn of the 20th century.

They provide Debussy with a source of inspiration rather than imitation, and the opening Prélude is appropriately energetic and virtuosic, but sounds nothing like its historical antecedents. The athletic glissandos of the Prélude lead to the calm center of the Sarabande. Debussy’s descriptive indication is “Avec une élégance grave et lente” (“with a grave and slow elegance”).

The closing Toccata is a brilliant exclamation, uncompromising in its technical demands.

—Notes from the Philharmonic’s archive

SARCASMS, OP. 17 Sergei Prokofiev (1891–1953) Composed: 1912–14 It would be difficult to overstate the degree to which Prokofiev was regarded as a wild enfant terrible by older musicians and critics during his years at the Saint Petersburg Conservatory or the pleasure the young pianist/composer took in living up to that characterization in his music. As their title suggests, the five short Sarcasms (composed chronologically in 1912–14) are basically exuberantly rude gestures blowing up the popular sentimental character pieces of the late 19th century.

In broad outline, all five pieces are roughly A-B-A in form, with a more lyrical center framed by spiky and mocking bravura. They are not simply clones, however. The third is a famous example of bitonality, for example, and the fourth is the most generously songful.

Much later, in a program note for the fifth Sarcasm, Prokofiev found occasion for some self-aware reflection. “We often indulge in malicious laughter at someone or something, but when we pause to look, we see how pitiful and sad is the object of our ridicule; and then we grow ashamed, the mocking laughter rings in our ears, but it is we who are its object now.” —John Henken

PIANO SONATA NO. 3 IN F MINOR, OP. 5 Johannes Brahms (1833–1897) Composed: 1853 Johannes Brahms somehow found time to compose his Third Piano Sonata in mid-to-late 1853, the very months that saw him transformed from a gifted but unknown 19-year-old pianist to a 20-year-old star.

In the spring, on a concert tour with the flamboyant Hungarian violinist Eduard Reményi, Brahms met Joseph Joachim, an entirely different sort of violinist whose sober musical ideals were very akin to Brahms’ own. In June, the tour took Brahms and Reményi to Weimar, where they met Liszt and his considerable band of followers.

In a split that was a microcosm of the battle lines forming in German music, Reményi quickly joined Liszt’s circle and stayed in Weimar, while Brahms left to spend July and August in Göttingen visiting Joachim, who would remain a lifelong friend and colleague.

Armed with an introduction from Joachim, Brahms visited Schumann in Düsseldorf at the end of September. Schumann must have been bowled over from the very first, since his famous article about Brahms in the Neue Zeitschrift für Musik appeared only

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a month later, on October 28.

Schumann wrote: “Sooner or later … someone would and must appear, fated to give us the ideal expression of times, one who would not gain his mastery by gradual stages, but rather spring fully armed like Minerva from the head of Jove.

And he has come, a young blood at whose cradle graces and heroes mounted guard. His name is Johannes Brahms…”

Schumann was the most important musical journalist in Germany, and his effusive testimonial flashed as bright a spotlight as could be shown on the grateful, if embarrassed, young composer. Overnight, the German musical establishment knew of “Schumann’s young Messiah.” In November, Brahms went to Leipzig, where he had several works published by a major publishing house, and met Hector Berlioz, who was impressed with Brahms and his music. “I am grateful to you for having let me make the acquaintance of this diffident, audacious young man who has taken it into his head to make a new music. He will suffer greatly,” Berlioz wrote to Joachim.

The Sonata, written in the midst of this travel and hubbub, justifies Schumann’s Olympian fanfare. It is a work of symphonic proportions and scope, bursting at the seams with ideas to the point that it needs an extra movement to explore different directions with material from earlier movements. It is his biggest solo piano work and, indeed, his last Piano Sonata.

The first movement, with its tumultuous principal theme and serene secondary material, is typical of the sharp contrasts that would always mark Brahms’ music (his detractors complained that he lacked coherence), as would the complex, constantly shifting rhythms.

The Andante, containing moments of great melodic tenderness and climactic passion, is headed by a verse from a Sternau poem: “The evening dims The moonlight shines There are two hearts That join in love And embrace in rapture” While the second movement is a great flowering of melodies

that are allowed time to run their course, the boisterous, bounding Scherzo is built around short phrases that are broken into even smaller fragments, with a striking sequence of kaleidoscopically shifting arpeggios, and a middle section that moves in stately block chords.

The extra movement is the fourth: “Rückblick” (“looking back”). It looks back mainly on the slow movement, though there are elements from the other two (the short-shortshort-long figure, so reminiscent of Beethoven, occurs, though not prominently, in both the first and third movements), recast as a brooding meditation, remarkable in places for its inexorable momentum and in others for a static use of sound and harmony that could be mistaken for Debussy.

The Finale is a rondo that has nearly everything in it, including a jaunty main theme, swelling lyrical melody, stately marches, and even a few moments of pianistic bravura. —Howard Posner

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DANIIL TRIFONOV

Grammy Award-winning pianist Daniil Trifonov—Musical America’s 2019 Artist of the Year—has established a reputation as a solo artist, champion of the concerto repertoire, chamber and vocal collaborator, and composer. Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of wonder to audiences and critics alike.

With Transcendental, the Liszt collection that marked his third title as an exclusive Deutsche Grammophon artist, he won the Grammy Award for Best Instrumental Solo Album of 2018. As The Times of London notes, he is “without question the most astounding pianist of our age.”

In the 2021/22 season, Trifonov releases Bach: The Art of Life on Deutsche Grammophon, tours a recital program in Europe based on the album, and tours a different program in the U.S. He plays Brahms’ First Piano Concerto with Fabio Luisi and the Dallas Symphony, Gianandrea Noseda and Philharmonia Zurich, Xian Zhang and the New Jersey Symphony, and with Antonio Pappano and Rome’s Orchestra dell’Accademia Nazionale di Santa Cecilia on a European tour. He also performs all five of Beethoven’s piano concertos in various combinations with seven different orchestras: the New York Philharmonic, Cincinnati Symphony, Munich Philharmonic, Mariinsky Orchestra, Orchestre des Champs-Élysées, Budapest Festival Orchestra, and Toronto Symphony. Finally, he gives the world-premiere performances of Mason Bates’ new Piano Concerto, composed for him during the pandemic, with the co-commissioning Philadelphia Orchestra, the New Jersey Symphony, the Israel Philharmonic, and the other co-commissioner, the San Francisco Symphony.

In recent seasons, Trifonov served as Artist-inResidence of the New York Philharmonic—a residency

which included the New York premiere of his own Piano Quintet—and curated and performed a seven-concert season-long Carnegie Hall “Perspectives” series, crowned by a performance of his own Piano Concerto with Valery Gergiev and the Mariinsky Orchestra. He has played solo recitals around the world since his Carnegie Hall debut in 2012/13, and his discography on Deutsche Grammophon includes a live recording of his Carnegie recital debut; Chopin Evocations; and three volumes of Rachmaninoff works with the Philadelphia Orchestra and Yannick Nézet-Séguin, one of them receiving a 2021 Grammy nomination and another earning the BBC Music 2019 Concerto Recording of the Year accolade.

During the 2010/11 season, Trifonov won medals at three of the music world’s most prestigious competitions: Third Prize in Warsaw’s Chopin Competition, First Prize in Tel Aviv’s Rubinstein Competition, and both First Prize and Grand Prix in Moscow’s Tchaikovsky Competition. He began his musical training at the age of five, attended Moscow’s Gnessin School of Music, and continued his piano studies with Sergei Babayan at the Cleveland Institute of Music. daniiltrifonov.com

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LOS ANGELES PHILHARMONIC

The Rite of Spring and Estancia with Dudamel Los Angeles Philharmonic Gustavo Dudamel, conductor Gustavo Castillo, baritone/narrator

Alex NANTE

El Río de Luz (c. 6 minutes) (world premiere, LA Phil commission)

THURSDAY MAY 5, 2022 8PM FRIDAY MAY 6 8PM SATURDAY MAY 7 8PM SUNDAY MAY 8 2PM

GINASTERA Estancia, Op. 8 (complete) (c. 33 minutes)

Dawn: Introduction and scene—Brief Dance Morning—Wheat Dance—The Land Workers— The Ranch Hands—The Townspeople Afternoon: “Triste” from the Pampas— Horse-breaking—Twilight Idyll Night: Nocturne Dawn: Scene—Final Dance: Malambo

Gustavo Castillo INTERMISSION

The Rite of Spring (c. 33 minutes) STRAVINSKY Part I: The Adoration of the Earth

Introduction Augurs of Spring: Dance of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Two Tribes Procession of the Sage The Kiss of the Earth (The Sage) Dance of the Earth Part II: The Exalted Sacrifice Introduction Mystic Circle of the Young Girls The Naming and Honoring of the Chosen One Evocation of the Ancestors Sacrificial Dance (The Chosen One)

Official Timepiece of the Los Angeles Philharmonic Classical Partner (5/06): KUSC

Programs and artists subject to change.

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EL RÍO DE LUZ Alex Nante (b. 1992) Composed: 2022 Orchestration: piccolo, 2 flutes, 3 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, percussion (chimes, glockenspiel, vibraphone, tam-tam, suspended cymbal, bass drum), harp, and strings.

First LA Phil performance: world premiere Alex Nante (born in Buenos Aires, Argentina) is one of the most recognized Latin American composers of his generation. In his works, ranging from solo to orchestral pieces, there is a nocturnal and dreamlike atmosphere, as well as an attempt to access a spiritual realm. The influence of Eastern and Western mystical poetry is particularly present in his compositions, as can be seen in several of his vocal pieces.

Winner of several awards, already nominated as a composer for the Victoires de la musique in France in 2022, he has worked with the most prestigious ensembles and soloists on an international level. During his residency at the Lille National Orchestra for the 2021/22 and 2022/23 seasons, Alex Nante composed Sinfonia del Cuerpo de Luz, the piano concerto Luz de lejos, dedicated to Alexandre Tharaud, and will compose Mysterium, his second symphony for orchestra with choir and two solo singers: soprano and tenor.

El Río de Luz (The River of Light) is part of a cycle of pieces based on the element of light, which includes Sinfonía del Cuerpo de Luz and the piano concerto Luz de lejos.

El Río de Luz was conceived as a flowing, glittering, mercurial juxtaposition of musical “light fragments.” This “light journey” is inspired by the following passage in Honoré de Balzac’s Séraphîta: “The light gave birth to the melody, the melody gave birth to the light, the colors were light and melody, the movement was a Number endowed with the Word; finally, everything there was at the same time sonorous, diaphanous, mobile, so that each thing penetrating one another, the expanse was without obstacle and could be traversed by the Angels in the depth of infinity.”

El Río de Luz is dedicated to Gustavo Dudamel and Los Angeles Philharmonic. —Alex Nante

ESTANCIA, OP. 8 (COMPLETE) Alberto Ginastera (1916–1983) Composed: 1941 Orchestration: 2 flutes (=piccolos), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion (bass drum, castanets, cymbals, military drum, tam-tam, tambourine, tenor drum, triangle, xylophone), piano, strings, and solo baritone First LA Phil performance: July 23, 1960, Maurice Levine conducting the four dances from the ballet

Alberto Ginastera composed brilliantly in most genres— concertos, songs, string quartets, piano sonatas, and a number of film scores—but is best known for his early ballets Panambé and Estancia and the operas Don Rodrigo, Bomarzo, and Beatrix Cenci.

Argentine folk songs and dances inspired and informed much of his music, whether in direct reference or in stylistic allusion. Later in his career he began to incorporate 12tone techniques and avantgarde procedures into his music, ultimately reaching a synthesis of traditional and post-serial elements.

Estancia was composed the same year the Argentinean composer met his North American contemporary Aaron Copland, who was touring South America. Estancia was commissioned by Lincoln Kirstein (who had earlier commissioned Copland’s Billy the Kid), but his Ballet Caravan folded before Estancia could be produced. Plot, scenes, and texture of the piece are derived from the poem Martín Fierro,

by José Hernández, written in the 1870s as a nationalist expression of the gaucho and a repudiation of the changes to the rural life brought about by political and military struggle.

As important as the substance of the poem is the style. As noted by translators C.E. Ward and Kate Ward Kavanagh, “Hernández’ poem aimed to speak to the country people in their own language about their own troubles. It tells the adventures and opinions of an archetypal gaucho suffering the hardships and injustice of

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the times: from a contented life working on a ranch, the unsuspecting hero is pressganged into the ill-treated frontier militia; he deserts to find his home abandoned and his family lost, becomes an outlaw, and finally escapes across the frontier to try his luck living with the Indians. It is written in the words, images and proverbs of the gauchos— almost a sub-language of Spanish: humorous, contentious, and lyrical, in rhymed stanzas supposedly sung to the guitar, the gauchos’ traditional instrument.”

The plot of Ginastera’s ballet does not follow Fierro’s full poetic journey; rather, the composer incorporated lines that express the varied episodes in a gaucho’s life throughout a single day. The primary plot element concerns the romance between a city boy who falls in love with a country girl and overcomes her skepticism by proving his skills as a horseman and dancer. However, the deeper meaning is that of the day—an element that, for the composer, united human with landscape: “Whenever I have crossed the Pampas or have lived in it for a time, my spirit felt itself inundated by changing impressions, now joyful, now melancholy, some full of euphoria and others replete with a profound

tranquility, produced by its limitless immensity and by the transformation that the countryside undergoes in the course of a day.”

The ballet’s dances reveal the variety of sources, social functions, and musical styles that capture the spectrum of experience over a day. “Los trabajadores agricolas” (The Land Workers) depicts the laborers who come into town.

You can hear the heaviness and downward sweep of their steps as they alternate triple and duple rhythms of the malambo. Brass gestures capture the strength of motion before giving way to spiky woodwinds. The quieter “Danza del trigo” (Wheat dance) uses solo flute and violin to evoke the morning setting and a dance shaped by song. Modern listeners might well find the melodic shapes and timbres more cosmopolitan in nature.

“Los peones de hacienda” (The Ranch Hands) entertain themselves and the townsfolk with playful woodwind footsteps, brass exclamations, and timpani flourishes. The “Danza final” (Final Dance) returns to the spirit and rhythm of the malambo. The highly syncopated patterns depict the sharp gestures involving hands and feet, building toward a frenetic conclusion. —Susan Key

THE RITE OF SPRING Igor Stravinsky (1882–1971) Composed: 1913; 1947 Orchestration: piccolo, 3 flutes (3rd=2nd piccolo), alto flute, 4 oboes (4th=2nd English horn), English horn, 3 clarinets (3rd=2nd bass clarinet), E-flat clarinet, bass clarinet, 4 bassoons (4th=2nd contrabassoon), contrabassoon, 8 horns (7th and 8th=Wagner tuba), piccolo trumpet, 4 trumpets, 3 trombones, bass trombone, 2 tubas, 2 sets of timpani, percussion (antique cymbals, bass, drum, cymbals, guiro, tam-tam, tambourine, and triangle), and strings First LA Phil performance: August 31, 1928, Eugene Goosens conducting The glittering premiere of The Rite of Spring by Serge Diaghilev’s fashionable Ballets Russes on May 29, 1913, at the Théâtre des Champs Élysées in Paris, was a defining event of 20th-century cultural history. With this savage portrayal of pre-historic pagan ritual, presented on the eve of World War I, the 19th century officially expired. Many members of the sophisticated audience found the Rite’s violence, raw sexuality, brutal sonic force, aggressive

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dissonance, tonal ambiguity, and pounding rhythmic irregularity so disturbing that they reacted with what amounted to a full-blown riot.

Stravinsky spent the evening in a distracted condition that prevented him from appreciating the full impact of what had transpired.

When he heard the “derisive laughter” that greeted the prelude’s first bars, he took refuge backstage from the “terrific uproar” going on in the hall. Standing next to the shocked choreographer Vaclav Nijinsky, Stravinsky had to prevent him from running on stage to “create a scandal,” as he wrote later.

The dancers could hardly hear the music over the din.

For The Rite of Spring, Stravinsky turned to one of his strongest memories of his Russian childhood: the much anticipated coming of spring. “The violent Russian spring seemed to begin in an hour and was like the whole earth cracking,” he

told his amanuensis Robert Craft. “That was the most wonderful event of every year.” Spring’s arrival spawned all manner of rituals, both pagan and Christian. It was these the composer had in mind, aided by his friend, the artist Nicolas Roerich.

The project combined several of Stravinsky’s favorite preoccupations: folklore, mythology, geology, and the seismic and cosmic forces of nature.

The score of The Rite boasts many innovations, but perhaps its most revolutionary feature is the prominence of rhythm as an organizing principle. Harmony, the central element in Western music since the 18th century, plays a much less important role. So does melody: the themes (some derived from folk sources) are strikingly short and do not carry either the main interest or the forward impetus. Instead, the various small sections of the action are structured

around rhythmic ideas (or cells) repeated in complex and frequently asymmetrical patterns. What distinguished The Rite was not its pervasive harmonic dissonance—already extensively employed by Claude Debussy, Arnold Schoenberg, and Richard Strauss—but its fragmentary, dynamic structure, composed of small “irregularly formed” musical “objects” that collide, in the words of Stravinsky biographer Stephen Walsh, “like so many particles in an atomic accelerator.”

Since its 1913 premiere, The Rite has received treatments in many different media, including one in Walt Disney’s film Fantasia, where it serves as music for dinosaurs to roam by. Unlike many other ballet scores, however, whose conception is more closely tied to a narrative program, The Rite of Spring has become most popular as a separate concert piece. —Harlow Robinson

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GUSTAVO CASTILLO

Born in Barquisimeto (Venezuela), baritone Gustavo Castillo started his studies under El Sistema, a revolutionary music education program in his home country, under the guidance of the tenor Ídwer Álvarez.

After his debut at the age of 25 in the role of Shaunard in La bohème, he has appeared as

Sharpless in Madama Butterfly, the Sacristan in Tosca, and Belcore in L’elisir d’amore.

Other roles include Valentin in Diana Daniele’s Faust, and Dandini in La cenerentola for young audiences, adapted

by Alexander Krampe from Rossini’s original.

His extensive international concert work includes the Requiem settings by Mozart, Faist, Duruflé, and Fauré, Mozart’s Coronation Mass, Bach’s Magnificat, Beethoven’s Symphony No. 9, Orff’s Carmina Burana, and Antonio Estévez’ Cantata Criolla.

Since 2016, he has been a member of the Accademia del Teatro alla Scala in Milan, where he has recently appeared as Peter in Humperdinck’s Hänsel und Gretel and Figaro in The Barber of Seville for young audiences.

Future engagements include Figaro in The Barber of Seville at the Teatro alla

Scala, Sharpless in Madama Butterfly, Foscari in Il bravo at Wexford Festival Opera, and Cantata Criolla with the Boston Symphony Orchestra. primafila-artists.com

GUSTAVO DUDAMEL

For a biography of conductor Gustavo Dudamel, please turn to page 7.

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Liz Phair: Don’t Holdyrbreath Liz Phair

TUESDAY MAY 10, 2022 8PM

Special Guests: Ben Gibbard Bethany Cosentino Remi Wolf Vagabon

Programs and artists subject to change.

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LIZ PHAIR

Grammy-nominated singer/ songwriter. Guitar playing virtuoso. Feminist trailblazer.

Globally published author.

Gamechanger. Composer.

Disrupter. Visual Artist.

Icon. These are some of the many words that could be used to describe Liz Phair— coming off the release of her latest album, Soberish, her first collection of new, original music in a decade.

But to get the basic narrative points out of the way, Liz Phair has been a recording artist and touring performer for 25 years; she has sold over five million records worldwide, with three U.S. gold albums and two Grammy nominations.

She once sang “God Bless America” at the opening game

of the 2005 White Sox World Series win in her hometown of Chicago. She’s appeared on television shows across the globe. Her deeply clever and often brutally candid songs have been garnering critical praise since she began her career in the early 1990s in Chicago by self-releasing audio cassettes under the name Girly-Sound. She signed a deal with acclaimed independent record label Matador Records, and, in 1993, Liz Phair put out an album called Exile In Guyville; to say it changed everything would be an understatement. Exile In Guyville—a collection of bold, lyrically and sexually frank songs, paired with equally as inventive and remarkable guitar playing by Phair—has been ranked by Rolling Stone as one of the 500 Greatest Albums of All Time, by Pitchfork as one of the 100 Greatest albums of the ’90s, and is considered one of the most accomplished debut albums for any artist in any genre to date.

A rapturously received follow up, Whip-Smart, landed her on the cover of Rolling Stone in 1995; in 1998, she released her major label debut Whitechocolatespaceegg to continued critical acclaim.

Never one to rest on her laurels, Phair took her sound

in new directions on her selftitled record from 2003, which featured the mega hit “Why Can’t I,” as well as her album Somebody’s Miracle in 2005, both of which reconfirmed Phair’s sharp instincts for writing pop-centric, three-and-a-half-minute masterpieces. She pivoted again, this time towards hip-hop with 2010’s Funstyle.

Then—she simply stopped.

“I’d gotten adrift from my artist self, I’d become my mom-self, or my middle-agedperson self,” she explained.

She took the impulse to write songs and instead used the energy to start writing short stories from her life— her upbringing outside of Chicago; her world travels as a renowned artist; her romantic ups and downs; her experience raising a child. When she finally gave herself back to music, she did some work composing for television, in addition to occasionally writing her own Liz Phair songs again. She went in and out the studio, never quite hitting the inspiration for which she was hunting.

In 2018, Matador released a fully expanded edition of Phair’s original Girly-Sound tapes onto digital service providers for the first time.

Excitement from fans all over the world was palpable at finally having access to these

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early tracks that established Phair’s original, iconic viewpoint in the first place.

And then, in 2019, two things happened concurrently: her memoir made up of short stories—entitled Horror Stories—was released, unveiling layers of Phair’s beautiful internal world into public consciousness.

And, almost 30 years later, Phair reunited with Exile In Guyville and Whip-Smart’s producer Brad Wood to work on some music.

“I wasn’t coming from a place of big success; I was coming off of being silent for a while. But listening to Guyville again, and immersing myself in my Girly-Sound demos, and talking with everyone from that era made me want to work with Brad again,” she says.

“Girly-Sound brought me back to that early part of my career and who I’d been then,” she continues. “What I wanted to achieve, what my style of working was. I connected again—in a much more healthy way—to the artist I was searching for at that point.”

Simultaneously, she felt energized by the new generation of female artists she saw continuing the work she had begun 25 years earlier—the lyrical frankness, the melding of rock and pop, women steering the course of

their own careers. “Probably the most pivotal in bringing me back was seeing that this world that I’d always dreamed of had actually come to be,” she says.

“What I was longing for back in the early part of my career had happened! Everywhere you looked on social media, there were women making their own music, fronting bands, it was their vision, they weren’t just women in a band, they weren’t just songwriters, they were the entire authors of the vision, head to toe. And it was so exciting!” She likens those early days as a female artist in a male-dominated industry to “speaking a foreign tongue in a country and being lonely because of that for a long time.” Now, she says, “It’s like going away for a while and coming back, and there are tons of people speaking your language. It feels like an entirely different landscape, one that I want to be part of and not miss out on.”

The astounding collection of songs Phair and Wood worked on became the album entitled Soberish. It is a nonconformist, genre-blurring, visionary record. “I said to Brad I don’t know how many times: ‘I want this record to have an identifiable sound, but I want it to be something different that you haven’t really heard before. I want

it to sound exactly like this record,’” Phair explains.

The pair worked hard, she says, to “reframe and re-contextualize” songs. “We deconstructed songs as much as we constructed them.”

The key to the Soberish sound was subtraction.

“There’s a lot of subtraction on this album. Making a song, pulling it apart, and trying to get down to something surprising,” she says. “I’m always trying to reinvent pop.

I’m always trying to make something fresh and different […] so it doesn’t really sound like anything I’ve done before but it’s very recognizably me.”

Phair is quite smitten with the album’s title, Soberish. “It’s about a frame of mind that has one foot out the door,” Phair says. “It’s anchoring yourself to the right thing but giving yourself enough anchor chain to sail around the cove and forget it for a while.

Just hold to the center so you can swing around.”

If Phair’s career has had a governing philosophy, we might take it as this: hold to the center, swing around. This return, this new collection of songs, shows her at her finest: playful, inquisitive, uncompromising, but anchored. The center can still hold.

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ABOUT THE ARTISTS

BEN GIBBARD

Ben Gibbard is a singer, songwriter, and guitarist. He is the lead vocalist and guitarist of Death Cab for Cutie, with which he has recorded nine studio albums, and is one half of the electronic duo the Postal Service. Gibbard released his debut solo album Former Lives in 2012 and a collaborative studio album One Fast Move or I’m Gone with Uncle Tupelo and Son Volt’s Jay Farrar in 2009.

BETHANY COSENTINO

Bethany Cosentino is a musician and writer from Los Angeles.

She is best known as the singer/ guitarist/frontperson of Best Coast and has written and released four full-length albums with the band since 2010.

Bethany has written op-eds for publications such as Billboard, Lenny Letter, McSweeny’s, and The Independent. She is an outspoken advocate for women’s reproductive health and has worked alongside Planned Parenthood since 2011.

She has also been a loud voice against sexism in the music industry and was a guest on The Daily Show with Trevor Noah in 2016 to talk about her experience as a woman in music.

REMI WOLF

It’s difficult for Remi Wolf to describe her sound. Within the span of three minutes, a Remi Wolf track will ricochet between funk, soul, indie, and emo with all the predictability of a pinball.

Her vocals oscillate between screeching falsetto and melodyanchoring alto, pendulum-swinging the scales in little more than a breath. It’s a far cry from that which has become par for the course in pop music, but Remi Wolf has never been one to follow the rules.

It’s possible Wolf favors rebellion now because her early musical trajectory hits all the conventional mileposts of a well-rounded artist.

There were the grade-school performances and open mics that wowed crowds in her Palo

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Alto hometown; the self-taught songwriting, experimental recording and tertiary music education via USC. Perhaps the most pivotal moment was making $200 in two hours of soulful busking in high school, when Wolf realized people would happily pay to hear her perform.

Audiences’ immediate response to her talent instilled in Wolf a sense of confidence that carried her through music school and into a post-grad stint gracing local Los Angeles venues. Her college experience consisted of skipping class to jam with her 10 musical roommates, and soon she’d linked with co-producer Jared Soloman.

Together, they compiled influences in the likes of Tool, Weezer, Ween and Erikah Badyu and committed an experimental artist project, throwing caution—and strategy— to the wind with the impulsive release of their first track, “Guy.” “Guy” would mark a watershed moment for Remi Wolf, the artist. It secured her a spot opening on tour for indie-pop darling Still Woozy, a manager, and an entry point to consecutive critically acclaimed EPs You’re a Dog and I’m Allergic to Dogs—mostly created in makeshift studios with Soloman and limited gear. Apple would later recruit Wolf to soundtrack an iPhone commercial, and she’d receive major co-signs from the likes of Dominic Fike and Cautious Clay.

These achievements have served

as both prelude and platform for her debut album, Juno, her postpandemic offering. The project is an exploration of the instability Wolf felt during lockdown, bouncing between houses all while attempting sobriety.

The project is also the first time Remi Wolf has had the resources to outsource the more technical elements of the production process, as well as access to high quality equipment. For a DIY-minded artist who has bootstrapped her way into the industry, this has taken some adjustment.

Not only does her first full-length project articulate Wolf’s maturation, it also manages to maintain the genre-bending spontaneity and soul of her previous work. The singersongwriter’s improvisational sonic instincts best speak to her talent and bolster her longevity, but it’s her childlike charisma—on-stage and off—coupled with devil-maycare attitude that indicates her potential for profound impact.

Remi Wolf would rather rewrite the rules than play by them, and for that you can credit her rebel heart. “Sometimes I just feel like I want to be different and rebellious and a contrarian to what’s going on. It’s insane to think I can make the music I want to make and pay my bills and be validated for my labor, but I think mainly I want my music to be important to people. I want people to make memories with my songs.”

VAGABON

About Vagabon’s new self-titled album, Gabriela Tully Claymore writes, “Break the rules you think you are bound by.”

That’s the recurring sentiment Lætitia Tamko carried with her through the writing and recording of her second album under the Vagabon moniker.

Her first, 2017’s Infinite Worlds, was an indie breakthrough that put her on the map, prompting Tamko to tour around the world and quit her job in electrical/ computer engineering to pursue a career in music full-time.

Tamko’s self-titled Nonesuch Records debut finds her in a state of creative expansion, leaning fully into some of the experimental instincts she

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flirted with on the previous album. This time around, she’s throwing genre to the wind. Vagabon is a vibrant culmination of influences, emotional landscapes, and moods, a colorful and masterful statement by an artist and producer stepping into her own.

“I was in a pretty tortured headspace when I returned home from touring Infinite Worlds. That album contained some of the first songs I’d ever written, and more people than I could have ever imagined heard it,” Tamko says. ”I was proud to become a full-time musician and recognized how rare of a thing that is, but was also debilitated by the very same fact. Fear overtook me and I couldn’t write. I felt stagnant and unsure of what to do next.”

That anxiety eventually thawed and gave way to a newfound sense of freedom as Tamko began to focus less on industry pressures and more on honing her craft as a songwriter and

producer. ”With this album, I wanted to impress myself,” Tamko says. ”I wanted to be curious, and I wanted to make big leaps as a producer.

All I had access to on the road was my computer and Logic, so naturally I started writing songs electronically with what was at hand.”

Vagabon was written and produced entirely by Tamko.

Guitar-driven melodies are largely absent, and in their place we are treated to a collection of songs buoyed by hybridized analog and digital arrangements. While Infinite Worlds situated the last Vagabon project in the realm of “indie rock,” Vagabon is not easily defined. Grounded by Tamko’s expressive voice and knack for unique melodies, the album flits between genres, never lingering too long on one particular sensibility.

“The drums and vocal forward approach I took on the new album is drawn from my love for rap and hip-hop production as well as R&B and folk storytelling. That’s

the music that got me excited about writing again,” Tamko says. In addition to those influences, the West African guitars and rhythms that soundtracked much of her childhood seep into moments throughout this album.

Tamko didn’t set out with one particular lyrical theme in mind when she started writing Vagabon, and as a result, this album offers up a spectrum of moods to marinate in. She’s joined by a consortium of friends, who sing along with her in unison. “Home has always been a major theme in my music, and when I say I make music for outcasts, I am also talking about those who feel far from home or uncomfortable where they’re at,” Tamko says. ”To me, home isn’t a physical space so much as it is a mental state.

I’m writing about wanting to feel safe and at home in my body and in my mind and in the community I move in. I want Vagabon to be a project that people searching for the same thing can connect with.”

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LOS ANGELES PHILHARMONIC

Dudamel Conducts Revueltas and Petrushka Los Angeles Philharmonic Gustavo Dudamel, conductor

THURSDAY MAY 12, 2022 8PM FRIDAY MAY 13 8PM

Ricardo LORENZ

Todo Terreno (c. 5 minutes) (world premiere, LA Phil commission) – except friday

REVUELTAS La noche de los Mayas Suite (c. 31 minutes)

Noche de los Mayas (Night of the Mayas) Noche de jaranas (Night of Revelry) Noche de Yucatán (Yucatan Night) Noche de encantamiento (Night of Enchantment); Tema y variaciones

INTERMISSION except friday

STRAVINSKY Petrushka (c. 34 minutes)

The Shrovetide Fair Petrushka’s Cell The Moor’s Cell The Fair (toward evening)

Official Timepiece of the Los Angeles Philharmonic

Programs and artists subject to change.

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TODO TERRENO Ricardo Lorenz (b. 1961) Composed: 2022 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (1=crotales, glockenspiel, sleigh bells, chimes, suspended cymbal, crash cymbal, cabaça, bass drum; 2=triangle, splash cymbal, china cymbal, crash cymbal, suspended cymbal, tam-tam, 2 snare drums; 3=vibraphone, marimba, cowbells, güiro, bongos, 2 tom-toms, floor tom, bass drum; 4=xylophone, triangle), harp, piano, and strings First LA Phil performance: world premiere The compositions of Venezuelan-born Ricardo Lorenz have garnered praise for their fiery orchestrations and rhythmic vitality as well as for raising awareness about global societal challenges that concern the composer. These impressions have earned him two Latin Grammy nominations, multiple commissions and performances of his works at prestigious international festivals such as Carnegie

Hall’s Sonidos de las Américas, Ravinia Festival, Santa Fe Chamber Music Festival, France’s Berlioz Festival, Spain’s Festival Internacional de Música Contemporanea de Alicante, the Festival Cervantino in Mexico, Turkey’s Uluslararasi Summer Festival, and South Korea’s PAN Music Festival, among others. His orchestral compositions have been performed in the United States by the Chicago Symphony Orchestra, Minnesota Orchestra, Detroit Symphony, Dallas Symphony, Atlanta Symphony, American Composers Orchestra, New World Symphony, among many others, and by orchestras in Venezuela, Germany, Spain, Mexico, Brazil, Sweden, Canada, Israel, Argentina, and the Czech Republic.

Mud gets in everywhere. Rocks, big and small, rattle each bone in the body. Every turn of the formless road brings unexpected challenges, both enticing and menacing. Do we succumb to the treacherous terrain, overheated and out of gas, or do we pull ourselves out of the thick, sticky sludge with a renewed sense of who we are? Suddenly, the laser-focus attention spent dodging deep potholes sprinkled on the narrow trail

is interrupted by the glimpse of an idyllic vista that peeks through thick bushes. Could this be our destination?

At that instance, we are simultaneously in heedful and blissful modes, slipping a rusty clutch while pondering our place in the universe.

Todo Terreno translates literally as “all terrain.”

Whether on foot, bike, or on a 4x4 vehicle, good parts of my childhood and adolescence were spent off-roading in the vast and wild countryside of my native Venezuela.

As an adult, I have come to appreciate those early experiences that made me nature-savvy and afforded me an enviable sense of freedom.

I titled the Los Angeles Philharmonic commission Todo Terreno because I feel the music’s irregular rhythmic phrasing and unpredictable harmonic shifts capture the thrill of driving off-road.

Digging deeper, I find that the off-road experience is a compelling metaphor for life, one that fools us into thinking that tools can make us immune to humanity’s frailty while at the same time making us acutely aware that our survival depends upon our respect towards and adaptability to our surroundings.

—Ricardo Lorenz

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LA NOCHE DE LOS MAYAS (THE NIGHT OF THE MAYAS) Silvestre Revueltas (1899–1940) Composed: 1939 Orchestration: 2 flutes (both=piccolo), 2 oboes, 2 clarinets (both=E-flat clarinet), bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, percussion (bongos, caracol, drum with snares, drum without snares, guiro, huehuetl, Indian drum, sonajas, tam-tam, tomtoms, tumbadora, tumkul, xylophone), piano, and strings First LA Phil performance: March 5, 1998, Esa-Pekka Salonen conducting “There is inside me a very peculiar understanding of nature: Everything is rhythm,” Revueltas wrote. “The poet’s language is everyday language.

Everyone understands it or feels it. Music alone has to perfect its own language.

All of that together is what music is to me. My rhythms are booming, dynamic, tactile, visual. I think in images that are melodic strains, that move dynamically.”

Thinking in images that move dynamically is obviously a productive quality in a film composer, and after perennial outsider Silvestre Revueltas broke with Carlos

Chávez and the more institutional Mexican musical establishment, films became the mainstay of his career.

After Redes (1935) and the rupture with Chávez, Revueltas scored or contributed music to eight more films before he died in October 1940.

One of the last of these was La noche de los Mayas, adapted by the director Chano Urueta from a story by Antonio Mediz Bolio, who was born in the state of Yucatán and became an important advocate for Mayan culture. Shot on location in Yucatan jungles, the film concerns a tribe of Mayans still living in traditional ways and their meeting with the modern world in the form of an Indiana Jones-type explorer.

Tragedy ensues, of course, romantic as well as cultural.

Although it received some appreciative reviews in Mexico, the film has been generally neglected, if not scorned.

Its music, however, has long attracted notice. In 1960, the composer and conductor José Yves Limantour arranged music from the 36 cues of Revueltas’ score into a four-movement suite. (Paul Hindemith made a two-movement suite of his own, and the composer and conductor Enrique Diemecke later wrote a percussion cadenza—based on motifs from various Revueltas scores—to fill the indicated

moment in the final movement of Limantour’s suite.)

This suite has the shape of a symphony. The first movement opens as a powerful ritual, a brooding evocation of rooted history with a gently awakening middle section.

The second movement is a dancing scherzo, genial rusticity interrupted by urban sass (“Jarana” indicates both uproarious partying and a type of Mexican dance.) Following is an almost Mahlerian nocturne, with a central interlude for flute and light Indian percussion based on a traditional Yucatan evening song. Following a foreboding introduction, the finale (Night of Enchantment) is a fluid theme and variations, a sacrificial frenzy that exhausts itself in an orgy of percussion.

“All his music seems preceded by something that is not joy and exhilaration, as some believe, or satire and irony, as others believe,” the poet Octavio Paz wrote. “That element, better and more pure… is his deep-felt but also joyful concern for man, animal, and things. It is the profound empathy with his surroundings that makes the works of this man, so naked, so defenseless, so hurt by the heavens and the people, more significant than those of many of his contemporaries.”

—John Henken

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PETRUSHKA Igor Stravinsky (1882–1971) Composed: 1911, rev. 1947 Orchestration: 3 flutes (3rd=piccolo), 2 oboes, English horn, 3 clarinets (3rd=bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, suspended cymbal, snare drum, tam-tam, tambourine, triangle, xylophone), harp, celesta, piano, and strings First LA Phil performance: July 9, 1925, Fritz Reiner conducting The meeting of Diaghilev and Stravinsky was inspired by a performance of the latter playing his piano version of Fireworks in 1909. Diaghilev commissioned him to write The Firebird, and although Stravinsky was 27 and unknown at this time, he still possessed the chutzpah to verbalize his reluctance to compose within constraints or to collaborate with set designer Alexandre Benois and choreographer Mikhail Fokine.

Unlike The Firebird, the idea for Petrushka was Stravinsky’s own. It had haunted him during the final weeks of revisions for Firebird, and when the project was finished he threw himself into the first sketches. Stravinsky wrote to his mother: “…my Petrushka is turning out each day completely new and there are new disagreeable traits in his character, but he delights me because he is

absolutely devoid of hypocrisy.”

The concert version of Petrushka comprises four tableaux—imagine scenes from a storybook come to life. The first tableau depicts the last days of Carnival, 1830, Admiralty Square, old Saint Petersburg. The music opens with a bustling fair day: crowds and glittering attractions everywhere reflected in the constantly shifting rhythms and harmonies, and in orchestration that alternates and ultimately merges high winds and bell-like tones in piano with thrusting low strings, erupting into a fantastic, oddly accented full-orchestra fiesta. Two drummers appear outside a puppet theater, and a drum roll (a connecting device that runs throughout the work) knocks the crowd into pregnant silence. The Magican appears to the mesmerizing twists and turns of the orchestra, featuring an undulating, almost lurching, flute solo, and the sinister spell is cast. Petrushka is introduced with the other major connective device of the work: the “Petrushka chord,” a tone cluster made of the major triads of C and F-sharp that weaves the work together both harmonically and melodically.

Here we also meet the Ballerina and the Blackamoor, and the three together do a warped, angular, yet still quite folksy Russian dance.

Tableau II: Clarinet, bassoon, horn, and muted trumpets evoke Petrushka alone in a gloomy cell.

Piano arpeggios accompany the puppet’s dreaming of freedom,

which escalates to enraged cries in the trumpets and trombones. Solo flute re-enters with a flirty little tune, shifting the mood to portray the Ballerina, whom Petrushka loves. She will tease, but of course wants nothing to do with him.

Who the Ballerina really wants is the Blackamoor, the bad boy who is the center of the third tableau.

A clumsy, banal tune played by solo winds and pizzicato strings, all sounding slightly out of sync with each other, accompanies their lovemaking. Petrushka crashes the party, and the Blackamoor chases him into the crowd.

In the final tableau, after the music of the fair scene, the Blackamoor pursues Petrushka and murders him. The Magician realizes that Petrushka is a puppet, and when Petrushka’s ghost appears the Magician runs away scared; the recurring “Petrushka chord” gives the last laugh. Stravinsky later said he was “more proud of these last pages than of anything else in the score.”

Petrushka opened on June 13, 1911, at the Théâtre du Châtelet in Paris to overwhelming success.

Conducted by Pierre Monteux, the performance was praised as a feat of sophisticated, intellectual theatrical folklorism.

Back in Saint Petersburg, the work was criticized by Russian ears that heard only a patchwork of Russian pop tunes, rural folksong, and ambient noise loosely tethered with “modernist padding,” as Prokofiev called it. —Meg Ryan

ABOUT THE ARTIST

GUSTAVO DUDAMEL

For a biography of conductor Gustavo Dudamel, please turn to page 7.

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LOS ANGELES PHILHARMONIC

Ortiz, Villa-Lobos, and The Firebird with Dudamel Los Angeles Philharmonic Gustavo Dudamel, conductor María Dueñas, violin

VILLA-LOBOS

SATURDAY MAY 14, 2022 8PM SUNDAY MAY 15 2PM

Uirapuru (c. 18 minutes)

Gabriela ORTIZ

Altar de cuerda (c. 25 minutes) (world premiere, LA Phil commission with generous support from the Lenore S. and Bernard A. Greenberg Fund)

Morisco chilango Canto abierto Maya déco

María Dueñas

INTERMISSION STRAVINSKY The Firebird (complete) (c. 45 minutes)

Kastchei’s enchanted garden—The Firebird

enters, pursued by Ivan Tsarevich The Firebird’s dance—Ivan Tsarevich captures the Firebird The Firebird begs to be released—Entrance of the 13 enchanted princesses The princesses play with the golden apples (Scherzo) Ivan Tsarevich appears The Princesses’ round dance—Daybreak Ivan Tsarevitch enters Kastchei’s palace Entrance of Kastchei the Immortal Dialog between Kastchei and Ivan Tsarevitch The princesses plead for mercy The Firebird enters Dance of Kastchei’s retinue bewitched by the Firebird Infernal dance of Kastchei and his subjects The Firebird’s lullaby Kastchei awakens Kastchei’s death Kastchei’s spell is broken

Official Timepiece of the Los Angeles Philharmonic These performances are generously supported in part by the Kohl Virtuoso Violin Fund.

Programs and artists subject to change.

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UIRAPURU Heitor Villa-Lobos (1887–1959) Composed: 1917 Orchestration: piccolo, 2 flute, 2 oboes, English horn, 3 clarinets (3rd=bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, soprano saxophone, violinophone, timpani, percussion (xylophone, glockenspiel, chimes, côco, tamborine, tambor surdo, cymbals, bass drum, tam-tam, réco-réco), 2 harps, celesta, piano, and strings.

First LA Phil performances.

The ballet/tone poem Uirapuru was composed in 1917, in some form. The work shares themes with at least two earlier works and was not orchestrated until 1934. It premiered as a ballet on a gala at the Teatro Colón in Buenos Aires in May 1935 and as a tone poem in Rio de Janeiro a few months later; both performances were conducted by the composer. It is also unclear how much inspiration is owed to Stravinsky’s Firebird.

The stories are somewhat similar (the Uirapuru is a Brazilian songbird that is supposed to bring good luck in love) and the Ballets Russe toured South America in 1917 with a program that included The Firebird. But some VillaLobos biographers say that the Brazilian composer did not know the Russian’s music until his first trip to Paris, in 1923.

In the composer’s scenario, a group of Indian girls go into the jungle in search of the bird. An ugly man tries to join them, but they reject him. Eventually the uirapuru appears to them in the form of a handsome man whom all admire, but the spurned man takes revenge on them by killing him. The uirapuru returns to its bird form and disappears into the jungle.

Villa-Lobos gives individuals clear thematic identity (including actual bird song for the uirapuru), in a colorful score for large orchestra that does suggest early Stravinsky but is also filled with authentic Brazilianisms, all transformed in Villa-Lobos’ characteristic personal style. —John Henken

To date (May, 2022), Mexican composer Gabriela Ortiz has created seven works in the series of “musical altars,” and there is no reason to assume that she will not write more in the future. This is the full list so far: Altar de neón (1995), for four percussionists and chamber orchestra Altar de muertos (1997), for string quartet, water drums, and masks Altar de piedra (2002), for three percussionists and orchestra Altar de fuego (2010), for orchestra Altar de luz (2013), for tape

ALTAR DE CUERDA Gabriela Ortiz (b. 1964) Composed: 2021 Orchestration: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, bass trombone, timpani, percussion (1=suspended cymbal vibraphone, tambourine, tamtam, guiro, maracas, snare drum; 2=crotales, glockenspiel, large gong, xylophone, whip, congas; 3=triangle, gong, bongos, cymbals, snare drum, mark tree, temple block), harp, piano/celesta, solo violin, and strings First LA Phil performance: world premiere.

Altar de viento (2015), for flute and orchestra The fact is that for Gabriela Ortiz, the altar is not a religious concept; instead, its meaning for her tends more towards the symbolic, the spiritual, and the magic; an altar is a place to throw music into relief. Nonetheless, the first work in the series was in fact inspired by a true neon altar she came across in a church. In this most improbable image, she found a cultural syncretism, an erasure of borders, a conceptual eclecticism that can very well be synthesized in the idea of the postmodern, which happens to be one of the main aesthetic tendencies that define her music.

In recent years, Ortiz has established a close working relationship with the Los

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Angeles Philharmonic, a relationship that has produced several works and their respective premieres: Altar de piedra (2002), Téenek (2017), Pico-Bite-Beat (2018), Yanga (2019), and Kauyumari (2021).

When in 2021 the opportunity for a further collaboration arose, the composer was ready (and willing) to write a violin concerto; then, Gustavo Dudamel, the LA Phil’s Music Director, put forth the name of the brilliant young Spanish violinist María Dueñas. Thus, the stage was set for the creation of Altar de cuerda (“String Altar”), for violin and orchestra.

Tackling the issue of form in her new piece, Gabriela Ortiz proceeds according to tradition and chooses the usual threemovement structure, fast-slowfast. In the first movement, Morisco chilango (“Chilango Moorish,” where “chilango” is a moniker for Mexico City natives), the composer has included a few subtle melodic turns that impart a vaguely Mediterranean flavor, a nod to María Dueñas’ Andalusian roots. More generally, Morisco chilango represents one more of Gabriela Ortiz’s visions on cultural appropriation and reappropriation, an important theme in her musical thought. (She herself is, by the way, proudly chilanga).

In Canto abierto (“Open Song”), the distant reference is to the open chapels that were a common feature in 16th-century Mexican churches, built to catechize indigenous communities still reluctant to go inside a temple.

Here, the composer’s operating principle is the creation of chords

that are built and deconstructed, harmonies that slowly grow and contract like a sea swell that can be visually perceived in the score, while the solo violin lyrically floats over the sound waves. At the beginning and at the end of the movement, all wind players (both woodwind and brass) play tuned crystal glasses, which create an additional harmonic field.

Maya déco is a virtuosic, very rhythmic, and fast movement, with a constant dialogue between the solo violin and the orchestra; near the end of the piece, there is a fully written cadenza for the soloist.

The thoughtful listener will discover that there are references to architecture in all of Altar de cuerda’s three movements.

On the one hand, this may be attributed to the fact that those cross-border appropriations that occupy the composer´s thoughts are particularly evident in architecture; on the other hand, it so happens that Gabriela Ortiz’ father, Rubén Ortiz Fernández, was not only a prominent music lover and a musician himself, but also an architect by profession.

It is worth noting that in all of Gabriela Ortiz’ Altars (except for Altar de luz) there is an important (and sometimes protagonistic) presence of percussion instruments; Altar de cuerda includes, besides timpani, three percussionists playing a role related more to color than to rhythm.

Gabriela Ortiz wrote Altar de cuerda between September and December 2021, on a commission from the Los Angeles Philharmonic, and the work is the first concerto dedicated to María Dueñas. —Juan Arturo Brennan

THE FIREBIRD (COMPLETE) Igor Stravinsky (1882–1971) Composed: 1909–1910 Orchestration: piccolo, 3 flutes (3rd=piccolo 2), 3 oboes, English horn, 3 clarinets (3rd=E-flat clarinet), bass clarinet, 3 bassoons (3rd=contrabassoon 2), contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, tam-tam, tambourine, triangle, tubular bells, xylophone), 3 harps, piano, celesta, and strings First LA Phil performance: August 8, 1972, Lawrence Foster conducting It’s intriguing to speculate how the history of music in the last century would have been altered if the extraordinary ballet impresario Sergei Diaghilev had not decided to gamble on the young, relatively unknown Stravinsky. Diaghilev’s Ballets Russes—which the émigré Russian had established in Paris—was just starting to take the West by storm, and Diaghilev wanted a splendid new production for the climax of its season in 1910. His initial plans for better-known composers fell through, so Diaghilev, on a hunch, gave the commission to Stravinsky, then in his late 20s. It was a risk for everyone concerned, since The Firebird would be the first production by the emerging ballet company to feature an entirely new score.

Stravinsky was handed a scenario (devised in part by Fokine, the show’s

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choreographer) that drew on old Russian folklore. The Firebird tells of the downfall of a powerful, ogre-like figure of evil, Kastchei the Deathless, through the intervention of a beautiful, rare bird—the enchanting character of the title. The miraculous Firebird is so called on account of her beautiful feathers, which glitter and flicker like flames.

Kastchei is in the habit of seizing pretty young princesses as captives while turning the knights who arrive to rescue them into stone. Crown Prince Ivan, the protagonist, enlists the Firebird’s help to destroy Kastchei and free his victims.

You can readily hear how Stravinsky’s own imagination must have caught fire (he even set aside his work on a bird of a different feather—the fairytale opera The Nightingale—to take up Diaghilev’s invitation).

The Firebird’s score blends the orchestral wizardry Stravinsky had learned as a student of Rimsky-Korsakov with the vitality of Russian folk music to yield a dazzling, evocative atmosphere.

Throughout his later career, Stravinsky remained especially fond of The Firebird, returning to create three different concert versions that he himself conducted tirelessly (a savvy financial move on the composer’s part).

The Firebird’s musical language shifts between exotic, chromatic gestures to illustrate the supernatural dimension (including a powerful nonWestern scale that would later feature in the Rite of Spring’s harmonic vocabulary) and the sing-song simplicity of folk song for the mortals. The ballet opens with a spooky conjuring, low in the strings, of Kastchei’s magical realm. In his illusory garden, Prince Ivan encounters the Firebird, which is depicted with opulent colors and radiant trills. (Diaghilev spared no expense in the similarly gorgeous costumes Léon Bakst designed for this creature.) A calmly pastoral section follows, featuring Stravinsky’s already characteristically imaginative scoring for woodwinds. Prince Ivan observes the princesses who have been captured by

Kastchei, as they perform their ritual khorovod, or round dance, and falls in love with the one destined to be his bride.

To protect Ivan, the Firebird casts a spell over Kastchei and his monstrous aides. Whipped into motion by Stravinsky’s frenetic rhythms, they are compelled to dance themselves to exhaustion in a savage Infernal Dance. Their paroxysms subside, while a serene Lullaby lulls the hypnotized Kastchei to sleep, its lazy tune first given by the bassoon. Ivan is instructed to destroy the giant egg containing the ogre’s soul, and Kastchei’s power vanishes. A solo horn, intoning the score’s most-famous folk tune, announces the joyful arrival of sunlight. Together with Ivan and his betrothed, the rescued captives celebrate with music that swells and rings out in glorious triumph.

The Firebird clearly shows Stravinsky on the cusp of a new world, mixing the orchestral mastery of his Russian mentors with the rhythmic vitality of the revolutionary about to burst out of his shell. —Thomas May

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MARÍA DUEÑAS

With her impressive musical expressiveness and technical perfection, at the age of only 18, María Dueñas has quickly established herself as one of the most sought-after artists of her generation. Since winning the 2021 Menuhin Competition and the Audience Prize, the Spanish violinist has been in demand worldwide, and in the 2021/22 season María Dueñas will make her debuts with the Pittsburgh Symphony Orchestra, Staatskapelle Berlin, Dresdner Philharmonie, Mozarteumorchester Salzburg, Danish National Symphony Orchestra, Oslo Philharmonic, Royal Liverpool Philharmonic, NHK Symphony Orchestra, as well as at the Grafenegg Festival, the Vienna

Konzerthaus, and Carnegie Hall.

As a BBC New Generation Artist 2021–23, she will collaborate with the most relevant concert halls and orchestras across the U.K. The world premiere of Altar de cuerda, a new violin concerto by Gabriela Ortiz, with the Los Angeles Philharmonic under the baton of Gustavo Dudamel, is a major highlight for the season.

Dueñas has already performed with the San Francisco Symphony, Los Angeles Philharmonic, NDR Elbphilharmonie Orchester, Orchestre Philharmonique du Luxembourg, National Philharmonic Orchestra of Russia, and Lucerne Symphony Orchestra under conductors such as Gustavo Dudamel, Marek Janowski, Manfred Honeck, Vladimir Spivakov, Vassily Sinaisky, Gustavo Gimeno, and Michael Sanderling.

María Dueñas collaborates with world-class soloists such as Matthias Goerne, Itamar Golan, and Robert Kulek in some of the most important festivals, including Rheingau Music Festival, Colmar International Festival, Arts Square Festival Saint Petersburg, and Verbier Festival.

A great deal of first prizes stand out in her career. Most recently, she was awarded the Getting to Carnegie Competition, Vladimir Spivakov International Competition,

Zhuhai Mozart International Competition, and Yankelevitch Prize, to name a few.

Born in Granada (Spain), María Dueñas studies with Prof. Kuschnir at the Music and Art Private University of the City of Vienna and the University of Music and Performing Arts of Grazin, 2016.

María Dueñas plays on the Niccolò Gagliano violin, c. 17?4, kindly offered on loan from Deutsche Stiftung Musikleben, and on the Guarneri del Gesù “Muntz,” c.

1736, on generous loan from Nippon Music Foundation.

GUSTAVO DUDAMEL

For a biography of conductor Gustavo Dudamel, please turn to page 7.

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LOS ANGELES PHILHARMONIC

Dudamel Conducts Beethoven’s 9th Los Angeles Philharmonic Gustavo Dudamel, conductor Jeanine De Bique, soprano Taylor Raven, mezzo-soprano Issachah Savage, tenor José Antonio López, bass Los Angeles Master Chorale Grant Gershon, artistic director Jenny Wong, associate artistic director

THURSDAY MAY 26, 2022 8PM FRIDAY MAY 27 11AM SATURDAY MAY 28 8PM SUNDAY MAY 29 2PM

Gonzalo Esperanza (c. 8 minutes) (world premiere, GARRIDO-LECCA LA Phil commission)

Reencuentro—Remembranza—Porvenir Francisco CORTÉS-ÁLVAREZ

La Serpiente de Colores (c. 10 minutes) (world premiere, LA Phil commission) INTERMISSION

BEETHOVEN

Symphony No. 9 in D minor, Op. 125, “Choral” (c. 65 minutes)

Allegro ma non troppo; un poco maestoso Molto vivace Adagio molto e cantabile Presto—Allegro assai—Allegro assai vivace

Jeanine De Bique, Taylor Raven, Issachah Savage, José Antonio López, Los Angeles Master Chorale

Official Timepiece of the Los Angeles Philharmonic Beethoven’s 9th (5/26 and 5/28) is supported by an Edgerton Foundation grant.

Classical Partner (5/27): KUSC

Programs and artists subject to change.

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ABOUT THE PROGRAM

ESPERANZA Gonzalo Garrido-Lecca (b. 1975) Composed: 2022 Orchestration: 3 flutes (3rd=piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons (3rd=contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, percussion (1=suspended cymbals, xylophone, tambourine; 2=temple blocks, snare drum, tambourine, claves, glockenspiel; 3=tom-toms, marimba, snare drum, claves; 4=vibraphone, tom-toms, bass drum, wood block, glockenspiel, cajón), harp & strings.

First LA Phil performances: world premiere.

Composer Gonzalo GarridoLecca was born in Peru. His works include compositions for orchestra, diverse chamber ensembles, electronic media, piano solo, and voice. He has also written incidental music for theater, film, dance, and video art. He received musical instruction at the National Conservatory of Lima and at the Royal Conservatory of Madrid, in Spain. After a period of residing in France and a return to his home country, he continued his studies in the United States at Michigan State University, where he obtained a doctoral degree in composition and a master’s degree in music theory.

Esperanza is in three brief movements. The first, “Reencuentro,” is inspired by the joy of reunion after moments of hardship. It is followed by “Remembranza,” a mournful movement that symbolizes the remembrance of those who suffered and

were lost. The piece concludes with “Porvenir,” an energetic finale that represents determination to confront the difficult, unresolved challenges that lie ahead. The three parts share thematic and harmonic material, giving unity to the whole. The slower section of the first movement, written in a modified sonata form, anticipates later passages, while its main theme makes a reappearance in the last movement. —Gonzalo Garrido-Lecca

LA SERPIENTE DE COLORES Francisco Cortés-Álvarez (b. 1983) Composed: 2022 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, piccolo trumpet, 2 trumpets, 2 trombones, bass trombone, tuba, timpani, percussion (1=anvil, hi-hat, slapstick, cowbells, cajón, congas, glockenspiel, tubular bells; 2=tam-tam, tom-toms, seed rattle, xylophone; 3=triangle, suspended cymbal, cabasa, bass drum, tam-tam, crotales), piano, harp & strings First LA Phil performances: world premiere.

Winner of the Morton Gould Composition Award (ASCAP) and the Jacob Druckman Orchestral Composition Award (ASMFS), Francisco Cortés-Álvarez has developed a diverse career as composer, arranger, producer, and pedagogue. Francisco pursued a degree in music

composition at the National Autonomous University of Mexico (UNAM), where he won the Gabino Barreda medal; and master’s and doctoral degrees in music at the University of Indiana (IU), where he obtained the Dean’s Prize and held a position as adjunct teacher and director of the Latin American Music Ensemble.

“Shh, shhh… the colorful serpent moves; Shh, shhh… crawling on the ground; Shh, shhh… and it seems like a multicolored rainbow, each time its rattle sounds.”

It is said that a multicolored rattlesnake, which had a fresh-water spring in its tail, used to live among us.

In its wake, it would leave joy and provide water for trees, flowers, and crops.

However, the humans that lived in those lands began to fight among themselves, and those fights scared the snake, which fled underground, leaving drought behind.

Every now and then, the serpent peeks out from below to check whether there is finally peace among humans, but as they continue fighting, the snake hastily returns to the depths, and an earthquake can be felt.

It is said that the snake hasn’t lost hope and still dreams of a day when humans will live in harmony and love each other—then it will return.

La Serpiente de Colores (The Multicolored Snake) is based on a traditional Mexican legend that can be found in the “Third-Grade Spanish Reading Book” of Mexico’s public elementary school system.

— Francisco Cortés-Álvarez

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SYMPHONY NO. 9 IN D MINOR, OP. 125 Ludwig van Beethoven (1770–1827) Composed: 1822–24 Orchestration: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contra-bassoon, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (cymbals, triangle, bass drum), strings, solo quartet, and chorus First LA Phil performance: April 9, 1926, Walter Henry Rothwell conducting Beethoven lived in a revolutionary era, the time of the American and French revolutions and those of Mexico and other Spanish colonies in the New World.

His music also overturned the rules and boundaries of previous orders, and it created fresh paradigms that have influenced the arts ever since. Beethoven has become a representative symbol of the individual genius pushing limits, the artist-as-rebel.

An astonishingly radical new work for its time, the Ninth Symphony certainly supports that defiant loner image of Beethoven. Yet paradoxically, it celebrates the unity of humanity with a vast, all-inclusive embrace.

It is not just a landmark in

music history, but also a touchstone work for public occasions and anniversaries such as this, joyfully affirming universal ideals.

The basic arc of the piece is from chaos and struggle to serenity and jubilation.

That mirrors the course of its creation. The poet Friedrich Schiller published his Ode to Joy in 1785, and Beethoven was much moved by this ecstatic vision. The young composer may have tried to set it to music even before he left his hometown of Bonn in 1792, and he made at least two other attempts before 1817, when he decided to fold it into a symphony in D minor that he had already been sketching for three years. He worked on this new concept for another six years, finishing most of it in 1823. The work finally had its premiere on May 7, 1824, the famous concert at which the now-deaf composer had to be turned around to see the tumultuous applause he could no longer hear.

The Ninth Symphony opens in hushed anticipation, from which an elementally simple theme soon erupts violently.

The dynamic energy and scope of the ideas in this movement suggest creation myths to many, or scientific theories such as the Big Bang.

At this point, Beethoven changed the usual order

of symphonic movements, placing a Scherzo next. A scherzo is typically a dancing, often humorous movement with a contrasting middle section. Beethoven’s dark Scherzo here is relentlessly concentrated, its insistence intensified by fugal imitation.

The contrast is supplied by a graceful hymn that suggests the ultimate joy of the finale.

The slow movement (Adagio) is the peaceful balance to the preceding furies. Beethoven develops two themes to increasing levels of yearning through sophisticated variations.

The introduction of voices in the finale is Beethoven’s most obvious innovation, although he had models in French revolutionary symphonies, and it is still an electrifying moment when the baritone first sings. The chaos of the symphony’s opening returns at the beginning of the movement, from which Beethoven recalls the main themes of the preceding movements, before the baritone calls for new tunes.

The composer’s decades-inthe-making setting of Schiller’s ode—which he freely cut and reordered—emerges at last as an immense and triumphant set of variations, expressing the highest aspirations with music of life-affirming exaltation. —John Henken

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ABOUT THE ARTISTS

GUSTAVO DUDAMEL

For a biography of conductor Gustavo Dudamel, please turn to page 7.

JEANINE DE BIQUE

Trinidadian soprano Jeanine De Bique has in recent years gained international recognition for her “dramatic presence and versatility” (Washington Post) and “sheer endless wealth of color and nuances” (Opernwelt).

The 2021/22 season commenced with role and house debuts as Poppea in Monteverdi’s L’Incoronazione di Poppea with the Budapest Festival Orchestra and Iván Fischer in Budapest, Geneva, and Vicenza, followed by the title role in Handel’s Alcina in Robert Carsen’s acclaimed production at the Paris Opera, conducted

by Thomas Hengelbrock. De Bique is collaborating with the Los Angeles Philharmonic and Gustavo Dudamel, Martin Fröst and the Swedish

Chamber Orchestra, the Vienna Philharmonic and Herbert Blomstedt, the WDR Symphony Orchestra and Manfred Honeck, and giving recitals for the Cincinnati Song Initiative and at Carnegie Hall, which will also be her solo debut at this venue.

Her first solo CD, with Concerto Köln, was released last October by Berlin Classics to outstanding reviews and will be followed by concerts in early 2022. The season will conclude with her role and house debut at the Aix-enProvence Festival as Anaï in Rossini’s Moïse et Pharaon.

De Bique holds a master’s degree from the Manhattan School of Music. Her awards include First Prize at the Young Concert Artists Music Competition, the Arleen Auger Prize at the Hertogenbosch International Vocal Competition, and Third Prize in the Viotti International Music Competition. She was a prizewinner at the Gerda Lissner Vocal Competition (New York), a finalist and study grant award recipient of the 2011 Metropolitan Opera National Council Auditions, and received a study grant from the Licia Albanese-Puccini Foundation.

She is a recipient of the Youth Ambassador for Peace, awarded by the National Commission of UNESCO, Trinidad and Tobago.

SorekArtists.com

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TAYLOR RAVEN

Taylor Raven is a “vocal sensation” (Washington Classical Review) who has quickly established herself in opera, concert, and recital.

Highlights of the 2021/22 season include debuts with Houston Grand Opera in Die Zauberflöte (Third Lady), Washington Concert Opera in Lakmé (Mallika), and North Carolina Opera in Moravec’s Sanctuary Road. On the concert stage, she has made debuts with the Dallas Symphony, Baltimore Symphony, Orchestra Iowa, and a return to

the Los Angeles Philharmonic.

Additional engagements include the world premiere of a song cycle commemorating the 100th anniversary of the Tomb of the Unknown Soldier with UrbanArias and a return to the Lyric Opera of Chicago roster.

Last season, she made debuts with Des Moines Metro Opera in The Queen of Spades (Pauline) and Finger Lakes Opera in The Barber of Seville (Rosina). A recent graduate of the Young Artist Program at LA Opera, she was seen in La clemenza di Tito (Annio), Don Carlo (Tebaldo), Hansel and Gretel (Sandman), and the Barrie Kosky production of The Magic Flute (Second Lady), conducted by James Conlon. As a Filene Artist at Wolf Trap Opera, she performed in The Barber of Seville (Rosina) and L’heure espagnole (Concepción).

On the concert stage, she made her Alice Tully Hall debut, appearing with the American Symphony Orchestra in a concert of Bach arias conducted by Leon Botstein and made her Los Angeles Philharmonic debut as a soloist in the Hollywood Bowl performance of Beethoven’s Choral Fantasy, led by Bramwell Tovey.

ISSACHAH SAVAGE

Dramatic tenor Issachah Savage is garnering acclaim as a “heldentenor par excellence” with “trumpet-like, clear, openthroated, powerful” singing (San Francisco Examiner).

Praised for his “impressive natural instrument” (Opera News), he is the winner of the Seattle International Wagner Competition, earning the main prize, audience favorite prize, orchestra favorite prize, and a special honor by Speight Jenkins.

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In the 2021/22 season, Savage returns to LA Opera to sing the title role in Tannhäuser. On the concert stage, he sings Beethoven’s Symphony No. 9 with the National Symphony Orchestra (Gianandrea Noseda), Dallas Symphony Orchestra (Fabio Luisi), and Los Angeles Philharmonic (Gustavo Dudamel), and returns to Cathedral Choral Society for Smyth’s March of the Women.

Recent debuts include St. Louis Symphony and Handel and Haydn Society for Beethoven’s Symphony No. 9. He made his European debut as Bacchus in Ariadne auf Naxos at the Théâtre du Capitole in Toulouse and sang the part of Siegmund in Die Walküre at the Opéra National de Bordeaux, conducted by Paul Daniel.

In concert, he sang Verdi’s Messa da requiem with the Detroit Symphony Orchestra and the Melbourne

Symphony in Australia.

He made his LA Opera debut as Narraboth in Salome, conducted by James Conlon, and was heard with the Los Angeles Chamber Orchestra in Kurt Weill’s Lost in the Stars and in Beethoven’s Symphony No. 9 with Gustavo Dudamel and the Los Angeles Philharmonic at the Hollywood Bowl.

The tenor made his Metropolitan Opera debut as Don Riccardo in Verdi’s Ernani. He sang Siegmund in Die Walküre at the Canadian Opera Company and made his mainstage debut as Bacchus in Ariadne auf Naxos at Seattle Opera. He debuted at Houston Grand Opera and Austin Lyric Opera as Radames in Aida.

He holds a bachelor’s degree in Vocal Performance from Morgan State University and a master’s degree in Opera Voice Performance from the Catholic University of America.

JOSÉ ANTONIO LÓPEZ

Baritone José Antonio López is a versatile singer who moves smoothly between styles and eras, dividing his activity between concerts, opera, and recitals, always paying great attention to the use of his voice to best bring out the music. His recent engagements in concert halls such as Berliner Philharmonie, Hamburg Laeiszhalle, Vienna Musikverein, and Salzburg Mozarteum, as well

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as with orchestras such as Cincinnati Symphony, BBC Symphony and Philharmonic, Dresdner Festspielorchester, La Cetra Barockorchester, and Budapest Festival Orchestra, show his great moment, working with conductors such as Afkham, Bolton, Dudamel, Fischer, Haselböck, Luisotti, Marcon, Mena, Noseda, Pons, and Rouset. In recent years, he has also greatly increased his operatic appearances, in which Handel operas and contemporary works have an important presence, with forays into Mozart, Verdi, Puccini, Wagner, and Strauss repertoire. Highlights of his engagements in 2021/22 include Ariadne auf Naxos and Das Lied von der Erde with Matthias Pintscher in Barcelona, Bach’s Mass in B minor with La Cetra Barockorchester and Marcon in Basel, and Bach’s Christmas Oratorio at the Vienna Musikverein.

LOS ANGELES MASTER CHORALE

The Los Angeles Master Chorale is our country’s leading independent professional choral organization and one of Southern California’s most vibrant cultural treasures.

It is led by Grant Gershon, Kiki & David Gindler Artistic Director, and President and CEO Jean Davidson, and is a founding resident company of The Music Center and choir-in-residence at Walt Disney Concert Hall.

The Chorale reaches over 175,000 people a year through its concert series at Walt Disney Concert Hall, its international touring of innovative works, and its performances with the LA Phil and others. Its discography includes eight recordings under Gershon and the Deutsche Grammophon recording of Mahler’s Symphony No. 8 with the LA Phil, for which the Chorale won a Best Choral Performance Grammy with the Los Angeles Children’s Chorus, National Children’s Chorus, and

Pacific Chorale. The Chorale is featured on such movie soundtracks as Star Wars: The Rise of Skywalker.

Throughout 2018 and 2019, the Chorale toured its production of Lagrime di San Pietro, directed by Peter Sellars, earning rave reviews across the globe. Suddeutsche Zeitung called the 2019 Salzburg Festival performance “painfully beautiful,” while the Sydney Morning Herald praised Lagrime di San Pietro as “stunning.”

The Los Angeles Master Chorale is committed to fostering music education in schools. Its education programs include residencies that encourage students to write and perform their own songs, an expansive Oratorio Project for high school students, and the annual High School Choir Festival, which brings teenagers from around the Southland to perform in Walt Disney Concert Hall.

In 2017, the Chorale was inducted into the American Classical Music Hall of Fame. lamasterchorale.org

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ORGAN

Power to the People!

Nathaniel Gumbs: Hold On, We Shall Overcome!

Nathaniel Gumbs, organ

SUNDAY MAY 29, 2022 7:30PM

HOLLINS

Concert Overture No. 2 in C minor

FRANCK

Choral No. 1 in E major

KARG-ELERT

“Harmonies du Soir,” Op. 72, No. 1 (from Three Impressions for Organ)

PRICE

First Sonata for Organ INTERMISSION

TRADITIONAL, arr. Joseph JOUBERT

“Hold On” (world premiere, commissioned

by N. Gumbs)

TRADITIONAL, arr. John STODDART

“Soon-a will be done” (world premiere, commissioned by N. Gumbs)

TRADITIONAL, arr. William BOLCOM

“What a Friend We Have in Jesus” (from Gospel Preludes, Book 1)

Uzee BROWN

Church Yard Chatter

TRADITIONAL, arr. Carl HAYWOOD

“We Shall Overcome”

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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HOLD ON, WE SHALL OVERCOME! Nathaniel Gumbs, Director of Chapel Music at Yale, offers a program of rich colors and textures, ranging from César Franck’s Choral No. 1 in E major to lesser-known masterworks by the blind British composer and keyboard virtuoso Alfred Hollins to America’s greatest Black female composer, Florence Price. This “Power to the People!” festival appearance reflects his deep personal association with the Black church and the vibrant repertoire of gospel songs, hymns, and spirituals, arranged by some of today’s most prominent Black composers.

Born blind in Yorkshire, England, Alfred Hollins (1865–1942) quickly rose to prominence in Victorian England as both a concert organist and pianist. After a program at London’s Crystal Palace in the presence of Queen Victoria, in which he performed Beethoven’s Emperor Concerto, he studied with the famed conductor/ composer/pianist Hans von Bülow in Berlin. A series of concerts in Germany, where he played three concertos in one evening (by Liszt, Schumann, and Beethoven), catapulted him into international notoriety that led to decades of international touring as a pianist and organist.

In 1904, he was in New Zealand and Australia; between 1907 and 1916, he made numerous trips to South Africa, and in

1925-26, he undertook a 65city tour of the United States, sponsored by the Skinner Organ Company. It is estimated that he traveled more than 600,000 miles as a touring artist. The Concert Overture in C minor is a brief sturm und drang work whose language is reminiscent of another favorite of Queen Victoria: Felix Mendelssohn.

Hollins died in Edinburgh in 1942 at the age of 76.

César Franck (1822–1890) stands as a cornerstone of the French organ tradition, leading an intrepid group of younger composers in Paris at a time when the imposing heights of Wagner’s chromaticism influenced French music as much as a rediscovery of earlier French traditions.

Written in the last year of his life, his Three Chorals for organ represent a mastering of motivic development. In Choral No. 1 in E major, Franck invites a patient observer to discern and discover relationships between motives in a form which is basically a theme followed by three variations.

At the same time, the almost hypnotic alternation between three manuals, all carefully indicated in the score, suggests not only antiphonal use of the instrument, but symbolism assigned to each manual as well.

Sigfrid Karg-Elert (1877–1933) preferred composing for the organ and harmonium, and his musical style ranged from strict fugal writing in the tradition of Bach to ethereal evocations of nature, as can

be heard in the Harmonies du Soir, composed in 1909.

In 2009, a treasure-trove of music was found in the abandoned summer home of Florence Price (1887–1953), the most prominent Black female composer of her generation and one of the most important American composers of the early 20th century. Born in Little Rock, she attended the New England Conservatory and was the first Black woman to be recognized as an important symphonic composer.

Her output includes four symphonies, four concertos, songs, chamber music, a large body of works for piano, and several fine pieces for organ.

The First Sonata for Organ is a straight-ahead concert work in the mold of the Elgar sonata.

The first movement begins with a bold statement that leads to an extended pedal melody that introduces the main theme for the movement. The cantabile second movement leads to a brilliant toccatalike finale that concludes with a broad chorale-style passage for full organ.

Like her contemporary William Grant Still, Florence Price sought to infuse many of her concert works with the bluesy musical language and traditional melodies of the Black spiritual. This rich body of music serves as the source of inspiration for the second half of Nathaniel Gumbs’ Power to The People! program.

In The Oxford Book of Spirituals, the great composer/

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arranger/conductor Moses Hogan writes, “spirituals came to be vehicles for sustaining the spirits of those in bondage and for aiding the escapes of some to a life of freedom in the North… By the end of the Civil War, these songs had become a significant part of the cultural legacy of Black people, and some…recognized the value in preserving them…at institutions such as Fisk University, in Nashville.” Spirituals were an important part of the first European tour by the Fisk Jubilee Singers in 1871, and after that, spirituals became part of the core repertoire of church, collegiate, and civic choirs throughout the U.S. and Europe.

Nathaniel Gumbs also presents the world premiere performances of arrangements of two beloved spirituals, “Hold On” by Joubert and “Soon-a will be done” by Stoddart.

Joseph Joubert is a New York pianist, composer, and conductor. The son of a Baptist minister, he made his Town Hall debut at the age of 16 and won the National Association of Negro Musicians’ national piano competition in 1980. The spiritual “Hold On,” which is also known as “Gospel Plow” and “Keep Your Hand on the Plow,” is thought to have been a song of encouragement for those seeking to travel north, with “the plow” being a well-known reference to the Big Dipper constellation that points northward.

John Stoddart is a native of Philadelphia, where he grew

up singing and playing piano in church. As a recording artist, music producer, educator, and singer/songwriter, Stoddart’s credits range from Grammy nominations to appearances at the Inaugural Prayer Breakfasts of Presidents Bill Clinton and George W. Bush.

William Bolcom (b. 1938) is a Pulitzer Prize-winning composer, a recipient of the National Medal of Arts, and has multiple Grammy nominations to his credit. His compositions cover the spectrum of 20thcentury styles, from the avantgarde to ragtime and cheeky parlor songs. Gospel Preludes is a four-volume work composed for organ between 1979 and 1984 and includes a setting of the much-loved hymn “What a Friend We Have in Jesus.” The words were composed in 1855 by the Irish-born Canadian Joseph Scriven with music by attorney Charles Converse. The tune is alternatively known as “Converse” after the composer or as “Erie” after the town in Pennsylvania where he lived.

The music of Uzee Brown, Jr. (b. 1950) appears in film soundtracks, on the Broadway stage, and in concert halls throughout the U.S. He was Music Director of the historic Ebenezer Baptist Church Choir for 12 years and currently serves as Professor of Music and Chair of the Creative and Performing Arts Division at Morehouse College. Churchyard Chatter is the first of a set of compositions entitled Three Pieces for Organ written for

Elaine Satterwhite, that are intended to reflect church life in some way. Churchyard Chatter captures the vivid experiences from the composer’s own church background with worshippers gathering before Sunday morning service, chatting, laughing, gossiping, and generally enjoying a moment of social respite.

The program concludes with one of the most powerful songs to come out of the Black church: “We Shall Overcome,” in an arrangement by Carl Haywood. The song is believed to have become popular as a protest song during a cigar workers’ strike in Charleston, SC, in 1945, but its origins date back to a gospel hymn, “I’ll Overcome Some Day,” written

by Rev. Charles Albert Tindley of Philadelphia in 1901. It was published in 1947 and was taken up in the ’50s and ’60s

by Pete Seeger and Joan Baez, to name just two. President Johnson famously used the phrase in a 1965 congressional address following the “Bloody Sunday” riots, and the words were recited by Martin Luther King, Jr., in his final sermon, delivered in Memphis, TN, four days before his assassination.

Carl Haywood is internationally recognized as a composer/ arranger, educator, and organist.

He has an impressive catalog of choral and keyboard works and currently serves as Director of Choral Activities and Conductor of the Concert Choir and Spartan Chorale at Norfolk State University. —Thomas Neenan

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NATHANIEL GUMBS

Nathaniel Gumbs is a native of the Bronx, NY, and has performed throughout the United States and abroad, including Antigua, St. Thomas, Ghana, Paris, and Munich.

He currently serves as Director of Chapel Music at Yale University where he works with students, faculty, and guests to coordinate music for three worshiping communities: the University Church in Battell Chapel, and at Yale Divinity School in both Marquand Chapel and at Berkeley Divinity School.

Dr. Gumbs earned his undergraduate degree from Shenandoah Conservatory in Virginia, his Master of Music degree from Yale University, and in 2021 completed a Doctor of Musical Arts degree at the Eastman School of Music.

Nathaniel’s principal teachers include Steven Cooksey, David Higgs, and Martin Jean.

Prior to his position at Yale, Gumbs served as Director of

Music and Arts and Church Organist at Friendship Missionary Baptist Church in Charlotte, NC, where he led several hundred volunteer musicians and staff in four choirs and other ensembles.

He has also been a frequent guest musician at Abyssinian Baptist Church in Harlem and served as organist and clinician for the Hampton University Ministers’ Conference.

In 2017, The Diapason magazine recognized Nathaniel as one of 20 outstanding organists under 30 for his achievement in organ performance and church music.

In 2018, Nathaniel curated the opening Hymn Festival (Singing Diverse Music in The New Church) for the Hymn Society’s annual conference.

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WALT DISNEY CONCERT HALL ORGAN – 2022 STOP LIST

GREAT – MANUAL II

32' 16' 16' 16' 8' 8' 8' 8' 8' 8' 5-1/3' 4' 4' 3-¹⁄₅' 2-2/3' 2' III VIII IV VII 32' 16' 8' 4' 8'

Violonbasse Prestant Violonbasse Bourdon Principal Diapason à pavillon Violoncelle Flûte harmonique Chimney Flute Bourdon Grand Nasard Octave Spire Flute Grande Tierce Octave Quinte Super Octave Grande Fourniture Mixture Cymbale Corneta Magna Contre Basson Basson Basson Basson Trompeta de Los Angeles Sostenuto

POSITIVE – MANUAL I

16' 8' 8' 8' 8' 8' 4' 4' 2-2/3' 2' 2' 1-³⁄₅' 1-1/3' IV 16' 8' 8'

Quintaton Principal Unda Maris Gambe Flûte harmonique Gedackt Octave Hohlflöte Nasard Super Octave Waldflöte Tierce Larigot Mixture Bass Clarinet Trompette Cromorne

8' 8' 4'

16' 8' 4' 8'

Clarinet Cor anglais Clairon Tremolo Llamada Tuba Llamada Tuba Llamada Tuba Trompeta de Los Angeles Harp Celesta Sostenuto

4'

8' 16' 8' 4'

Tromba Clarion Tremolo Chimes Trompeta de Los Angeles Llamada Tuba Llamada Tuba Llamada Tuba Llamadas on Great Sostenuto Cymbelstern Campanitas Pajaritos

SWELL – MANUAL III

16' 8' 8' 8' 8' 8' 8' 8' 4' 4' 2-2/3' 2' 1-³⁄₅' 1' III-V 16' 8' 8' 8' 4'

8' 8'

Bourdon Diapason Flûte traversière Bourdon Viole de Gambe Voix céleste Dulciane doux Voix angélique Principal Flûte octaviante Nasard Octavin Tierce Piccolo Plein-jeu harmonique Bombarde Trompette Hautbois Voix humaine Clairon Fast Tremulant Slow Tremulant Trompeta de Los Angeles Llamada Tuba Sostenuto

LLAMARADA – MANUAL IV

8' 4' V V 16' 8'

Flautado grande Octava real Lleno fuerte Compuestas Contra Tromba Tromba

PEDAL

32' 32' 32' 16' 16' 16' 16' 16' 10-2/3' 8' 8' 8' 8' 4' 4' V 64' 32' 32' 16' 16' 16' 16' 16' 8' 8' 8' 8' 4' 4'

Flûte Violonbasse Bourdon Flûte Prestant Violonbasse Subbass Bourdon Grosse Quinte Octave Flûte Violoncelle Bourdon Super Octave Flûte Mixture Contre Basson (b) Contre Bombarde Contre Basson Grande Bombarde Llamada Tuba Contra Tromba Basson Bass Clarinet Llamada Tuba Trompeta de Los Angeles Basson Clarinet Trompeta de Los Angeles Llamada Tuba Pedal Chimes Pedal Divide

PERFORMANCES MAGAZINE P39

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NEWS EXTRA

GUSTAVO DUDAMEL AND THE LA PHIL’S MAHLER 8TH RECORDING WINS A GRAMMY® Music & Artistic Director Gustavo Dudamel and the Los Angeles Philharmonic’s Deutsche Grammophon recording of Mahler’s Symphony No. 8, “Symphony of a Thousand,” won the GRAMMY® Award for Best Choral Performance at the 64th Annual GRAMMY Awards in April 2022. The award marks the third year in a row that recordings

by Dudamel and the LA Phil earned a GRAMMY win, following a 2020 recording of Andrew Norman’s Sustain and a 2021 album of the complete symphonies by Charles Ives that each earned the award for Best Orchestral Performance.

Gustav Mahler’s mighty Symphony No. 8 in E-flat major spans a universe of emotions, channeled through everything from passages of intimate reflection to overwhelming outbursts of choral and orchestral sound. Gustavo Dudamel said, “Mahler’s ‘Symphony of a Thousand’ has never felt more relevant than at this moment. When every headline seems to be about violence and division, this towering work takes a massive assembled musical force, and brings it together in an ecstatic, rapturous statement of joyful redemption.”

Gustavo Dudamel’s new recording of this monumental work (available through Apple Music in their new immersive Spatial Audio format, with support for Dolby Atmos®) builds on foundations set early

during his tenure as Music & Artistic Director of the Los Angeles Philharmonic. The LA Phil’s Mahler Project, a nearsuperhuman undertaking that presented the composer’s nine symphonies within a month in 2012, attracted global attention and rave reviews. The LA Phil has since programmed Mahler’s music at home and on tour, deepening their sense of its meaning and preparing the way for their captivating May 2019 performance of Symphony No. 8, hailed by StageandCinema.com as “a once-in-a-lifetime experience.”

Although known since the time of its initial 1910 performance as the “Symphony of a Thousand,” in Dudamel’s vision the work was richly served by a total of 346 performers.

The Los Angeles Philharmonic was joined by the Los Angeles Master Chorale, Pacific Chorale, Los Angeles Children’s Chorus, National Children’s Chorus, and soloists Tamara Wilson, Leah Crocetto, Erin Morley, Mihoko Fujimura, Tamara Mumford, Simon O’Neill, Ryan McKinny, and Morris Robinson.

Maestro Dudamel, reported the Los Angeles Times, “had the orchestra, chorus, and soloists sculpt phrases as though they were questions needing deep investigation. One idea followed

the next as in an inexorable argument that, when it reached the end of the movement, was not just physically thrilling but like discovering the inevitable and the ineffable.” Gustavo Dudamel and the Los Angeles Philharmonic’s recording of Symphony No. 8 received two nominations for the 2022 GRAMMY Awards—Best Choral Performance (winner) and Best Engineered Album, Classical.

The GRAMMY®, which celebrates both artistic and technical achievement, is the recording industry’s most prestigious award.

FEATURED ARTISTS: Los Angeles Philharmonic Gustavo Dudamel, Music & Artistic Director Tamara Wilson, Leah Crocetto, Erin Morley, sopranos Mihoko Fujimura, Tamara Mumford, altos Simon O’Neill, tenor Ryan McKinny, baritone Morris Robinson, bass Los Angeles Master Chorale Grant Gershon, artistic director Jenny Wong, associate artistic director Pacific Chorale Robert Istad, artistic director Los Angeles Children’s Chorus Fernando Malvar-Ruiz, artistic director National Children’s Chorus Luke McEndarfer, artistic director

P40 PERFORMANCES MAGAZINE

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PERFORMANCES MAGAZINE 21

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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 January 2021 and December 2021.

$1,000,000 AND ABOVE Anonymous (3)

Judith and Thomas

L. Beckmen and Robert Judith and Thomas L. Ann Beckmen

Ronus Live Nation-Hewitt Silva Concerts, LLC

$500,000 TO $999,999 Norman and Sadie David and Linda Shaheen

Lee

Foundation

Music Center

Foundation

$200,000 TO $499,999 Anonymous (3) Amazon Studios Colburn Foundation

County of Dunard Fund USA Los Angeles Max H. Gluck The Walt and Lilly Foundation Disney Foundation Tylie Jones

Terri and Mr. and Mrs. Jerry M. Kohl Jason O’Leary Anne Akiko Meyers Barbara and and Jason Subotky Jay Rasulo

Sue Tsao

$100,000 TO $199,999 Anonymous Nancy and Leslie Abell The Blue Ribbon The Walt Disney Company

The Eisner Foundation Jenny Miller Goff Lenore S. and Bernard A. Greenberg Fund

Linda May and Jack Suzar Mr. and Mrs. David Meline Molly Munger and Stephen English

Music Center Sandy and Christian Stracke Foundation Barry D. Pressman Ellen GoldsmithThe Music Man Richard and Vein and Jon Vein Foundation Ariane Raffetto Pasadena Showcase Rosenthal Family House for the Arts Foundation

Marti C. Farley Ms. Lisa Field David and Eve Ford Alfred Fraijo Berta and Frank Gehry Kiki Ramos Gindler and David Gindler Alexandra S. Glickman and Gayle Whittemore Lucy S. Gonda MA, Creative Arts Therapies Good Works Foundation and Laura Donnelley Gabrielle Starr and John Harpole Mr. and Mrs. Enrique Hernandez, Jr. Yvonne Hessler The Hirsh Family

Barbara and Amos Hostetter Ms. Teena Hostovich and Mr. Doug Martinet Mr. and Mrs. James L. Hunter Monique and Jonathan Kagan W.M. Keck Foundation Darioush and Shahpar Khaledi Dr. Ralph A. Korpman The Norman and Sadie Lee Foundation Los Angeles County Department of Arts and Culture Ashley McCarthy and Bret Barker

Barbara and Buzz McCoy Maureen and Stanley Moore National Endowment for the Arts Soham Patel and Jennifer Broder M. David and Diane Paul Mrs. Louise Peebles Peninsula Committee Ms. Linda L. Pierce Lorena and R. Joseph Plascencia James and Laura Rosenwald/Orinoco Foundation Wendy and Ken Ruby Nancy S. and Barry Sanders Debra Wong Yang and John W. Spiegel

Deanie and Jay Stein Marilyn and Eugene Stein Mr. Michael L. Stern Ronald and Valerie Sugar Hideya Terashima and Megan Watanabe Ms. Sherry Hall Tomeo and Mr. Don Tomeo John and Marilyn Wells Family Foundation Alyce de Roulet Williamson Margo and Irwin Winkler Ellen and Arnold Zetcher

Oleg and Tatiana Butenko California Office of the Small Business Advocate Esther S. M. Chui Chao Dan Clivner

Mr. Richard W. Colburn Donelle Dadigan Lynette and Michael C. Davis Orna and David Delrahim Malsi Doyle-Forman and Michael Forman

Van and Francine Durrer Edison International Geoff Emery Specialty Family Foundation Marianna J. Fisher and David Fisher

Mr. and Mrs. Josh Friedman William Kelly and Tomas Fuller Drs. Jessie and Steven Galson The Rosalinde and Arthur Gilbert Foundation

$50,000 TO $99,999 Anonymous (6) Robert J. Abernethy Mr. Gregory A. Adams Julie Andrews Ms. Kate Angelo and Mr. Francois Mobasser GRoW @ Annenberg Debra and Benjamin Ansell David Bohnett Foundation Lynn A. Booth Bob and Reveta Bowers Linda and Maynard Brittan Kawanna and Jay Brown Andrea ChaoKharma and Kenneth Kharma

R. Martin Chavez and Christian Lundberg Chivaroli and Associates, Tiffany and Christian Chivaroli Mr. and Mrs. Robert Cook Kelvin and Hana Davis, in honor of Mary Davis Nancy and Donald de Brier Rafael & Luisa de MarchenaHuyke Foundation Kathleen and Jerry L. Eberhardt Louise and Brad Edgerton/Edgerton Foundation Jane B. and Michael D. Eisner

$25,000 TO $49,999 Anonymous (4) Anonymous in memory of Dr. Suzanne Gemmell Airbnb The Herb Alpert Foundation Miles and Joni Benickes

Susan and Adam Berger Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. Jill Black Zalben Michele Brustin Steven and Lori Bush

22 PERFORMANCES MAGAZINE

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Mr. James Gleason Robert and Lori Goodman Liz and Peter Goulds Mr. and Mrs. Ken Gouw Renée and Paul Haas Vicken and Susan J. Haleblian Harman Family Foundation Mr. Philip Hettema Fritz Hoelscher JPMorgan Chase Foundation Jo Ann and Charles Kaplan

Mr. and Mrs. Joshua R. Kaplan Linda and Donald Kaplan Terri and Michael Kaplan Paul Kester Ms. Sarah H. Ketterer Vicki King Mr. and Mrs. Kenneth N. Klee Lana Del Rey Mr. and Mrs. Keith Landenberger Ken Lemberger and Linda Sasson Renee and Meyer Luskin

Roger Lustberg and Cheryl Petersen Theresa Macellaro /The Macellaro Law Firm The Seth MacFarlane Foundation Dwayne and Eileen McKenzie Ms. Irene Mecchi David and Margaret Mgrublian Michael and Lori Milken Family Foundation

Joel and Joanne Mogy Anonymous Mr. Robert W. Olsen Mr. and Mrs. Bruce Peters Ross Endowment Fund Linda and Tony Rubin Katy and Michael S. Saei Mr. Lee C. Samson Ron and Melissa Sanders Ellen and Richard Sandler Elizabeth and Justus Schlichting

Mr. and Mrs. Gerry Schwartz Randy and Susan Snyder Lisa and Wayne Stelmar Dwight Stuart Youth Fund Priscilla and Curtis S. Tamkin Michael Frazier Thompson Mr. and Mrs. Thomas E. Unterman David H. Vena Noralisa Villarreal and John Matthew Trott

Debra and John Warfel Stasia and Michael Washington Mindy and David Weiner WHH Foundation Bob and Nita Hirsch Family Foundation Tye Ouzounian and Karyn A. Wong Karl and Dian Zeile Zolla Family Foundation

Marion and Tod Hindin Gerry Hinkley and Allen Briskin Liz Levitt Hirsch Mr. Tyler Holcomb Mr. and Mrs. Daniel Paul Horwitz Mr. Glenn P. Jaffe Mr. Eugene Kapaloski Tobe and Greg Karns Mr. and Mrs. Robert A. Kasirer Sandi and Kevin Kayse Mr. and Mrs. Stephen Keller Winnie Kho and Chris Testa Remembering Lynn Wheeler Kinikin Larry and Lisa Kohorn League of American Orchestras’ Catalyst Fund David Lee Allyn and Jeffrey L. Levine

Saul Levine Dr. Stuart Levine and Dr. Donna Richey Mr. and Mrs. Simon K.C. Li Anita Lorber The Mailman Foundation Raulee Marcus Jonathan and Delia Matz Marcy Miller Mr. Weston F. Milliken Mr. John Monahan Ms. Christine Muller and Mr. John Swanson Mr. and Mrs. Dan Napier Shelby Notkin and Teresita Tinajero Mr. Gary L. Ogden Christine M. Ofiesh and Arthur L. Zussman Mr. Charles B. Ortner Ana Paludi and Michael Lebovitz Gregory Pickert and Beth Price

Mr. and Mrs. Arnold Porath Cathleen and Scott Richland James D. Rigler/ Lloyd E. Rigler - Lawrence E. Deutsch Foundation Ms. Anne Rimer John Peter Robinson and Denise Hudson Jennifer and Evan Rosenfeld Tom Safran The SahanDaywi Foundation Dena and Irv Schechter/ The Hyman Levine Family Foundation: L’DOR V’DOR Evy and Fred Scholder Family Mr. James J. Sepe Jill and Neil Sheffield Mr. and Mrs. Howard A. Sherwood Grady and Shelley Smith

Mr. and Mrs. Richard Sondheimer Angelina and Mark Speare Mr. Lev Spiro and Ms. Melissa Rosenberg Joseph and Suzanne Sposato Mrs. Zenia Stept Tom Strickler Tracey BoldemannTatkin and Stan Tatkin Elinor and Rubin Turner Nancy Valentine Tee Vo and Chester Wang Warner Bros.

Ms. Kelly Weinhart-Henry and Ms. Bridgett Henry Libby Wilson, MD Mahvash and Farrok Yazdi Katiana and Tom Zimmerman Kevork and Elizabeth Zoryan David Zuckerman and Ellie Kanner

Mr. Mark and Pat Benjamin Benjamin Family Foundation Suzette and Monroe Berkman Mr. Kenneth Blakeley Mitchell Bloom Mr. and Mrs. Hal Borthwick

Mr. and Mrs. Steven Bristing Campagna Family Trust Chevron Products Company Mr. David Colburn Mr. and Mrs. Richard W. Cook Alison Moore Cotter

Ms. Rosette Delug The Randee and Ken Devlin Foundation Tim and Neda Disney Mr. and Mrs. Brack W. Duker Dr. Paul and Patti Eisenberg

Ms. Robin Eisenman and Mr. Maurice LaMarche Bonnie and Ronald Fein Mr. Tommy Finkelstein and Mr. Dan Chang Ella Fitzgerald Charitable Foundation

$15,000 TO $24,999 Anonymous (8) Drew and Susan Adams Honorable and Mrs. Richard Adler Bobken and Hasmik Amirian The Aversano Family Trust Ms. Elizabeth Barbatelli Susan Baumgarten Mr. and Mrs. Phil Becker Dr. William Benbassat Robert and Joan Blackman Family Foundation Mr. and Mrs. Wade Bourne Ying Cai and Wann S. Lee Foundation Ms. Nancy Carson and Mr. Chris Tobin Hyon Chough and Maurice Singer Sarah and Roger Chrisman Mr. and Mrs. Jonathan Cookler

Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Jennifer Diener Julia Stearns Dockweiler Charitable Foundation Janet and Larry Duitsman Dr. and Mrs. William M. Duxler Bob and Mary Estrin Austin and Lauren Fite Foundation Foothill Philharmonic Committee Ms. Kimberly Friedman Gary and Cindy Frischling Goodman Family Foundation Allen Greenfield and Vivian Feintech Mr. Bill Grubman Stephen T. Hearst Diane Henderson MD Carol Henry

$10,000 TO $14,999 Anonymous (4) Mr. Robert J. Abernethy B. Allen and Dorothy Lay Art and Pat Antin Ms. Judith A. Avery Bank of America Judy and Leigh Bardugo

Mrs. Linda E. Barnes Stephanie Barron Mr. Joseph A. Bartush Newton and Rochelle Becker Charitable Trust Sondra Behrens Phyllis and Sandy Beim Maria and Bill Bell

PERFORMANCES MAGAZINE 23

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Daniel and Maryann Fong Tatiana Freitas Joan Friedman, Ph.D. and Robert N. Braun, M.D. Dr. and Mrs. David Fung Dr. and Mrs. Bruce Gainsley Greg and Etty Goetzman Harriett and Richard E. Gold Mr. and Mrs. Louis L. Gonda Mr. and Mrs. Daniel M. Gottlieb Tricia and Richard Grey Mr. and Mrs. Paul Guerin Roberta L. Haft and Howard L. Rosoff Mr. and Mrs. Irwin Helford and Family Karen Hillenburg

Linda Joyce Hodge Mr. Raymond W. Holdsworth Joyce and Fredric Horowitz 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 Mr. Mark Kim and Ms. Jeehyun Lee Mr. and Mrs. Stephen A. Kolodny Sandra Krause and William Fitzgerald Bob and Pamela Krupka N Kubasak Katherine Lance

Mr. and Mrs. Norman A. Levin Randi Levine Ms. Agnes Lew Marie and Edward Lewis Maria and Matthew Lichtenberg Ellen and Mark Lipson Los Angeles Philharmonic Committee Macy’s Marshall Field’s Sandra Cumings Malamed and Kenneth D. Malamed Mr. and Mrs. Stanley Maron Emil Ellis Farrar and Bill Ramackers Vilma S. Martinez, Esq. Leslie and Ray Mathiasen

Lawry Meister Ms. Marlane Meyer Mrs. Judith S. Mishkin Ms. Susan Morad at Worldwide Integrated Resources, Inc. Wendy Stark Morrissey Mrs. Lillian Mueller Ms. Kari Nakama Anthony and Olivia Neece Kenneth T. and Eileen L. Norris Foundation Mr. and Mrs. Peter O’Malley D. Orenstein and J. Lu Loren Pannier Nancy and Glenn Pittson Mrs. Paula Pitzer Lee Ramer Frederick and Julie Reisz

Hon. Vicki Reynolds and Mr. Murray Pepper Gary Satin Alexander and Mariette Sawchuk Samantha and Marc Sedaka Joan and Arnold Seidel Dr. Donald Seligman and Dr. Jon Zimmermann Neil Selman and Cynthia Chapman Gloria Sherwood Pamela and Russ Shimizu The Sikand Foundation Mr. and Mrs. Peter R. Skinner Mr. and Mrs. Mark Stern James C. Stewart Charitable Foundation

Mr. Akio Tagawa and Ms. Yui Suzuki Mr. and Mrs. Randall Tamura Dr. James Thompson and Dr. Diane Birnbaumer Warren B. and Nancy L. Tucker Frank Wagner and Lynn O’Hearn Wagner Dr. Marlene M. Schultz and Philip M. Walent Bryan D. Weissman and Jennifer Resnik Mr. Robert E. Willett Amy and Norimoto Yanagawa Mr. and Mrs. Howard Zelikow Bobbi and Walter Zifkin

Ellie and Mark Lainer Vicki Lan Los Angeles Philharmonic Affiliates Mr. and Mrs. Ronald Manzani

Milli M. Martinez and Don Wilson Marc and Jessica Mitchell Sheila Muller Ms. Margo Leonetti O’Connell James S. Pratty, M.D.

Mr. Eduardo Repetto Santa MonicaWestside Philharmonic Committee Verizon Foundation Doris Weitz and Alexander Williams

Westside Committee Linda and John Woodall

Mr. and Mrs. Ronald Gertz Jason Gilbert Mr. and Mrs. Herbert Glaser Lee Graff Foundation Rob and Jan Graner Marnie and Dan Gruen Mr. and Mrs. Pierre and Rubina Habis Mr. William Hair Byron and DeAnne Hayes Stephen and Hope Heaney Mr. Rex Heinke and Judge Margaret Nagle Stephen D. Henry and Rudy M. Oclaray Roberta and Burt Horwitch

Dr. and Mrs. Mel Hoshiko Illig Construction Company Mr. Sean Johnson Mr. and Mrs. Tim C. Johnson Randi and Richard B. Jones Kang, Hun Ku Eileen and Ken Kaplan Marilee and Fred Karlsen Marty and Cari Kavinoky Ms. Sharon Kerson Ms. Ann L. Kligman Stephanie and Randy Klopfleisch Carol Krause Naomi and Fred Kurata Mr. and Mrs. Ronald B. Labowe

Lee Lampe Mr. and Mrs. Jack D. Lantz James D. Laur Mr. George Lee Mr. Robert Leevan Mr. Joseph Lund and Mr. James Kelley Luppe and Paula Luppen Mr. Gary J. Matus Dr. and Mrs. Gene Matzkin Mr. and Mrs. Thomas E. McCarthy Cathy and John McMullen Mr. Sheldon and Dr. Linda Mehr Mr. and Mrs. Dana Messina O’Malley and Ann Miller Mr. and Mrs. William Mingst

Deena and Edward Nahmias Mrs. Cynthia Nelson Mr. Jerold B. Neuman Mr. and Mrs. Randy Newman Dick and Chris Newman / C & R Newman Family Foundation Ms. Kimberly Nicholas Mr. Dale Okuno Mr. Ralph Page Ms. Debra Pelton and Mr. Jon Johannessen Mary E. Petit and Eleanor Torres Marcie Polier Swartz and David Swartz Robert J. Posek, M.D. Mr. and Mrs. Norman L. Roberts

$7,500 TO $9,999 Sandra Kay Beckley Lisa Biscaichipy Roz and Peter Bonerz Mr. Louis Chertkow Ms. Mary Denove Victoria Dummer and Brion Allen Stiv Bators

Mr. and Mrs. Brian L. Harvey Ms. Luanne Hernandez Myrna and Uri Herscher Family Foundation Andrei and Luiza Iancu

$5,500 TO $7,499 Anonymous (4) Alex Alben Mr. Mustapha Baha Pamela and Jeffrey Balton Dr. Richard Bardowell, M.D. Isaac Barinholtz and Erica Hanson Ellis N. Beesley, Jr. M.D. Mr. Barry Beitler Mr. Herbert M. Berk Ms. Gail K. Bernstein Mr. and Mrs. Richard Birnholz Ms. Marjorie Blatt Mr. Ronald H. Bloom Greg Borrud Lynne Brickner and Gerald Gallard Kevin Brockman and Daniel Berendsen Mr. Stuart D. Buchalter

Dr. Kirk Y. Chang Diana Reid and Marc Chazaud Dr. Stephanie Cho and Jacob Green Mr. and Mrs. Ronald Clements Dr. and Mrs. Lawrence J. Cohen Committee of Professional Women Jay and Nadege Conger Cary Davidson and Andrew Ogilvie Mrs. Diane Forester Bruce Fortune and Elodie Keene The Franke Family Trust Mr. and Mrs. Michael Freeland Dr. Tim A. Gault, Sr.

24 PERFORMANCES MAGAZINE

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Hon. Ernest M. Robles Murphy and Ed Romano and Family Mr. Steven F. Roth Ms. Rita Rothman Mr. and Mrs. Paul Rutter

Dr. and Mrs. Bernard Salick Mr. and Mrs. Charles M. Sarff Michael Sedrak Dr. Stephen and Mrs. Janet Sherman Mr. Adam Sidy

Leah R. Sklar Mr. Douglas H. Smith Lael Stabler and Jerone English Mr. Adrian B. Stern Andrew Tapper and Mary Ann Weyman

Mr. Avedis Tavitian Keith and Cecelia Terasaki Christine Upton Mr. and Mrs. Terry Volk Elliott and Felise Wachtel Mr. Nate Walker

Lisa and Tim Wallender Bob and Dorothy Webb Max and Diane Weissberg Karen and Rick Wolfen

Mr. and Mrs. Irwin Wong Mr. and Mrs. Richard Wynne Mr. Nabih Youssef

Carrie and Rob Glicksteen Dr. and Mrs. Steven Goldberg Sheila Golden Ms. Susanne H. Goldstein Mr. Peter Anderson and Ms. Valerie Goo Ms. Karen Caffee and Mr. Manuel Grace Dr. Ellen Smith Graff Mr. Charles Gross Mr. Frank Gruber and Ms. Janet Levin Mr. Gary M. Gugelchuk Mr. and Mrs. Lewis K. Hashimoto Lynette Hayde The Hill Family Dr. and Mrs. Hank Hilty Arlene Hirschkowitz David and Martha Ho Greg and Jill Hoenes Laura Fox, MD and John Hofbauer, MD Janice and Laurence Hoffmann Heather and Chris Holme In and Ki Hong Jill Hopper Dr. Timothy Howard and Jerry Beale Rock River Mr. Channing Johnson Robin and Craig Justice Mr. and Mrs. David S. Karton Dr. and Mrs. David Kawanishi Kayne, Anderson and Rudnick Mr. and Mrs. James Keatley

Mr. and Mrs. Michael C. Kelley Richard Kelton Richard and Lauren King Mr. and Mrs. Jon Kirchner Michael and Patricia Klowden Mr. and Mrs. Bruce Konheim David Koontz and Jim Brophy Elaine Kramer and Al Latham Brett Kroha and Ryan Bean Mrs. Joan Kroll Joan and Chris Larkin Mrs. Grace E. Latt Craig Lawson and Terry Peters Mr. Tom Leanse Andrew and Grace Liang Ms. Joanne Lindquist Ms. Elisabeth Lipsman Long Beach Auxiliary Mr. Jerry Longarzo and Ms. Diana Longarzo Susan Disney Lord and Scott Lord Kristine and David Losito Mr. and Mrs. Boutie Lucas Crystal and Elwood Lui Ruth and Roger MacFarlane Edward and Jamelle Magee Mona and Frank Mapel Mr. Allan Marks and Dr. Mara Cohen Paul Martin Mrs. Suzanne Marx Ms. Phyllis Massino David Matalon and Sheryl Shark Mr. William McCune Ms. Barbara H. McDowell

Mr. David McGowan Mrs. Velma V. McKelvey Robert L. Mendow Ms. Janet G. Michaels Mr. and Mrs. David Michaelson Larry and Mary Ann Mielke Ms. Barbara J. Miller Linda and Kenneth Millman Janet Minami Mr. Lawrence A. Mirisch Cynthia Miscikowski Linda and John Moore Mr. Buddy Morra Mr. Emory R. Myrick Mr. Jose Luis Nazar Mr. and Mrs. Robert Neely Mumsey and Allan Nemiroff Mr. Richard Newcome and Mr. Mark Enos Steven A. Nissen Heidi Novaes Ms. Becky Novy Ms. Margaret R. O’Donnell Irene and Edward Ojdana David Olson and Ruth Stevens Mr. and Mrs. Richard Orkand Ms. Melissa Papp-Green January Parkos-Arnall Mr. and Mrs. Joshua Perttula Ms. Julie Platt Mr. Brian Platz Mr. Jeff Polak and Mrs. Lauren Reisman Polak Mr. Christopher K. Poole

Mrs. Ruth S. Popkin Joyce and David Primes Ms. Marci Proietto William “Mito” Rafert Ms. Miriam Rain Richard Ranger Marcia and Roger Rashman Mr. and Mrs. Wayne Ratkovich Dr. Robert Rauschenberger Rita and Norton Reamer Mr. Frank Reddick and Ms. Lisa Goquen Mary Beth Redding Ms. Raye A. Rhoads Robinson Family Foundation Mrs. Laura H. Rockwell Mr. Kiyun Roe Mr. and Mrs. William C. Roen Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen Michelle and Mark Rosenblatt Dr. James M. Rosser Mimi Rotter Mr. and Mrs. Matthew Rowland S.S. Russin III Living Trust Ann M. Ryder Betty J Saidel San MarinoPasadena Philharmonic Committee Kevin Savage and Britta Lindgren Mark and Valerie Sawicki Ms. Maryanne Sawoski Dr. and Mrs. Heinrich Schelbert

$3,500 TO $5,499 Anonymous (8) Ms. Rose Ahrens Edgar Aleman Alan and Halina Alter Mr. Robert C. Anderson Sandra Aronberg, M.D. and Charles Aronberg, M.D. Bank of America Charitable Gift Fund Mr. James Barker Catherine and Josephe Battaglia Mr. and Mrs. Philip Bellomy Mr. and Mrs. Elliot S. Berkowitz Charles Berney and Family Mr. and Mrs. Gregg and Dara Bernstein Eileen Bigelow and Brien J. Bigelow Mr. and Mrs. Dan Biles Dr. Andrew C. Blaine and Dr. Leigh Lindsey Mr. Michael Blea Mr. Larry Blivas Bill and Susan Bloomfield Thomas J. Blumenthal Mrs. Susan Bowey Anita and Joel Boxer Dr. and Mrs. Hans Bozler Ms. Marie Brazil Mrs. William Brand and Ms. Carla B. Breitner Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Drs. Maryam and Iman Brivanlou Charles Brown Thy Bui Business and Professional Committee

Mr. and Mrs. Tom R. Camp The Capital Group Companies Charitable Foundation Ms. Barbara S. Casey Ms. Nancybell Coe Susan and David Cole Mr. Michael Corben and Ms. Linda Covette Ms. Laurie Dahlerbruch Mr. and Mrs. Leo David Mr. James Davidson and Mr. Michael Nunez Ann Deal Wanda DensonLow and Ronald Low Dr. Eknath Deo R. Stephen Doan and Donna E. Doan Douglas Durst John B. Emerson and Kimberly Marteau Emerson Alex J. Ettl Foundation Joycelyn Fawaz Janice Feldman, JANUS et cie The Hon. Michael W. Fitzgerald Dr. and Mrs. Arthur A. Fleisher, II Mr. and Mrs. Michael M. Flynn Mr. Michael Fox The Gaba Family Foundation Beth Gertmenian Susan and Jaime Gesundheit Mr. and Mrs. Harlan Gibbs Tina Warsaw Gittelson Glendale Philharmonic Committee

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Elliot Gordon and Carol Schwartz Carol (Jackie) and Charles Schwartz Dr. and Mrs. Hervey Segall Dr. and Mrs. Hooshang Semnani Mr. Majid M. Seyedi-Rezvani Ms. Amy J. Shadur-Stein Shamban Family Ruth and Mitchell Shapiro Mr. Steven Shapiro Carla Christofferson

Ms. Ruth M. Simon Mrs. Elise Sinay Spilker Mr. Kurt Skarin Cynthia and John Smet H. Russell Smith Foundation Mr. Steven Smith Mr. and Mrs. Michael G. Smooke Mason A. Sommers, Ph.D and Rami Izic, M.F.T. Dr. Michael Sopher and Dr. Debra Vilinsky SouthWest Heights Philharmonic Committee

Shondell and Ed Spiegel Ms. Angelika Stauffer Mr. Scott Stephens Hilde StephensLevonian Ms. Margaret Stevens Maia and Richard Suckle and The Anna & Benjamin Suckle Foundation Mr. and Mrs. Mark G. Sullivan Mr. Ed and Peggy Summers Ted Suzuki and Deborah May Mr. Bradley Tabach-Bank

Ms. Randi Tahara Mr. Marc A. Tamaroff Mr. Stephen S. Taylor Mrs Elayne Techentin Mr. and Mrs. Harlan H. Thompson Ms. Evangeline M. Thomson Mr. and Mrs. William P. Tinkley Mr. and Mrs. Jim Tranovich Mr. and Mrs. Leonard Unger Kathy Valentino The Valley Committee for the Los Angeles Philharmonic

Mr. and Mrs. Peter J. Van Haften Perry Vidalakis Jenny Vogel Mr. Jules Vogel Christopher V. Walker Marilene Wang Mr. Darryl Wash Mr. William A. Weber Ms. Diane C. Weil and Mr. Leslie R. Horowitz Rose and Ben Weinstein Abby and Ray Weiss Mr. and Mrs. Doug M. Weitman Robert and Penny White

Mr. and Mrs. Steven White Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom David and Michele Wilson Ms. Eileen Wong Mr. Kevin Yoder George and Eileen Young Mrs. Lillian Zacky Rudolf H. Ziesenhenne Mr. Sanford Zisman and Ms. Janis Frame

Maclaine Diemer and Kristie J. Fisher Mr. Anthony Dominici Lauren Shuler Donner Mr. & Mrs. John Douglass James and Andrea Drollinger Mr. David A. Drummond Sean Dugan and Joe Custer Mr. Kevin Dunbar Mr. Gordon A. Ecker Dr. David Eisenberg Encore Susan Entin Peter and Polly Epstein Ms. Perla Eston Joyce and David Evans Richard J. Evans and Sara Evans Ms. Anita Famili Max Fenstermacher Neal Fenzi Lyn and Bruce Ferber Dr. Walter Fierson and Dr. Carolyn Fierson Ms. Melanie Salata Fitch lee t ford jr Burt and Nanette Forester Ms. Susan Fragnoli and Mr. David Sands Mr. Frank Fraley

Ian and Meredith Fried Steven Friednam Mrs. Diane Futterman Dr. and Mrs. S. Galanti, M.D. Ms. Sybil Garry A. R. Gendein, M.D. Debra Gerod Susan and David Gersh Ms. Malinda Gilchrist Mr. and Mrs. David A. Gill The Gillis Family Dr. and Mrs. Gary Gitnick William and Phyllis Glantz Mr. Jerome J. Glaser Jana and Paul Glenney The Honorable and Mrs. Allan J. Goodman Grace Nixon Foundation Ms. Linda Graul Dr. Stuart and Adrienne Green Mr. and Mrs. Carl C. Gregory Rita and William Griffin Mr. and Mrs. Michael J. Grobstein Dr. Wayne W. Grody Mr. and Mrs. Charles Gustafson Rod Hagenbuch Julie and Mark Harrison

Trish Harrison and John Runnette James and Mary Jo Hartle Ms. Ophelia Havunjian Mr. and Mrs. Robert Heenan Gail and Murray E. Heltzer Kristina M Hernandez Jim Herzfeld Dr. and Mrs. Kenneth D. Hill Mr. and Mrs. Ed Hirsch Ms. Florence Hoffman Eugene and Katinka Holt Douglas and Carolyn Honig Mr. Arthur Huberman and Ms. Debra S. Kanoff Ms. Loretta Hung Mr. Ralph Hurtado Mr. Deighton Hutchinson and Mr. Greig Hutchinson International Committee Mr. Arturo Irizarry Mr. Timothy M. Ison Dr. and Mrs. Robert Itami Mr. Gregory Jackson and Mrs. Lenora Jackson Ms. Margaret Jacob Mr. and Mrs. Richard Jacobs Carl and Wendy Jacoby

Mr. and Mrs. Jonathan Jaffe Mr. and Mrs. Leonard Jaffe Ms. Marcia Jones and Mr. George Arias Mrs. Joan E. Jordan Mr. Ken Kahan Mr. and Mrs. Seymour Kahn Judith and Russell Kantor Karen and Don Karl Mr. Stephen Kayne Mr. Gary W. Kearney Mr. Stephen Keck John Keith Mr. William T. Kennedy Mr. Roy King Cary and Jennifer Kleinman ann knightschwartzman Mr. and Mrs. Victor Kohn Dr. Colin Koransky and Joan Binder Koransky Carla and Archy Kotoyantz The Kraft Family Stan Krasnoff and Barbara Krasnoff Ms. Sharon Krischer KTN Enterprises, Inc. Dr. and Mrs. Kihong Kwon Carole and Norm La Caze Thomas and Gloria Lang Mr. Bruce Lassen Dr. Bob Leibowitz Mr. Benjamin Lench

$2,000 TO $3,499 Anonymous (6) Mr. Alan Abramson Lena and David Adishian Mr. Robert A. Ahdoot Rene Aiu Dr. and Mrs. David Aizuss Adrienne S. Alpert Ms. Louise Bahar Tawney Bains and Zachary Roberts Mr. Barry Baker Howard Banchik Ken and Lisa Baronsky Mr. and Mrs. Olin Barrett Mr. and Mrs. David J. Barton Ms. Barbara Bauer Mr. Richard Bayer George and Karen Bayz Dr. Robert Bennion Mr. Stephen Bergens Dr. and Mrs. Gerald Berke Ms. Marjorie A. Berkel Mr. Alan N. Berro Mr. Gary Boston Graham and Mary Bothwell Ms. Leslie Botnick Mr. Ray Boucher Dr. Noel G. Boyle Lynn Gordon and Jon Braun Dr. and Mrs. Thomas Brod Joshua Brow and Maelyn Espiritu

Mr. Tad Brown and Mr. Jonathan Daillak Mrs. Lupe P. Burson Dr. Darrell H. Burstein, M.D. Dr. and Mrs. R. Melvin Butler Lois and Rene Cailliet Ms. Wanda Cannon Kathleen Caparoso Sue Chandler Adam Chase Mr. and Mrs. Joel T. Chitea Barbara Bruser and Richard Clark Janet Coe Donell Cohen Ms. Barbara Cohn Mr. and Mrs. Michael Colby Mr. and Mrs. Michael Corben Mr. and Mrs. Bruce Corwin Mrs. Nancy A. Cypert Marilyn J. Dale Andrew and Helen D'Ambrosio Dr. and Mrs. Nazareth E. Darakjian Mr. and Mrs. Jeffrey S. Davidson Ms. Cynthia Davis Ron de Salvo Pat Dennis and Amber Maltbie Roxanne Christ DeWitt

26 PERFORMANCES MAGAZINE

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H

SHE MUST CHOOSE BETWEEN

HER HEART and HER HOMELAND

VERDI’S EPIC LOVE STORY

conducted by JAMES CONLON

MAY 21– JUNE 12 FEATURING PROJECTED ENGLISH TRANSLATIONS

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Dr. and Mrs. Phillip M. Levin David and Rebecca Lindberg Vivian and Phillip Lin-Ra Mr. Greg Lipstone Mr. Steven L. Llanusa and Dr. Glenn Miya Ms. Bonnie Lockrem and Mr. Steven Ravaglioli Ms. Cindy M. Lopez Cathy and Mark Loucheim Gene Lucero and Marcia Williams Cynthia Lee, M.D. Mr. and Mrs. Gregory MacGregor Susan MacLaurin Dr. and Mrs. Jamshid Maddahi Michael and Millie Maloney Elisa and William Marks Marsh And McLennan Shared Services Corp.

Mr. and Mrs. Gary O. Martin Phillip and Stephanie Martineau Dr. and Mrs. Allen W. Mathies Ms. Avatika Shahi Kathleen McCarthy and Frank Kostlan Lois McFarland Rob Roy and Kazue McGregor Margaret Meehan and Joaquin Nunez Anthony Melia Professors Anne and Ronald Mellor Jeffrey and Rosalee Merrick Mr. Jorge Mestman Middle Road Foundation Mr. and Mrs. Michael D. Miller Robert and Claudia Modlin Mr. Antonio Morawski Mr. Sean Moriarty Susan Morse Mr. Paul Mueller Gretl and Arnold Mulder Steven A. Murdock Bengt Muthen Mr. and Mrs. Jeff Nathan Mr. Carl Neu Jo Ellen Nevans Bill and Mary Newbold Mahnaz and David Newman Mr. and Mrs. Oberfeld Doerthe Obert Mr. John O'Keefe Sarah and Steven Olsen Adriana Ortiz Kim and P.F. James Overton Mr. and Mrs. Kenneth A. Owens, II Ellen Pansky The Hoyt and Viorica Pardee Foundation Wilheim and Park’s family Mr. and Mrs. Robert D. Paster Thomas Payne Marjorie Perloff Mr. Robert Pilmer Mrs. Charlotte Pinsky Harold Pohl Ms. Virginia Pollack Mr. Albert Praw John R. Privitelli Ms. Karen K. Proctor Janet and Gerald Puchlik Mr. James H. Radin Dr. Lisa Raufman and Dr. Bernard F. Natelson Gay and Ronald Redcay

I b p n K w h t b

J

M

28 PERFORMANCES MAGAZINE

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In a world ravaged by global warming, pandemics, and natural disaster, King Lear is a man who has brought his country through turmoil, but at what cost?

THE WALLIS PRODUCTION OF

JOE MORTON AS

written by

WILLIAM SHAKESPEARE directed by

JOHN GOULD RUBIN

MAY 10–JUNE 5

TheWallis.org/Lear This production was made possible by generous support from Michael and Meeghan Nemeroff / Vedder Price.

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Ms. Pamela P. Reis Mr. and Mrs. Stephen Richards Juan F. Ridaura Mr. Ronald Ridgeway Mr. and Mrs. Kenneth Riley Peter Robinson and Buffy Shutt Phil Alden Robinson and Paulette Bartlett Ernesto Rocco Mr. Gary Rogers and Ms. Jeri L. Lane Lois Rosen Mr. Michael Rouse Ms. Karen Roxborough Mr. Andrew E. Rubin Mrs. Ferrel Salen Curtis Sanchez

Mr. Brian Sandquist and Mr. James R Kisel Mr. & Mrs. Abraham A. Santiago Jr Charles Savinar Mr. and Mrs. Chris Schwarzenbach Mr. Alan Scolamieri Mr. and Mrs. Peter Segal Mr. and Mrs. Jeffrey Alan Seymour Ara Shabanian Mr. Hovav Shacham claire and charlie shaeffer Ms. Julie Shaperman Hon. Anita Rae Shapiro

Dr. Alexis M. Sheehy Abby Sher Mr. Chris Sheridan Mr. and Mrs. Michael S. Shore June Simmons Edward and Kandus Simpson Lynn F. Sipe Charles and Donna Slavik Professor Judy and Dr. William Sloan Mr. and Mrs. Richard Spelke Terry and Karey Spidell William Spiller Louise Mayeri Spillman Ian and Pamela Spiszman Steinway Mr. Max Stolz, Jr.

Charlotte Stone Mr. Joel Streng Ms. Devon Susholtz and Mr. Stephen Purvis David Jan Takata Karen Tallman Mr. Nick Teeter Mr. and Mrs. Elwood Tescher Ms. Amy Thomas Scott Thomas Mr. Sam Thomasson Mr. and Mrs. Robert Tokashiki Vernon Tolo Ms. Lily Tom Dianne Tomita Dr. and Mrs. David Tomlinson Bonnie K. Trapp Allison Trefz Ms. Evelyn M. Truitt

Mr. and Mrs. Paul Turner Billie and Richard Udko Vargo Physical Therapy Jerome Y. Vered Mr. Trent Vernon Mr. and Mrs. Carl R. Waldman Steven Warheit and Jean Christensen Hope Warschaw and John Law Mr. and Mrs. Susan Washton Mr. Robert Waters and Ms. Catherine Waters Dr. Arthur Weinstein Peeter Wesik Mr. William A. White Ms. Jill Wickert

Mr. and Mrs. Kenneth Williams Ms. Joan Wilner Gayle Wilson Dr. and Mrs. Terris Wolff Ms. Susan M. Wolford Dr. Michael Wool and Samantha Wool Mrs. Janet P. Wright Rosalind Wyman Marcia S. Yaross Lynn Yen Mr. William Zak Zamora and Hoffmeier Rachel and Michael Zugsmith

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.

30 PERFORMANCES MAGAZINE

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THE WILLIAM ANDREWS CLARK SOCIETY Ensuring that the LA Phil will be available to future generations The William Andrews Clark Society, named for our dynamic founder, recognizes those generous individuals who have remembered the LA Phil in their estate plans through their wills or other legacy gifts at any level. Members receive recognition and the opportunity to become involved in the ongoing life of the LA Phil through special donor events. For more information, please email legacy@laphil.org.

Anonymous (16) Anonymous*(4) Mr. Bruce R. Acker Lucie Hubbard Agbabian* Ms. Florence C. Agcawili Ann* and Martin* Albert Gizella Allen* Mr. William A. Allison* Lynn K. Altman* Edna R.S. Alvarez Mr. Robert C. Anderson Linda* and Bob Attiyeh W. Lee Bailey, M.D.

Baker Family Trust Mrs. Victoria Solaini Baker* Paul and Anissa Balson Sharon Baranoff Mr. and Mrs. Bruce L. Barbee Ms. Angela Bardowell Richard Bardowell, M.D. Donna Barnett Margaret* and David* Barry Mr. Joseph A. Bartush Ms. Adrienne Bass Ruth B. Baus* Ms. Marjorie Beale

Sandra Kay Beckley* Judith and Thomas Beckmen Mrs. Olive Behrendt* Peggy Bergmann* Mr. Herbert M. Berk Barbara and Scott H. Bice Alvin Bisher* Dr. Mark Bisson David F. Bode, M.D. Ms. Anne M. Bodenheimer* David Bohnett Mr.* and Mrs. Seymour Bond Mr. Jeb Bonner

Jonathan and Leni Boorstin Deborah Borda Gertrude H. Bowlby* Derald and Charlotte Brackmann Truman P. Brewster* Martin J. Brickman Jacqueline* and Bert* Briskin Linda and Maynard Brittan Abbott Brown Mrs. Linda L. Brown Thomas* and Arlyss Burkett Dona Burrell*

Mr.* and Mrs. Henry K. Cahn Lois* and Rene* Cailliet Richard and Norma* Camp Margaret C. Campbell* Tony Campodonico and Cheryl Goettemoeller Jane Carruthers* George L. Cassat Greg Casserly Sue Caughey Ms. Jessica Chen Ms. Marjorie H. Cherry Mr. Donald G. Christian

Evelyn and Leonard* Chudacoff Esther S. M. Chui Chao Elisabeth O. Clark, Ph.D. Mr. and Mrs. John S. Clauss, Jr. Brian* and Nancy Cochran Robert* and Dee* Cody Nancybell Coe and William Burke Ms. Jan Turner Colburn Ms. Annette Colfax Ms. Bernice Colman*

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32 PERFORMANCES MAGAZINE

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Geraldine Coombs* Jan and Gene* Corey Don* and Zoe* Cosgrove Ms. Gerry W. Cox Mr. and Mrs. Terry Cox Mr. John Cragin* Mrs. Judith Tishkoff and Mr. Keith Crasnick Ginny and John Cushman Marilyn J. Dale Mari L. Danihel Barbara A. Davis* Mr. Daniel Davis* Ms. Juanita Davis Mr. and Mrs. Ray Day Dr. and Mrs. Roger DeBard Richard Del Belso* Mr. Ronald Del Carlo Virginia DeNubila* Raymond and Anne Destabelle Betty Jean* and Robert* Di Vall

Mr. James Dillon* and Mr. Allen Cornelsen* Harriet H. Doerr* Ms. Nancy Dunetz Mr. Paul Dupree and Mr. David Peterson Kathleen and Jerrold L. Eberhardt Mr.* and Mrs. Allan R. Eisenman John Endicott* Ms. Elaine M. Endres Jean Markham Keating* Mr. and Mrs. C. Daniel Ewell Abraham* and Carolyn* Falick Mr. Gerald Faris Ms. Katherine S. Farlow Ms. Elizabeth Farrar Mr. and Mrs. Curtis L. Feese Irving Feintech* Ms. Wendy Feintech

Jann Feldman Dr. David M. Ferguson* Lawrence* and Eris* Field Mr. Murray Fields* Dr. Daniel J. Fink Sandra Krause and William Fitzgerald Marlene Ann Fletcher Cindy Fong Sandra Forman* Mr. and Mrs. Robert C. Forst Mr. Max P. Foster* Mr. and Mrs. Robert C. Foster Valerie Franklin* David F. Freedman Mrs. Joan L. Freeman* Eva* and William* Fremon Arthur* and Gertrude* Friedman Roy J. Friedman* and Mae C. Friedman Mrs. Shirley Frierman*

Mrs. Diane Futterman Dr. and Mrs. Dennis Galanter Millicent Gappell* Mr. Joseph Garcia Mr. and Mrs. John* O. Garvey Ms. Margaret E. Gascoigne Mr. James Gelb Dr. Suzanne Gemmell* Mrs. Janice Gerard Mr. Paul J. Gerstley* Mr. Richard Giesbret Arnold Gilberg, M.D. Malinda and Andrew Gilchrist Lynn and Sheri J. Gill Kiki and David I. Gindler Jeanne M. Giovannoni* Mr. and Mrs. Paul F. Glaser Mr. Jerome J. Glaser

Alexandra S. Glickman and Gayle Whittemore Paige and David Glickman Maxwell* and Muriel* Gluck Elizabeth A. Goetz Ruth and Charles* Gold Nicholas T. Goldsborough Elaine and Bram* Goldsmith Harold Goldwasser* Dr. Raymond* and Betty* Goodman Julius Gort* Doris* and Reese* Gothie Ms. Karen Gottlieb Mr. David Grant Peggy and Walter* Grauman Fay Bettye Green* Lenore S. and Bernard A. Greenberg William Greenlee, Jr.* Mrs. Sally B. Gref*

Tricia and Richard Grey Ms. Sharon Griffin-Galamba Mr. Alan Grunfeld Ms. Sarah B. Gyer* Ms. Pilar Hale Richard and Ruth Halverstadt Burks Hamner, III Jerome Handelsman* Marjorie and Don* Harbison Mr. and Mrs. John R. Harbison Mr. James L. Hardy* Ms. K. Harland* Joan Green Harris* Ms. Janet Harris Ms. Laura Hecht Karen E. Hedman* Ms. Nita Heimbaugh Anne* and Warner* Heineman William J. Heiter Bud* and Barbara Hellman Dr. Jackson N. Henry

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PERFORMANCES MAGAZINE 33

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Char and Michael Hersh Yvonne and Gordon* Hessler Mr. Philip Hettema Anita Hirsh* The Hirsh Family Mr. Harvey Hoeppner Ms. Joan E. Hogue Marcia* and Gary Hollander Joan and John* F. Hotchkis Ms. Nancy Howard Mr. Ralph Hurtado Judith and Herbert* Hyman Mr. Christopher W. Ince Jr. Freya and Mark Ivener Mr.* and Mrs. Roger L. Jackson Ruth Jacobson* Albert* and Nancy* Jenkins Robert Jesberg* and Michael J. Carmody C.W.* and Irene* Johnson Mr. and Mrs. Steaven K. Jones, Jr. Dr. William B. Jones Mr.* and Mrs. William H. Jordan David and Elizabeth* Kalifon Earl Kallberg Stephen A. Kanter, M.D.* Mr. and Mrs. Joshua R. Kaplan Mr. and Mrs. Maurice H. Katz Norma Kayser* Owen and Suzanne Keavney Yates Keir* Hugh Wilson Kennedy* Dale E. Kern* Ms. Suzanne R. Kern* Paul and Susanne* Kester Carrie and Stuart* Ketchum Vicki King Mr. Alan S. Klee* Mr. and Mrs. Kenneth N. Klee Ms. Ann L. Kligman Mr. Chris H. Kortner* Richard Kramer* Kent and Joyce* Kresa Howard and Bette Krom

Ms. Ursula C. Krummel* Slyvia Kunin* and Al Eben* Ms. Sally Kurtzman Donna and C. Joseph* LaBonté Diane Landrum Thomas and Gloria Lang John and Barbara Larson Michael and Emily Laskin Mr. and Mrs. B. Allen Lay Lillian Lazar* Gayle and Harold* Leventhal Mr. Alan J. Levi and Mrs. Sondra Currie-Levi Audrey Davis and Peter Dan Levin Ms. Marla E. Levine Mr. and Mrs. Gary Lewis Raymond Lieberman* Dr. Rahla Frohlich and Thomas Lindsey* B.T.* and Lonis* Liverman Mr. Steven L. Llanusa and Dr. Glenn Miya H. Kirkland Jones* and Yuri Long-Jones Inez Lopez Karl H. Loring* Ms. Gloria Lothrop* Mr. Joseph Lund and Mr. James Kelley Judith Lynne* Ms. Shari Madison Gertrude* and Walter* Maier Jeanne Mallet* Nancy Malone* Melvin Mandel, M.D.* Richard Mandell Sarah and Ira* Manson Raulee Marcus Jason Markesich Mr. Elliott Markoff Darrel Marsh Ms. Monique Marti* Mr. Sam Matsumoto and Mr. Gordon* Geever Ernest Mauk* and Doyce Nunis* Patricia Maurice Mr. David Maxwell Linda May and Jack Suzar

Mr. and Mrs. Anthony Mazzaferro Liliane Quon McCain Mr. Edward V. McCann Carole McCormac* Barbara and Buzz McCoy Mr. Donald E. McDonald Olive* and Hugh* McDuffee Velma* and George* McKelvey Helen McKenna* Cathy and John McMullen Mr. Sheldon and Dr. Linda Mehr Pierre Menard, M.D. Sylvia Meyer Mr.* and Mrs.* Harold J. Meyerman Maurice and Diane* Meysenburg Ruth M. Mickey* Ms. Barbara J. Miller Mr.* and Mrs.* Robert W. Miller Drs. Theodore and Judith Mitrani Mr. Michel Montet Jane* and Paul* Moore Michelle Sanders and Paul Moore Ronald Moormeister and Mary Mossman Lynn and Stanley Morris Maury and Barbara Mortensen Diane and Leon* Morton Elise Mudd Marvin* Merle and Peter Mullin Mr. Emory Ron Myrick Michael J. Napoli Bonnie Nash and Don Wing Mr. Carl Neu Myra and Bruce H. Newman Mrs. Joan Newman Mr. and Mrs. Alfred E. Noreen Becky Novy Rosanne O’Brien* Mr. and Mrs. Daniel F. Olivarez Robert W. Olsen* Dr. and Mrs. Howard R. Panosian

Margaret Parmaley* Davis R. and Linda M. Parsons Mr. Russell Patrick Mr. Jerome E. Paul and Fern Yu M. David and Diane Paul Mr. Carlos Paz Lenore and Carl Pearlston Byron* and Louise Peebles Debra Pelton and Jon Johannessen Edith Peluse* Nancy* and Sidney Petersen Ms. Carol Phillips Ms. Camilla C. Pillsbury* Caro Pinto Paula and Jack* Pitzer Ms. Susan Polifronio Mr. and Mrs. Edward R. Portnoy Sandy and Barry D. Pressman Victoria and Earl* Pushee Mr. and Mrs. Raymond F. Quiett Sally and Frank* Raab Dudley* and Michele* Rauch Mary and Gordon* Reiter Kim S. Rhodes Bill Rietkerk* and Gordon Bird* Colleen Roberston Robert Robinson Dr. David L. Rose Patricia Rose Mimi Rotter Mr. and Mrs. Bill H. Rowland Allyson S. Rubin Donald Tracy Rumford* S.S. Russin III* Elizabeth Loucks Samson Nancy S. and Barry Sanders Mr. David Sanders* Francine E. Sanders Kenneth* and Althea* Sanson Mr. Kevin J. Savage and Ms. Britta Lindgren Malcolm Schneer and Cathy Liu Charles Schneider*

Ken Schultz Mr. Alan M. Schwartz Richard and Bradley Seeley Dr. and Mrs. Hervey Segall Dan and Elaine Seigel Ms. Elizabeth Shafer and Mr. Abraham Tetenbaum Judith Shaffer Jill and Neil Sheffield Dr. and Mrs. Edward Shore Manny and Jackie Silverman W. June Simmons Annette Simons* Mr. Lynn F. Sipe Virginia Skinner* Mr. and Mrs. Gerry Smallwood Grady and Shelley Smith Howard Russell Smith* Steven Smith and Michelle Guy Bernard* and Shani Smolens Mr. Mathew R. Sousa* Mr. and Mrs.* William Sollfrey Mr. and Mrs. Richard Spelke Dr. Williametta Spencer Mr. Lev Spiro and Ms. Melissa Rosenberg Robert and Ann Stevens Tom* and Kay Stoever Mr. Max Stolz, Jr. Dr. and Mrs. I. M. Straughan Mrs. Faith F. Strong Ms. Vikki Sung I.H. Sutnick Donna Swayze* Mrs. Marilyn* Boren-Sweeney and Mr. Jack* A. Sweeney Ms. Lucia Takemae Elisabeth* and Jack* Tamari Ms. Lois M. Tandy* Donald Taylor* L. Franc Scheuer* Dr. James Thompson and Dr. Diane Birnbaumer Michael Frazier Thompson

Vangie Thomson William G. Tierney and Barry H. Weiss Mr. Jeffrey Toelsin and Mr. Sean M. Reilly Ms. Sherry Hall Tomeo* Dr. and Mrs. David Tomlinson Arlette and Porter* Towner Christine Upton Fran H. Tuchman* Geoffrey* and Margot* Tyrrash Ms. Elizabeth Van De Water Sylvianna Van De Water* Virginia Skinner* Mr. John Van Horn and Mr. Charles R. Owens Craig and Junior Vickers Mr. Dietrich Eugene Wagner Magda and Frederick* R. Waingrow Mr. John Watson and Mrs. Kathryn Gundersen Dorothy Waugh Small Robert and Nancy Weingartner Rhio H. Weir* Edna and Maurice* Weiss Bernice* and Wendell* Jeffrey Ms. Gabriele West-Adams Mrs. Joseph F. Westheimer* Robert Allan White Mr. Jim F. Whitledge* Bradley Wigor and Andrae Gonzalo Fred* and Joan* Wilkins Jean and Robert* Wilkinson Jean Elaine Willingham* Mr. Kenneth L. Willner and Mr. Jim Stine Joan Wilner Dr. Libby F. Wilson Mrs. Halina Wolf* Robert Wood* Ms. Esther Wu* Mr. and Mrs. Jerry C. Zinser *Deceased

34 PERFORMANCES MAGAZINE

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City of Los Angeles Eric Garcetti Mayor Mike Feuer City Attorney Ron Galperin Controller

CITY COUNCIL

Bob Blumenfield Mike Bonin Joe Buscaino Gilbert Cedillo 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

DEPARTMENT OF CULTURAL AFFAIRS Daniel Tarica Acting General Manager

CULTURAL AFFAIRS COMMISSION

Anne Marie Ketchum Artistic Director Laraine Ann Madden Accompanist Julie makeRov Soprano

todd WilandeR Tenor

RobeRto PeRlas Gómez

Excerpts from operas by: Verdi, Beethoven, Ponchielli, Giordano, Offenbach.

Baritone

Sat., May 14 • 7:30 pm Sun., May 15 • 2:00 pm NEW VENUE:

FIRST PRESBYTERIAN CHURCH SANTA MONICA

Tickets available online.

All credit cards accepted

www.verdichorus.org “Ojai Music Festival has been raising a finely calibrated ruckus each spring since 1947” – New Yorker

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.

SINGLE TICKETS ON SALE NOW Oj a i F e s t i va l . or g | 8 0 5 6 4 6 2 0 53 @ojaifestivals #runningamocinojai

Ojai’s great music adventure continues with AMOC*, a multi-disciplinary collective of today’s most inventive musicians, singers, composers, choreographers, and dancerss

PERFORMANCES MAGAZINE 35

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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 Carl Jordan Stefanie Kane Terri M. Kohl Kent Kresa Lily Lee Cary J. Lefton Keith R. Leonard, Jr. David B. Lippman Richard Lynn Martinez Mattie McFaddenLawson 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 March 17, 2022

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

4/4/22 1:07 PM

Live at The Music Center

TUE 3 MAY / 8:00 p.m.

Blues for an Alabama Sky CENTER THEATRE GROUP @ Mark Taper Forum Thru 5/8/2022 TUE 3 MAY / 8:00 p.m.

Colburn Celebrity Recital: Daniil Trifonov LA PHIL @ Walt Disney Concert Hall THU 5 MAY / 8:00 p.m.

The Rite of Spring” and “Estancia” with Dudamel LA PHIL @ Walt Disney Concert Hall Thru 5/8/2022 SUN 8 MAY / 7:00 p.m.

United We Sing LOS ANGELES MASTER CHORALE @ Walt Disney Concert Hall TUE 10 MAY / 8:00 p.m.

Liz Phair: Don’t Holdyrbreath LA Phil @ Walt Disney Concert Hall

THU 12 MAY / 8:00 p.m.

Dudamel Conducts Revueltas and “Petrushka” LA PHIL @ Walt Disney Concert Hall Thru 5/13/2022 SAT 14 MAY / 8:00 p.m.

Ortiz, Villa-Lobos, and “The Firebird” with Dudamel LA PHIL @ Walt Disney Concert Hall Thru 5/15/2022 SAT 21 MAY / 7:30 p.m.

Aida LA OPERA @ Dorothy Chandler Pavilion Thru 6/12/2022 THU 26 MAY / 8:00 p.m.

Dudamel Conducts Beethoven’s 9th LA PHIL @ Walt Disney Concert Hall Thru 5/29/2022 SUN 29 MAY / 7:30 p.m.

Organ: Nathaniel Gumbs “Hold On, We Shall Overcome!”

LA PHIL @ Walt Disney Concert Hall TUE 31 MAY / 8:00 p.m.

Come From Away CENTER THEATRE GROUP @ Ahmanson Theatre Thru 6/12/2022

Visit musiccenter.org for additional information on all upcoming events.

@musiccenterla

MAY 2022

TUE 3 MAY / 8:00 p.m.

Hadestown CENTER THEATRE GROUP @ Ahmanson Theatre Thru 5/29/2022

Photo: Will T. Yang for The Music Center

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SW!NG OUT

Jump, Jive & Swing! Celebrate the roots of Swing and Lindy Hop with an all-out dance party where you too can join us as we dance the night away!

LI V E B I G BA N D

JUNE 24, 25 AND 26

TICKETS ON SALE NOW!

The Music Center’s Ahmanson Theatre & Jerry Moss Plaza

musiccenter.org/swingout | (213) 972-0711 GROUPS OF 10+: (213) 972-8555 | mcgroupsales@musiccenter.org LaTasha Barnes. Photo by Em Watson.

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4/4/22 1:07 PM

BROAD STAGE DEBUT

MARK MORRIS DANCE GROUP & MUSIC ENSEMBLE

“The most successful and influential choreographer alive, and indisputably the most musical.”

– THE NEW YORK TIMES

MOZART DANCES Experience the sublime joy of dance with the world-renowned Mark Morris Dance Group. Mozart Dances has been praised as music embodied, with three exquisite Mozart piano works set to Morris’ buoyant, exhilarating choreography. The program features a world premiere chamber interpretation of Piano Concerto No. 27, along with Piano Concerto No. 11 and Sonata for Two Pianos, all performed live in our intimate hall.

Presenting Patron Sponsor: Laura Stevenson Maslon

thebroadstage.org 310.434.3200

RETURN TO LIVE PERFORMANCES WITH CONFIDENCE. LEARN MORE AT THEBROADSTAGE.ORG/SAFETY

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Photo by Kenneth Friedman

JUNE 9 - 12 | MAIN STAGE

3/17/22 11:44 AM 4/6/22 1:05 PM

MY MOTHER TAUGHT ME THAT A STRONG WOMAN STANDS UP FOR HERSELF BUT A STRONGER WOMAN STANDS UP FOR EVERYBODY ELSE

JadeMillsEstates.com | 310.285.7508 Affiliated real estate agents are independent contractor sales associates, not employees. ©2022 Coldwell Banker. All Rights Reserved. Coldwell Banker and the Coldwell Banker logos are trademarks of Coldwell Banker Real Estate LLC. The Coldwell Banker® System is comprised of company owned offices which are owned by a subsidiary of Realogy Brokerage Group LLC and franchised offices which are independently owned and operated. The Coldwell Banker System fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. CalRE# #00526877

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