Performances Magazine | LA Phil, November 2022

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WELCOME!

This month begins with the Rock My Soul Festival, which highlights powerful voices a nd collaborations between Black women artists. Concert programming by curator J ulia Bullock was inspired in part by the early20th-century friendship between pioneering composers Florence Price and Margaret Bonds and expanded to celebrate new generations of Black women artists and varied forms of self-expression.

For Bullock, the name of Rock My Soul evokes both the well-known spiritual and the book of the same name by author and activist bell hooks, in which she highlights the importance of self-esteem, healing, and community. Bullock says the meaning behind the title is “a call to express yourself, engage with everything within and around you—and find enjoyment while doing it.” Themes of historic recognition and self-empowerment can be found not only on the Walt Disney Concert Hall stage but also in events from our Humanities programs curated by Ava DuVernay’s ARRAY.

From concerts by Chaka Khan and Rhiannon Giddens with the Resistance Revival Chorus to symphonic explorations of Price and Bonds to Humanities events with J’Nai Bridges, Lauren Spearman, and Meshell Ndegeocello—this festival offers incredible musical experiences and opportunities to honor these women’s voices and share in this essential celebration.

Chad Smith Chief Executive Officer

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

Board of Directors

CHAIR

Thomas L. Beckmen* CEO Chad Smith

Francois Mobasser

Margaret Morgan Leith O’Leary Andy Park Sandy Pressman

VICE CHAIRS

David C. Bohnett* Reveta Bowers* Jane B. Eisner* David Meline* Diane Paul* Jay Rasulo*

DIRECTORS

Nancy Abell Gregory A. Adams Julie Andrews Linda Brittan Jennifer Broder Kawanna Brown Andrea Chao-Kharma* R. Martin Chavez Christian D. Chivaroli, JD Donald P. de Brier* Louise D. Edgerton Lisa Field David A. Ford Alfred Fraijo, Jr. Jennifer Miller Goff* Carol Colburn Grigor Marian L. Hall

Antonia Hernandez*

Teena Hostovich Jonathan Kagan* Darioush Khaledi Winnie Kho

Richard Raffetto Geoff Rich Laura Rosenwald G. Gabrielle Starr

Jay Stein* Christian Stracke* Jason Subotky

Ronald D. Sugar* Vikki Sung Jack Suzar Sue Tsao

Jon Vein

Megan Watanabe Regina Weingarten

Alyce de Roulet Williamson Irwin Winkler

Debra Wong Yang

HONORARY

LIFE DIRECTORS

Frank Gehry

Lenore S. Greenberg

Bowen H. “Buzz” McCoy

*Executive Committee Member as of October 1, 2022

LETTER FROM THE CEO

GUSTAVO DUDAMEL Music & Artistic Director, Walt and Lilly Disney Chair

of legendary film composer John Williams with a Gala event. Further highlights with the LA Phil include a fall tour with performances at Carnegie Hall, Boston, and Mexico City and Guanajuato as part of the Cervantino Festival; a 10-day exploration of the piano/orchestral works of Rachmaninoff with Yuja Wang; and the return of Wagner’s Tristan und Isolde, directed by Peter Sellars, with video by Bill Viola.

“THE RARE CLASSICAL ARTIST TO HAVE CROSSED INTO POP-CULTURE CELEBRITY.”

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 globe and has helped to provide access to the arts for countless people in underserved communities. He currently serves as the Music & Artistic Director, Walt and Lilly Disney Chair, of the Los Angeles Philharmonic and Music Director of the Opéra National de Paris and Simón Bolívar Symphony Orchestra.

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.” In the 2022/23 season, Dudamel and the LA Phil continue their visionary, multi-year Pan-American Music Initiative and they celebrate the 90th birthday

Following his inaugural season as Music Director of the Paris Opera, the 2022/23 season features Dudamel leading productions of Puccini’s Tosca, Wagner’s Tristan und Isolde, a new production of John Adams’ Nixon in China, and Thomas Adès’ Dante Project, choreographed by Wayne McGregor. Dudamel has led over 30 staged and semi-staged operas as well as concert productions across the world’s major stages, including five 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. In April 2022, Dudamel conducted the LA Phil and a star-studded cast in a new production of Beethoven’s opera Fidelio, produced in collaboration with Los Angeles’ Tony Award®-winning Deaf West Theatre, Deaf performers of El Sistema Venezuela’s Coro de Manos Blancas (White Hands Choir), and the Dudamel Foundation.

Dudamel’s advocacy for the power of music to unite, heal, and inspire is global in scope. Shaped by his transformative experience as a youth in El Sistema,

Venezuela’s immersive musical training program, Dudamel with the LA Phil and its community partners founded YOLA (Youth Orchestra Los Angeles) in 2007, now providing 1,500 young people with free instruments, intensive music instruction, academic support, and leadership training. In October 2021, YOLA opened its first permanent, purpose-built facility: The Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by architect Frank Gehry. Dudamel also created the Dudamel Foundation in 2012 with the goal “to expand access to music and the arts for young people by providing tools and opportunities to shape their creative futures.”

One of the few classical musicians to become a bona fide pop culture phenomenon, Dudamel was honored with a star on the Hollywood Walk of Fame in 2019, joining Hollywood greats as well as musical luminaries such as Leonard Bernstein, Duke Ellington, and Arturo Toscanini. He conducted the score to Steven Spielberg’s new film adaptation of Bernstein’s West Side Story and starred as the subject of the documentary ¡Viva Maestro!

Dudamel’s extensive, multipleGrammy Award®-winning discography numbers 65 releases, including recent Deutsche Grammophon LA Phil recordings of Mahler’s Symphony No. 8, which won the Grammy® for Best Choral Performance, and the complete Charles Ives symphonies and Andrew Norman’s Sustain, which both won the Grammy Award® for Best Orchestral Performance.

For more information about Gustavo Dudamel, visit his official website at gustavodudamel.com and the Dudamel Foundation at dudamelfoundation.org.

— The New York Times’ Zachary Woolfe and Laura Cappelle

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, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. 2022/23 marks the orchestra’s 104th 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 worldfamous 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 now provide free instruments, intensive music instruction, and leadership training to 1,500 students from underserved neighborhoods, empowering them to become vital citizens, leaders, and agents of change. In the 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 tours, both domestically and

“SO FAR AHEAD OF OTHER AMERICAN ORCHESTRAS THAT IT IS IN COMPETITION MAINLY WITH ITS OWN PAST ACHIEVEMENTS.”

— The New Yorker ’ s Alex Ross

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).

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 Margaret and Jerrold L. Eberhardt Chair

Minyoung Chang I.H. Albert Sutnick Chair

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 DaoDalzell 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

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* Nancy and Leslie Abell LA Phil Resident Fellow Chair

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 Ismael Guerrero*

BASSES

Christopher Hanulik Principal Diane Disney Miller and Ron Miller Chair

Kaelan Decman Associate Principal Oscar M. Meza Assistant Principal

David Allen Moore

Ted Botsford Jack Cousin Jory Herman Brian Johnson Peter Rofé+ Nicholas Arredondo*

FLUTES

Denis Bouriakov

Principal Virginia and Henry Mancini Chair

Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair

Elise Shope Henry Mari L. Danihel Chair Sarah Jackson

Piccolo Sarah Jackson

OBOES Marc Lachat Principal 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

BASSOONS

Whitney Crockett

Principal

Shawn Mouser

Associate Principal Ann Ronus Chair

Michele Grego Evan Kuhlmann

Contrabassoon Evan Kuhlmann

HORNS Andrew Bain

Principal John Cecil Bessell Chair

Gregory Roosa 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 Judith and Thomas L. Beckmen Chair

Paul Radke

Bass Trombone John Lofton Miller and Goff Family Chair

TUBA

James Mason Soria

TIMPANI

Joseph Pereira Principal Cecilia and Dudley Rauch Chair

David Riccobono Assistant Principal

PERCUSSION

Matthew Howard Principal James Babor Perry Dreiman+ David Riccobono Justin Ochoa*

KEYBOARDS

Joanne Pearce Martin Katharine Bixby Hotchkis Chair

HARP Emmanuel Ceysson Principal Ann Ronus Chair

LIBRARIANS

Stephen Biagini Benjamin Picard KT Somero

CONDUCTING FELLOWS

Rodolfo Barráez Linhan Cui Chloé Dufresne Luis Toro Araya

L.

The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.

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

Miguel A. Ponce, Jr.

SYSTEM SUPPORT I

CHIEF

Chair

Paula Michea

EXECUTIVE ASSISTANT TO THE CHIEF EXECUTIVE OFFICER

EXECUTIVE TEAM

Renae Williams Niles

CHIEF CONTENT & ENGAGEMENT OFFICER

Summer Bjork CHIEF OF STAFF

Glenn Briffa

INTERIM CHIEF FINANCIAL OFFICER

Margie Kim

CHIEF PHILANTHROPY OFFICER

Emanuel Maxwell CHIEF TALENT & EQUITY OFFICER

Mona Patel GENERAL COUNSEL

Daniel Song CHIEF OPERATING OFFICER

SENIOR MANAGEMENT TEAM

Nora Brady

VICE PRESIDENT, MARKETING AND COMMUNICATIONS

Laura Connelly

GENERAL MANAGER, HOLLYWOOD BOWL;

VICE PRESIDENT, PRODUCTION

Cynthia Fuentes

DIRECTOR, THE FORD

Elsje Kibler-Vermaas

VICE PRESIDENT, LEARNING

Sara Kim

VICE PRESIDENT, PHILANTHROPY

Johanna Rees

VICE PRESIDENT, PRESENTATIONS

Carlos Singer

DIRECTOR, GOVERNMENT & COMMUNITY ENGAGEMENT

Meghan Umber

VICE PRESIDENT, ARTISTIC PLANNING

Julia Ward DIRECTOR, HUMANITIES

ADMINISTRATION

Jason Abbott ASSISTANT, OFFICE SERVICES

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

Marius Olteanu IT SUPPORT ENG I

Sean Pinto DATABASE APPLICATIONS MANAGER

Christopher Prince TESSITURA SUPPORT

Mark Quinto DIRECTOR, IT SERVICES

Aly Zacharias DIRECTOR, LEGAL

ARTISTIC PLANNING & PRESENTATIONS

Emily Davis ARTIST LIAISON

Kristen Flock-Ritchie PROGRAMMING MANAGER

Brian Grohl PROGRAM MANAGER, POPS / MANAGER, HOLLYWOOD BOWL ORCHESTRA

Ljiljana Grubisic ARCHIVES AND MUSEUM DIRECTOR

Herbie Hancock CREATIVE CHAIR FOR JAZZ

Christine Lim

ARTISTIC ADMINISTRATOR

Daniel Mallampalli PROGRAMMING MANAGER

Rafael Mariño PROGRAM MANAGER

Meredith Reese DIGITAL ASSET MANAGER

Ayrten Rodriguez SENIOR PROGRAM MANAGER

Ebner Sobalvarro ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR

Stephanie Yoon ARTIST SERVICES MANAGER

AUDIENCE SERVICES

Denise Alfred REPRESENTATIVE

Vilma Alvarez SUPERVISOR

Brendan Broms SUPERVISOR

Diego Delatorre SUPERVISOR

Jacquie Ferger REPRESENTATIVE

Jennifer Hugus PATRON SERVICES Erika Jenko PATRON SERVICES

Bernie Keating REPRESENTATIVE

William Minor REPRESENTATIVE

Rosa Ochoa AUDIENCE SERVICES MANAGER Karen O’Sullivan REPRESENTATIVE

Eden Palomino REPRESENTATIVE

Teresa Phillips SUPERVISOR

Richard Ponce REPRESENTATIVE

Rafael Sanchez PATRON SERVICES Michelle Sov REPRESENTATIVE

WALT DISNEY CONCERT HALL BOX OFFICE

Donella Coffey

2ND ASSISTANT TREASURER

Christy Galasso

1ST ASSISTANT TREASURER

Veronika Garcia

1ST ASSISTANT TREASURER

Alex Hennich TICKET SELLER

Amy Lackow

2ND ASSISTANT TREASURER

Elia Luna TICKET SELLER

Page Messerly TREASURER

Ariana Morales

1ST ASSISTANT TREASURER

Carolina Orellana

2ND ASSISTANT TREASURER

Cathy Ramos TICKET SELLER

Elias Santos

2ND ASSISTANT TREASURER

John Tadena TICKET SELLER

Carlie Tomasulo

2ND ASSISTANT TREASURER

FINANCE

Jyoti Aaron CONTROLLER

Adriana Aguilar PAYROLL ADMINISTRATOR

Steven Cao ACCOUNTING MANAGER

Katherine Franklin VENUE ACCOUNTING SUPERVISOR

Lisa Hernandez

ACCOUNTS PAYABLE MANAGER

LaTonya Lindsey

ACCOUNTS PAYABLE COORDINATOR

Debbie Marcelo FINANCIAL PLANNING MANAGER

Wade Mueller PAYROLL MANAGER

Kristine Nichols PAYROLL COORDINATOR

Yuri Park FINANCIAL PLANNING ANALYST

Nina Phay PAYROLL ADMINISTRATOR

Lisa Renteria

ACCOUNTS PAYABLE SPECIALIST

Sierra Shultz STAFF ACCOUNTANT

HOLLYWOOD BOWL & THE FORD

Steve Arredondo TRANSIT MANAGER

Angelina Grego OPERATIONS ADMINISTRATOR

Gabriella Isabel

Hernandez COORDINATOR, THE FORD

Norm Kinard PARKING & TRAFFIC MANAGER

Mark Ladd

ASSOCIATE DIRECTOR, OPERATIONS

Gina Leoni OPERATIONS MANAGER, THE FORD Patrice Lozano EVENT MANAGER

Megan Ly-Lim OPERATIONS COORDINATOR, HOLLYWOOD BOWL

Tom Waldron OPERATIONS MANAGER, HOLLYWOOD BOWL

HUMAN RESOURCES

Melissa Magdaleno

HR COORDINATOR

Frank Patano BENEFITS MANAGER

LEARNING

Emily Lair

ASSOCIATE DIRECTOR, LEARNING

Anthony Crespo PROGRAM MANAGER, YOLA AT TORRES

Camille DelaneyMcNeil DIRECTOR, YOLA Fabian Fuertes

SENIOR MANAGER, YOLA

Julie Hernandez FACILITIES MANAGER, BECKMEN YOLA CENTER

Lorenzo Johnson PROGRAM MANAGER, YOLA AT INGLEWOOD

Mariam Kaddoura MANAGER, LEARNING

Diana Melgar

ASSISTANT MANAGER, YOLA Gaudy Sanchez YOLA ARTISTIC ADMINISTRATOR

Stephen Smith MANAGER, YOLA

MARKETING & COMMUNICATIONS

Micaela AccardiKrown MANAGER, SOCIAL MEDIA Mary Allen

SENIOR MANAGER, SOCIAL MEDIA Lushia Anson MARKETING & COMMUNICATIONS COORDINATOR

Scott Arenstein SENIOR DIRECTOR, BRAND

Janice Bartczak DIRECTOR, RETAIL SERVICES

Lisa Burlingham DIRECTOR, MARKETING

Charles Carroll MANAGER, MARKETING COMMUNICATIONS

Joe Carter SENIOR DIRECTOR, SALES & CUSTOMER EXPERIENCE

Elias Feghali

ASSOCIATE DIRECTOR, AUDIENCE STRATEGIES & ANALYTICS

Justin Foo ASSOCIATE DIRECTOR, SALES & CUSTOMER ENGAGEMENT

Caila Gale DIGITAL PRODUCER

Tara Gardner MANAGER, DIGITAL MARKETING

Karin Haule GRAPHIC DESIGNER

Annisha Hinkle

SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS

Jennifer Hoffner ASSOCIATE DIRECTOR, ADVERTISING

Linda Holloway PATRON SERVICES MANAGER

Sophie Jefferies DIRECTOR, PUBLIC RELATIONS

Alexis Kaneshiro SENIOR GRAPHIC DESIGNER

Jediah McCourt MANAGER, CORPORATE PARTNERSHIPS

Ino Mercado

RETAIL MANAGER, MERCHANDISING

Ricky O’Bannon DIRECTOR, CONTENT

Erin Puckett MARKETING COORDINATOR, PROMOTIONS & PARTNERSHIPS

Andrew Radden DIRECTOR, CORPORATE PARTNERSHIPS

Tristan Rodman SENIOR PRODUCT MANAGER

Martin Sartini Garner CREATIVE COPYWRITER

Mary Smudde ASSOCIATE CREATIVE DIRECTOR

Natalie Suarez SENIOR CREATIVE DIRECTOR

Kahler Suzuki VIDEO PRODUCER

Jonathan Thomas MARKETING DATABASE SPECIALIST

Holly Wallace PUBLICIST

Lauren Winn SENIOR PROJECT MANAGER, CREATIVE SERVICES

ORCHESTRA MANAGEMENT & MEDIA INITIATIVES

Shana Bey DIRECTOR, ORCHESTRA MANAGEMENT

Kristie Chan DIRECTOR, ORCHESTRA PERSONNEL

Jessica Farber ASSOCIATE DIRECTOR, MEDIA INITIATIVES

Raymond Horwitz

PROJECT MANAGER, MEDIA INITIATIVES

Maren Slaughter MANAGER, ORCHESTRA PERSONNEL

PRODUCTION

Isabella Gorden PRODUCTION ASSOCIATE

Tina Kane SCHEDULING MANAGER

Taylor Lockwood ASSOCIATE PRODUCTION MANAGER

Kimberly Mitchell PRODUCTION MANAGER

Alex Grossman PRODUCTION MANAGER

Christopher Slaughter PRODUCTION MANAGER

Michael Vitale DIRECTOR, PRODUCTION

Kelvin Vu TECHNICAL DIRECTOR

Bill Williams PRODUCTION ADMINISTRATOR

PHILANTHROPY

Robert Albini DIRECTOR, MAJOR GIFTS

Joshua Alvarenga

SENIOR MAJOR GIFTS OFFICER

Nancy Baxter DIRECTOR OF GIFT PLANNING

Taylor Burrows

SENIOR COORDINATOR, GIFT PLANNING

Julia Cole

DIRECTOR, INSTITUTIONAL GIVING

Chelsea Downes DIRECTOR, ANNUAL GIVING

Valeri Estrada

PHILANTHROPY OPERATIONS

SPECIALIST

Joel Fernandez SENIOR RESEARCH ANALYST

Elan Fields GIFT & DATA SPECIALIST

Genevieve Goetz GIFT PLANNING OFFICER

Freyja Glover ASSISTANT MANAGER, ANNUAL FUND

Gerry Heise SENIOR MAJOR GIFTS OFFICER

Ashley Helm ASSISTANT MANAGER, SPECIAL EVENTS

Crystal Jones ASSOCIATE DIRECTOR, MAJOR GIFTS

Julian Kehs MANAGER, INSTITUTIONAL GIVING

Christina Magaña DONOR RELATIONS ASSOCIATE

Allison Mitchell DIRECTOR, BOARD RELATIONS

Gisela Morales MAJOR GIFTS OFFICER

Ryan Murphy ASSISTANT MANAGER, SPECIAL EVENTS

Sophie Nelson DONOR RELATIONS ASSISTANT Ragan Reviere DIRECTOR/PRODUCER, SPECIAL EVENTS

Carina Sanchez SENIOR MANAGER, RESEARCH AND PROSPECT DEVELOPMENT

Erica Sitko DIRECTOR, STEWARDSHIP & PRINCIPAL GIFT STRATEGY

Peter Szumlas

ASSOCIATE DIRECTOR, PHILANTHROPY OPERATIONS

Tyler Teich SENIOR GIFT AND DATA SPECIALIST

Derek Traub MANAGER, PHILANTHROPY COMMUNICATIONS

Kevin Tsao ASSISTANT MANAGER, ANNUAL GIVING & SPECIAL PROJECTS

Morgan Walton ASSOCIATE DIRECTOR, SPECIAL EVENTS AND AFFILIATES

Richard T. Watkins ASSOCIATE DIRECTOR, PHILANTHROPY

IATSE LOCAL 33

Kevin Brown MASTER CARPENTER

Andy Kassan MASTER ELECTRICIAN Jesse Kolouch PROPERTYMAN

Michael McLeod

ASSISTANT MASTER ELECTRICIAN Robert Naughton PROJECTION

Donald Quick MASTER PROPERTYMAN Serge Quintanar CARPENTER

Michael Sheppard MASTER SOUNDMAN Kevin Wapner ASSISTANT MASTER SOUNDMAN

Chad

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

Y

MY CY

GUSTAVO DUDAMEL

He believes in the transformative power of music. Considered to be one of the best conductors in the world, leading orchestras clamor to be led by him, such is his passionate interpretation of classical music and his technical precision. Currently the music director of the Los Angeles Philharmonic and the Opéra national de Paris, the charismatic Venezuelan is also deeply involved in music education for children. Music, he believes, is for all.

OPPORTUNITIES

NEW FACES IN THE LA PHIL

The Los Angeles Philharmonic has welcomed several new members since the start of the 2022/23 season.

KAELAN DECMAN Associate Principal Bass

Kaelan Decman was appointed to the position of Associate Principal Bass of the Los Angeles Philharmonic by Gustavo Dudamel in the spring of 2022. Prior to his appointment, he was a member of the San Diego Symphony Orchestra. A Los Angeles native,

he began his musical career playing the electric bass and performing a variety of genres including pop, jazz, R&B, and funk, while also pursuing intensive classical training on the double bass. He began his instrumental studies under the tutelage of Los Angeles-based recording artist and composer Jonathan Richards, while also being mentored by and collaborating with renowned jazz pianist and composer David Benoit as part of the Asia America Symphony Association.

Decman earned a Bachelor of Music degree in Double Bass Performance from the Indiana University Jacobs School of Music and continued his graduate studies at the University of Southern California Thornton School of Music. His primary collegiate instructors

include Bruce Bransby and fellow section member David Allen Moore.

Decman has since made appearances with the Detroit Symphony Orchestra, New World Symphony, Phoenix Symphony, Los Angeles Chamber Orchestra, and the Long Beach Symphony Orchestra. He performs on a modern American double bass made in 2003 by Albert Jackstadt, using a bow made by Robert Dow.

Decman maintains a private teaching studio and enjoys hiking, cycling, rock climbing, cooking, playing video games, and spending time with his dog. He and his partner Sarina are avid gourmets and enjoy exploring the wide variety of wine, beer, and vegan cuisine that Southern California has to offer.

JAMES MASON SORIA Tuba

James Mason Soria began his musical endeavors on the tuba at the age of 10. His orchestral pursuit began in his sophomore year of high school, when he won the principal tuba position in the

Greater Dallas Youth Orchestra. He held this position until graduating from high school and was able to go on the Greater Dallas Youth Orchestra China tour in the summer of 2015. He was awarded a full-tuition music scholarship to the University of North Texas, where he studied with Donald Little and Matthew Good in pursuit of a bachelor’s degree in Music Performance.

Soria had been chosen as a semifinalist in the Leonard Falcone International Tuba Artist Competition in 2018 and 2021. He was also awarded a fellowship to the prestigious Aspen Music Festival, where he studied in 2019 with Warren Deck and again in 2021, when he

won the Aspen Music Festival Brass Concerto Competition. Shortly after returning from his first summer in Aspen, Soria won the principal tuba position with the Baton Rouge Symphony Orchestra. He held that position while earning his master’s degree at the Frost School of Music at University of Miami, where he was a teaching assistant studying under the tutelage of Aaron Tindall from 2020 to 2022. While in his last semester at Frost, Soria won the principal tuba position with the Richmond Symphony, playing only a few weeks of concerts before he won the Tuba position with the Los Angeles Philharmonic in May 2022.

MARC LACHAT Principal Oboe Carol Colburn Grigor Chair

After being accepted into the Paris Conservatoire, Marc Lachat won first prize by unanimous acclaim at the Young Musicians’ Autumn Festival and also received the Best Contemporary Performance Prize (2009). This prize launched his career, giving him a chance to play six concerts as a soloist. Soon after, he won other highly prestigious international competitions: the ARD in Munich (2011) and the Prague Spring International Competition (2013).

Passionate about orchestras, he trained with the French

Youth Orchestra and then with the Schleswig-Holstein Festival Orchestra. He was awarded the position of principal oboe for the Monte-Carlo Philharmonic Orchestra in 2009. In 2013, he became the principal oboist for the Basel Orchestra. He stood out for his light and airy style, and, at the request of Sir Roger Norrington, he joined the Zurich Chamber Orchestra alongside his position in Basel.

As a lover of chamber music, Lachat became a member of the Klarthe Quintet, with which he won another prize at the ARD international competition in Munich (2014). He played regularly with the quintet and with other chamber music groups at numerous festivals throughout France, Italy, and Switzerland: Palazzetto Bru Zane Festival in Venice, Auvers-sur-Oise Festival, Arromanches Festival, Vier Jahreszeiten Konzerte in Blumenstein, Kultur in Zehntenhof, and the Queille Festival.

Lachat’s talent has allowed him to play many times as soloist, in the Strauss Oboe Concerto with the Basel

Symphony Orchestra (2018), and in the Mozart Oboe Concerto, first with the Monte-Carlo Philharmonic (2011) and then the Basel Orchestra (2014). He played in the Bach Double Concerto alongside violinists Frank Peter Zimmermann (2009) and Daniel Hope (2020). He has performed Bach’s Oboe Concerto at the Tonhalle MAAG in Zurich, and the Vaughan Williams Oboe Concerto with the Zurich Chamber Orchestra.

He has worked as a solo oboist with eminent conductors, including Bernard Haitink, Daniel Harding, Sir Roger Norrington, Marek Janowski, François-Xavier Roth, Tugan Sokhiev, Gianandrea Noseda, Paavo Järvi, Neeme Järvi, Pierre Boulez, Georges Prêtre, and Lorin Maazel.

As principal oboe, Lachat has performed with leading orchestras, including the Royal Concertgebouw Amsterdam, the London Symphony Orchestra, Zurich Tonhalle Orchestra, the Mahler Chamber Orchestra, Orchestre de la Suisse Romande, Orchestre de Paris, and Hessische Rundfunk (Frankfurt).

DAVID RICCOBONO

Assistant Principal Timpani/ Section Percussion

Prior to joining the Los Angeles Philharmonic as the Assistant

Principal Timpani/Section Percussion, David Riccobono was principal percussionist of the Long Beach Symphony and an avid freelancer in the Greater Los Angeles area. He had often performed as either percussionist or timpanist with the Los Angeles Philharmonic, LA Opera, Malaysian Philharmonic Orchestra, Virginia Symphony, Santa Barbara Symphony, and Pasadena Symphony. His summer engagements include fellowships with the Round Top Festival Institute, Tanglewood Music Center, and Music Academy of the West, as well as performing

with the Mainly Mozart AllStar Orchestra in San Diego.

A native of Huntington Beach, California, Riccobono began playing percussion at age eight. He received his Bachelor of Arts degree in Music from UCLA, studying with Raynor Carroll and Theresa Dimond. He went on to pursue a Master of Music degree at USC, studying with James Babor, Joseph Pereira, Naoko Takada, and Matthew Howard. Riccobono has also competed in the Modern Snare Drum Competition in Cleveland, Ohio, and was a runner-up in both 2019 and 2021.

HOLIDAY CONCERTS AT

SAT

Sing-Along

Melissa Peterman, host

John Sutton, conductor Angeles Chorale

Alone in Concert

SAT

WED

SUN

& Ellington

Los Angeles

Gustavo

Los

Fernando

UPBEAT LIVE

Enjoy

that

SAT

Los

reprogrammed !

Performances Magazine unveils a digital program platform for shows and concerts

DROP DOWN MENU Table of app contents.

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THE ESSENTIALS Acts, scenes, synopses, repertory and notes.

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NO RUSTLING PAGES, no killing trees.... Of all the innovations to have come out of the pandemic, the new Performances program platform, accessed on any digital device, may be least likely to disappear in the foreseeable future. Not only has its time come—it was long overdue.

Performances provides the programs for 20 SoCal performingarts organizations, from the Los Angeles Philharmonic and the Ahmanson to San Diego Opera, where the app made its debut.

The touchless platform provides cast and player bios, donor and season updates and arts-centric features. Audiences receive a link and code word that instantly activate the app; QR codes are posted, too.

Screens go dark when curtains rise and return with the house lights. Updates—repertory changes, understudy substitutions, significant donations—can be made right up to showtime, no inserts necessary.

Other features include video and audio streams, translations and expanded biographies.

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WHAT’S ON What’s coming at a glance and ticket information.

For those who consider printed programs keepsakes, a limited number, as well as commemorative issues for special events, will con tinue to be produced. Collectibles!

Meanwhile, there will be less deforestation, consumption of petro leum inks and programs headed for landfills. For the ecologically minded, the platform gets a standing ovation.

Theaters and concert halls are reopening after a long intermission. The stage is set, excitement is mounting. Activate your link and enjoy the shows.

—CALEB WACHS

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. Ten LA Phil concerts were recorded during this past summer’s celebration of the Hollywood Bowl’s first 100 years, featuring a stellar roster of artists and conductors. Hosted and produced by KUSC’s Brian Lauritzen, the programs air weekly at 7pm on Sundays from September 4 through November 6 and are heard throughout much of Southern California on 91.5 FM Classical California KUSC.

This is the fifteenth year of the orchestra’s summer partnership with Southern California’s listener-sponsored classical music radio station. This broadcast series gives more than 550,000 KUSC listeners across Southern California the opportunity to experience Hollywood Bowl performances each week.

Concluding programs in this series include Eva Ollikainen conducting the LA Phil in Beethoven’s triumphant Ninth Symphony. The season comes to a close with the annual Mozart Under the Stars program, featuring period-style specialist Nicholas McGegan leading the orchestra in Mozart’s Symphonies No. 32 and No. 36, as well as LA Phil First Associate Concertmaster

Nathan Cole performing the composer’s Fourth Violin Concerto. For details of the remaining broadcasts this season, please visit hollywoodbowl.com/radio

UPCOMING BROADCASTS

SoCal Sundays at 7pm on KUSC

OCT 30

Eva Ollikainen, conductor Michelle Bradley, soprano Rihab Chaieb, mezzo-soprano Joshua Blue, tenor Nathan Berg, bass-baritone

Los Angeles Master Chorale Grant Gershon, Artistic Director Jenny Wong, Associate Artistic Director

Samy MOUSSA Elysium

BEETHOVEN Symphony No. 9

NOV 6

Nicholas McGegan, conductor Nathan Cole, violin

MOZART Symphony No. 32

Violin Concerto No. 4 Symphony No. 36, “Linz”

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.

FRI JAN 6 8PM

SAT JAN 7 8PM

SUN JAN 8 2PM

Debussy and Messiaen with MTT

Los Angeles Philharmonic Michael Tilson Thomas, conductor Jean-Yves Thibaudet, piano

Los Angeles Master Chorale Grant Gershon, Artistic Director

Jenny Wong, Associate Artistic Director

SAT JAN 21 8PM

SUN JAN 22 2PM

Ravel, Dawson, and Prokofiev

Los Angeles Philharmonic Roderick Cox, conductor Karen Gomyo, violin

SAT JAN 28 2PM

Colburn Celebrity Recital: Emanuel Ax, piano Leonidas Kavakos, violin Yo-Yo Ma, cello

SUN JAN 8 7:30PM

Colburn Celebrity Recital: Seong-Jin Cho, piano

SUN JAN 22 7:30PM Hector Olivera

Hector Olivera, organ

MON JAN 30 8PM

Ensemble Intercontemporain Matthias Pintscher, conductor

FRI JAN 13 8PM

SAT JAN 14 8PM

SUN JAN 15 2PM

MTT Conducts Mahler 9

Los Angeles Philharmonic Michael Tilson Thomas, conductor

FRI JAN 20 8PM

Monterey Jazz 65th Anniversary Tour

Featuring Dee Dee Bridgewater, Kurt Elling, Christian Sands, Clarence Penn, Lakecia Benjamin, and Yasushi Nakamura

FRI JAN 27 8PM

SUN JAN 29 2PM

John Adams’ Girls of the Golden West

Los Angeles Philharmonic John Adams, conductor Cast: Julia Bullock, Davóne Tines, Paul Appleby, Hye Jung Lee, Elliot Madore, Daniela Mack, and Ryan McKinny Los Angeles Master Chorale Grant Gershon, Artistic Director Jenny Wong, Associate Artistic Director

John ADAMS Girls of the Golden West

TUE JAN 31 8PM Kodo

THE

London

Players

IS

TRADITIONS FOR

AND

Sat Dec 3 | 8pm

Watkins Family Hour Christmas

Wed Dec 7 | 8pm

All Is Calm: The Christmas Truce of 1914

Sat Dec 10 | 8pm & Sun Dec 11 | 3pm

Nochebuena

Sat Dec 17 | 7pm

Alton Brown Live!

Beyond The Eats: The Holiday Variant

Sun Dec 18 | 7pm

London Handel Players: A Baroque Christmas

SINGLE TICKETS ON SALE NOW!

Alton Brown Live!

Nochebuena

ROCK MY SOUL FESTIVAL

OCT 30—NOV 22, 2022

The phrase “Rock My Soul” has a long lineage and legacy: It is the leading lyric of a traditional Black American spiritual about expanding one’s being in every dimension and direction imaginable. The song title was later utilized by philosopher and educator bell hooks, who communicated about the importance of understanding the pursuit of love, a sense of community, and commitment to continuous exploration. So for me, the sentiment of “Rock My Soul” isn’t an ethereal, intangible endeavor ... it’s a call to express yourself, engage with everything within and around you—and find enjoyment while doing it.

The Rock My Soul Festival with the LA Phil offers a diverse range of music with messages about historical recognition, liberation, and fierce self-empowerment; and highlights artists who speak to our need

for accountability as a human collective.

When the LA Phil asked me to curate this festival, I was excited, because the artists that precede and surround me who identify as B/black, American, and women have deeply impacted my musical life. However, like many artists, I don’t want to be positioned, even if what I choose to share is geared in a certain social or political direction. That said, there’s no denying how strong bonds in personal relationships, claiming one’s identity, and reflecting and considering past and present circumstances, impact what art is made and offered.

Rock My Soul focuses on the connection, collaboration, and mutual support shared between artists—and celebrates voices who incorporate a vast scope of influences and inspirations in their work. —Julia Bullock

Curated by Mercedes Cooper, Senior VP of Programming for Ava DuVernay’s ARRAY, Rock My Soul Humanities programs include a performance by and conversation with Grammy® Award-winning musician and Queen Sugar composer Meshell Ndegeocello; the participatory event Movie

Soundtrack Yoga, led by R&B Yoga founder Lauren Spearman; and a live performance by J’Nai Bridges, followed by the film Carmen Jones

“We are proud to amplify the vast and very special artistry of Black women in collaboration with the LA Phil,” said Cooper. “This series seeks

to rediscover and reflect on the abundant contributions made by Black women, past and present, across musical genres in relation to storytelling. Our hope is that this exploration through music, movement, and motion pictures conjures new imaginations for our future voices.”

The Rock My Soul Festival is generously supported in part by Margaret Morgan and Wesley Phoa

The LA Phil’s Humanities programs are generously supported by Linda and David Shaheen

Rock My Soul Festival Chaka Khan

Chaka Khan

SUNDAY

OCTOBER 30, 2022 7:30PM

The Rock My Soul Festival is generously supported in part by Margaret Morgan and Wesley Phoa

Programs and artists subject to change.

CHAKA KHAN

Chaka Khan is one of the world’s most gifted and celebrated music icons. A singer, songwriter, actor, author, philanthropist, entrepreneur, and activist, Chaka has influenced generations of music creators during her four decades as an artist. A 10-time Grammy® Award winner, she has the rare ability to sing in a number of musical genres, including R&B, pop, rock, gospel, country, world music, and classical. She is revered by millions of fans as well as her peers for her timeless, unmatched vocal style and

image. The late, great Miles Davis noted that Chaka “sings like my horn.” And none other than the Queen of Soul, Aretha Franklin, has said that Chaka “is a oneof-a-kind, premier vocalist.”

During her legendary career, Chaka has released 22 albums and racked up 10 No. 1 songs on the Billboard charts, seven RIAA-certified gold singles and 10 RIAA-certified gold and platinum albums. Chaka’s recordings have resulted in more than 2,000 catalog song placements. Still at the height of her astounding vocal powers, Khan is creating new projects and earning new honors. Her single “Like Sugar” from her album Hello Happiness (2019) earned high praise from tastemakers.

A native of Chicago, Illinois, Chaka began singing in local groups as a teen before being invited to join the group Rufus. Her fiery vocals on the group’s debut album caught the attention of music icon Stevie Wonder, who penned her first smash hit with Rufus, “Tell Me Something Good.”

The single from the group’s 1974 platinum-selling album, Rags to Rufus, earned Chaka her first Grammy Award.

In 1978, Chaka blazed onto the music scene as a solo artist with the release of the smash hit “I’m Every Woman,” written by Ashford & Simpson. As she continued working with the late mega-producer Arif Mardin (Aretha Franklin, Bette Midler), her catalog grew with such hits as “Clouds,” “Papillon,” and “What Cha’ Gonna Do for Me.” It was during this time that Chaka began pursuing her love of jazz. She and Mardin brilliantly reworked the classic “Night in Tunisia” with the song’s originator, Dizzy Gillespie, on trumpet. Her crowning achievement in jazz was the Grammy Award-winning tune “Be Bop Medley” from the 1983 album Chaka Khan, which also won a Grammy for Best Female R&B Vocal Performance.

Chaka’s vocal intensity, soulfulness, and ability to work within different genres made artists in pop and rock take notice. She has worked with a who’s who of artists, including Miles Davis, Quincy Jones, Dizzy Gillespie, Stevie Wonder, Prince, Steve Winwood, Mary J. Blige, George Benson, Larry Graham, the London Symphony Orchestra, and countless others, earning awards and accolades along the way.

The Cabinet of Dr. Caligari

Clark Wilson, organ

The Cabinet of Dr. Caligari (1920) (c. 75 minutes)

CAST

Werner Krauss Dr. Caligari Conrad Veidt Cesare Friedrich Feher Francis Lil Dagover Jane Olsen Hans von Twardowski Alan Rudolf Lettinger Dr. Olsen Rudolf Klein-Rogge Criminal

CREW

Director Robert Wiene Writers Hans Janowitz and Carl Mayer Producers Rudolf Meinert and Erich Pommer

Cinematographer Willy Hameister

Production Designers Walter Reimann, Walter Röhrig, and Hermann Warm Set Decorator Hermann Warm Costume Designer Walter Reimann

MONDAY

OCTOBER 31, 2022 7:30PM

Michael Wilson is Walt Disney Concert Hall Organ Conservator.

Manuel Rosales and Kevin Cartwright are principal technicians for the Walt Disney Concert Hall organ.

Print and license provided by Kino Lorber

Restoration: Friedrich Wilhelm Murnau-Stiftung

Loosely used to define a new wave of artists that re-invigorated German art from the beginning of the 20th century to the rise of Hitler in 1933, Expressionism built on the work of post-Impressionist painters, who had themselves rejected Impressionists’ attempts to accurately reproduce visual reality in terms of light and color.

Demoralized after losing an unprecedented war that generated incredible loss of lives and capital—World War I—and in the middle of an unprecedented economic and emotional depression, German artists and filmmakers were pushed to develop an

Expressionist cinema that would make use of the same highcontrast, twisted perspectives and subject matters that popularized German art before 1914. The Cabinet of Dr. Caligari (1920) is one of the earliest films to exemplify the strong influence of Expressionism on every major European art form during the early 1900s— theater, film, and architecture.

The most important tool for the revitalization of Germany’s film industry was created in 1917, when the government and the military created the notorious UFA (Universumfilm Aktiengesellschaft). Also designed as a developing site for state propaganda, UFA was able to monopolize Germany’s film market by closing the country’s borders to imports and by creating a federal law mandating that all films shown within the country be locally produced.

With the economy in ruins, Germany was easily able to sustain these radical measures; these were also perfect conditions to export newly produced movies at extremely competitive prices. Soon enough, German films were widely available in foreign markets,

and their new aesthetics quickly dazzled audiences and filmmakers all over the world.

The overall sentiment of depression caused by World War I seemed to fit with the themes and visual style of German Expressionism. As a consequence, films like The Cabinet of Dr. Caligari are darker than previous horror films, and their huge financial success happened in part due to their capacity to tap into Germany’s postwar zeitgeist.

Shot mostly in studios—and precisely designed to shock their audiences—these films brought a hitherto unseen level of integration between camera work and set designs and influenced many other film genres and movements—like film noir, horror, and sci-fi.

There is no doubt that films like The Cabinet of Dr. Caligari permanently influenced the aesthetics and language of filmmaking. Their dramatic stories, stark visuals, and technical audacity transformed narrative cinema, pushing audiences and filmmakers to rethink their relationship to representation, storytelling, and the language of filmmaking.

CLARK WILSON

Clark Wilson is one of the most prominent and recognized scorers of silent photoplays in America today. He works exclusively with the organ in developing accurate and historical music accompaniments as they were performed in major

picture palaces during the heyday of the silent film.

Wilson began his scoring career in 1980 and has successfully toured North America with hundreds of film presentations at schools and universities, performing arts centers, theaters, film festivals, and conventions. He is the organist of choice for many of the American Theatre Organ Society’s international convention silent film presentations, and he has scored pictures for Kino International for public DVD release.

Wilson has been organ conservator and Resident Organist at the Ohio Theatre for the Columbus Association for the Performing Arts since 1992 and has given performances at the Academy of Motion Picture Arts and Sciences, Atlanta’s Fox Theatre, Royce Hall, and Walt Disney Concert Hall. He

has led courses in theater organ styling and silent film accompaniment at the Indiana University School of Music. He has also been an adjunct professor at the University of Oklahoma, teaching classes in silent picture scoring and the history of the American theater organ.

Wilson was presented with the ATOS Organist of the Year award in 1998. An acclaimed organ technician and consultant, he has also been professionally involved with over 200 pipe organ installations to date and has earned the ATOS Technician of Merit award, the only person to receive both ATOS distinctions.

This past summer, Wilson performed the scores for the silent films screened at the San Diego International Organ Festival, the Organ Historical Society national convention, and at Lakeside Chautauqua.

WALT

GREAT – MANUAL II

32' Violonbasse

16' Prestant

16' Violonbasse

16' Bourdon

8' Principal

8' Diapason à pavillon

8' Violoncelle

8' Flûte harmonique

8' Chimney Flute

8' Bourdon

5-1/3' Grand Nasard

4' Octave

4' Spire Flute

3-¹⁄₅' Grande Tierce

2-2/3' Octave Quinte

2' Super Octave

III Grande Fourniture

VIII Mixture

IV Cymbale

VII Corneta Magna

32' Contre Basson

16' Basson

8' Basson 4' Basson

8' Trompeta de Los Angeles Sostenuto

POSITIVE – MANUAL I

16' Quintaton

8' Principal

8' Unda Maris

Gambe

' Flûte harmonique

8' Gedackt

4' Octave

4' Hohlflöte

2-2/3' Nasard

2' Super Octave

2' Waldflöte

1-³⁄₅' Tierce

1-1/3' Larigot

IV Mixture

16' Bass Clarinet

8' Trompette

8' Cromorne

8' Clarinet

8' Cor anglais

4' Clairon Tremolo

16' Llamada Tuba

8' Llamada Tuba

4' Llamada Tuba

8' Trompeta de Los Angeles Harp Celesta Sostenuto

SWELL – MANUAL III

16' Bourdon

8' Diapason

8' Flûte traversière

8' Bourdon

8' Viole de Gambe

8' Voix céleste

8' Dulciane doux

8' Voix angélique

4' Principal 4' Flûte octaviante

2-2/3' Nasard 2' Octavin

1-³⁄₅' Tierce

1' Piccolo III-V Plein-jeu harmonique 16' Bombarde

8' Trompette 8' Hautbois

8' Voix humaine

4' Clairon Fast Tremulant Slow Tremulant

8' Trompeta de Los Angeles

8' Llamada Tuba Sostenuto

LLAMARADA – MANUAL IV

8' Flautado grande

4' Octava real

V Lleno fuerte

V Compuestas 16' Contra Tromba 8' Tromba

4' Tromba Clarion Tremolo Chimes

8' Trompeta de Los Angeles 16' Llamada Tuba

' Llamada Tuba

4' Llamada Tuba Llamadas on Great Sostenuto

Cymbelstern Campanitas Pajaritos

PEDAL

32' Flûte

32' Violonbasse 32' Bourdon 16' Flûte 16' Prestant 16' Violonbasse 16' Subbass 16' Bourdon 10-2/3' Grosse Quinte 8' Octave 8' Flûte

8' Violoncelle 8' Bourdon 4' Super Octave 4' Flûte V Mixture

4' Contre Basson (b) 32' Contre Bombarde

Contre Basson 16' Grande Bombarde 16' Llamada Tuba 16' Contra Tromba 16' Basson 16' Bass Clarinet

8' Llamada Tuba

8' Trompeta de Los Angeles

8' Basson 8' Clarinet 4' Trompeta de Los Angeles

4' Llamada Tuba Pedal Chimes Pedal Divide

Rock My Soul Festival A Musical Portrait: Price and Bonds

Los Angeles Philharmonic Lidiya Yankovskaya, conductor

Julia Bullock, curator

Michelle Bradley, soprano

Jasmin White, mezzo-soprano

Michelle Cann, piano

Nathaniel Gumbs, organ

PRICE

SATURDAY NOVEMBER 5, 2022 8PM

SUNDAY NOVEMBER 6 2PM

Retrospection (c. 3 minutes) Nathaniel Gumbs

PRICE Symphony No. 1 in E minor (c. 5 minutes)

4. Finale. Presto

PRICE, Song to the Dark Virgin (c. 2 minutes)

Arr. Michael-Thomas Michelle Bradley FOUMAI

PRICE, Night (c. 2 minutes) Arr. Michael-Thomas Michelle Bradley FOUMAI

PRICE

The Oak (c. 13 minutes)

PRICE Selected Works for Solo Piano (c. 8 minutes)

Whim Wham The Goblin and the Mosquito In Sentimental Mood

“Morning (from Thumbnail Sketches of a Day in the Life of a Washerwoman) Michelle Cann

PRICE, Four Encore Songs (c. 3 minutes)

Arr. Jannina “Tobacco”

NORPOTH “A Flea and a Fly”

“‘Come, come,’ said Tom’s Father”

“Song of the Open Road” Jasmin White

PRICE

I Am Bound for the Kingdom (c. 3 minutes) Jasmin White, Michelle Cann

Michael-Thomas A Piece for Solo Piano and Orchestra, FOUMAI after Florence Price’s Fantasie nègre No. 1 (world premiere, LA Phil commission) (c. 9 minutes)

Michelle Cann

INTERMISSION

BONDS, Selected Songs (c. 14 minutes)

Arr. Jannina Poème d’Automne*

NORPOTH Winter Moon**

April Rain Song**

Sonnet: Even in the Moment* Feast*

To a Brown Girl Dead**

The Negro Speaks of Rivers** *Michelle Bradley, **Jasmin White

BONDS “ Who Is That Man?” (c. 3 minutes) from Simon Bore the Cross Michelle Bradley, Nathaniel Gumbs

BONDS Selections from Montgomery Variations (c. 15 minutes)

Prayer Meeting

. One Sunday in the South

Lament

Benediction

PRICE

Organ Suite No. 1 (c. 12 minutes) Fantasy Fughetta Air Toccato Nathaniel Gumbs

Programs and artists subject to change.

Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall.

The Rock My Soul Festival is generously supported in part by Margaret Morgan and Wesley Phoa

FLORENCE PRICE AND MARGARET BONDS: A MUSICAL SISTERHOOD

In the summer of 1933, as the Negro Renaissance movement began to spread its ideological tentacles beyond the geographic and cultural boundaries of Harlem, Florence Price and Margaret Bonds stood on the precipice of music history, shifting the context of who was heard in American concert halls.

The June concert of the Chicago Symphony Orchestra entitled “The Negro in Music”—featured as part of the 1933 Chicago World’s Fair—consisted of the debut performance of Price’s Symphony No. 1 in E minor and pianist Bonds performing John Alden Carpenter’s Concertino.

It marked the first time a major American orchestra performed a symphony written by a black female composer and, in the case of Bonds’ performance, the first instance in which a black concert pianist appeared as a soloist with the CSO. The concert would ultimately mark the beginning of a period of activity that not only linked the professional and musical lives of Bonds and Price, but also centered them within a larger movement focused on the elevation of black identity and black historical narratives through music.

The music you will hear during this concert not only illuminates the vastness and diversity of Price and Bonds’ oeuvres, but it also brings into focus the continuum of intellectual activity that was nurtured in the interiority of black communities during the early 20th century.

Price was born Florence Beatrice Smith in 1882 in Little Rock, Arkansas. All aspects of her early life disrupted the narratives that are often projected about black

life in the post-Reconstruction South, as she grew up in a culture of affluence. Her talent was acknowledged very early, as evidenced by the presentation of her first recital at the age of four. Florence’s interest in music during these early years extended beyond piano to include lessons in organ and composition. She continued these studies at the New England Conservatory, where she came under the tutelage of acclaimed composer George Chadwick. Though she remained active as a performer, Price did not compose extensively following her graduation in 1906. Instead, she returned to the South, where she worked at two local black colleges in Arkansas before joining the faculty at Clark University in Atlanta. But professional and personal achievement was not enough to shield Price and her family from the racial violence that pervaded the South, so in 1927, Florence, her husband Thomas, and their two children moved to Chicago. She immediately began engaging with the extensive ecosystem that had sustained and promoted black concert music there since the 1890s. It was through organizations like the National Association of Negro Musicians (NANM), the Chicago Music Association, and the Sunday musicales held at Estella Bonds’ home that the composer first connected with the black women who six years later would be instrumental in the CSO performance of her first symphonic work. It was also because of this ecosystem that she first met a young Margaret Bonds, a young woman who would not only perform her music in subsequent years, but also follow in her compositional footsteps.

Born in 1913 in Chicago, Margaret Bonds saw her early years characterized by her engagement with the community of black intellectuals and artisans that defined Chicago’s black elite. Like Price, Bonds was identified early on as a musical prodigy, first receiving piano lessons from her mother, Estella. Margaret’s development, however, was jettisoned by her more direct engagement with the black churches, conservatories, benevolent and social organizations, and arts-based organizations that sustained Chicago’s black concert aesthetic. Also key to her development was the cultural activity that took place in her mother’s home. In the late 1920s and early 1930s, Estella Bonds’ home at 6652 Wabash Avenue had become the epicenter of Chicago’s budding Renaissance movement, serving as part boardinghouse for those who needed assistance, food pantry for the tired and hungry who passed through Chicago, part cultural salon where aspiring artisans engaged with composers such as Will Marion Cook, Noble Sissle, and William Dawson; concert artists like Lillian Evanti, Abbie Mitchell; and noted writers, painters, and sculptors. By the time Price arrived in 1927, black Chicago was already uttering premonitions of a promising career as a concert pianist for Margaret Bonds. However, the young musician’s aspirations extended much further. Bonds briefly studied harmony with Price, and arranging with Dawson, but experienced significant growth in the development of her compositional voice during her years at Northwestern University. By 1932, her compositions began to garner some attention, as evidenced by her work Sea

Ghost winning first place in the song category in that year’s Wanamaker competition. As the decade and the Great Depression stretched on, both would draw inspiration from the diversity and vibrancy of Chicago’s music scene. Chicago proved to be a significant ignition point for Price’s creativity, since in the 26 years she resided there she composed the majority of the 300-plus works attributed to her. Her compositions, when examined within the context of the Renaissance movement, reflected how a generation of black composers centered themselves musically within the framework of American musical nationalism. Although this is evident throughout much of Price’s oeuvre, it is her symphonic works that most directly show alignment with Renaissance-movement ideology, which advanced the notion of a new, more modern form of black art that reflected the mastery of Eurocentric compositional form while amplifying a representation of African identity using black folk idioms. Price’s symphonies display this with their melodic references to Negro spirituals and the use of rhythmic patterns drawn from the Juba, a black folk-dance idiom. Spirituals figured heavily in Price’s representations of sonic blackness, and they were central in her amplification of black historical narratives. But much of Price’s music also spoke to its function and utility within her life as a musician operating within a larger community. One can glean understanding of this through her organ works, which figured heavily into her role as teacher, church musician, and recitalist. She wrote some two dozen works for organ, and

they range from short pieces such as Retrospection, written for beginning organ students, to works such as Adoration, which were used for worship services. Large-scale works, such as Passacaglia and Fugue and Sonata No. 1, were often programmed on Price’s recitals.

It should be noted that despite a series of acclaimed performances during the 1930s, Price struggled in fielding interest in her orchestral works beyond the Chicago area. The lingering impact of the Great Depression, as well as the racial and gendered politics of America’s concert scene, stunted her upward mobility as a composer. But she persisted in her work, and thanks in part to a network of concert artists and music organizations, Price’s solo and chamber repertory was regularly programmed. This group included not only local musicians, but established concert artists like Roland Hayes, Lillian Evanti, Harry T. Burleigh, and Marian Anderson, who debuted many of Price’s songs. It was Anderson who linked Price directly to a larger movement that challenged discriminatory practices in America’s concert halls and to the subsequent black civil rights movement, when she performed My Soul is Anchored in the Lord during her historic 1939 concert at the Lincoln Memorial. However, Price’s sudden death in 1953, shortly before the blossoming of the mid-century black civil rights movement, leaves questions as to how she and her music would have factored into this movement. Bonds, however, not only went on to center her music within the nexus of the movement, but also provided an archetype of how the black composer, the

black concert artist, and black concert music could serve the larger cause of racial justice.

In the years that followed Bonds’ celebrated performance at the Chicago World’s Fair in 1933, she not only continued to concertize, but also found substantial work writing pop songs, producing jazz arrangements, and writing for theater productions. The eclecticism of sound that framed these different professional settings provided some of the primary emblems that mark Bonds’ compositional voice— beautiful melodies, sensitive settings of poetry, rich and colorful harmonic settings, and complex rhythmic patterns. Her navigation of diverse professional spaces and a growing social circle that came to include poet and activist Langston Hughes significantly shaped Bonds’ perceptions about the social responsibility of black artisans.

The alignment of Bonds’ music with the progressive political activity that became the mid-century black civil rights movement can first be traced back to her professional connections with the Negro Theatre Project in Chicago and the infamous nightclub Café Society in New York. It was in these environments that Bonds’ radical consciousness surrounding blackness blossomed, and she gradually morphed into the persona of artist-activist. In the 1950s, when some black composers struggled to couple black idioms with atonality and serialism, Bonds continued to nest black cultural narratives in neo-Romantic settings tinged with harmonies, rhythms, and nuances drawn from gospel, blues, and jazz.

Prominent examples include art songs such as The Negro

Speaks of Rivers and the Dream Portraits, which featured poetry written by Langston Hughes, spiritual settings such as He’s Got the Whole World in His Hands, You Can Tell the World, and her signature solo piano work, The Spiritual Suite It was also during this period that Bonds became immersed in cultural and intellectual circles that propelled the black liberation movement into a larger nexus of campaigns that challenged discriminatory practices throughout the South. Like many, she was inspired by the activism of Dr. King and engaged in benefit concerts that financed the work of movement organizations. Many of her compositions written during the late 1950s and early 1960s bear the influence of the movement, especially the cantatas Ballad of the Brown King, Simon Bore the Cross, Montgomery Variations, and Credo Ballad of the Brown King and Simon Bore the Cross are both large-scale choral works that amplify the biblical legacies of African people by focusing respectively on the Magi who visited Christ shortly after his

birth and on Simon of Cyrene, who was ordered by the Romans to bear Christ’s cross as he was marched to his crucifixion.

Montgomery Variations, one of the few orchestral works in Bonds’ oeuvre, historicizes the first two chapters of the midcentury black civil rights struggle through a musical program that surveys the beginning of the movement in 1955 with the Montgomery Bus Boycott and ends with the uncertainty spurred by the bombing of the 16th Street Baptist Church in Birmingham, Alabama, in 1963.

Structuring the work as a series of variations based on the spiritual I Want Jesus to Walk with Me, Bonds situates it clearly in the context of the protest music that extended out of the movement during this period. The same is true for her last large-scale work, Credo, which draws its text from W.E.B. DuBois’ 1904 poem bearing the same name. By 1972, the year of Bonds’ sudden death, the imprint of her bold and radical representations of blackness through her music was evident in the music and consciousness of the emerging generation of black composers.

The intertwining of the musical legacies of Florence Price (1882–1953) and Margaret Bonds (1913–1972) that this concert promotes does not negate the individual significance of their respective compositional voices, professional achievements, or their respective perspectives on how black concert music could advance racial uplift and reconciliation. Rather, this coupling challenges the notion that Price and Bonds were cultural anomalies lost to time, only to be “rediscovered” in recent years. No, if nothing more, this concert illuminates how these women were part of larger genealogical lines of black women musicians, intellectuals, educators, and artisans who served the needs of their communities in ways that reflected ritualized cycles of cultural preservation and progression that extend back to their ancestral homeland of Africa.

Dr. Tammy L. Kernodle is a Distinguished Professor in the Department of Music at Miami University (Ohio), specializing in African American music.

JULIA BULLOCK

Julia Bullock is an American classical singer who combines versatile artistry with a probing intellect and commanding stage presence. Honored as a 2021 Artist of the Year and “agent of change” by Musical America, she has headlined productions and concerts at preeminent arts institutions around the world. An innovative curator in high demand from a diverse group of arts presenters, museums, and schools, she has held notable positions including that of collaborative partner of Esa-Pekka Salonen at the San Francisco Symphony, 2020/22 Artist-in-Residence of London’s Guildhall School, 2019/20 Artist-in-Residence of the San Francisco Symphony, and 2018/19 Artist-in-Residence at New York’s Metropolitan Museum of Art. Bullock is also a prominent voice of social consciousness and activism.

Bullock has held several important positions as a curator, including as operaprogramming host of the broadcast channel All Arts and founding core member of the American Modern Opera Company (AMOC).

She recently made several key operatic debuts: at San Francisco Opera in the world premiere of John Adams’ Girls of the Golden West, at Santa Fe Opera as Kitty Oppenheimer in his Doctor Atomic, at Festival d’Aixen-Provence and Dutch National Opera as Anne Truelove in Stravinsky’s The Rake’s Progress, and at the English National Opera, Spain’s Teatro Real, and Russia’s Perm Opera House and Bolshoi Theatre in Purcell’s The Indian Queen. Her wide-ranging repertoire also encompasses Pamina in The Magic Flute, which she sang on tour in South America and in concert with Gustavo Dudamel and the Los Angeles Philharmonic.

Bullock reunited with Dudamel and the Los Angeles Philharmonic in 2019 for season-opening performances of Barber’s Knoxville: Summer of 1915, and she performed Bernstein’s music with them at the Hollywood Bowl. Other concert highlights include performances of Adams’ El Niño with the Los Angeles Philharmonic. In 2014, Bullock gave her first U.S. recital tour and has since maintained a thriving solo career, with recent highlights that include her 2017 Walt Disney Concert Hall debut.

Bullock is in high demand as a speaker in panels on equity, inclusion, and restorative justice in the arts. She serves on the Advisory Board of Turn the Spotlight, a foundation designed to empower women and people of color, both onstage and behind the scenes, to make a more equitable future in the arts.

LIDIYA YANKOVSKAYA

Conductor Lidiya Yankovskaya is a fiercely committed advocate for Slavic masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. Since her appointment as Music Director of Chicago Opera Theater in 2017, Yankovskaya has led the Chicago premieres of Jake Heggie’s Moby-Dick, Rachmaninoff’s Aleko, Joby Talbot’s Everest, Tchaikovsky’s Iolanta, and Adamo’s Becoming Santa Claus, as well as the world premiere of Dan Shore’s Freedom Ride. Her daring performances earned recognition from the Chicago Tribune, which named her 2020’s “Chicagoan of the Year.”

In the 2022/23 season, Yankovskaya makes a series of major orchestral debuts, including performances with the Los Angeles Philharmonic, New York Philharmonic, National Symphony Orchestra, Detroit Symphony Orchestra, Sacramento Philharmonic, Knoxville Symphony, and Richmond Symphony. She returns to the Chicago Symphony Orchestra for its MusicNOW series, conducting a work by CSO Composerin-Residence Jessie Montgomery. She also debuts at Santa Fe Opera in a new production of Dvořák’s Rusalka at Staatsoper Hamburg with Eugene Onegin, and at English National Opera, conducting a new staged production of Górecki’s Symphony of Sorrowful Songs. She leads the long-awaited world premieres of Edward Tulane at Minnesota Opera and The Life and Death(s) of Alan Turing at Chicago Opera Theater, where she also conducts the Chicago premiere

ABOUT THE ARTISTS

of Szymanowski’s Król Roger Yankovskaya recently conducted Carmen at Houston Grand Opera, Don Giovanni at Seattle Opera, Pia de’ Tolomei at Spoleto Festival USA, Der Freischütz at Wolf Trap Opera, Ellen West at New York’s Prototype Festival, and Taking Up Serpents at Washington National Opera and the Glimmerglass Festival. On the concert stage, her recent engagements include Chicago Symphony Orchestra, Dallas Symphony Orchestra, Fort Worth Symphony Orchestra, Omaha Symphony, and Julia Wolfe’s Anthracite Fields with Bang on a Can All-Stars at Carnegie Hall.

An alumna of the Dallas Opera’s Hart Institute for Women Conductors and the Taki Alsop Conducting Fellowship, Yankovskaya has served as assistant conductor to Lorin Maazel, assisted Vladimir Jurowski via a London Philharmonic fellowship, and was featured in the Bruno Walter National Conductor Preview. She is a two-time recipient of the Solti Foundation U.S. Career Assistance Award.

Bradley made her debut with the Lyric Opera of Chicago in the title role of Tosca and returned to the Metropolitan Opera as Liù in Turandot. In concert, she debuted with the San Francisco Symphony in Beethoven’s Symphony No. 9 and with the Atlanta Symphony in Act III of Aida. She was also heard in recital for the San Diego Opera. Other projects include a debut with the San Francisco Opera and returns to the Metropolitan Opera and the Lyric Opera of Chicago, all in leading roles.

Previously, Michelle Bradley made debuts with the Vienna State Opera as Leonora in Il trovatore (a role debut), the San Diego Opera in the title role of Aida, and returned to the Metropolitan Opera for its New Year’s Eve gala as Liù in Act II of Turandot. She appeared in solo recital at the Kennedy Center and performed Barber’s Knoxville: Summer of 1915 with the New World Symphony. Bradley made a string of notable debuts in Frankfurt as Leonora in a new production of La forza del destino, in Nancy and Erfurt as Aida, and at the Deutsche Oper Berlin in staged performances of Verdi’s Requiem. In concert, she debuted in Paris in Michael Tippett’s A Child of Our Time with the Orchestre de Paris under Thomas Adès, sang in Beethoven’s Symphony No. 9 with the Philadelphia Orchestra and Yannick Nézet-Séguin, and appeared in recital under the auspices of the George London Foundation in Miami and New York City.

MICHELLE CANN

“A compelling, sparkling virtuoso” ( Boston Music Intelligencer), pianist Michelle Cann made her orchestral debut at age 14 and has since performed as a soloist with numerous orchestras including the Philadelphia Orchestra, the Cleveland Orchestra, the Cincinnati Symphony, and the New Jersey Symphony Orchestra.

A champion of the music of Florence Price, Cann performed the New York City premiere of the composer’s Piano Concerto with The Dream Unfinished Orchestra in July 2016 and the Philadelphia premiere with the Philadelphia Orchestra in February 2021.

MICHELLE BRADLEY

Michelle Bradley, a graduate of the Lindemann Young Artist Development Program, is beginning to garner great acclaim as one of today’s most promising Verdi sopranos.

In the 2021/22 season, Michelle

Bradley is the 2017 recipient of the Leonie Rysanek Award from the George London Foundation, the 2016 recipient of the Hildegard Behrens Foundation Award, and a first-place winner in the Gerda Lissner and the Serge and Olga Koussevitzky vocal competitions. She is the 2014 grand-prize winner of the Music Academy of the West’s Marilyn Horne Song Competition and received her Master of Music degree in Vocal Performance from Bowling Green State University.

Highlights of her 2021/22 season included debut performances with the Atlanta, Detroit, and St. Louis symphony orchestras, as well as her Canadian concert debut with the National Arts Centre Orchestra in Ottawa. She also received the 2022 Sphinx Medal of Excellence, the highest honor bestowed by the Sphinx Organization, and the 2022 Andrew Wolf Chamber Music Award. Embracing a dual role as both performer and pedagogue, Cann holds teaching residencies at the Gilmore International Keyboard Festival and the National

Conference of the Music Teachers National Association.

Cann regularly appears in solo and chamber recitals throughout the U.S., China, and South Korea. Notable venues include the National Centre for the Performing Arts (Beijing), the Kennedy Center for the Performing Arts, Walt Disney Concert Hall, and the Barbican (London). She has also appeared as co-host and collaborative pianist on NPR’s From the Top

An award winner at top international competitions, in 2019 she served as the Cincinnati Symphony Orchestra’s MAC Music Innovator in recognition of her role as an AfricanAmerican classical musician who embodies artistry, innovation, and a commitment to education and community engagement.

Cann studied at the Cleveland Institute of Music and the Curtis Institute of Music, where she holds the inaugural Eleanor Sokoloff Chair in Piano Studies. Her professional artist management is provided by Curtis.

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.

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. His 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.

JASMIN WHITE

This season marks Jasmin White’s European debut as a member of the premier Opernstudio at Volksoper Wien, where she will be performing as Mary in Der fliegende Holländer, Third Lady in Die Zauberflöte, and Public Opinion in Orpheus in the Underworld. Other debuts of note include Porgy and Bess with the Metropolitan Opera, Kate in The Pirates of Penzance with Cincinnati Opera, and Dryad in Ariadne auf Naxos with Lakes Area Music Festival.

A recent graduate of the Artist Diploma in Opera Studies program at the Juilliard School, White was awarded the Richard F. Gold Career Grant from the Shoshana Foundation in recognition of their artistic development. While at the Juilliard School, White performed a variety of roles, including alto soloist in Prokofiev’s Alexander Nevsky, mezzo-soprano soloist in Stravinsky’s Pulcinella, Frau Reich in Die lustigen Weiber von Windsor, La Gelosia in Orfeo (Rossi), and Disinganno in Il trionfo del Tempo e del Disinganno

NATHANIEL GUMBS

Nathaniel Gumbs is a native of the Bronx, NY, and has performed throughout the U.S. and abroad, including Antigua, St. Thomas, Ghana, Paris, and Munich. He currently serves as

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.

White’s performances that were affected by the pandemic include Lucy in Tobias Picker’s Awakenings with Opera Theater of Saint Louis, King Egeo in Handel’s Teseo with the Juilliard School, and concerts with Oratorio Society of New York.

Hailing from Grand Ronde, Oregon, White is a graduate of the Master of Music in Voice program at Cincinnati College-Conservatory of Music and the Bachelor of Music in Vocal Arts program at the University of Southern California.

Isabelle Demers

Isabelle Demers, organ

J.S. BACH, Orchestral Suite No. 2 in B minor, BWV 1067 Arr. I. DEMERS (c. 20 minutes)

Ouverture Rondeau Sarabande Bourrée I & II Polonaise & Double Menuet Badinerie

ALKAN Douze études pour les pieds seulement (c. 11 minutes)

5. Moderato

2. Adagio

12. Tempo giusto

W. ALBRIGHT Flights of Fancy: Ballet for Organ (c. 7 minutes) Ragtime Lullaby Shimmy

HEILLER Tanz-Toccata (c. 5 minutes)

INTERMISSION

PRAETORIUS Selections from Terpsichore (c. 10 minutes)

FRANCK Chorale No. 2 in B minor (c. 13 minutes)

STRAVINSKY, Three Movements from Petrushka (c. 16 minutes)

Arr. I. DEMERS Russian Dance Petrushka’s Room

The Shrovetide Fair

Programs and artists subject to change.

SUNDAY

NOVEMBER 6, 2022 7:30PM

Michael Wilson is Walt Disney Concert Hall Organ Conservator.

Manuel Rosales and Kevin Cartwright are principal technicians for the Walt Disney Concert Hall organ. This performance is generously supported by Mari L. Danihel

AT A GLANCE

Québec native and Associate Professor of Organ at her hometown’s McGill University, Isabelle Demers is a graduate of the Juilliard School. Her recital traverses more than 400 years of music, with her own transcriptions of music by Bach and Stravinsky bookending smaller works by Charles

Alkan, Michael Praetorius, and William Albright. Demers commemorates the 100th anniversary of the death of César Franck with a performance of the second of his stirring Three Chorales, composed only months before his death in 1890.

—Thomas Neenan

The four orchestral suites by J.S. Bach (1685–1750) were originally entitled Ouverture The name was borrowed from the title of the first movement— an overture in the French style: a regal and stately opening in duple meter followed by a second, quicker section in contrasting meter. In Bach’s suites, the overture is followed by a series of two-part dance movements, all in the same key but in contrasting tempi, meter, and style, and often featuring a variation on itself, known as a double. The types of dance pieces that found their way into baroque suites are large and varied but some, like the rondeau and sarabande, are almost always present. Other, less standard dance forms make appearances on a more random basis and are known as galanteries

The B minor suite includes two of particular interest. The polonaise, as the name suggests, hails from Poland.

Like Chopin’s later versions for piano, Bach’s Polonaise has a distinctive long-short figure (dotted eighth—16th) in triple meter. The Badinerie borrows its name from a French word for “banter” or “jesting.” It is quick and jovial and, in the B minor suite, a showpiece for solo flute.

Charles-Valentin Alkan (1813–1888) was active in Paris during the heyday of Chopin and Liszt,

who considered him a friend, colleague, and artistic rival. He entered the Paris Conservatory at the age of six and won many awards, enjoying wide acclaim by the late 1820s. Around the time of Chopin’s death in 1849, Alkan began to retreat from public performance, devoting himself more to composition. Like Chopin, Alkan composed collections of etudes that go far beyond the intended purpose of a “study” piece. And like Chopin, Alkan had a close relationship with the Parisian piano manufacturer Érard, which supplied him with a pedal piano, for which the collection Douze études pour les pieds was composed.

William Albright (1944–1998) attended the Juilliard Preparatory School from the age of 14 and went on to earn degrees from Eastman and the University of Michigan. He studied in Paris with Olivier Messiaen on a Fulbright Scholarship and was a disciple of American composer and teacher Ross Lee Finney. He wrote a large body of music for organ and piano, spanning the stylistic spectrum from ragtime to the avant-garde. “Flights of Fancy: Ballet for Organ” is an often-tongue-in-cheek nod to popular music that, after a “Curtain Raiser,” includes a Tango, Ragtime, “Shimmy” and March, dubbed “The A.G.O. (American Guild of Organists) Fight Song.”

In 1851, the French-speaking Belgian César Franck (1822–1890), became titular organist at the church of Saint-Jean-SaintFrançois-au-Marais in Paris. The church had recently accepted delivery of a new organ by Aristide Cavaillé-Coll, and the instrument inspired a wellspring of creativity in its new custodian. “It’s like an orchestra!” Franck is said to have remarked. In 1858, Franck moved to the larger SainteClotilde, which received one of Cavaillé-Coll’s masterworks and was inaugurated by Franck and L.J. Lefébure-Wély the next year. With access to the large three-manual instrument with its extraordinary palette of colors, Franck entered a period of intense compositional activity, producing masterpieces for organ, orchestra, chamber ensembles, and voice. He also became a musical ambassador for Cavaillé-Coll, performing on older instruments, premiering new ones, and advocating for future projects in large and small parishes.

Franck’s place in French musical culture was solidified in the early 1870s when he was named professor at the Paris Conservatoire and the Société Nationale de Musique. He fostered a generation of young French composers determined, according to the

tenets of the Société, to break French compositional practices free from what historian Richard Taruskin calls “the Offenbachian bacchanale of the Second Empire; and [in the wake of the humiliating FrancoPrussian War] to overtake and surpass the achievements of German ‘absolute’ instrumental music.” Taruskin further remarks that “never was the music of any country so thoroughly transformed by an inferiority complex.”

The Trois Chorals were composed near the end of Franck’s life, in 1890. They are austere works and exemplify Franck’s profoundly personal and cerebral approach to the

ABOUT THE ARTIST

handling of musical materials such as harmony and form.

More than a century after their premieres, Igor Stravinsky’s three landmark ballets from the 1910s (The Firebird, Petrushka, and The Rite of Spring) still manage to sound fresh and modern. As a student of Nikolai RimskyKorsakov, Stravinsky (1882–1971) acquired his teacher’s love of Russian folksong and mastery of orchestral color. The Firebird (1911) introduced many techniques that the young composer would develop over the next two decades, in particular a driving approach to rhythm that was frequently complex, and the use of melodic “cells” that are freely transformed and

repeated to form the basis of larger structures. Petrushka (1911) built on the achievements of The Firebird and went far beyond it in rhythmic and harmonic complexity. In 1921, Stravinsky transcribed three dances from the ballet for his friend, the great Polish pianist and longtime Los Angeles resident Arthur Rubinstein. The dances are adapted from different tableaux, as Stravinsky called the various scenes: the vibrant “Russian Dance” that helps set the mood for the Shrovetide festival near the beginning; the music that accompanies a scene in “Petrushka’s Room”; and later festivities related to “The Shrovetide Fair.”

—Thomas Neenan

ISABELLE DEMERS

With playing described as having “bracing virtuosity” (Chicago Classical Review) and being “fearless and extraordinary” ( Amarillo-Globe News), Isabelle Demers has enraptured critics, presenters, and audience members around the globe. Her 2010 recital for the International Society of

Organbuilders-American Institute of Organbuilders convention “left the entire congress in an atmosphere of ‘Demers fever.’” That same year, her performance at the Washington, D.C., national convention of the American Guild of Organists caused the standingroom-only audience to call her back to the stage five times. She has appeared in recital throughout Europe, Oman, Australia, New Zealand, the United States, and Canada. Highlights include performances at the Maison Symphonique (Montréal), the Elbphilharmonie (Hamburg), City Hall (Stockholm), the Forbidden City Concert Hall (Beijing), and St. Paul’s Cathedral and Westminster Abbey (London).

Demers is in continual high demand by her colleagues, as witnessed by performances for numerous regional and national conventions of the American Guild of Organists, the Institute of Organ Builders and International Society

of Organbuilders, the Royal Canadian College of Organists, and the Organ Historical Society.

She has released three CD recordings on the Acis and Pro Organo labels. In 2018, she appeared as solo organ accompanist in an Acis recording of Maurice Duruflé’s Requiem with the Baylor University Choir, recorded at Duruflé’s church in Paris.

A native of Québec and a doctoral graduate of the Juilliard School, Demers is Associate Professor of Organ at McGill University (Montréal). She was formerly the Joyce Bowden Chair in Organ and Head of the Organ Program at Baylor University (Waco, Texas).

Demers is represented in North America exclusively by Phillip Truckenbrod Concert Artists, LLC. concertartists.com

For a list of the Walt Disney Concert Hall organ stops, please turn to page P7.

Rock My Soul Festival Bryan, Bonds & Price

Los Angeles Philharmonic Jeri Lynne Johnson, conductor Julia Bullock, curator

Danielle Ponder, vocalist

Courtney BRYAN Sanctum (c. 13 minutes)

VARIOUS Songs to be announced from the stage (c. 20 minutes)

Danielle Ponder

INTERMISSION

PRICE Symphony No. 3 in C minor (c. 30 minutes)

Andante; Allegro

Andante ma non troppo

Juba: Allegro Scherzo. Finale

Programs and artists subject to change.

FRIDAY

NOVEMBER 11, 2022 8PM

Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall.

The Rock My Soul Festival is generously supported in part by Margaret Morgan and Wesley Phoa

SANCTUM

Courtney Bryan (b. 1982)

Composed: 2015

Orchestration: 3 flutes (2nd = piccolo, 3rd = alto flute), 3 oboes (3rd = English horn), 3 clarinets (2nd = E-flat clarinet, 3rd = bass clarinet), 3 bassoons (3rd = contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 2 percussion (I = snare drum, 3 tom-toms (small, medium, large), bass drum, slapstick, 2 rattles; II = triangle, bell, 3 cymbals, 2 caxixi (large), bell (large, like church bell), recorded audio track, and strings

First LA Phil performance: November 11, 2022, Jeri Lynne Johnson conducting

Courtney Bryan composed Sanctum in 2015 while working on her postdoctoral degree in African American studies at Princeton University. As part of her research, Bryan was exploring the holiness preaching tradition as inspiration for this piece, in particular the sermons of Pastor Shirley Caesar— known as “the first lady of gospel”—and Reverend C.L. Franklin—a Detroit-based minister and civil rights activist who was also the father of Aretha Franklin.

Bryan explains in a 2021 interview with Oberlin Conservatory that Sanctum started taking a new direction in reaction to high-profile cases of police brutality that were in the news. The first was the story of Marlene

Pinnock, a Black woman who was filmed by bystanders as she was being beaten by a California Highway Patrol officer on the side of a freeway in Los Angeles. As Bryan was working on Sanctum, Michael Brown was killed by police in Ferguson, Missouri, which resulted in widespread protests and in many ways started the modern Black Lives Matter movement.

Sanctum emerges out of recordings from holiness sermons, chants used in Ferguson protests, and a heartbreaking interview with Pinnock, who was asked by a reporter what her reaction was to seeing the video of her beating for the first time. Bryan said the recordings helped determine the tempo and key of the music she composed over them. There are also two main melodic themes that further set the emotional landscape of the piece. The first melody that’s heard early in the brass suggests a forward motion and unrest while the later melody is delicate, which Bryan said she “composed while thinking about the strength and vulnerability of [Pinnock] sharing what happened to her.” Yet another theme emerges from a recorded sermon that quotes the text of Charles Albert Tindley’s hymn Stand By Me. Bryan in turn quotes the melody of that hymn tune, suggesting the call to stand together by protestors in reaction to the ongoing brutality. —Ricky O’Bannon

SYMPHONY NO. 3 Florence Beatrice Price (1882–1953)

Composed: 1938-39

Orchestration: 4 flutes (4th = piccolo), 3 oboes (3rd = English horn), 3 clarinets (3rd = bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 5 percussion (tambourine, snare drum, cymbal, bass drum, triangle, crash cymbals, wood block, sandpaper, castanets, slapstick, gong, orchestral bells, xylophone), harp, celeste, and strings

First LA Phil performance: November 11, 2022, Jeri Lynne Johnson conducting

One might expect the historic premiere of Florence Price’s First Symphony by the Chicago Symphony Orchestra in 1933 to have won her a modicum of access to that orchestra and others for her later compositions—but that was not the case. Her First Symphony remained unpublished until 2008, her Second Symphony is missing, and her Fourth Symphony (1945) went unperformed in her lifetime and unpublished until 2020. How could the work of such a brilliant and significant symphonist remain so obscure for so long?

Price’s letters answer that question plainly. She repeatedly tried to persuade conductor Serge Koussevitzky (1874-1951) to program her music—in vain. One of her letters to him, dated 5 July 1943, describes the difficulties she faced outright:

To begin with, I have two handicaps—those of sex and race. I am a woman; and I have some Negro blood in my veins. Knowing the worst, then, would you be good enough to hold in check the possible inclination to regard a woman’s composition as long on emotionalism but short on virility and thought content; until you shall have examined some of my work? … As to the handicap of race, … I should like to be judged on merit alone—the great trouble having been to get conductors, who know nothing of my work … to even consent to examine a score.

Fortunately, Price’s Third Symphony did not go entirely unheard in her lifetime: It was performed by Valter Poole and the Michigan WPA Symphony Orchestra on 6 and 8 November 1940. Those performances were a success, and First Lady Eleanor Roosevelt reported enthusiastically on the work in her syndicated newspaper column, My Day—but that was not enough to rescue the work from the oblivion to which the “handicaps” of its composer’s race and sex doomed it. It was not heard again in her lifetime and remained unperformed until 2001 and unpublished until 2008. Only now is it beginning to be heard in concert halls with any regularity.

Nevertheless, Florence Price’s Third Symphony towers over its surviving predecessor in originality and maturity of conception—and the composer’s

correspondence shows that she understood its significance fully. In a 1940 letter she stated that it was “Negroid in character and expression” but hastened to clarify that it did not merely replicate the African American tradition as it was represented in her First Symphony. The later work, she said, was “a cross section of present-day Negro life and thought with its heritage of that which is past, paralleled or influenced by concepts of the present day ” (emphasis added)—a reference to the Third Symphony’s cultivation of dissonant passages, jarring percussion, and other modernist expressive devices that were absent from the First Symphony but central to 20th-century music in general, and to much of Price’s later music.

These descriptions do not just reveal Price’s ideas about the music of this ambitious work. Even more, they reveal that she understood that it signaled a new stage in her development as a composer and paved the way for some of the most important and startlingly original compositions of her entire career.

Price’s Third Symphony is cast in four movements, all pitting traditional African American and modernist elements against each other. The first movement foregrounds 20th-century styles from the outset, beginning with an unsettled slow introduction and moving from there to a turbulent and dissonant main theme, allegro; only with the lush and expansive second theme, entrusted first to the

solo trombone, do the flavors of Black vernacular styles come to the foreground. Those flavors launch the tranquil Andante ma non troppo, but the serene beauty of its opening section is repeatedly interrupted by unsettled whole-tone material that reminds us that this is, after all, music of the 20th century, not the 19th. The third movement is an African American Juba dance, but it also includes a blues-influenced theme that introduces a new facet of Black vernacular styles into the symphony. And the scherzo finale is a kaleidoscopic exploration of orchestral virtuosity and swirling colors. Although African American stylistic influences make themselves felt here, on the whole, the turbulence and harmonic adventure of mid20th-century classical music predominate. Time and again, the restlessness promises to subside, and time and again, the barely established calm is broken—until finally Price abandons any attempt to resolve the conflict between the two. The Symphony’s close is a tour de force of swirling, chaotic abandon punctuated by dissonance and chromaticism, and its final bars are a fury of roaring percussion and chordal interjections that finally manage to reclaim the work from turbulence and discord—the conflicting and discordant forces of the musical world, and the African American condition, given eloquent voice in this symphony.

—John Michael Cooper

JULIA BULLOCK

For a biography of curator Julia Bullock , please turn to page P13.

band The Roots at Carnegie Hall. Her engagements in the 2022/23 season include the National Symphony Orchestra, Hartford Symphony Orchestra, Omaha Symphony, Ravinia Festival, New Orleans Opera, Florida Grand Opera, Opera Theater of Saint Louis, and Santa Fe Opera.

JERI LYNNE JOHNSON

Jeri Lynne Johnson is a multifaceted conductor with eclectic musical tastes for projects onstage and off. She made history as the first African American woman not only to win an international conducting prize—the Taki Alsop Conducting Fellowship— but also to break barriers at major orchestras, including the Philadelphia Orchestra, Dallas Symphony Orchestra, Bournemouth Symphony, and Weimar Staatskapelle. One such project that underscores Johnson’s musical scope was her collaboration with rapper Jay-Z, singer-songwriter Alicia Keys, and the hip-hop

Determined to create an ensemble for the 21st century, she formed Philadelphiabased Black Pearl Chamber Orchestra, made up of musicians from diverse cultures and ethnicities. Black Pearl’s mission is to transform the modern orchestra from being a gatekeeper into a facilitator of creativity. Since launching the award-winning orchestra in 2008, she has pioneered an approach to community engagement and programming that has been adopted by orchestras across the country.

A graduate of Wellesley College and the University of Chicago, she was awarded the Jorge Mester Conducting Scholarship to attend the Aspen Music Festival. Along the way, she worked with several mentors, among them Sir Simon Rattle, Marin Alsop, and Daniel Barenboim.

Putting to work her 20 years of experience and insight as an African American arts professional, Johnson founded DEI Arts Consulting in 2016, which provides organizations with creative and strategic services grounded in the values of diversity, equity, and inclusion.

DANIELLE PONDER

American soul singer Danielle Ponder is both empowering and a powerhouse. In 2020, NPR described her music as “anthemic while compassionate; soulful, while bold and strong. She reverberates with a goosebumpinducing passion.” Danielle attended Northeastern University, where she received her Juris Doctorate. For five years, Danielle worked as a public defender, providing criminal defense to the indigent community. While working in that capacity, Danielle also toured Europe and scored an opening spot with George Clinton. In 2018, she made the gutsy decision to pursue her No.1 passion—music. In 2021, Danielle performed at the Newport Jazz Festival, where her performance was hailed as one of the standouts of the festival. 2022 has been a banner year for Danielle, bringing appearances on Late Night with Seth Meyers, CBS’ This Morning, tours with Marcus Mumford, Amos Lee, St. Paul and the Broken Bones, and Leon Bridges. Danielle’s debut album, Some of Us Are Brave, was released on September 16 on Future Classic. Danielle continues to advocate for criminal-justice reform and has been an influential leader in the Black Lives Matter movement in Rochester, NY.

Rock My Soul Festival Rhiannon Giddens

Rhiannon Giddens Los Angeles Philharmonic Jeri Lynne Johnson, conductor Resistance Revival Chorus

Programs and artists subject to change.

SATURDAY

NOVEMBER 12, 2022 8PM

Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall.

The Rock My Soul Festival is generously supported in part by Margaret Morgan and Wesley Phoa

RHIANNON GIDDENS

Rhiannon Giddens is the cofounder of the Grammy® Awardwinning string band Carolina Chocolate Drops, in which she also plays banjo and fiddle. She began gaining recognition as a solo artist when she stole the show at the

T Bone Burnett–produced Another Day, Another Time concert at New York City’s Town Hall in 2013. The elegant bearing, prodigious voice, and fierce spirit that brought the audience to its feet that night is also abundantly evident on Giddens’ critically acclaimed solo debut, the Grammy-nominated album Tomorrow Is My Turn, which masterfully blends American musical genres like gospel, jazz, blues, and country, showcasing her extraordinary emotional range and dazzling vocal prowess. In February of 2017, Giddens’ follow-up album Freedom Highway was released. It includes nine original songs Giddens wrote or co-wrote along with a traditional song and two civil rights-era songs, “Birmingham Sunday” and the Staple Singers’ well-known “Freedom Highway,” from which the album takes its name.

Giddens’ recent televised performances include The Late Show, Austin City Limits, Later…with Jools Holland, and both CBS Saturday and Sunday Morning, among numerous other notable media appearances. She performed for President Obama and the First Lady on In Performance at the White House: In the Gospel Tradition, along with Aretha Franklin and Emmylou Harris; the program was televised on PBS. Giddens duets with country superstar Eric Church on his powerful anti-racism song “Kill a Word”; the two have performed the song on The Tonight Show and at the CMA Awards, among other programs. Giddens received the BBC Radio 2 Folk Award for Singer of the Year, as well as the Steve Martin Prize for Excellence in Bluegrass and Banjo in 2016.

RESISTANCE

REVIVAL CHORUS

The Resistance Revival Chorus (RRC) is a collective of more than 60 womxn and non-binary singers who join together to breathe joy and song into the resistance and to uplift and center womxn’s voices. Chorus members are touring musicians, film and television actors, Broadway performers, solo recording artists, gospel singers, political activists, educators, filmmakers, artists, and more, representing a multitude of identities, professions, creative backgrounds, and activist causes. They center womxn in music and address how historically marginalized womxn have been in the music industry. The great artist and activist Harry Belafonte once said, “When the movement is strong, the music is strong,”

and they attempt to live up to that call. The RRC calls for justice and equity for womxn across racial, ethnic, economic, sexual identity, and religious lines. They aim to be intersectional in their feminism and reveal that all social justice issues overlap heavily with womxn’s issues; to harness the collective power of womxn to help

change the world; to celebrate each other through song; to embrace Toi Dericotte’s idea of “joy as an act of resistance.”

JERI LYNNE JOHNSON

For a biography of conductor Jeri Lynne Johnson, please turn to page P22 .

EXPLORING MUSIC FROM A DIFFERENT PERSPECTIVE

Soprano Julia Bullock—who recently joined the LA Phil at the Hollywood Bowl in 2021 to sing the music of Margaret Bonds and will perform later this season in John Adams’ opera Girls of the Golden West—is used to performing center stage. But she is reveling in the chance to explore music from a different perspective as curator of Rock My Soul, a festival celebrating collaboration and community among Black women artists.

In addition to her performances with the LA Phil, Bullock has had notable positions as a collaborative partner of Esa-Pekka Salonen at the San Francisco Symphony, Artist-inResidence of London’s Guildhall School, and Artist-in-Residence at New York’s Metropolitan Museum of Art. She’s pulled together a wide range of classical and contemporary influences to create Rock My Soul, a celebration of Black women artists. “My curation ‘voice’ is my offering for this festival,” Bullock says. “I feel very proud and excited to provide space for additional voices to be heard.”

HOW DID YOU CONNECT WITH THE LA PHIL ON THIS EFFORT?

Meghan Umber, the LA Phil’s Vice President of Artistic Planning, wrote to my manager and said: “I have been thinking about a project and a festival that would feature Black women composers, but would specifically look at the relationship between Margaret Bonds and Florence Price, perhaps the most prominent Black women composers of the 20th century. Would Julia want to not only think about curating a program around those composers but also look in a broader sense at what this festival can be?”

AN EXCITING OFFER, BUT A LSO A DAUNTING ONE.

We had a meeting when I was in Los Angeles singing the Hollywood Bowl just last summer. I said this is a very nice offer, however, it’s a short time frame! From popular music performers to film directors, I just threw out a wide net of women who pulled my attention at different phases of my life and also inspired my work. Along with LA Phil musicians, the program includes Chaka Khan, Meshell Ndegeocello, Resistance Revival Chorus, and many others. The program also includes Humanities events curated by ARRAY, an award-winning narrative change collective founded by Oscar-nominated

filmmaker Ava DuVernay, best known for Selma and the TV docudrama series When They See Us, about the Central Park Five.

HOW DID YOU WEAVE TOGETHER CLASSICAL COM POSERS AND CONTEMPORARY ARTISTS, INCLUDING POP STAR KHAN AND SINGER, SONGWRITER, AND INSTRUMENTALIST RHIANNON GIDDENS—GRAMMY AWARDWINNING CO-FOUNDER OF THE CAROLINA CHOCOLATE DROPS— INTO A UNIFIED WHOLE?

The initial proposal was about this focus on Price and Bonds. But there has been the building of a community of artists among women of color. It’s been a very surprising and unexpected turn in my creative life, because almost every single aspect of how I was trained was either focusing on oneself or about celebrating the work of one person.

WHAT MOST SURPRISED YOU IN YOUR CRASH COURSE ON BONDS AND PRICE?

The work written at certain times in their lives was sometimes an exact counter to what was happening. There may have been a horrible race riot, but they decided to write a very intimate piano piece, or something that was very joyful.

WHAT DID YOU COME TO LEARN ABOUT THE WAY BEING A WOMAN PLAYED INTO THEIR CAREERS?

In 1943, Price wrote a letter to the conductor of the Boston Symphony,

Serge Koussevitzky, trying to get him to program one of her symphonies: “To begin with, I have two handicaps, that of sex and race. I am a woman, and I have Negro blood in my veins,” she wrote. It broke my heart to read that.

LET’S TALK ABOUT THE TITLE OF THE FESTIVAL, WHICH I UNDERSTAND CHANGED DURING THE PLANNING STAGES. The LA Phil was considering a title based on a poem by Maya Angelou, Still I Rise, which I really do love—but I was conflicted. While trauma can certainly be the fuel for your work, it is just one aspect of it. I did not want it to be just about struggling. And that’s when Julia Ward, the LA Phil’s Director of Humanities, came forward with the Rock My Soul title. She said, “for me, this one really works because we’re bringing up the Black American spiritual Rock My Soul, and also this is the title of one of bell hooks’ books, Rock My Soul: Black People and SelfEsteem.” And I was like, oh yeah, that feels good.

AND ROCK MY SOUL IS ALSO ABOUT FEELING GOOD, RIGHT? It was important to understand the social and political influences and contexts around their work. But it was also: How do I create the most thrilling, fun, deep, and resonant concert experience?

YOU JUST WANT TO BE THERE. Yeah, right? You just want to be there.

Interview conducted by Diane Haithman

Previous page: Julia Bullock. This page, from top: Portrait of Margaret Bonds, 1956. Photograph by Carl Van Vechten. Library of Congress, Prints & Photographs Division, Carl Van Vechten Collection, LC-USZ62-105746.; Portrait of Florence Price, n.d. Photograph by G. Nelidoff. Florence Beatrice Smith Price Papers Addendum (MC 988a), Box 2, Folder 1, Item 4. Special Collections, University of Arkansas Libraries, Fayetteville; Chaka Khan; Rhiannon Giddens.

Celebrating Black Women Artists in Collaboration and Community

SAT NOV 5* 8PM

ENHANCE YOUR EXPERIENCE:

DRINKS IN THE GARDEN nov 11

Starting at 6:30pm, you can enjoy a complimentary drink and soak up the lush and leafy ambience of Walt Disney Concert Hall’s Blue Ribbon Garden. laphil.com/thegarden

UPBEAT LIVE nov *5, 6 & 11

Pre-concert talks and events that provide historical and cultural context for your program. Visit laphil.com/upbeatlive for details.

SUN

6 2PM

A MUSICAL PORTRAIT: PRICE AND BONDS

Los Angeles Philharmonic Lidiya Yankovskaya, conductor Julia Bullock, curator Michelle Bradley, soprano Jasmin White, mezzo-soprano Michelle Cann, piano Nathaniel Gumbs, organ

PRICE Retrospection for Organ • The Oak • Mvt II & III from Symphony No. 4 • Selected Songs • Selected Works for Solo Piano • Organ Suite No. 1 PRICE (arr. Michael-Thomas FOUMAI) new work after Price’s Fantasie nègre No. 1 (world premiere, LA Phil commission) BONDS (arr. by Jannina NORPOTH) Selected Songs BONDS Selections from Montgomery Variations

From art songs to solo showpieces and symphonic excerpts, Julia Bullock curates an evening showcasing the enduring musical voices of Florence Price and Margaret Bonds.

SUN OCT 30 7:30PM

CHAKA KHAN

Chaka Khan is a force of nature as a live performer, and an exceptional songwriter and collaborator. The voice of hits “Sweet Thing,” “You Got the Love,” “I Feel for You,” and the triumphant “I’m Every Woman” leads off the Rock My Soul festival.

FRI NOV 11 8PM

BRYAN, BONDS & PRICE

Los Angeles Philharmonic Jeri Lynne Johnson, conductor Julia Bullock, curator Singer to be announced Courtney BRYAN Sanctum

PRICE/BONDS Selected Songs PRICE Symphony No. 3

Jeri Lynne Johnson leads a program that brings the historic fight for acceptance and dignity by Bonds and Price into conversation with the modern day.

MICHELLE BRADLEY

JERI LYNNE JOHNSON

The Rock My Soul festival is generously supported in part by Margaret Morgan and Wesley Phoa.

SAT NOV 12 8PM

RHIANNON GIDDENS

Los Angeles Philharmonic Jeri Lynne Johnson, conductor Resistance Revival Chorus

Both with The Carolina Chocolate Drops and in her own solo work, Rhiannon Giddens has used her art to excavate the past and reveal bold truths about our present.

HUMANITIES

Art · Ideas · Perspectives

The LA Phil Humanities program takes the work on our stages as a starting point for a larger cultural conversation. Celebrated filmmaker Ava DuVernay’s ARRAY, a Peabody Award-winning narrative change collective, curates a series of Humanities events exploring the themes of Rock My Soul through the lens of film and television music.

SAT NOV 5 10AM

MOVIE SOUNDTRACK YOGA

Location: The Ford

Laying a foundation for creativity and collaboration through wellness, we invite yogis at all levels to join an open-air class led by Lauren Spearman, founder of R&B Yoga. The morning’s playlist will feature songs by Black women from film and television soundtracks.

WED NOV 16 8PM AN EVENING WITH MESHELL NDEGEOCELLO featuring the music of Queen Sugar

Location: BP Hall, Walt Disney Concert Hall

SAT NOV 5 11AM • SAT NOV 19 11AM SYMPHONIES FOR YOUTH:

ROCK MY SOUL

Los Angeles Philharmonic Linhan Cui, conductor

Our Symphonies for Youth concerts offer familyfriendly art activities and invite children ages 5 to 11 to take in the sounds of a world-class orchestra.

Join Meshell Ndegeocello—award-winning singer-songwriter, bassist, and composer behind Ava DuVernay’s television series Queen Sugar—for an intimate evening of music and conversation.

TUE NOV 22 7PM

CARMEN JONES SCREENING

following a live performance by J´Nai Bridges

Location: REDCAT

Set to the music of Georges Bizet’s opera Carmen, with updated lyrics by Oscar Hammerstein II, Carmen Jones began its life on stage and was famously translated to film in 1954 with an all-Black cast led by the iconic Dorothy Dandridge and Harry Belafonte. Join us for a rare screening of Carmen Jones preceded by a live musical performance by Grammy® Award-winning mezzo-soprano J’Nai Bridges, paying tribute to Dandridge´s towering achievement.

The LA Phil´s Humanities programs are generously supported by Linda and David Shaheen.

LAUREN SPEARMAN MESHELL NDEGEOCELLO J´NAI BRIDGES

CORPORATE PARTNERSHIPS

The Los Angeles Philharmonic Association is honored to recognize our 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

American Express

Justworks

Kaiser Permanente Rolex

Toyota Motor North America

$100,000 TO $249,999

Anheuser-Busch Inc.

Pepsi Beverage Group

Postmates

Viking

$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 onstage 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 afterschool 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

Winnie Kho and Chris Testa, Co-Chairs Christian and Tiffany Chivaroli, Co-Chairs

The Philharmonic Council is a vital leadership group whose members provide 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.

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 August 15, 2022.

$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

$500,000 TO $999,999

Ann and Martin Albert Abbott Brown

Mr. George L. Cassat Kathleen and Jerrold L. Eberhardt Valerie Franklin Yvonne and Gordon Hessler Ernest Mauk and Doyce Nunis Mr. and Mrs. David Meline Sandy and Barry D. Pressman Earl and Victoria Pushee William and Sally Rutter Nancy and Barry Sanders Richard and Bradley Seeley Christian Stracke Donna Swayze Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

$250,000 TO $499,999

Mr. Gregory A. Adams Baker Family Trust Veronica and Robert Egelston Gordon Family Foundation Ms. Kay Harland

Joan Green Harris Trust Bud and Barbara Hellman Gerald L. Katell Norma Kayser Joyce and Kent Kresa Raymond Lieberman Mr. Kevin MacCarthy and Ms. Lauren Lexton Alfred E. Mann Charities Jane and Marc B. Nathanson Y & S Nazarian Family Foundation Nancy and Sidney Petersen Rice Family Foundation Robert Robinson Katharine and Thomas Stoever Sue Tsao Alyce and Warren Williamson

$100,000 TO $249,999

Mr. Robert J. Abernethy William A. Allison Rachel and Lee Ault W. Lee Bailey, M.D. Angela Bardowell Deborah Borda

The Eli and Edythe Broad Foundation Jane Carruthers

Pei-yuan Chia and Katherine Shen James and Paula Coburn Foundation

The Geraldine P. Coombs Trust in memory of Gerie P. Coombs Mr. and Mrs. Terry Cox 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 Ruth Jacobson

Stephen A. Kanter, M.D. Jo Ann and Charles Kaplan Yates Keir Susanne and Paul Kester Vicki King Sylvia Kunin Ann and Edward Leibon Ellen and Mark Lipson B. and Lonis Liverman Glenn Miya and Steven Llanusa Ms. Gloria Lothrop Vicki and Kerry McCluggage David and Margaret Mgrublian Diane and Leon Morton Mary Pickford Foundation Sally and Frank Raab Mr. David Sanders Malcolm Schneer and Cathy Liu David and Linda Shaheen Foundation William E.B. and Laura K. Siart Magda and Frederick R. Waingrow Wasserman Foundation Robert Wood Syham Yohanna and James W. Manns

$25,000 TO $99,999 Marie Baier Foundation Dr. Richard Bardowell, M.D. Jacqueline Briskin Dona Burrell Ying Cai and Wann S. Lee Foundation Ann and Tony Cannon Dee and Robert E. Cody

The Colburn Fund Margaret Sheehy Collins Mr. Allen Don Cornelsen Ginny and John Cushman Marilyn J. Dale Mrs. Barbara A. Davis Dr. and Mrs. Roger DeBard Jennifer and Royce Diener Jane B. and Michael D. Eisner

The Englekirk Family Claudia and Mark Foster Lillian and Stephen Frank Dr. Suzanne Gemmell Paul and Florence Glaser Good Works Foundation

Anne Heineman Ann and Jean Horton Drs. Judith and Herbert Hyman Albert E. and Nancy C. Jenkins Robert Jesberg and Michael J. Carmody Ms. Ann L. Kligman

Sandra Krause and William Fitzgerald Michael and Emily Laskin Sarah and Ira R. Manson Carole McCormac Meitus Marital Trust

Sharyl and Rafael Mendez, M.D. John Millard

National Endowment for the Arts Alfred and Arlene Noreen

Occidental Petroleum Corporation Dr. M. Lee Pearce

Lois Rosen Anne and James Rothenberg

Donald Tracy Rumford Family Trust The SahanDaywi Foundation Mrs. Nancie Schneider

William and Luiginia Sheridan Virginia Skinner Living Trust Nancy and Richard Spelke Mary H. Statham Ms. Fran H. Tuchman Tom and Janet Unterman 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.

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 August 16, 2021, and August 15, 2022.

$1,000,000 AND ABOVE

Anonymous (3) Ann and Robert Ronus

$500,000 TO $999,999

Norman and Music Center Foundation

Music Center Foundation

$200,000 TO $499,999

Anonymous Colburn Foundation County of Los Angeles

Dunard Fund USA Gordon P. Getty Max H. Gluck Foundation

$100,000 TO $199,999

Anonymous (2) Mr. and Mrs. Karl J. Abert Mr. Gregory A. Adams Gregory Annenberg Weingarten/GRoW @ Annenberg

The Blue Ribbon The Eisner Foundation Ms. Erika J. Glazer Linda May and Jack Suzar Maureen and Stanley Moore

$50,000 TO $99,999

Anonymous (6) Mr. Robert J. Abernethy Ms. Kate Angelo and Mr. Francois Mobasser Judith and Thomas L. Beckmen David Bohnett Foundation Linda and Maynard Brittan R. Martin Chavez and Christian Lundberg Becca and Jonathan Congdon Mr. and Mrs. Robert Cook Donelle Dadigan Nancy and Donald de Brier

The De MarchenaHuyke Foundation The Rafael and Luisa De MarchenaHuyke Foundation

The Walt Disney Company Louise and Brad Edgerton/Edgerton Foundation Jane B. and Michael D. Eisner Ms. Lisa Field William Kelly and Tomas Fuller Kiki Ramos Gindler and David Gindler Alexandra S. Glickman and Gayle Whittemore

$25,000 TO $49,999

Anonymous (4) Anonymous in memory of Dr. Suzanne Gemmell

Airbnb The Herb Alpert Foundation Debra and Benjamin Ansell Susan and Adam Berger

Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. Jill Black Zalben Robert and Joan Blackman Family Foundation Mr. Jeb Bonner Kawanna and Jay Brown Michele Brustin

Jenny Miller Goff Tylie Jones Terri and Jerry M. Kohl

The Music Man Foundation Mr. and Mrs. Jason O’Leary The Ralph M. Parsons Foundation

Ms. Ursula C. Krummel Alfred E. Mann Charities

Anne Akiko Meyers and Jason Subotky The Rose Hills Foundation

Pasadena Showcase House for the Arts Koni and Geoff Rich Rosenthal Family Foundation

James and Laura Rosenwald/ Orinoco Foundation Allyson Rubin Sony Pictures Entertainment, Inc. Christian Stracke

David and Linda Shaheen Deanie and Jay Stein

Margo and Irwin Winkler Ellen and Arnold Zetcher

Lucy S. Gonda MA, Creative Arts Therapies Good Works Foundation and Laura Donnelley Lenore S. and Bernard A. Greenberg Fund Yvonne Hessler

The Hirsh Family Fritz Hoelscher Barbara and Amos Hostetter Ms. Teena Hostovich and Mr. Doug Martinet Monique and Jonathan Kagan Linda and Donald Kaplan

W.M. Keck Foundation Darioush and Shahpar Khaledi Dr. Ralph A. Korpman

The Norman and Sadie Lee Foundation Barbara and Buzz McCoy Mr. and Mrs. David Meline Michael and Lori Milken Family Foundation National Endowment for the Arts David and Noriko Niemetz

M. David and Diane Paul Peninsula Committee Ms. Linda L. Pierce Sandy and Barry D. Pressman Richard and Ariane Raffetto Barbara and Jay Rasulo Wendy and Ken Ruby Nancy S. and Barry Sanders Marilyn and Eugene Stein Antonia Hernandez and Michael L. Stern

Ronald and Valerie Sugar Frank Hu and V ikki Sung Ms. Lois M. Tandy Sue Tsao Ellen GoldsmithVein and Jon Vein Mindy and David Weiner John and Marilyn Wells Family Foundation Alyce de Roulet Williamson Debra Wong Yang and John W. Spiegel

Steven and Lori Bush Oleg and Tatiana Butenko California Office of the Small Business Advocate Mara and Joseph Carieri Esther S. M. Chui Chao and Andrea Chao-Kharma

Dan Clivner Mr. Richard W. Colburn Mr. and Mrs. Gordy Crawford Lynette and Michael C. Davis Orna and David Delrahim

Malsi Doyle-Forman and Michael Forman Van and Francine Durrer Edison International Geoff Emery Marianna J. Fisher and David Fisher Austin and Lauren Fite Foundation

Drs. Jessie and Steven Galson The Rosalinde and Arthur Gilbert Foundation Mr. James Gleason Liz and Peter Goulds Jason Greenman and Jeanne Williams Renée and Paul Haas

Estate of Yates Keir

Live Nation-Hewitt Silva Concerts, LLC

Renee and Meyer Luskin

Roger Lustberg and Cheryl Petersen Theresa Macellaro / The Macellaro Law Firm

The Seth MacFarlane Foundation Pamela Mass Ashley McCarthy and Bret Barker Ms. Kim McCarthy and Mr. Ben Cheng Ms. Irene Mecchi David and Margaret Mgrublian Mr. Robert W. Olsen Mr. and Mrs. Bruce Peters Mr. Bennett Rosenthal Ross Endowment Fund Katy and Michael S. Saei Tom Safran Mr. Lee C. Samson

$15,000 TO $24,999

Mr. and Mrs. Josh Friedman Gary and Cindy Frischling Carrie and Rob Glicksteen Goodman Family Foundation Robert and Lori Goodman Allen Greenfield and Vivian Feintech Mr. Bill Grubman Vicken and Susan J. Haleblian Dwight Hare and Stephanie Bergsma John C. Harpole and Gabrielle Starr Stephen T. Hearst Diane Henderson, MD

Carol Henry Marion and Tod Hindin Gerry Hinkley and Allen Briskin Liz Levitt Hirsch Linda Joyce Hodge Mr. Glenn P. Jaffe Meg and Bahram Jalali Mr. Eugene Kapaloski Tobe and Greg Karns Mr. and Mrs. Robert A. Kasirer Sandi and Kevin Kayse Larry and Lisa Kohorn N Kubasak Naomi and Fred Kurata Lauren B. Leichtman and Arthur E. Levine Saul Levine Dr. Stuart Levine and Dr. Donna Richey

Ellen and Richard Sandler Elizabeth and Justus Schlichting Mr. and Mrs. Gerry Schwartz Randy and Susan Snyder

The Specialty Family Foundation Lisa and Wayne Stelmar Eva and Marc Stern Dr. James Thompson and Dr. Diane Birnbaumer Tom and Janet Unterman David H. Vena Debra and John Warfel Stasia and Michael Washington WHH Foundation Tye Ouzounian Karl and Dian Zeile Zolla Family Foundation

Mr. and Mrs. Simon K.C. Li Anita Lorber Los Angeles County Department of Arts and Culture Los Angeles Philharmonic Affiliates

The Mailman Foundation Raulee Marcus Jonathan and Delia Matz Liliane Quon McCain Dwayne and Eileen McKenzie Marcy Miller Mr. John Monahan Deena and Edward Nahmias Mr. and Mrs. Dan Napier Ms. Mary D. Nichols Shelby Notkin and Teresita Tinajero Christine M. Ofiesh Mr. Gary L. Ogden Ana Paludi and Michael Lebovitz Soham Patel and Jennifer Broder 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

Photo by Eric Pargac. Trisha Miller.

The SahanDaywi Foundation Ron and Melissa Sanders Dena and Irv Schechter/The Hyman Levine Family Foundation: L’dor V’dor

Evy and Fred Scholder Family Marc Seltzer and Christina Snyder Mr. James J. Sepe Nina Shaw and Wallace Little Jill and Neil Sheffield Mr. and Mrs. Howard A. Sherwood

$10,000 TO $14,999

Anonymous (4) B. Allen and Dorothy Lay The Aversano Family Trust Lorrie and Dan Baldwin Judy and Leigh Bardugo Stephanie Barron Mr. Joseph A. Bartush Mr. and Mrs. Phil Becker Sondra Behrens Phyllis and Sandy Beim Mr. Mark and Pat Benjamin Suzette and Monroe Berkman Bob and Reveta Bowers

Campagna Family Trust Ms. Nancy Carson and Mr. Chris Tobin Chevron Products Company

Suzanne H. Christian and James L. Hardy Ms. Bernice Colman Alison Moore Cotter Mr. Lawrence Damon and Mr. Ricardo Torres Cary Davidson and Andrew Ogilvie Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Thomas Denison

The Randee and Ken Devlin Foundation Tim and Neda Disney

Grady and Shelley Smith Mr. and Mrs. Richard Sondheimer Mr. Lev Spiro and Ms. Melissa Rosenberg Mrs. Zenia Stept Tom Strickler Priscilla and Curtis S. Tamkin

Tracey BoldemannTatkin and Stan Tatkin Hideya Terashima and Megan Watanabe Warren B. and Nancy L. Tucker Elinor and Rubin Turner

Nancy Valentine Noralisa Villarreal and John Matthew Trott Tee Vo and Chester Wang Warner Bros. Ms. Kelly WeinhartHenry and Ms. Bridgett Henry

Libby Wilson, MD Mahvash and Farrok Yazdi Katiana and Tom Zimmerman David Zuckerman and Ellie Kanner

Janet and Larry Duitsman Bonnie and Ronald Fein Mr. Tommy Finkelstein and Mr. Dan Chang E. Mark Fishman and Carrie Feldman Ella Fitzgerald Charitable Foundation Debra Frank Ms. Kimberly Friedman Dr. and Mrs. David Fung Dr. and Mrs. Bruce Gainsley Harriett and Richard E. Gold Mr. and Mrs. Louis L. Gonda

Mr. and Mrs. Daniel M. Gottlieb Mr. and Mrs. Ken Gouw Diane and Peter H. Gray Tricia and Richard Grey Roberta L. Haft and Howard L. Rosoff Laurie and Chris Harbert Mr. Shaw Wagener and Ms. Deborah Heitz Mr. and Mrs. Irwin Helford and Family Mr. Tyler Holcomb Mr. Raymond W. Holdsworth Joyce and Fredric Horowitz Mr. Frank J. Intiso

Kristi Jackson and William Newby Robin and Gary Jacobs Dr. William B. Jones Mr. and Mrs. Stephen Keller Remembering Lynn Wheeler Kinikin Cary and Jennifer Kleinman Sandra Krause and William Fitzgerald Lucien Lacour Mr. and Mrs. Norman A. Levin Randi Levine Ms. Agnes Lew Ellen and Mark Lipson Kyle Lott Macy’s Marshall Field’s

Sandra Cumings Malamed and Kenneth D. Malamed Emil Ellis Farrar and Bill Ramackers Lisa and Willem Mesdag Ms. Marlane Meyer Mrs. Judith S. Mishkin Ms. Susan Morad at Worldwide Integrated Resources, Inc. Wendy Stark Morrissey Mr. and Mrs. James Mulally Ms. Christine Muller and Mr. John Swanson NBC Universal

Los Angeles Jewish Health is Energizing Senior Life!

The evolution of our name from the Los Angeles Jewish Home to Los Angeles Jewish Health reflects the full spectrum of our comprehensive, awardwinning programs and services. Los Angeles Jewish Health has grown from a group of caring neighbors providing shelter, to a leading non-profit senior care organization.

Our mission remains the same: to deliver excellence in senior care for all, rooted in Jewish values. With more than 100 years of trusted care, we meet you where you are in life to provide a customized experience that’s right for you.

• Independent Living

• Assisted Living

• Senior Behavioral Health

• Short-Term Rehabilitation

• Skilled Nursing

• PACE

Hospice & Palliative Care

Nursing School

Geriatric Health

Memory Care

Anthony and Olivia Neece Dick and Chris Newman / C and R Newman Family Foundation

Kenneth T. and Eileen L. Norris Foundation

Ms. Jeri L. Nowlen Mr. and Mrs. Peter O’Malley

Steve and Gail Orens Dennis C. Poulsen and Cindy Costello William “Mito” Rafert Lee Ramer Alexander and Mariette Sawchuk Samantha and Marc Sedaka

$5,500 TO $9,999

Anonymous (7)

Ms. Janet Abbink and Mr. Henry Abbink Alex Alben Art and Pat Antin Sandra Aronberg, M.D. and Charles Aronberg, M.D. Ms. Judith A. Avery Mr. Mustapha Baha Dr. Richard Bardowell, M.D. Mrs. Linda E. Barnes Sandra Kay Beckley Mr. Barry Beitler Maria and Bill Bell Mr. and Mrs. Philip Bellomy Benjamin Family Foundation

Charles Berney and Family

Ms. Gail K. Bernstein Helen and Peter S. Bing Mr. and Mrs. Richard Birnholz Lisa Biscaichipy Mitchell Bloom Mr. Ronald H. Bloom Roz and Peter Bonerz Greg Borrud Mr. and Mrs. Hal Borthwick Lynne Brickner and Gerald Gallard Mr. and Mrs. Steven Bristing Abbott Brown Thy Bui Debra Burdorf

Joan and Arnold Seidel Dr. Donald Seligman and Dr. Jon Zimmermann Neil Selman and Cynthia Chapman Walter H. Shepard and Arthur A. Scangas Gloria Sherwood

The Sikand Foundation Angelina and Mark Speare Mr. and Mrs. Mark Stern Marcie Polier Swartz and David Swartz Mr. Akio Tagawa and Ms. Yui Suzuki

Mr. and Mrs. Randall Tamura Michael Frazier Thompson Rachel Wagman Frank Wagner and Lynn O’Hearn Wagner Abby and Ray Weiss

Amy and Norimoto Yanagawa Mr. and Mrs. Howard Zelikow Bobbi and Walter Zifkin Kevork and Elizabeth Zoryan

world-premiere

cycle by

George Hanson, Festival Coordinator Juliana Osinchuk, Artistic Director

CBS Entertainment

Dr. Kirk Y. Chang Arthur and Katheryn Chinski Dr. Stephanie Cho and Jacob Green Mr. and Mrs. Ronald Clements Mr. David Colburn Jay and Nadege Conger Mr. and Mrs. Richard W. Cook Ms. Rosette Delug Ms. Nancy L. Dennis Ms. Mary Denove Kathleen and Jerry L. Eberhardt Anna Sanders Eigler Ernst and Young LLP Ms. Penelope Foley

The Franke Family Trust Jason Gilbert

The Gillis Family Mr. and Mrs. Herbert Glaser Mr. and Mrs. Russell Goldsmith Lee Graff Foundation Mr. and Mrs. Paul E. Griffin III Marnie and Dan Gruen Mr. and Mrs. Paul Guerin Cornelia HaagMolkenteller, M.D. Mr. William Hair Ms. Marian L. Hall

Stephen and Hope Heaney Stephen D. Henry and Rudy M. Oclaray Ms. Luanne Hernandez Myrna and Uri Herscher Family Foundation Elizabeth HofertDailey Trust Janice and Laurence Hoffmann Jill Hopper Roberta and Burt Horwitch Dr. and Mrs. Mel Hoshiko Michele and James Jackoway

Mr. and Mrs. Tim C. Johnson Barbara A. Jones Randi and Richard B. Jones Mr. and Mrs. Steaven K. Jones, Jr. Robin and Craig Justice Kang, Hun Ku Eileen and Ken Kaplan Marty and Cari Kavinoky Mr. Mark Kim and Ms. Jeehyun Lee Mr. and Mrs. V ictor Kohn Mr. and Mrs. Stephen A. Kolodny

Jung Segel,

Artists and dates subject to change

Angel Blue Laura WildeSusanna Phillips Kelley O’Connor

Richard Trey Smagur

Kelly Markgraf

Justin Austin

JANUARY

Mr. and Mrs. Joseph K. Kornwasser

Dr. and Mrs. Mark Labowe Mr. and Mrs.

Ronald B. Labowe

Ellie and Mark Lainer Lee Lampe Katherine Lance

Mr. and Mrs. Jack D. Lantz

Mr. George Lee Marlene and Howard Leitner Mary Beth and John Leonard Marie and Edward Lewis David and Rebecca Lindberg Mr. Joseph Lund and Mr. James Kelley

Mr. and Mrs. Stanley Maron Milli M. Martinez and Don Wilson Vilma S. Martinez, Esq. Leslie and Ray Mathiasen Dr. and Mrs. Gene Matzkin Mr. and Mrs. Thomas E. McCarthy Cathy and John McMullen Mr. Sheldon and D r. Linda Mehr Lawry Meister

Mr. and Mrs. Dana Messina O’Malley and Ann Miller Mr. Weston F. Milliken Janet Minami Marc and Jessica Mitchell Mrs. Lillian Mueller Craig and Lisa Murray Mrs. Cynthia Nelson Mr. Jerold B. Neuman Mr. and Mrs. Randy Newman Ms. Kimberly Nicholas Ms. Margo Leonetti O’Connell Irene and Edward Ojdana

Ms. Melissa Papp-Green Cynthia Patton

Ms. Debra Pelton and Mr. Jon Johannessen Mary E. Petit and Eleanor Torres Julie and Marc Platt Lyle and Lisi Poncher Robert J. Posek, M.D. James S. Pratty, M.D. Diana Reid and Marc Chazaud Mr. Eduardo Repetto Hon. Vicki Reynolds and Mr. Murray Pepper Mr. and Mrs. Norman L. Roberts

In memory of RJ and JK Roe Murphy and Ed Romano and Family Amy and William Roth Mr. Steven F. Roth Ms. Rita Rothman Linda and Tony Rubin

Mr. and Mrs. Paul Rutter Thomas C. Sadler and D r. Eila C. Skinner

Dr. and Mrs. Bernard Salick Mrs. Elizabeth Loucks Samson San Marino-Pasadena Philharmonic Committee Santa Monica-Westside Philharmonic Committee

Dr. and Mrs. Heinrich Schelbert Claire and Charlie Shaeffer Ruth and Mitchell Shapiro Dr. Stephen and Mrs. Janet Sherman Pamela and Russ Shimizu Mr. Adam Sidy Mr. and Mrs. Peter R. Skinner

A.Thomas Schomberg

of Los Angeles

Feuer City

Galperin

CITY COUNCIL

Blumenfield

Bonin

Buscaino

Cedillo

de León Marqueece Harris-Dawson Paul Koretz

Krekorian John S. Lee Nury Martinez Mitch O’Farrell Curren D. Price, Jr. Nithya Raman

Rodriguez

DEPARTMENT OF CULTURAL AFFAIRS

Tarica

General

Leah R. Sklar Mr. Douglas H. Smith William Spiller Joseph and Suzanne Sposato Lael Stabler and Jerone English Mr. Adrian B. Stern

Jennifer Taguchi Andrew Tapper and Mary Ann Weyman

Mr. Avedis Tavitian Mrs Elayne Techentin Keith and Cecelia Terasaki

$3,500 TO $5,499

Anonymous (6) Ms. Rose Ahrens Edgar Aleman Adrienne S. Alpert Catherine and Joseph Battaglia Newton and Rochelle Becker

Charitable Trust Ellis N. Beesley, Jr. M.D.

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 Ken Blakeley and Quentin O’Brien Mr. Michael Blea Bill and Susan Bloomfield

Joan N. Borinstein

Ms. Leslie Botnick Mr. Ray Boucher Anita and Joel Boxer Dr. and Mrs. Hans Bozler Lynn Gordon and Jon Braun 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 Kevin Brockman and Daniel Berendsen Diana Buckhantz Business and Professional Committee

Ms. Evangeline M . Thomson Charles and Nicole Uhlmann Verizon Foundation Jenny Vogel Terry and Ann Marie Volk Wil Von Der Ahe

Dr. Marlene M. Schultz and Philip M. Walent Lisa and T im Wallender Bob and Dorothy Webb Max and Diane Weissberg

Doris Weitz and Alexander Williams Westside Committee Robert and Penny White Mr. Robert E. Willett David and Michele Wilson

Mr. Steve Winfield Karen and Rick Wolfen Mr. and Mrs. Ir win Wong Mr. and Mrs. Richard Wynne Mr. Nabih Youssef

11 AT 7

AUDITORIUM

Featuring the world premiere of Luche Libre! by Juan Pablo Contreras

Mr. and Mrs. Tom R. Camp Mr. Jon C. Chambers Mr. Louis Chertkow Carla Christofferson Ms. Nancybell Coe Dr. and Mrs. Lawrence J. Cohen Susan and David Cole Ms. Ina Coleman Mr. Michael Corben and Ms. Linda Covette Mr. and Mrs. Bruce Corwin Donald Cron Mr. and Mrs. Leo David Mr. James Davidson and Mr. Michael Nunez Mr. Howard M. Davine

Michael Dillon

R. Stephen Doan and Donna E. Doan

Sean Dugan and Joe Custer Mr. Michael Edelstein

Dr. David Eisenberg Mrs. Eva Elkins John B. Emerson and Kimberly Marteau Emerson Joyce and David Evans Jen and Ted Fentin The Hon. Michael W. Fitzgerald Dr. and Mrs. Arthur A . Fleisher, II Mr. and Mrs. Michael M. Flynn Mrs. Diane Forester Bruce Fortune and Elodie Keene

Mr. Michael Fox

Lynn Franklin Mr. and Mrs. Michael Freeland Linda and James Freund Dr. Tim A. Gault, Sr. Beth Gertmenian Mr. and Mrs. Ronald Gertz Mr. and Mrs. Harlan Gibbs Ms. Malinda Gilchrist Mr. and Mrs. Lawrence D. Gilson Tina Warsaw Gittelson Glendale Philharmonic Committee Mr. Gregg Goldman and Mr. Anthony DeFrancesco

Dr. Patricia Goldring Nestor Gonzalez and Richard Rivera Mr. Peter Anderson and Ms. Valerie Goo Dr. Ellen Smith Graff Sue and Jim Gragg Rob and Jan Graner Ms. Linda Graul Mr. Charles Gross Mr. Frank Gruber and Ms. Janet Levin Mr. Gary M. Gugelchuk Mr. and Mrs. Pierre and Rubina Habis Stiv Bators Mr. Robert T. Harkins Mr. and Mrs. Brian L. Harvey Lynette Hayde Byron and DeAnne Hayes Mr. Donald V. Hayes

Vince Bertoni and Damon Hein Mr. Rex Heinke and Judge Margaret Nagle Dryden and Brian Helgoe The Hill Family Dr. and Mrs. Hank Hilty Arlene Hirschkowitz David and Martha Ho Laura Fox, MD, and John Hofbauer, MD Eugene and Katinka Holt In and Ki Hong Ms. Michelle Horowitz Dr. Timothy Howard and Jerry Beale Mr. and Mrs. Thomas C. Hudnut Andrei and Luiza Iancu Illig Construction

Alison Lifland Ms. Joanne Lindquist Ms. Elisabeth Lipsman Long Beach Auxiliary Ms. Diana Longarzo Mr. Philip Lord Susan Disney Lord and Scott Lord Los Angeles Philharmonic Committee Kristine and David Losito Mr. and Mrs. Boutie Lucas Crystal and Elwood Lui Luppe and Paula Luppen Edward and Jamelle Magee Mr. and Mrs. Ronald Manzani Mona and Frank Mapel Mr. Allan Marks and Dr. Mara Cohen David Matalon and ryl Shark Dr. and Mrs. Allen Ms. Avatika Shahi Mr. Gary J. Matus

Ms. Barbara H. Mrs. Velma V.

Professors Anne and Ronald Robert L. Mendow Ms. Janet G.

avid Michaelson Dr. Gary Milan enneth Millman

illiam Mingst Mr. Lawrence Miscikowski

rzi Mistry laudia Modlin ohn Moore Mr. Alexander Sheila Muller Mr. Emory R. Ms. Kari Nakama obert Neely

ary Newbold

Newcome and r. Mark Enos Heidi Novaes

Ms. Becky Novy Mr. Dale Okuno Mr. and Mrs. Richard Orkand Mr. Ralph Page January Parkos-Arnall Mr. and Mrs. Robert D. Paster Mr. and Mrs. Joshua Perttula Nancy and Glenn Pittson Mr. Albert Praw Joyce and David Primes Ms. Marci Proietto Ms. Miriam Rain Richard Ranger Marcia and Roger Rashman Mr. and Mrs. Wayne Ratkovich Dr. Robert Rauschenberger Rita and Norton Reamer Mary Beth Redding Resource Direct Dr. Susan F. Rice Robinson Family Foundation Hon. Ernest M. Robles Ernesto Rocco Mrs. Laura H. Rockwell Allison and Richard Roeder Mr. and Mrs. William C. Roen Peter and Marla Rosen Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen Dr. James M. Rosser Mimi Rotter Mr. and Mrs. Matthew Rowland Ann M. Ryder Betty J Saidel Valerie Salkin Mr. and Mrs. Charles M. Sarff Kevin Savage and Britta Lindgren Mark and Valerie Sawicki Elliot Gordon and Carol Schwartz Carol (Jackie) and Charles Schwartz Mr. Alan Scolamieri Michael Sedrak Robert Segal in memory of Jeanne Segal Dr. and Mrs. Hervey Segall Ms. Amy J. Shadur-Stein Mr. Steven Shapiro Dr. Alexis M. Sheehy Mr. Murray Siegel Ms. Ruth M. Simon David Singer Dr. and Mrs. Robert Sinskey

Mr. Kurt Skarin

Mr. Steven Smith

Mr. and Mrs. Michael G . Smooke

Virginia Sogomonian and Rich Weiss

Michael Soloman

and Steven Good Shondell and Ed Spiegel

Ms. Angelika Stauffer

Mr. and Mrs. Joseph Stein

Mr. and Mrs. Gene Stoeckly Maia and Richard Suckle and The Anna and Benjamin Suckle Foundation

The Sugimoto Family

Mr. and Mrs. Mark G. Sullivan

Ted Suzuki and Deborah May Mr. and Mrs. Larry W. Swanson

Mr. Marc A. Tamaroff

Suzanne Thomas

Mr. and Mrs. Harlan H. Thompson

Mr. and Mrs. Leonard Unger

Christine Upton Kathy Valentino Perry Vidalakis

Jay T. Kinn and Jules B. Vogel Elliott and Felise Wachtel Christopher V. Walker Mr. Eldridge Walker

Mr. and Mrs. Susan Washton Craig R. Webb and Melinda Taylor

Ms. Diane C. Weil and Mr. Leslie R. Horowitz

Mr. and Mrs. Doug M. Weitman

Mr. and Mrs. Steven White

Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom

Mr. Lee Winkelman and Ms. Wendey Stanzler Ms. Eileen Wong

Linda and John Woodall Mr. Kevin Yoder George and Eileen Young Mrs. Lillian Zacky Rudolf H. Ziesenhenne Mr. Sanford Zisman and Ms. Janis Frame

Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit laphil.com. If your name has been misspelled or omitted from the list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.

best,

Los Angeles County Department of

the

OFFICERS

Miscikowski Chair

J. Abernethy Vice Chair

Darrell R. Brown Vice Chair

Rachel S. Moore President & CEO Diane G. Medina Secretary Susan M. Wegleitner Treasurer

for

The

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.

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 Jeffrey M. Hill Carl Jordan Terri M. Kohl Kent Kresa Lily Lee Cary J. Lefton Keith R. Leonard, Jr. David B. Lippman Susan M. Matt Mattie McFaddenLawson Elizabeth Michelson Darrell D. Miller Shelby Notkin Teresita 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 Alyce de Roulet Williamson Jay S. Wintrob

GENERAL COUNSEL

Rollin A. Ransom

DIRECTORS

EMERITI

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 September 12, 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.

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.

Hilda L. Solis Supervisor, First District

Janice Hahn Supervisor, Fourth District

Kathryn Barger Supervisor, Fifth District

Holly J. Mitchell Chair, Second District

Sheila Kuehl Chair Pro Tem, Third District