Performances Magazine San Diego | San Diego Symphony, May 2024

MAY 2024

contents

P1 Program

Cast, performances, who’s who, director’s notes, donors and more.

4

In the Wings

Stir at The Old Globe; The Ballad of Johnny & June at La Jolla Playhouse; San Diego Symphony concerts at The Rady Shell; Camelot at North Coast Rep; new exhibits at MOPA@SDMA; and more.

8 Feature: Balboa Theatre Turns 100

On the heels of its 100th anniversary celebration, the Balboa Theatre (first opened in 1924) has a storied past and an exciting future ahead.

14 Dining

Where to dine this month, including Rumorosa on Harbor Island, The Amalfi Llama in UTC, and Parakeet Cafe (pictured) in Carlsbad.

24 Parting Shot

“Hummingbird,” a mixedmedia collage in the new exhibit Storyteller: Work by Holly Roberts, now on view at MOPA@SDMA.

PUBLISHER

Jeff Levy

EDITOR

Sarah Daoust

ART DIRE CTOR

Carol Wakano

PRODUCTION MANAGER

Glenda Mendez

PRODUCTION ARTIST

Diana Gonzalez

CONTRIBUTING WRITER

Stephanie Saad Thompson

ADVERTISING DIRECTOR

Kerry Baggett

ACCOUNT DIRE CTORS

Walter Lewis, Jean Greene, Tina Marie Smith

CIRCULATION MANAGER

Christine Noriega-Roessler

BUSINESS MANAGER

Leanne Killian Riggar

MARKETING/ PRODUCTION MANAGER

Dawn Kiko Cheng

DIGITAL PROGRAM MANAGER

Audrey Duncan Welch

DIGITAL MANAGER

Lorenzo Dela Rama

Contact Us

ADVERTISING

Kerry.Baggett@ CaliforniaMediaGroup.com

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Lorenzo.DelaRama@ CaliforniaMediaGroup.com

CIRCULATION

Christine.Roessler@ CaliforniaMediaGroup.com

HONORARY PRESIDENT

Ted Levy For

HELPING NATURE LIVE LARGE. SINCE 1874.

Nearly 150 years ago, a group of naturalists got together to study and share their love of this amazing place we call home. They wanted to learn more about nature and help others enjoy it more. It’s still what we do every day. In the field, and in the Museum. Your support keeps The Nat thriving. Which keeps nature thriving, too.

Join our community of nature lovers. Please scan the QR code to take part in the biggest year in our history.

WE’RE HERE FOR NATURE.

Our work spans Southern California and the Baja California Peninsula. Pictured here, Anza-Borrego Desert State Park.

CASH TO CAMELOT

DON’T MISS THE heart-warming comedy Stir, staged at The Old Globe May 4-26. Written by Melinda Lopez and Joel Perez, the Globe-commissioned world-premiere play centers on two distant siblings who come together to share their mother’s favorite recipe. theoldglobe.org La Jolla Playhouse brings us the world-premiere musical, The Ballad of Johnny and June, May 28-July 7. Based on the book by Robert Cary and Des McAnuff (who also directs), the story follows the lives, love and music of country music’s iconic couple: Johnny Cash and June Carter. lajollaplayhouse.org North Coast Rep stages the Tony Awardwinning fairytale, Camelot, May 29-June 23. Written by Alan Jay Lerner and Frederick Loewe, the musical has been adapted for smaller theaters, taking us inside the world of King Arthur and epic characters like Sir Lancelot, Lady Guenevere and the Knights of the Round Table. northcoastrep.org And save the date for Broadway San Diego’s presentation of the new musical comedy, Mrs. Doubtfire, June 4-9 at San Diego Civic Theatre. broadwaysd.com

From left: Stir playwrights Melinda Lopez and Joel Perez; a past production of the Broadway musical Mrs. Doubtfire

BEETHOVEN TO BLUES

AS PART OF its Jacobs Masterworks programming at The Rady Shell at Jacobs Park, the San Diego Symphony presents some exciting May concerts. On May 18, violinist Daniel Lozakovich joins maestro and music director Rafael Payare and the Symphony for an evening that includes Mendelssohn’s Violin Concerto; as well as Wagner’s Die Walküre. On May 25, pianist Jeremy Denk joins Payare and the Symphony to perform Beethoven’s Piano Concerto No. 4. The evening’s repertoire also includes Stravinsky’s

complete ballet score to The Firebird, closing out the Symphony’s 202324 season. theshell.org On another note, Spanish Landing Park morphs into the joyous spectacle known as Gator by the Bay Zydeco, Blues and Crawfish Festival, May 9-12. The 21st annual festival is quite the party—with more than 100 performances across seven stages and a music lineup that spans live zydeco, blues, roots, Creole and Cajun, rockabilly, salsa and New Orleans jazz. Wear your dancing shoes. gatorbythebay.com

Zooming in at MOPA

TAKE YOUR PICK of three new exhibits at MOPA@SDMA in Balboa Park. On view through Aug. 4, Picture This: Recent Acquisitions spotlights themes and genres from portraiture to abstraction to modernism— comprising works from photographers including Berenice Abbott, Martín Chambi, Louise Dahl-Wolfe, Mary Ellen Mark and many more. Through Aug. 18, Storyteller: Work by Holly Roberts showcases the mixed media works of Holly Roberts. Get to know Cara Romero—an enrolled citizen of the Chemehuevi Indian Tribe who was raised between the reservation in the stark Mojave Desert in California, and amid the urban sprawl of Houston, Texas—in The Artist Speaks: Cara Romero, open through Oct. 20. mopa.org

MUSIC

From top: violinist Daniel Lozakovich; Gikendaaso, a pigment print by artist Cara Romero.

Imperial Danube

A Celebration of Music:

Beginning in 2025, follow the melodies of Mozart, Strauss and other legendary composers along their muse, the “Blue Danube.” Live musical performances, exquisite locally sourced food and wine, and visits to the magnificent Budapest Opera House, Vienna’s Schönbrunn Palace and glorious Melk Abbey are all included.

Contact your travel advisor or call 1.888.626.0994 to reserve your luxury river cruise today.

Theatre’s recent 100-year anniversary celebration included myriad performances on the main stage.

HISTORY IN THE MAKING

Upon Its 100th Anniversary, Balboa Theatre is Brimming with Rich History and an Exciting Future

by STEPHANIE SAAD THOMPSON

WHAT BETTER THAN A 100TH anniversary to take stock in how far you’ve come and look to what lies ahead? That’s exactly what San Diego Theatres did with a three-day celebration of the Balboa Theatre in March—on the occasion of the downtown venue’s centennial.

In addition to a fundraising gala with a concert featuring Hershey Felder and the Great American

Songbook, the celebration included a tribute to San Diego’s military with an aviation-themed, 1929 silent film comedy that was partially set in San Diego; a family-friendly program of classic cartoons; and a “San Diego Spotlight” event featuring performances by more than a dozen local arts groups. Nationally known theater organist Ken Double played the Balboa’s historical Wonder Morton

Organ at all four events. All except for the gala were free to attend, with a small service fee.

“The whole goal of the celebration was to highlight the Balboa Theatre’s place in history and open our doors to the community,” says Abigail Buell, Vice President of Strategy and Business Development for San Diego Theatres. “Each event was equally special, and the weekend kicked off

Balboa

“Gripping and compelling.”

— THE DAILY MAIL

NOW-MAY 12

After WWII ended, the Nuremberg trials began. Hermann Göring was the highest-ranking Nazi alive. American Army psychiatrist Dr. Douglas M. Kelley was tasked with interviewing him extensively and keeping him fit for trial. What happened in that fateful room resulted in profound and unexpected consequences for both men. Dramatic gold.

DIRECTED BY DAVID ELLENSTEIN

Based on the book “The Nazi and the Psychiatrist” by Jack El-Hai

“Lush romanticism beautifully captured in story and song.”

— THE NEW YORK TIMES

Prepare for an evening of enchantment. This Tony Awardwinning fairy-tale musical resounds with such memorable songs as, “I Loved You Once in Silence,” “If Ever I Would Leave You,” and the title song, “Camelot.” Based on the King Arthur legend, this epic story centers on the quest for democracy and justice. Transport yourself to a world of romance, revelry, and magic. MAY 29 – JUNE 23

DIRECTED BY JEFFREY B. MOSS

BOOK & LYRICS BY ALAN JAY LERNER MUSIC BY FREDERICK LOEWE

a year where we will be doing special programming, honoring what’s past and celebrating what’s yet to come.”

Owned by theater impresario Robert E. Hicks, the Balboa Theatre opened to great acclaim in March 1924—the era of the grand movie houses that also served as live vaudeville theaters. Designed by architect William Wheeler in the Moorish Spanish Revival style and constructed by the Wurster Construction Company for $800,000, the theater features a tiled dome, ornate plaster fretwork above the seating area, and working waterfalls on the side walls (which still work). The auditorium had 1,534 auditorium seats, a 40-seat orchestra pit and plentiful dressing rooms.

In 1924, the opening night performers included nationally famous vaudeville acts Fanchon &

Marco and the Sunkist Beauties. The film Lilies of the Field was screened; and its stars, Conway Tearle and Corinne Griffith, made a personal appearance. There was also a concert by the 20-piece Balboa Concert Orchestra under the direction of Bob Gaderer.

The Balboa Theatre served as a site for live entertainment until it was remodeled and reopened in 1934 as “Teatro Balboa,” featuring films

from Mexico City and presenting Latin stars to an increasingly diverse San Diego population.

Then World War II broke out, and like many public buildings, the Balboa Theatre was pressed into service. The Fourth Avenue office wing of the theater was used to house sailors prior to them shipping out of San Diego.

“Showing the 1929 Roman Navarro silent film The Flying Fleet during our celebration, which was partially set in San Diego, is a nod to the military and San Diego being a Navy town,” says Buell. “Part of the film takes place in San Diego on the Navy base.” More than 800 San Diego-based members of the military and their families were invited to attend.

For the family-friendly “Toons and Tunes” anni-

100th

versary event, families were encouraged to dress up in “Roaring ’20s” attire. Screenings of classic cartoons with musical accompaniment by organist Ken Double came after a children’s costume parade with prizes.

Like many historical theaters, following the war, the Balboa Theatre fell on hard times, and its continued existence was thrown into doubt. In 1959, it was nearly torn down so the property could be turned into a parking lot. Luckily, San Diego’s Russo family instead bought the property and operated the theater for the next 25 years as an English-language action movie cinema. It was designated a Historic Site by the city in 1972; and then recognized on /CONTINUED ON PAGE 20

Balboa Theatre’s

anniversary celebration in March; the theater in its original early 1920s glory.

$50,000

SAN DIEGO SYMPHONY

PARTNER PLAYER WITH A

The San Diego Symphony Orchestra gratefully acknowledges the generous support of the following donors for their membership in the Partner with a Player program and their profound impact on the orchestra. Partner with a Player members enjoy the unique opportunity to personally connect with the orchestra and engage with the Symphony in meaningful ways.

The following listing reflects pledges and gifts entered as of March 6, 2024.

Raffaella and John◊ Belanich

Rafael Payare, Music Director

Anonymous San Diego Symphony Musicians

Michele and Jules Arthur

Kevin Gobetz, Bass

Terry Atkinson

Igor Pandurski, Violin

Dianne Bashor

San Diego Symphony Musicians

John and Janice Cone

Benjamin Jaber, Principal Horn

Kevin and Jan Curtis

Aaron McCalla, Principal Tuba

Una Davis and Jack McGrory

Susan Wulff, Associate Principal Bass

Mr. and Mrs. Brian K. Devine

San Diego Symphony Musicians

Esther and Bud◊ Fischer

San Diego Symphony Musicians

Pam and Hal Fuson

Courtney Cohen, Principal Librarian

Elaine Galinson and Herbert Solomon

Yumi Cho, Violin

Carol and Richard Hertzberg

Nick Grant, Principal Associate Concertmaster Emeritus

Phyllis and Daniel Epstein

Sheryl Renk, Principal Clarinet

Arlene Inch

John Degnan, Horn

Karen and Warren Kessler

Chi-Yuan Chen, Principal Viola KAREN AND WARREN KESSLER CHAIR

Carol and George Lattimer

Gilbert Castellanos, Jazz @ The Jacobs and Jazz @ The Rady Shell Artistic Curator

Monica and Robert Oder

Gregory Cohen, Principal Percussion

Linda and Shearn◊ Platt

Ryan J. DiLisi, Principal Timpani

Elena Romanowsky

Edmund Stein, Violin

Penny and Louis Rosso

Andrew Watkins, Assistant Principal Timpani

Colette Carson Royston and Ivor Royston

Yeh Shen, Violin

Karen and Kit Sickels

Jeremy Kurtz-Harris, Principal Bass

SOPHIE AND ARTHUR BRODY FOUNDATION CHAIR

Karen Foster Silberman and Jeff Silberman

Jisun Yang, Assistant Concertmaster

Joan and Irwin Jacobs

Martha Gilmer, Chief Executive Officer

Gayle◊ and Donald Slate

Wesley Precourt, Associate Concertmaster

Dave and Phyllis Snyder

Julia Pautz, Violin

Gloria and Rodney Stone

P.J. Cinque, Bass

Haeyoung Tang

San Diego Symphony Musicians

Jayne and Bill Turpin

San Diego Symphony Musicians

Sue and Bill◊ Weber

Jing Yan Bowcott, Violin

Kathryn and James Whistler

Rachel Fields, Librarian

Cole and Judy Willoughby

Christopher Smith, Principal Trumpet

Mitchell Woodbury

Douglas Hall

Sarah and Marc Zeitlin

Cherry Choi Tung Yeung, Associate Principal Second Violin

San Diego Foundation Rancho Santa Fe Foundation Jewish Community Foundation ◊ Deceased

Anonymous

Nathan Walhout, Cello

Annette and Daniel Bradbury

Yao Zhao, Principal Cello

Nikki A. and Ben G. Clay

Mary Szanto, Cello

Karen and Donald Cohn

Hanah Stuart, Violin

Stephanie and Richard Coutts

Chia-Ling Chien, Associate Principal Cello

Karin and Gary Eastham

Jason Karlyn, Viola

Anne L. Evans

San Diego Symphony Musicians

Lisette and Mick Farrell/ Farrell Family Foundation

Rose Lombardo, Principal Flute

Anonymous

San Diego Symphony Musicians

Eloise and Warren Batts

Alicia Engley, Violin

Michael Blasgen

Tricia Skye, Horn

Diane and Norman Blumenthal

Aaron Blick, Bass

Dr. Anthony Boganey

Logan Chopyk, Trombone

Julia R. Brown

Leyla Zamora, Bassoon and Contrabassoon

Robert Caplan and Carol Randolph, Seltzer Caplan McMahon Vitek

Pei-Chun Tsai, Violin

Pam and Jerry Cesak

Samuel Hager, Bass

Ann Davies

Xian Zhuo, Cello

Kathleen Seely Davis

Qing Liang, Viola

Ana de Vedia

San Diego Symphony Musicians

Hon. James Emerson

Kenneth Liao, Violin

Janet and Wil Gorrie

Zou Yu, Violin

Sandra and Arthur◊ Levinson

Kyle Covington, Principal Trombone

Lisa and Gary Levine,

Arthur J. Gallagher & Co.

San Diego Symphony Musicians

Eileen Mason

Julie Smith Phillips, Principal Harp

Anne and Andy McCammon

Richard Levine, Cello

Deborah Pate and John Forrest

Jeff Thayer, Concertmaster

DEBORAH PATE AND JOHN FORREST CHAIR

Allison and Robert Price

San Diego Symphony Musicians

Marie Raftery and Dr. Robert Rubenstein

San Diego Symphony Musicians

Jill Gormley and Laurie Lipman

Frank Renk, Bass Clarinet

Judith Harris◊ and Dr. Robert Singer

Jonah Levy, Trumpet

Marilyn James and Richard Phetteplace

John Stubbs, Violin

Jo Ann Kilty

Marcia Bookstein, Cello

Helen and Sig Kupka

Lily Josefsberg, Piccolo/Flute

Dr. William and Evelyn Lamden

Andrea Overturf, Oboe

Carol Lazier and Dr. James Merritt

Sarah Tuck, Flute

Dr. Marshall J. Littman

John Lee, Cello

Sue and Lynn Miller

Max Opferkuch, Clarinet

Rena Minisi and Rich Paul

Ryan Simmons, Bassoon

Val and Ron Ontell

Darby Hinshaw,

Assistant Principal & Utility Horn

Jane and Jon Pollock

Evan Pasternak, Section Violin

Pamela and Stephen Quinn

San Diego Symphony Musicians

Jeanette Stevens

Kathryn Hatmaker, Violin

Sandra Timmons and Richard Sandstrom

Sarah Skuster, Principal Oboe

Leslie and Joe Waters

Ethan Pernela, Viola

Sheryl and Harvey White

Alexander Palamidis, Principal Second Violin

The Zygowicz Family (John, Judy, and Michelle)

Johanna Nowik, Viola

Sally and Steve Rogers

Kyle Mendiguchia, Bass Trombone

Cathy Robinson

San Diego Symphony Musicians

Jayne and Brigg Sherman

Rodion Belousov, Oboe

Stephen M. Silverman

Ai Nihira Awata, Violin

Elizabeth and Joseph◊ Taft

Wanda Law, Viola

Linda and Raymond◊ ThomasR.V. Thomas Family Fund

Ray Nowak, Trumpet

Julie & Stephen Tierney

San Diego Symphony Musicians

Isabelle and Mel◊ Wasserman

Andrew Hayhurst, Cello

The Beethoven Society is designed to raise consistent, critical funding for artistic, educational and community programs. Members pledge multi-year support and commit to annual gifts of $50,000 and higher, designated for projects ranging from classical and jazz concerts to education and military programs.

The Symphony and its Board of Directors are pleased to thank the following for their leadership and to acknowledge them as Members of The Beethoven Society.

For information about supporting the San Diego Symphony Orchestra through membership in The Beethoven Society, please call Sheri Broedlow at (619) 615-3910.

$5 MILLION and above

$1 MILLION and above

PHYLLIS AND DANIEL EPSTEIN

JOAN AND IRWIN JACOBS

KAREN AND WARREN KESSLER

JAYNE AND BILL TURPIN

ELENA ROMANOWSKY

COLETTE CARSON ROYSTON AND IVOR ROYSTON

PAM AND HAL FUSON

ELAINE GALINSON AND HERBERT SOLOMON

ARLENE INCH

UNA DAVIS AND JACK M c GRORY

MICHELE

DAVE AND PHYLLIS SNYDER

GAYLE ◊ AND DONALD SLATE

GLORIA AND RODNEY STONE

PENNY AND LOUIS ROSSO

KAREN AND KIT SICKELS KAREN FOSTER SILBERMAN AND JEFF SILBERMAN

THE KONG TANG FAMILY

$200,000 and above MONICA AND ROBERT ODER

SAN DIEGO SYMPHONY BOARDS

BOARD OF DIRECTORS

David R. Snyder, Esq. Chair*

Harold W. Fuson Jr. Immediate Past Chair*

Colette Carson Royston Vice Chair*

Una Davis Vice Chair*

David Bialis Treasurer*

Linda Platt Secretary*

Michele Arthur

Tim Barelli

Lisa Behun*

Anthony C. Boganey, M.D., FACS

Julia R. Brown*

Mary Casillas Salas

Pam Cesak

Ben G. Clay

Kathleen Davis*

Phyllis Epstein*

Lisette Farrell

Janet Gorrie

Dr. Nancy Hong

Arlene Inch

HONORARY LIFETIME DIRECTORS

Dr. Irwin M. Jacobs

Joan K. Jacobs

Warren O. Kessler, M.D.

Anne Francis Ratner (1911-2011)

Lawrence B. Robinson (d. 2021)

FOUNDATION BOARD OF DIRECTORS

Warren O. Kessler, M.D. Chair

David R. Snyder, Esq. Vice Chair

Sandra Levinson Secretary

Mitchell R. Woodbury Treasurer

PAST BOARD CHAIRS

2021-23 Harold W. Fuson Jr. 2018-21 David R. Snyder, Esq.

2015-18 Warren O. Kessler, M.D. 2014-15 Shearn H. Platt

2011-14 Evelyn Olson Lamden

2009-11 Mitchell R. Woodbury

2008-09 Theresa J. Drew

2007-08 Steven R. Penhall

2005-07 Mitchell R. Woodbury

2004-05 Craig A. Schloss, Esq.

2003-04 John R. Queen

2001-03 Harold B. Dokmo Jr. 2000-01 Ben G. Clay

1998-00 Sandra Pay 1995-96 Elsie V. Weston

Robert Caplan, Esq.

Harold W. Fuson Jr.

Martha Gilmer

Joan K. Jacobs

Susan Mallory

Jeremy Pearl

Mark Stuart

Warren O. Kessler, M.D.*

Kris Kopensky

Deborah Pate

Alan Prohaska

Sherron Schuster

Marivi Shivers

Christopher D. “Kit” Sickels

Karen Foster Silberman

Donald M. Slate*

Gloria Stone

Frank Vizcarra

Mitchell R. Woodbury*

*EXECUTIVE COMMITTEE MEMBER

Herbert Solomon Mitchell R. Woodbury

1994-95 Thomas Morgan

1993-94 David Dorne, Esq.

1989-93 Warren O. Kessler, M.D.

1988-89 Elsie V. Weston

1986-88 Herbert J. Solomon

1984-86 M.B. “Det” Merryman

1982-84 Louis F. Cumming

1980-82 David E. Porter

1978-80 Paul L. Stevens

1976-78 Laurie H. Waddy

1974-76 William N. Jenkins, Esq.

1971-74 L. Thomas Halverstadt

1970-71 Simon Reznikoff

1969-70 Robert J. Sullivan

1968-69 Arthur S. Johnson

1966-68 Michael Ibs Gonzalez, Esq. 1964-66 Philip M. Klauber 1963-64 Oliver B. James Jr.

1961-63 J. Dallas Clark

1960-61 Fielder K. Lutes

1959-60 Dr. G. Burch Mehlin

1956-58 Admiral Wilder D. Baker

1953-56 Mrs. Fred G. Goss

1952-53 Donald A. Stewart

1940-42 Donald B. Smith

1938-39 Mrs. William H. Porterfield

1934-37 Mrs. Marshall O. Terry

1930-33 Mouney C. Pfefferkorn

1928-29 Willett S. Dorland

1927 Ed H. Clay

RAFAEL PAYARE

MUSIC DIRECTOR

With his innate musicianship, charismatic energy, gift for communication and irresistibly joyous spirit, Venezuelan conductor Rafael Payare is “electrifying in front of an orchestra” (Los Angeles Times). Payare conducted the San Diego Symphony (SDS) for the first time in January 2018 and was subsequently announced as the orchestra’s music director designate one month later, before assuming the role of music director in January 2019.

Now in the fifth season of his transformative tenure as music director of the San Diego Symphony, Payare conducts the SDS’s first appearance in a decade at Carnegie Hall. In November he joins his music director colleagues in leading the first California Festival, a statewide project celebrating compelling new music of the past five years with 117 works by 110 different composers being performed by more than 100 participating organizations; conducts the orchestra’s first Tijuana concert in more than 20 years at Centro Cultural Tijuana’s annual Día de los Muertos Festival; and will lead the 2024 grand reopening of the Jacobs Music Center, the San Diego Symphony’s newly renovated indoor home. With San Diego Symphony, Payare released his first recording — Shostakovich’s Symphony No. 11 — on the Platoon Music label; inaugurated the symphony’s iconic new outdoor venue and public park — The Rady Shell at Jacobs Park — and has led performances of multiple commissions and premieres.

The 2023-24 season marks Payare’s second as Music Director of Canada’s Orchestre symphonique de Montréal (Montreal Symphony Orchestra/OSM). OSM celebrates its 90th anniversary in the 2023-24 season, continuing their ongoing exploration of Mahler’s music with performances of the composer’s First and Seventh Symphonies, and performing repertoire ranging from Beethoven’s First Symphony to such modern

masterpieces as Stravinsky’s The Rite of Spring, Janáček’s Glagolitic Mass and Messiaen’s Turangalîla-Symphonie

He also makes debuts with both the Orchestre national de France and the Staatskapelle Berlin, whose new season he opens as part of Musikfest Berlin 2023, and returns to the prestigious podiums of the Philadelphia Orchestra, Tonhalle Orchestra and Royal Stockholm Philharmonic. With both the Swiss and Swedish ensembles, his programs feature Richard Strauss’s Ein Heldenleben, as heard alongside Mahler’s Rückert-Lieder on his new recording with OSM, which is due for release by Pentatone early next year. In July 2024 he returns to Berlin to conduct Puccini’s Turandot at the Staatsoper Unter den Linden.

Also serving since 2015 as Principal Conductor of Virginia’s Castleton Festival, Payare is the Conductor Laureate of Northern Ireland’s Ulster Orchestra, where he was Principal Conductor and Music Director from 2014 to 2019, making multiple appearances at London’s BBC Proms.

Since winning first prize at Denmark’s Malko International Conducting Competition in 2012, Payare has made debuts and forged longstanding relationships with many of the world’s preeminent orchestras. His U.S. collaborations include engagements with the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Houston Symphony, Los Angeles Philharmonic, New York Philharmonic and Philadelphia Orchestra, while his notable European appearances include dates with the Bavarian Radio Symphony, Chamber Orchestra of Europe, Leipzig Gewandhaus Orchestra, London Symphony Orchestra, Munich Philharmonic and the NDR Elbphilharmonie Orchestra. Payare has undertaken concerto collaborations with soloists including Piotr Anderszewski, Emanuel Ax, Yefim Bronfman, Elīna Garanča, Sergey Khachatryan, Gil Shaham, Jean-Yves Thibaudet, Daniil Trifonov, Alisa Weilerstein, Frank Peter Zimmermann and Nikolaj Znaider. Also a dedicated opera conductor, Payare made his celebrated debut at Covent Garden in February 2023 with six performances of Il barbiere di Siviglia; his Glyndebourne Festival debut in a 2019 production of the same opera; led Madama Butterfly and La bohème at Stockholm’s Royal Swedish Opera, Tosca at the Royal Danish Opera, Gounod’s Roméo et Juliette at the Castleton Festival, and a new production of La traviata in Malmö, Sweden.

Born in Barcelona, Venezuela, in 1980, Payare first discovered classical music at the age of 14, when he began playing horn in the El Sistema program. After just three weeks he joined the Symphony Orchestra of Anzoátegui, before becoming part of the National Children’s Orchestra of Venezuela, with which he toured Europe, Asia and the Americas. From 2001 to 2012 he served as Principal Horn of the Simón Bolívar Symphony Orchestra, taking part in prestigious tours and recordings with Gustavo Dudamel and other eminent conductors including Claudio Abbado, Lorin Maazel, Sir Simon Rattle and Giuseppe Sinopoli, who first inspired Payare to conduct himself. Receiving conducting training from El Sistema founder José Antonio Abreu and from subsequent mentors Maazel and Krzysztof Penderecki, Payare went on to lead all Venezuela’s major orchestras. Today he is himself an inspiration to younger musicians, continuing his long-standing involvement with El Sistema and the Simón Bolívar Symphony Orchestra and enjoying a close relationship with London’s Royal College of Music, where he conducts the symphony orchestra each season. He has also led youth projects with the Chicago Civic Orchestra, Orchestra of the Americas, and Filarmónica Jóven de Colombia, and conducted a tour with the National Youth Orchestra of Ireland. n

SAN DIEGO SYMPHONY ORCHESTRA

RAFAEL PAYARE

Music Director

VIOLIN

Jeff Thayer

Concertmaster

DEBORAH PATE AND JOHN FORREST CHAIR

Wesley Precourt

Associate Concertmaster

Jisun Yang

Assistant Concertmaster

Alexander Palamidis

Principal Second Violin

Nick Grant

Principal Associate Concertmaster

Emeritus

Cherry Choi Tung Yeung

Associate Principal Second Violin

Ai Nihira Awata

Jing Yan Bowcott

Yumi Cho

Hernan Constantino

Alicia Engley

Kathryn Hatmaker

Kenneth Liao

Igor Pandurski

Evan Pasternak

Julia Pautz

Yeh Shen

Xiaoxuan Shi

Edmund Stein

Hanah Stuart

John Stubbs

Pei-Chun Tsai

Zou Yu

Melody Ye Yuan

Benjamin Hoffman*

Sarah Schwartz*

VIOLA

Chi-Yuan Chen

Principal

KAREN AND WARREN KESSLER CHAIR

Nancy Lochner

Associate Principal

Jason Karlyn

Wanda Law

Qing Liang

Abraham Martin

Johanna Nowik

Ethan Pernela

I-Hsuan Huang*

Sung-Jin Lee*

Rebecca Matayoshi*

CELLO

Yao Zhao

Principal

Chia-Ling Chien

Associate Principal

Marcia Bookstein

Andrew Hayhurst

John Lee

Richard Levine

Nathan Walhout

Xian Zhuo

BASS

Jeremy Kurtz-Harris

Principal

SOPHIE AND ARTHUR BRODY

FOUNDATION CHAIR

Susan Wulff

Associate Principal

Aaron Blick

P.J. Cinque

Kevin Gobetz

Samuel Hager

Michael Wais

Margaret Johnston+

FLUTE

Rose Lombardo

Principal

Sarah Tuck

Lily Josefsberg

PICCOLO

Lily Josefsberg

OBOE

Sarah Skuster

Principal

Rodion Belousov

Andrea Overturf

ENGLISH HORN

Andrea Overturf

DR. WILLIAM AND EVELYN LAMDEN

ENGLISH HORN CHAIR

CLARINET

Sheryl Renk

Principal

Max Opferkuch

Frank Renk

BASS CLARINET

Frank Renk

BASSOON

Valentin Martchev

Principal

Ryan Simmons

Leyla Zamora

CONTRABASSOON

Leyla Zamora

HORN

Benjamin Jaber

Principal

Darby Hinshaw

Assistant Principal & Utility

John Degnan

Tricia Skye

Douglas Hall

TRUMPET

Christopher Smith

Principal

Jonah Levy*

Ray Nowak

TROMBONE

Kyle R. Covington

Principal

Logan Chopyk

Kyle Mendiguchia

BASS TROMBONE

Kyle Mendiguchia

TUBA

Aaron McCalla

Principal

HARP

Julie Smith Phillips

Principal

TIMPANI

Ryan J. DiLisi

Principal

Andrew Watkins

Assistant Principal

PERCUSSION

Gregory Cohen

Principal

Erin Douglas Dowrey

Andrew Watkins

Eduardo Meneses*

PRINCIPAL LIBRARIAN

Courtney Secoy Cohen

LIBRARIAN

Rachel Fields

* Long Term Substitute Musician + Staff Opera Musician

The musicians of the San Diego Symphony are members of San Diego County, Local 325, American Federation of Musicians, AFL-CIO.

Financial support is provided by the City of San Diego Commission for Arts and Culture and the County of San Diego.

The San Diego Symphony is proud to announce that we have met our goal of $125 million for “The Future is Hear” Campaign! This extraordinary campaign supports construction of The Rady Shell at Jacobs Park, improvements to Jacobs Music Center, and wide-ranging artistic initiatives for San Diego’s communities.

If you are interested in supporting The Rady Shell at Jacobs Park please email campaign@sandiegosymphony.org for giving and recognition opportunities.

VAIL MEMORIAL FUND, MEREDITH BROWN, TTEE

NORMAN FORRESTER AND BILL GRIFFIN

DOROTHEA LAUB

San Diego Symphony is pleased to have Sycuan Casino Resort as the lead sponsor of the Music Connects Community Concerts!

Bird Singers from the Sycuan Band of the Kumeyaay Nation performing at the opening of a San Diego Symphony Community Concert on stage at Live & Up Close | Sycuan Casino Resort.

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SAN DIEGO BAYFRONT

FRIDAY, MAY 3 7:30PM

The Rady Shell at Jacobs Park

SHELL 2023-24 SEASON SPECIAL CONCERT

INDIANA JONES AND THE RAIDERS OF THE LOST ARK™ LIVE IN CONCERT

John Beal, conductor San Diego Symphony Orchestra

PROGRAM

Approximate program length: 2 hours, 19 minutes (includes one, 20-minute intermission).

The performance is a presentation of the film Indiana Jones and The Raiders of the Lost Ark™ with a live performance of the film’s score. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the end credits.

INDIANA JONES AND THE RAIDERS OF THE LOST ARK™

LIVE IN CONCERT

STARRING

Harrison Ford

Karen Allen

Paul Freeman

Ronald Lacey

John Rhys-Davies

Denholm Elliott

DIRECTED BY Steven Spielberg

PRODUCED BY Frank Marshall

SCREENPLAY BY Lawrence Kasdan

STORY BY

George Lucas

Philip Kaufman

EXECUTIVE PRODUCERS

George Lucas

Howard Kazanjian

MUSIC BY John Williams

MPAA PG Rating

Motion Picture & Artwork © 1981 Lucasfilm Ltd. Concert performed under license from Disney Concerts. Disney Concerts under license from Lucasfilm Ltd and Paramount Pictures.

ABOUT THE CONDUCTOR

Principal Conductor of the Hollywood Symphony Orchestra, JOHN BEAL has conducted a wide variety of film scores and concerts with many of the world’s great musicians, from the Orchestre Philharmonique du Luxembourg, the National Orchestra of Belgium and The City of Prague Philharmonic, the National Symphony of Malaysia and the Evergreen Symphony of Taiwan, as well as major symphony orchestras throughout the United States and Canada, and decades with the Hollywood Studio Symphony Orchestra. Maestro Beal arranged and conducted orchestras on albums and in concerts and television with very diverse artists ranging from the world premiere of Rocketman: Live in Concert with Sir Elton John and Taron Egerton, the world premiere of Chicago Live in Concert, the world premiere of Respect Live in Concert, the world premiere orchestral concert of Electronica DJ Deadmau5, the world premiere of Serengeti Live with Lola Lennox, the U.S. concert debut of Olivia Newton-John, and television and records with singers Gladys Knight, Ella Fitzgerald, The Carpenters, and B.B. King. Mr. Beal created music for 45 theatrical features, television films and documentaries, 26 major network series or specials, 35 national advertisers, and his works appear on more than 30 recordings. With Walt Disney Imagineering, he produced music for Disneyland and Walt Disney World theme parks, and named by the New York Times as the pioneer of original scores for movie trailers, internationally recognized for composing original scores for the marketing of over 2,000 major studio projects, including Star Wars, Titanic, Forrest Gump, Aladdin, Braveheart, The Matrix, and The Last Samurai. n

ABOUT THE COMPOSER

In a career spanning more than six decades, JOHN WILLIAMS has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all nine Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief. His 50-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The BFG, The Post and The Fabelmans. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games.

He has received five ACADEMY AWARDS® and fiftyfour Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twentyfive GRAMMYs®, four Golden Globes, five EMMYS®, and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer. In 2020, he received Spain’s Princess of Asturias Award for the Arts as well as the Gold Medal from the prestigious Royal Philharmonic Society in the UK, and in 2022 he was awarded an honorary knighthood of the British Empire as one of the final awards approved by Her Majesty Queen Elizabeth II.

In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December 1993 after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, the Boston Symphony premiered his concerto for harp and orchestra entitled On Willows and Birches, and in the same year, Mr. Williams composed and arranged Air and Simple Gifts especially for the first inaugural ceremony of President Barack Obama.

In 2021, Williams premiered his second violin concerto with the Boston Symphony Orchestra at Tanglewood along with soloist Anne-Sophie Mutter, for whom he composed the work. n

MONDAY, MAY 6 7:30PM The Rady Shell at Jacobs Park

RADY SHELL 2023-24 SEASON SPECIAL CONCERT

ROGER DALTREY

WITH SPECIAL GUEST KT TUNSTALL

Please note: the San Diego Symphony does not appear on this concert event.

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PROGRAM

TO BE ANNOUNCED FROM THE STAGE

Approximate program length: 2 hours, 20 minutes (includes one, 20-minute intermission).

ABOUT THE ARTISTS

Inducted into the Rock and Hall of Fame with The Who in 1990, ROGER DALTREY received a Lifetime Achievement award from the GRAMMY® Foundation along with the band in 2001. Daltrey and The Who co-founder Pete Townshend received Kennedy Center Honors in 2008. Considered to have one of the most recognizable singing voices of all time, Planet Rock listeners voted Daltrey Rock’s fifth-greatest voice in music history. He also received stellar reviews for his unique 2018 autobiography, Thanks a Lot Mr. Kibblewhite, with one critic describing it as how ‘the punk became rock’s Godfather…’

Known for his magnetic presence and rebellious creative spirit, Daltrey has also been an actor and film producer, with multiple roles in films, theatre, and television. He’s released ten solo studio albums, including the acclaimed discs Daltrey, Ride a Rock Horse, One of the Boys , and the 2018 release As Long As I Have You, and such hit singles as “I’m Free,” “Giving It All Away,” “Without Your Love,” “Free Me” and “After the Fire.”

His solo work has been compiled into two anthologies, Martyrs and Madmen (1997) and Moonlighting (2005). Queen Elizabeth awarded him a CBE for his service to music and charity in 2004. n

KT TUNSTALL burst onto the music scene with her 2004 multi-platinum debut, Eye to the Telescope - which spawned the global hits Black Horse and the Cherry Tree and Suddenly I See.

These songs, paired with her pioneering looping skills, established KT as a captivating and dynamic performer, as well as a songwriter with a knack for balancing introspective folk and propulsive rock.

KT recently expanded her musical style by focusing on a trilogy of records, where each album zeroes in on a single concept: soul, body, and mind - 2016’s KIN, 2018’s WAX and 2022’s NUT cemented KT’s position as one of the most exciting contemporary songwriters of her time.

KT has also moved into writing for Musical Theatre, and is currently working as the Composer for the adaptation of the 1995 beloved cult classic movie Clueless. n

TUESDAY, MAY 7 8PM

San Diego Civic Theatre

SPECIAL CONCERTS

AN EVENING WITH YO-YO MA

Rafael Payare, conductor

Yo-Yo Ma, cello

San Diego Symphony Orchestra

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PROGRAM

WAGNER

Introduction to Act III from Die Meistersinger

ELGAR

Cello Concerto in E minor, Op. 85

Adagio - Moderato

Lento - Allegro molto

Adagio Allegro

Yo-Yo Ma, cello

-INTERMISSIONTCHAIKOVSKY

Symphony No. 5 in E minor, Op. 64

Andante - Allegro con anima

Andante cantabile con alcuna licenza

Valse: Allegro moderato

Finale: Andante maestoso - Allegro vivace

Approximate program length: 1 hour, 43 minutes (includes one, 20-minute intermission).

ABOUT THE CONDUCTOR

RAFAEL PAYARE, please turn to page P6. n

ABOUT THE ARTIST

YO-YO MA’s multi-faceted career is testament to his belief in culture’s power to generate trust and understanding. Whether performing new or familiar works for cello, bringing communities together to explore culture’s role in society, or engaging unexpected musical forms, Yo-Yo strives to foster connections that stimulate the imagination and reinforce our humanity.

Most recently, Yo-Yo began Our Common Nature, a cultural journey to celebrate the ways that nature can reunite us in pursuit of a shared future. Our Common Nature follows the Bach Project, a 36-community, sixcontinent tour of J. S. Bach’s cello suites paired with local cultural programming. Both endeavors reflect Yo-Yo’s lifelong commitment to stretching the boundaries of genre and tradition to understand how music helps us to imagine and build a stronger society.

Yo-Yo is an advocate for a future guided by humanity, trust, and understanding. Among his many roles, Yo-Yo is a United Nations Messenger of Peace, the first artist ever appointed to the World Economic Forum’s board of trustees, a member of the board of Nia Tero, the US-based nonprofit working in solidarity with Indigenous peoples and movements worldwide, and the founder of the global music collective Silkroad.

His discography of more than 120 albums (including 19 GRAMMY® Award winners) ranges from iconic renditions of the Western classical canon to recordings that defy categorization, such as Hush with Bobby McFerrin and the Goat Rodeo Sessions with Stuart Duncan, Edgar Meyer, and Chris Thile. Yo-Yo’s recent releases include Six Evolutions, his third recording of Bach’s cello suites, and Songs of Comfort and Hope, created and recorded with pianist Kathryn Stott in response to the COVID-19 pandemic. Yo-Yo’s latest album, Beethoven for Three: Symphony No. 4 and Op. 97 ‘Archduke,’ is the third in a new series of Beethoven recordings with pianist Emanuel Ax and violinist Leonidas Kavakos.

Yo-Yo was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and three years later moved with his family to New York City, where he continued his cello studies at the Juilliard School before pursuing a liberal arts education at Harvard. He has received numerous awards, including the Avery Fisher Prize (1978), the National Medal of the Arts (2001), the Presidential Medal of Freedom (2010), Kennedy Center Honors (2011), the Polar Music Prize (2012), and the Birgit Nilsson Prize (2022). He has performed for nine American presidents, most recently on the occasion of President Biden’s inauguration.

Yo-Yo and his wife have two children. He plays three instruments: a 2003 instrument made by Moes & Moes, a 1733 Montagnana cello from Venice, and the 1712 Davidoff Stradivarius. n

ABOUT THE MUSIC

Prelude to Act III of Die Meistersinger von Nürnberg

RICHARD WAGNER

Born May 22, 1813, Leipzig

Died February 13, 1883, Venice

APPROXIMATE PERFORMANCE TIME

7 minutes

Composed between 1862 and 1867, Die Meistersinger von Nürnberg tells of the competition held by a medieval singing guild – the Meistersingers – to admit new members; the winner will wed the beautiful Eva. Aided by the revered Hans Sachs (himself a cobbler, poet and Meistersinger), the young knight Walther von Stolzing defeats the scheming Sixtus Beckmesser and wins Eva. But with its complex sub-plots, the theme of renunciation by the aging Sachs, and its ingenious opposition of different kinds of music, the opera is much more than a simple love story, and Sachs’ final appeal for a “pure German art” made the opera vastly popular during a period of growing nationalism and Bismarck’s unification of Germany.

Act III takes place on the day of the climactic contest, and this Prelude precedes the rise of the curtain, when morning sunlight will stream through the window of Sachs’ shop as the aging cobbler muses on human nature, its propensity to violence, and possible solutions to that animosity. Solemn and noble, the Prelude is based on themes associated with Hans Sachs. One of Wagner’s markings is Sehr feierlich (“Very solemn”), and much of the nobility of the Prelude comes from its being set quietly in the low strings and brass. The music gradually builds to a climax, then fades to a quiet close. n

Cello Concerto in E minor, Op. 85

SIR EDWARD ELGAR

Born June 2, 1857, Broadheath

Died February 23, 1934, Worcester

Yo-Yo Ma, cello

APPROXIMATE PERFORMANCE TIME

30 minutes

The period of World War I was extremely difficult for Elgar. The war was demoralizing, and Elgar – who turned 60 during its course – was further downcast by poor health and his own declining productivity. The war might seem the sort of occasion that should have roused his creative spirits, but Elgar had no appetite for “war” music. After three years of war, he wrote to a friend while on a conducting tour: “I am not well and the place is so noisy & I do not sleep. The guns are the quietest things here. I long for the country . . . Everything good & nice & clean & fresh & sweet is far away – never to return.” In the fall of

1917, he resolved to get away from London, and – after an operation to remove his tonsils – he rented a thatched two-story cottage outside Fittleworth, in the rolling countryside north of Chichester. The house had belonged to a painter, and now Elgar took over the painter’s old studio in the garden. Delighted by the quiet and the surrounding woods, he felt his creative powers return. From the waning months of the war came a sudden surge of creativity: he wrote three chamber pieces – the Violin Sonata, String Quartet and Piano Quintet – in 1918, and that August he set to work on a Cello Concerto, completing it in the early summer of 1919. It would be his final significant work. Though he planned several major compositions over the final fifteen years of his life, he was unable to complete any of them.

The Cello Concerto is a work of great beauty and great contradiction. Some of these contradictions rise from the sharp differences of style within the music: Elgar scores the concerto for a large orchestra, but then uses it with restraint – much of this music has a chamber-like delicacy. These contrasts point to sharp differences of mood within the music, which can move from a touching intimacy one moment to extroverted concerto style the next. We almost sense two completely different composers behind the concerto. One is the public Elgar – strong, confident, declarative – while the other is the private Elgar, torn by age, doubt and the awful comprehension that all the certainties he had known – artistic, political and social –had been obliterated. This strange division of mood lies at the heart of Elgar’s Cello Concerto, which remains one of the most important written for the instrument.

We seem to hear the old confident Elgar in the cello’s sturdy opening recitative, marked nobilmente, yet at the main body of the movement things change completely. Without any accompaniment, violas lay out the movement’s haunting main theme, which rocks along wistfully on its 9/8 meter. This somber idea sets the mood for the entire opening movement – even the second subject, announced by pairs of woodwinds, is derived from this theme. Throughout, Elgar reminds the soloist to play dolcissimo and espressivo

The first movement is joined to the second by a brief pizzicato reminiscence of the opening recitative, and the solo cello tentatively outlines what will become the main theme of the second movement, a scherzo marked Allegro molto. Once this movement takes wing, it really flies – it is a sort of perpetual-motion movement, and Elgar marks the cello’s part leggierisimo: “as light as possible.” Tuneful interludes intrude momentarily on the busy progress, but the cello’s breathless rush always returns, and the movement races to a sudden – and pleasing – close.

The Adagio returns to the mood of the opening movement. Metric units are short here (the marking is 3/8), but Elgar writes long, lyric lines for the soloist, who plays virtually without pause. There is a dreamy, almost disembodied quality to this music, and Donald Francis Tovey caught its mood perfectly when he described the Adagio as “a fairy tale.” The finale has an extended introduction, combining orchestral flourishes, bits of the opening recitative and a cadenza for the soloist, before plunging into the main part of the movement, marked

Allegro, ma non troppo. This is launched with some of the old Elgarian swagger, and the music at first seems full of enough confidence to knit up the troubled edges of what has gone before. But this is only a first impression. Beneath the jaunty surface of this music, another mood –dark and uneasy – begins to intrude and finds its clearest expression in the extended Poco più lento section near the end of the music. Gone is the swagger, gone is the confident energy, and we sense that in place of the music Elgar wanted to write he is giving us the music he had to write. Wandering, pained, dis-eased, this music seems to speak directly from the heart, and even the vigorous concluding flourish does little to dispel the somber mood that has touched so much of th is concerto. n

Symphony No. 5 in E minor, Op. 64

PIOTR ILYICH TCHAIKOVSKY

Born May 7, 1840, Votkinsk

Died November 6, 1893, St. Petersburg

APPROXIMATE PERFORMANCE TIME

44 minutes

When Tchaikovsky composed his Fourth Symphony in 1877, he offered his patroness Madame von Meck a rather detailed program in which he described it as a symphony about Fate: the ringing brass call that opens the symphony and returns at the climax of the finale is the sound of “Fate, the inexorable power that . . . hangs over our heads like the sword of Damocles, leaving us no option but to submit.” The Fourth Symphony came from a moment of supreme personal tension for Tchaikovsky – his disastrous and short-lived marriage – and in the process of completing it he collapsed. He suffered a nervous breakdown from which he recovered slowly, and this was followed by a creative dry spell that lasted nearly a decade.

Then, in the winter of 1887-88, Tchaikovsky made a tour of Western Europe, conducting his own works in Leipzig, Hamburg (where he met Brahms), Berlin, Prague, Paris and London. Those audiences responded enthusiastically to his music (Brahms was an exception), and – with his confidence somewhat bolstered – Tchaikovsky returned to Russia ready at last to attempt a new symphony. In April 1888, he moved into a villa in Frolovskoye, northwest of Moscow, where he could work on his new symphony and take long walks in the woods. Two years later he would return to Frolovskoye to discover – in a moment straight out of Chekhov – that the forests had all been cut down, but now he worked happily in this beautiful setting, and his Fifth Symphony was done by August. Tchaikovsky led the premiere in St. Petersburg on November 17, 1888, and – despite some initial misgivings – was finally convinced that he had regained his creative powers.

While it lacks the white-hot fury of the Fourth Symphony or the dark intensity of the Sixth, the Fifth Symphony – full of those wonderful Tchaikovsky themes, imaginative orchestral color and excitement – has become one of his most popular works, so popular in fact that it takes a conscious effort to hear this symphony with fresh ears. As he did in the Fourth,

Tchaikovsky builds this symphony around a motto-theme, and in his notebooks he suggested that the motto of the Fifth Symphony represents “complete resignation before fate.” But that is as far as the resemblance goes, for Tchaikovsky supplied no program for the Fifth Symphony, nor does this music seem to be “about” anything. The motto theme returns in each of the four movements, often in quite different guises, but it may be best to understand this motto as a unifying device rather than as anything so dramatic as the Fourth Symphony’s “sword of Damocles.” Listeners are of course free to supply their own interpretations as to what this music is about, but despite the tantalizing hints about “resignation before fate,” Tchaikovsky apparently regarded his Fifth Symphony as abstract music.

Clarinets introduce the somber motto-theme at the beginning of the slow introduction, and gradually this leads to the main body of the movement, marked Allegro con anima. Over the orchestra’s steady tread, solo clarinet and bassoon sing the surging main theme of this sonata-form movement, and there follows a wealth of thematic material. This is a lengthy movement, and it is built on three separate-theme groups, full of soaring and sumptuous Tchaikovsky melodies. The development fuses these lyric themes with episodes of superheated drama, and listeners will hear the motto-theme hinted at along the way. The movement draws to a quiet close, its furious energy finally exhausted.

Deep string chords at the opening of the Andante cantabile introduce one of the great solos for French horn, and a few moments later the oboe has the graceful second subject. For a movement that begins in such relaxed spirits, this music is twice shattered by the return of the motto-theme, which blazes out dramatically in the trumpets. Tchaikovsky springs a surprise in the third movement – instead of the expected scherzo, he writes a lovely waltz. Its trio section skitters along a steady flow of sixteenth-notes from the strings (this section feels very much like a scene from one his ballets), and Tchaikovsky rounds the movement off beautifully – he writes an extended coda based on the waltz tune, and in its closing moments the motto-theme makes a fleeting appearance, like a figure seen through the mists.

However misty that theme may have seemed at the end of the third movement, it comes into crystalline focus at the beginning of the finale. Tchaikovsky moves to E Major here and sounds out the motto to open this movement – this music seems to have arrived at its moment of triumph even before the last movement has fairly begun. The main body of the finale, marked Allegro vivace, leaps to life, and the motto-theme breaks in more and more often as it proceeds. The movement drives to a great climax, then breaks off in silence. This is a trap, designed to trick the unwary and propel them into premature applause, for the symphony is not yet over. And in fact no attentive listener should be fooled, for this false “conclusion” is in the wrong key of B Major (one wonders just what thoughts were running through Tchaikovsky’s mind when he designed this trap). Out of the ensuing silence begins the real coda, and the motto-theme now leads the way on constantly-accelerating tempos to the (true) conclusion in E Major. n

-Program notes by Eric Bromberger

Tell us about your musical journey and how you came to play with the San Diego Symphony.

My musical journey started out in my hometown of Duncanville, Texas in the sixth-grade band. The school I attended had an amazing, nationally recognized music program. I feel so fortunate to have been raised in a town that put so much support into the arts.

My first two years of college were at Southern Methodist University, where I studied with Principal Tuba of the Dallas Symphony, Matt Good. I then transferred to the Juilliard School in New York City where I studied with Principal Tuba of the New York Philharmonic, Warren Deck. While at school, I won my first job in the Colorado Symphony, where I spent three years. I then moved to Boston to finish my music degree at New England Conservatory with Principal Tuba of the Boston Symphony, Mike Roylance where I had so many wonderful opportunities to play with the Boston Symphony and the Boston Pops. I am thankful to have had these three amazing men as mentors in my life. After graduating, I spent the summer of 2005 at Tanglewood Music Center and then left Massachusetts for Florida to join the Naples Philharmonic where I spent 17 wonderful years.

In the summer of 2021, the San Diego Symphony called me to substitute for a few concerts including the inaugural opening gala of The Rady Shell at Jacobs Park™. From the very beginning I have absolutely loved playing in the San Diego Symphony. The quality of music making, and the professionalism of the people made a big impression on me. I also felt very at home because I was already acquainted with some of the musicians here like the Symphony’s current bass trombonist, Kyle Mendiguchia, who was a former colleague of mine at the Naples Philharmonic. In 2022, I was lucky to win the position of Principal Tuba with the San Diego Symphony.

MUSICIAN SPOTLIGHT AARON M c CALLA, PRINCIPAL TUBA

Do you have a favorite San Diego Symphony memory?

There have been so many highlights, from the opening night of The Rady Shell, the Jacobs Masterworks Series, the Movies in Concert Series, to playing with popular acts like Cypress Hill and beyond. My favorite memory, without a doubt, was the orchestra’s Carnegie Hall concert this past fall. The focus, the energy, the musicianship; it was all so inspiring. Getting to perform with my colleagues in such a world class venue gave me an even greater appreciation for how lucky I am to be a part of this amazing organization.

Talk to us about your musical pursuits outside of the San Diego Symphony. Do you teach? Play in any bands or other organizations?

One of my passions is teaching and music education. I previously taught tuba at Florida Gulf Coast University for many years. And when I won my position here in the San Diego Symphony, I was lucky enough to be offered the tuba teaching position at San Diego State University. I am happy to be able to continue teaching at the collegiate level.

Like most musicians in the orchestra, I too have other music gigs. I regularly play in a few brass groups and at a few churches around town. During my summers in Naples, Florida, I traveled with a couple of rock bands and even had the opportunity to start a couple of bands of my own! One, named LNE, was based in Antigua and developed an enthusiastic fan base. The other, Kate Priestly Band, started in Guatemala and ultimately found a home in Austin, Texas. I absolutely love the energy of playing the bass lines of a band on my tuba!

When you are not performing with the San Diego Symphony, how do you spend your free time?

It has been so much fun getting to know San Diego and the surrounding areas. There is so much to do and see. In our free time you might find my family and I exploring the museums of Balboa Park, the San Diego Zoo, hanging out at the beach, at dog parks, going to sporting events, and just getting to know all the various neighborhoods that make up San Diego. Or you might simply find us at home enjoying pizza and watching a movie! We also love to travel and experience new things - we started our two sons early with traveling, and now they are pros.

I have also been a fan of sports for as long as I can remember. I coached my one son’s little league team this past year and will be coaching his flag football team this spring! When I was living in Naples, I also played for 15 years in the county soccer league. I hope to start back up and play here in San Diego one day.

What are you looking forward to most with the San Diego Symphony in 2024?

The number one thing I am looking forward to next season is returning to Jacobs Music Center, full-time, week after week. It will be so great to be back in our indoor home making wonderful music. I am also excited to test out the new renovations that will allow my colleagues and me to give the audiences the world-class musical experience they deserve!

The San Diego Symphony’s performance of the first act of Wagner’s Die Walküre this month celebrates 20 years of partnership with The San Diego Opera. The tuba plays a prominent part in setting the magical and mythical scene with bombastic and powerful passages. What will be your own artistic interpretation when you play this piece on stage?

Playing the tuba in any part of The Ring Cycle is an exhilarating experience. You get to inhabit the body of a dragon, you get to help lead the charge of the Valkyries, and you get to set the tonal and harmonic landscape for so many amazing scenes. The contrabass tuba, the largest tuba I use with the symphony, was first introduced to opera by Wagner for The Ring Cycle. Previously, the tuba was smaller with a lighter sound.

I first performed Act I of Die Walküre at Tanglewood Music Center, almost 20 years ago. A fun fact about the performance is that some of my current San Diego Symphony colleagues were on stage with me also performing - current Assistant Principal Horn, Darby Hinshaw and Principal Oboe Sarah Skuster. It is the greatest thing about music and orchestras. You get to have decades-long relationships with great friends on and off stage! n

SATURDAY, MAY 18 7:30PM

The Rady Shell at Jacobs Park

JACOBS MASTERWORKS

MENDELSSOHN’S VIOLIN CONCERTO AND WAGNER’S DIE WALKÜRE

Rafael Payare, conductor

Daniel Lozakovich, violin

Jennifer Holloway, soprano

Viktor Antipenko, tenor

Peter Rose, bass

Gerard McBurney, director

Mike Tutaj, projection designer

San Diego Symphony Orchestra

PROGRAM

MENDELSSOHN

Violin Concerto in E minor, Op. 64

Allegro molto appassionato

Andante

Allegretto non troppo - Allegro molto vivace

Daniel Lozakovich, violin

-INTERMISSION-

WAGNER

Die Walküre: Act I

Jennifer Holloway, soprano (Sieglinde)

Viktor Antipenko, tenor (Siegmund)

Peter Rose, bass (Hunding)

Gerard McBurney, director

Mike Tutaj, projection designer

Approximate program length: 1 hour, 54 minutes (includes one, 20-minute intermission).

ABOUT THE CONDUCTOR

RAFAEL PAYARE, please turn to page P6. n

ABOUT THE ARTISTS

DANIEL LOZAKOVICH, whose majestic music-making leaves both critics and audiences spellbound, was born in Stockholm in 2001 and began playing the violin when he was almost seven. He made his solo debut two years later with the Moscow Virtuosi Chamber Orchestra and Vladimir Spivakov in Moscow, and before long had performed with, among others, the Royal Stockholm Philharmonic, the Moscow Philharmonic and the Royal Liverpool Philharmonic orchestras, the Orchestre National de France and the Swedish Radio Symphony Orchestra. He began studying with Professor Josef Rissin at the Karlsruhe University of Music in 2012, and since 2015 has been mentored by Eduard Wulfson in Geneva.

Lozakovich made his international breakthrough in May 2016, when he hit the headlines worldwide as winner of the Vladimir Spivakov International Violin Competition and, soon after, as returning soloist with the Mariinsky Orchestra under Valery Gergiev in the closing concert of the XV Moscow Easter Festival. He went on to win a string of other prizes, including the 2017 “Young Artist of the Year” award at the Festival of the Nations (Germany), the 2017 “Young Talent” award at the Premios Excelentia (Spain) and the 2019 “Promising Young Artist” award at the Premios Batuta (Mexico).

Lozakovich has gone on to appear as soloist with such leading orchestras as the BBC Symphony Orchestra, Orchestre de la Suisse Romande, Orchestre National du Capitole de Toulouse, Gothenburg Symphony Orchestra, Orchestra Sinfonica Nazionale della Rai, Orchester der Komischen Oper Berlin, The Philadelphia Orchestra, and the Pittsburgh Symphony Orchestra, and with some of the world’s most eminent conductors, including Semyon Bychkov, Neeme Järvi, Klaus Mäkelä, Andris Nelsons, Vasily Petrenko, Lahav Shani, Leonard Slatkin, Nathalie Stutzmann and Robin Ticciati. Among his chamber music partners, meanwhile, are Emanuel Ax, Sergei Babayan, Khatia Buniatishvili, Renaud Capuçon, Seong-Jin Cho, Martin Fröst, Daniel Hope, Shlomo Mintz and Maxim Vengerov.

He signed an exclusive contract with Deutsche Grammophon in June 2016, soon after his 15th birthday, a deal that made him the youngest member of DG’s family of artists. Shortly before this, he had been invited by fellow DG artist Daniel Hope to join him in recording a selection of Bartók’s Duos for two violins for Hope’s My Tribute to Yehudi Menuhin album. His first full recording for Deutsche Grammophon, made with the Kammerorchester des Symphonieorchesters des Bayerischen Rundfunks, was released in June 2018 and featured Bach’s two concertos for violin and orchestra (BWV 1041 and 1042), and his Partita No.2 in D minor BWV 1004 for solo violin. It was a great success, reaching No.1 in the French Amazon charts (all music categories), and No.1 in Germany’s classical album chart.

None but the Lonely Heart, Lozakovich’s second album, was released in October 2019. Dedicated to the music of Tchaikovsky, it includes the Violin Concerto, recorded live with the National Philharmonic Orchestra of Russia and Spivakov, the Méditation for violin and orchestra and arrangements of

two vocal works, Lensky’s Aria from Eugene Onegin and the song from which the album takes its name: the Romance, Op.6 No.6, “None but the lonely heart”.

Lozakovich next joined forces with Gergiev and the Münchner Philharmoniker to celebrate the 250th anniversary of Beethoven’s birth with a live recording of the composer’s Violin Concerto, released as a visual e-album in June 2020 and on CD three months later.

The violinist’s latest album, Spirits, was released digitally in April 2023. It pays tribute to seven of the most iconic violinists of the 20th century, reflecting their virtuosic style in works by Elgar, Debussy, Falla, Gluck, Brahms and Kreisler. “What a gorgeous sense of musicality and beautiful vibrato,” wrote violinist.com’s reviewer. “Daniel Lozakovich, 22, just keeps getting better, if that is possible.”

Recent and upcoming highlights of Lozakovich’s schedule include his debut at the BBC Proms last summer, with the Brahms Violin Concerto; Mozart’s Violin Concerto No. 3, K216, at the Berlin Philharmonie; the Tchaikovsky Violin Concerto at La Scala, Milan, and at the Amsterdam Concertgebouw (10 July); a Rachmaninoff and Brahms recital with Antoine Tamestit, Klaus Mäkelä and Yuja Wang at the Verbier Festival (19 July); and the Mendelssohn Violin Concerto with the Budapest Festival Orchestra and Iván Fischer at the Edinburgh Festival (10 August).

Daniel Lozakovich plays both the “ex-Baron Rothschild” Stradivari, on generous loan on behalf of the owner by Reuning & Son (Boston) and Eduard Wulfson, and the Le Reynier Stradivarius (1727), kindly loaned by the LVMH group. n

In recent years, American soprano JENNIFER HOLLOWAY has established herself internationally as one of the leading sopranos in the dramatic repertoire.

In the new season, Jennifer Holloway will return to the Bavarian State Opera as Senta (Der fliegende Holländer). At the Hamburg State Opera she will make her role debut as Fidelio-Leonore and can be heard as Ellen Orford (Peter Grimes). Under Kirill Petrenko, she will sing Chrysothemis (Elektra) in Bergen. In Leipzig, she makes a guest appearance as Chrysothemis. Houston Opera presents the sought-after artist in one of her parade roles of Salome. In Liege, she will sing Wagner’s Wesendoncklieder

Highlights of recent seasons include Salome at the Vienna and Berlin State Operas and the Deutsche Oper Berlin, Chrysothemis, Tannhäuser-Elisabeth and her role debut as Senta at the Hamburg State Opera, Cassandre (Les Troyens) at the Munich Opera Festival, Sieglinde (Die Walküre) in concert with the Orchestre de Paris under Jaap van Zweden and at the Vienna Konzerthaus under Joana Mallwitz, the title role of César Franck’s Hulda in Paris, Grete in a new production of Schreker’s Der ferne Klang at Oper Frankfurt, her role debut as Lohengrin-Elsa at Oper Leipzig, the Komponist (Ariadne auf Naxos) at Teatro Colon Buenos Aires, Cassandre and Salome at Semperoper Dresden, her debut as Sieglinde at Staatsoper Hamburg and Salome in Bilbao and Atlanta.

Jennifer Holloway began her career as a mezzo-soprano with the great mezzo roles of Mozart and Handel such as Dorabella (Cosi fan tutte), Cherubino (Le nozze di Figaro), Idamante (Idomeneo), Irene (Tamerlano) at houses such as Teatro Real Madrid or Los Angeles Opera, in addition to the title role in Serse, but also Donna Elvira in Don Giovanni at

Canadian Opera Toronto. She has made guest appearances at the Glyndebourne Festival in a new production of Hansel and Gretel (Hansel) and Falstaff (Meg Page), at the Maggio Musicale in Florence, at the Théâtre du Capitole Toulouse (Rameau’s Hippolyte et Aricie), at the Théâtre du Châtelet in Paris, at the Opera Theatre of St. Louis, at the Bard Music Festival as Anne de Boleyne in Saint-Saëns Henry VIII, and at the Chautauqua Music Festival New York, where she sang her first Octavian in Der Rosenkavalier. She has also enjoyed great success as the Komponist, Adalgisa in Bellini’s Norma in Bordeaux and London, and as Giovanna (Anna Bolena) in Lisbon.

In concert, she was heard in Zemlinsky’s Lyric Symphony with the Gürzenich Orchestra Cologne and in Mozart’s Mass in C minor under Bertrand de Billy in Dresden, among others. n

Russian-American tenor VIKTOR ANTIPENKO, praised for his effortless, expansive sound, and excellent technique, continues to sing leading roles to great acclaim and has become a singer to watch in the dramatic repertoire. In the 2023-24 season, he makes debuts at the Sydney Opera House singing Luigi in Il Tabarro under the baton of Lidiya Yankovskaya with Opera Australia; Pacific Opera Victoria performing Siegmund in Die Walküre; and Atlanta Opera where he reprises his signature role of Siegmund conducted by Arthur Fagen and directed by Tomer Zvulun. He also returns to the New National Theatre Tokyo of Japan to perform Lensky in Eugene Onegin. Mr. Antipenko is added to the roster of Lyric Opera of Chicago where he covers the role of Radames in Aida with Music Director Enrique Mazzola at the helm. In concert, he joins conductor Franz Krager for performances of Rachmaninoff’s The Bells with Moores School Symphony Orchestra alongside baritone Sergei Leiferkus and makes his San Diego Symphony debut performing Siegmund in an Act 1 concert of Die Walküre with Music Director Rafael Payare.

Last season Mr. Antipenko made house debuts at Scottish Opera for performances in Glasgow and Edinburgh as Luigi in Il Tabarro in a production by Sir David McVicar; and Lyric Opera of Kansas City debut as Don José in Carmen with Roberto Kalb on the podium. Mr. Antipenko returned to Staatstheater Kassel for Hermann in Pique Dame and Israeli Opera for his role debut as Manrico in Il Trovatore. He made his Metropolitan Opera debut as Pinkerton in the famous Anthony Minghella production of Madama Butterfly. Mr. Antipenko also made his role and house debut performing Radamès in Aida at the Israeli Opera conducted by Giuliano Carella and directed by Stathis Livathinos and debuted at Arizona Opera as Don José in Carmen under the baton of Christopher Allen. He rounded out the season by performing Scriabin’s Symphony #1 and Rachmaninoff’s The Bells under Leon Botstein as part of Bard’s SummerScape series.

He finished the 2020-21 season singing Siegmund in an Act 1 concert of Die Walküre at the Frischluft und Musick Festival Ortenau in Germany alongside Günther Groissböck and Cornelia Beskow under the baton of Michael Güttler. In the 2019-20 season, he sang Prince Guidon in Rimsky-Korsakov’s The Golden Cockerel at Dallas Opera; the title role in Samson et Dalila at Tiroler Landestheater in Innsbruck; Florestan in Beethoven’s Fidelio with Theater Chemnitz; Gabriele Adorno in Verdi’s Simon Boccanegra with Tiroler Landestheater; Siegmund in Wagner’s Die Walküre for Theater Chemnitz; and a Don José in Carmen for a semi-staged concert version at Lotte Concert Hall in South Korea.

Previous roles also include Lensky (Eugene Onegin), Hermann (Pique Dame), Andrey (Mazeppa), Enzo Grimaldo (La Gioconda), Luigi (Il Tabarro), Grigori (Boris Godunov), Riccardo (Oberto), Erik (Der fliegende Holländer), and the title roles in Wagner’s Parsifal and Lohengrin. Mr. Antipenko has sung at the Bolshoi Theatre, Seattle Opera, Ópera de Oviedo, Opéra de Rouen, Theatro Municipal de São Paulo, Opéra de Lyon, Badisches Staatstheater Karlsruhe, Tchaikovsky Concert Hall in Moscow, and Hawaii Opera Theater. On the concert stage, he has appeared as the tenor soloist in Rachmaninoff’s The Bells with The Philadelphia Orchestra; Shostakovich’s Jewish Folk Poetry at the Staatstheater Kassel; Kodály’s Psalmus Hungaricus with the New York Metamorphoses Orchestra; Stravinsky’s Les Noces at the Grand Philharmonie Hall in St. Petersburg, Russia; and at the Heidelberger Schlossfestspiele Musikfestival in an “Hommage a Sevilla” gala performance. Mr. Antipenko has worked with esteemed conductors Mikhail Pletnev, Vladimir Jurowski, Yuri Bashmet, John Neschling, Jordan de Souza, Ludovic Morlot, Yuri Temirkanov, as well as with stage directors Peter Konwitschny and Tomer Zvulun. n

A regular guest at the world’s greatest opera houses including the Metropolitan Opera New York, Covent Garden, La Scala, Vienna, Paris, Rome, Barcelona, Berlin, Munich, Salzburg and Bayreuth Festivals, PETER ROSE’s enormous repertoire includes Ochs, Gurnemanz, Fasolt, Daland, King Marke, Commendatore, Gorjančikov, Basilio, Kecal, Banquo, Philip, Boris, Prince Gremin, Leporello, Osmin, Zaccaria, La Roche, Arkel, Rocco, Four Villains, Claggart and Falstaff.

He has won particular acclaim for his performances of Bottom which he has sung in Vienna, Aix-en-Provence, Paris, London, Rome, Chicago, Barcelona and on the occasion of his debut at the Metropolitan Opera, New York and for Glyndebourne Festival Opera. A prolific concert artist, he has worked with the world’s best orchestras including the Cleveland Orchestra and New York Philharmonic, and has collaborated with conductors including Kleiber, Maazel, Guilini, Masur, Haitink, Rattle, Barenboim, Mehta, Thieleman, Solti, Mackerras, and Petrenko.

Recent engagements include Snow Queen at the Bayerische Staatsoper, Parsifal for Theatre du Capitole, and the 1000th performance of Der Rosenkavalier at the Wienerstaatsoper.

Forthcoming highlights include Capriccio at the Edinburgh International Festival with Sir Andrew Davis, Fidelio with the Orquesta y Coro Nacionales de España, Die Walküre with Sydney Symphony Orchestra, and Der Rosenkavlier at Théâtre des Champs-Élysées.

Peter is a Wiener Staatsoper Kammersänger. n

ABOUT THE MUSIC

Violin Concerto in E minor, Op. 64

FELIX MENDELSSOHN

Born February 3, 1809, Hamburg

Died November 4, 1847, Leipzig

Daniel Lozakovich, violin

APPROXIMATE PERFORMANCE TIME

26 minutes

“I would like to write you a violin concerto for next winter. One in E minor keeps running through my head, and the opening gives me no peace.” So wrote Mendelssohn to his lifelong friend, violinist Ferdinand David, in 1838, and that opening has given millions of music-lovers no peace ever since, for it is one of the most perfect violin melodies ever written. Mendelssohn’s Violin Concerto seems so polished, so effortless in its easy flow that this music feels as if it must have appeared in one sustained stroke of Mendelssohn’s pen. Yet this concerto took seven years to write. Normally a fast worker, Mendelssohn worked very carefully on this music, revising, polishing and consulting with David – his concertmaster at the Leipzig Gewandhaus Orchestra – at every step of its composition. He completed the score while on vacation in Soden, near Frankfurt, during the summer of 1844, and David gave the premiere in Leipzig on March 13, 1845. Mendelssohn was sick at that time and could not conduct, so his assistant, the Danish composer Niels Gade, led the first performance.

We do not normally think of Mendelssohn as an innovator, but his Violin Concerto is as remarkable for its originality as for its endless beauty. So over-familiar has this music become that it is easy to miss its many innovations. These begin in the first instant: Mendelssohn does away with the standard orchestral exposition and has the violin enter in the second bar with its famous theme, marked Allegro molto appassionato and played entirely on the violin’s E-string; this soaring idea establishes the movement’s singing yet impassioned character from the very beginning. Other themes follow in turn – a transitional figure for the orchestra and the true second subject, a chorale-like tune first given out by the woodwinds. This concerto offers wonderful violin music: Mendelssohn played the violin himself, and he consulted with David at every point; the result is a concerto that sits gracefully under the violinist’s hand and sounds to its listeners as poised and idiomatic as it actually is. It is also easy to miss how deftly this concerto is scored: Mendelssohn writes for what is essentially the Mozart-Haydn orchestra (pairs of woodwinds, trumpets and horns, plus timpani and strings), and he is able to keep textures transparent and the soloist audible throughout, but he can also make that orchestra ring out with a splendor that Mozart and Haydn never dreamed of. The quiet timpani strokes in the first few seconds, which subtly energize the orchestra’s swirling textures, are just one of many signs of the hand of a master. Another innovation: Mendelssohn sets the cadenza where we do not expect it, at the end of the development rather than just before the coda, and that cadenza – a terrific compilation of trills, harmonics and arpeggios – appears to have been largely

the creation of David, who fashioned it from Mendelssohn’s themes. The return of the orchestra is a masterstroke: it is the orchestra that brings back the movement’s main theme as the violinist accompanies the orchestra with dancing arpeggios.

Mendelssohn hated applause between movements, and he tried to guard against it here by tying the first two movements together with a single bassoon note (this has not always stopped audiences, however). The two themes of the Andante might by themselves define the term “romanticism.” There is a sweetness about this music that could – in other hands – turn cloying, but Mendelssohn skirts that danger gracefully. The soloist has the arching and falling opening melody, while the orchestra gives out the darker, more insistent second subject. The writing for violin in this movement, full of double-stopping and fingered octaves, is a great deal more difficult than it sounds.

Mendelssohn joins the second and third movements with an anticipatory bridge passage that subtly takes its shape from the concerto’s opening theme. Resounding fanfares from the orchestra lead directly to the soloist’s entrance on an effervescent, dancing melody so full of easy grace that we seem suddenly in the fairyland atmosphere of Mendelssohn’s own incidental music to A Midsummer Night’s Dream. Several other themes appear along the way (Mendelssohn combines some of them in ingenious ways), but it is the sprightly opening melody that dominates as the music flies through the sparkling coda and concludes on the violin’s exultant three-octave leap. n

Die Walküre: Act I

RICHARD WAGNER

Born May 22, 1813, Leipzig

Died February 13, 1883, Venice

Jennifer Holloway, soprano (Sieglinde)

Viktor Antipenko, tenor (Siegmund)

Peter Rose, bass (Hunding)

Gerard McBurney, director Mike Tutaj, projection designer

Meghan Kasanders, soprano cover

Robert Stahley, tenor cover

Stefan Egerstrom, bass cover Eric Weimer, cover conductor and repetiteur

APPROXIMATE PERFORMANCE TIME 1 hour, 5 minutes

Die Walküre (“The Valkyrie”) is the second part of Wagner’s Der Ring des Nibelungen (“The Ring of the Nibelungs”) opera cycle. The first part – Das Rheingold (“The Rhine Gold”), which Wagner called the “preliminary evening” to The Ring – sets in motion the curse that will bring eventual catastrophe in Die Götterdämmerung: no one can have the gold of the Rhine, or the ring cast from it, without forsaking the need for love. The dwarf Alberich steals the ring from the Rhinemaidens and flees. Wotan, one-eyed lord of the gods, plans to steal the ring from

Alberich to pay the giants Fasolt and Fafner for building the fabulous redoubt of the gods known as Valhalla, and he goes to the earth’s center to cheat Alberich. Wotan takes possession of the ring, but the moment he uses the ring to pay the giants, its curse is felt: in the struggle for possession of the ring, Fafner kills Fasolt. Donner, swinging his hammer, creates the rainbow bridge to Valhalla, and Das Rheingold concludes as the gods joyfully enter their new home while – far below – the Rhinemaidens lament the theft of the ring.

Die Walküre introduces human beings into this poisoned world. Act I – which lasts just over an hour – has only three people in it: Siegmund and Sieglinde (brother and sister, and both children of Wotan and a mortal woman, though neither of them knows this) and Sieglinde’s husband Hunding. The setting is a crude dwelling in a forest, built around a giant ash tree that has a sword driven deep into it. The opera bursts to life with a terrific storm, depicted by the orchestra’s four-minute prelude. The door swings open, and an exhausted Siegmund (tenor) staggers through it, wonders where he is (Wes Herd dies auch sei), and collapses before the hearth. Sieglinde (soprano) confronts and comforts the stranger, feeling strangely attracted to him. She gives him something to drink, he says he must leave, but she keeps him from leaving. He then tells his tale, a story so full of misery that he has been nicknamed “Wehwalt”: “woeful.” As he explains his situation, the two feel ever closer. A commanding brass motif heralds the arrival home of Sieglinde’s husband, Hunding (bass). Profoundly suspicious of this unexpected intruder in his house, Hunding is alert enough to sense the sharp resemblance between his wife and the stranger.

During dinner, Siegmund is encouraged to tell his story (Friedmund darf ich nicht heissen): he had a twin sister, but one day as a young man he returned to find his hut burned down, his mother murdered, and his sister missing. He and his father separated, and Siegmund has since wandered the world, trying to fit in but always being rejected. He had just now been fleeing from a terrific fight: a clan was trying to force one of their young women to marry a man she despised. Siegmund had intervened and killed her brothers but lost his spear and shield as he fled through the stormy forest.

Hunding recognizes (Ich weiss ein wildes Geschlecht) that in that fight Siegmund had been battling Hunding’s own clan and thus is his mortal enemy. The rules of hospitality require that he offer overnight shelter to Siegmund, but Hunding promises that, come morning, he will kill Siegmund.

Hunding goes off to bed, not knowing that Sieglinde has put a potion in his drink that will keep him asleep all night. Siegmund, who has no weapons, cries out for help (Ein Schwert verhiess mir der Vater). He recounts how his father had promised him that when faced with the most dire emergency, he would find a sword. Now Sieglinde tells her side of this remarkable story (Der Männer Sippe sass hier im Saal): when she was being forced against her will to marry the brutal Hunding, a one-eyed stranger appeared and thrust a sword into the ash tree of their home, proclaiming that it would belong to the warrior who could pull it out. No one has been able to pull out

that sword. The couple, sensing their true identity and their destiny, embrace passionately. Behind them, the door swings open, revealing that the storm has passed and that it is now glorious springtime. Siegmund sings his rapturous welcome of spring (Wintersturme wichen dem Wonnemond), and she replies with her soaring Du bist der Lenz. She and Siegmund finally realize that they are brother and sister, and she knows that he will be the one who will pull out the sword and save her. Siegmund confronts his fate in his powerful Siegmund heiss’ ich, und Siegmund bin ich, and with a fierce gesture he rips the sword out of the tree, naming the sword “Nothung”: “needful” or “hour of need.” He and Sieglinde rush joyously out into the moonlit night, and the orchestra hurls Act I to its magnificent conclusion. n

-Program notes by Eric Bromberger

THE 2024 CONRAD PREBYS

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SUNDAY, MAY 19 7:30PM

The Rady Shell at Jacobs Park™

DEREK HOUGH SYMPHONY OF DANCE

Please note: the San Diego Symphony Orchestra does not appear on this program.

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PROGRAM Approximate program length: 1 hour, 45 minutes (includes one, 20-minute intermission)

Four time EMMY® winner Derek Hough announced today the 2024 dates for his Derek Hough Symphony of Dance Tour. The 27 city cross country tour resumes April 14 in Melbourne (FL) and concludes on May 19 in San Diego with stops in cities such as Orlando, Richmond, San Antonio, Las Vegas, and Los Angeles. From the mind of Derek Hough, Symphony of Dance is the first-national tour for the performing dynamo in four years following the sold-out successes of Derek Hough Live: The Tour, and Move Live on Tour and Move – Beyond – Live on Tour. The show features high-energy choreography, stunning stage production, astounding versatility and Derek’s magnetic stage presence. Fans will journey through a fusion of dance and music as Derek explores styles ranging from ballroom and tap to salsa and hip-hop and everything in between. Creative team and two-time EMMY® winners, Napoleon and Tabitha Dumo, also known as NappyTabs (Jennifer Lopez’s All I Have, Michael Jackson: The Immortal World Tour, GRAMMYs® creative direction), co-create, direct and supervise choreography for the tour.

Derek Hough Symphony of Dance is produced by Greg Young of Mojave Ghost, a TONY® & DRAMA DESK Award nominated producer. He’s produced award-winning Broadway shows (Bob Fosse’s Dancin’, The Illusionists, Little Women), Las Vegas Residencies (Derek Hough No-Limit!, Donny Osmond).

ABOUT THE ARTIST

EMMY® Award winning and New York Times Best-Selling author DEREK HOUGH started dancing in his hometown of Salt Lake City, UT, at age 11. As a four time EMMY® Award winner and thirteen-time nominee, Hough is the most nominated choreographer in Television Academy history. He made his feature film debut for director Duane Adler and producer Robert Cort in the feature film Make Your Move and had a recurring role on the ABC series Nashville. His stage performances include Radio City Music Hall’s Spring Spectacular co-starring alongside the TONY® Award winning Laura Benanti and the critically acclaimed production of Footloose in which he starred as the male lead in London’s West End. In December of 2016, Hough starred with Jennifer Hudson, Ariana Grande, Martin Short and Harvey Fierstein in NBC’s Hairspray Live! In 2020, Hough joined the hit ABC series Dancing with the Stars as part of the judging. A multi-talented entertainer and the only six-time champion in franchise history, Hough had previously performed on the show as a pro-dancer. In addition, Hough starred with Jennifer Lopez and Ne-Yo at the judges table for the NBC series World of Dance for four seasons. Hough can also add best-selling author to his list of credits. His memoir Taking the Lead; Lessons from a Life in Motion hit stands in August of 2014 and rapidly was named to the prestigious New York Times BestSeller list during two non-consecutive time periods, a rare feat. In 2021, Hough launched his solo residency Derek Hough: No Limit in the entertainment capital of the world, Las Vegas, Nevada. The critically acclaimed dance-centric show at the Venetian Resort takes Fans on a journey through a true fusion of dance and music,

as Hough explores styles ranging from ballroom and tap to salsa, hip-hop and everything in between. n

SATURDAY, MAY 25 6:30PM

The Rady Shell at Jacobs Park

JACOBS MASTERWORKS

BEETHOVEN’S FOURTH PIANO CONCERTO AND STRAVINSKY’S FIREBIRD

Rafael Payare, conductor

Jeremy Denk, piano

Mike Tutaj, projection designer

Hillary Leben, character animation

Gerard McBurney, creative consultant

San Diego Symphony Orchestra

PROGRAM

BEETHOVEN

Piano Concerto No. 4 in G Major, Op. 58

Allegro moderato

Andante con moto

Rondo: Vivace

Jeremy Denk, piano

-INTERMISSIONSTRAVINSKY

The Firebird

1. Introduction

2. Kastchei’s Enchanted Garden

3. The Firebird Enters, Pursued by Ivan Tsarevich

4. The Firebird’s Dance

5. Ivan Tsarevich Captures the Firebird

6. The Firebird Begs to be Released

7. Entrance of the Thirteen Enchanted Princesses

8. The Princesses Play with the Golden Apples (Scherzo)

9. Ivan Tsarevich Appears

10. The Princesses’ Khorovod (Round Dance)

11. Daybreak

12. Ivan Tsarevich Enters Kastchei’s Palace

13. Entrance of Kastchei the Immortal

14. Dialogue between Kastchei and Ivan Tsarevich

15. The Princesses Plead for Mercy

16. The Firebird Enters

17. Dance of Kastchei’s Retinue under the Firebird’s Magic Spell

18. Infernal Dance of Kastchei and His Subjects

19. The Firebird’s Lullaby

20. Kastchei Awakens

21. Kastchei’s Death

22. Kastchei’s Spell Is Broken

Mike Tutaj, projection designer

Hillary Leben, character animation

Gerard McBurney, creative consultant

Approximate program length: 1 hour, 42 minutes (includes one, 20-minute intermission).

ABOUT THE CONDUCTOR

RAFAEL PAYARE, please turn to page P6. n

ABOUT THE ARTIST

JEREMY DENK is one of America’s foremost pianists, proclaimed by the New York Times ‘a pianist you want to hear no matter what he performs.’ Denk is also a New York Times bestselling author, winner of both the MacArthur “Genius” Fellowship and the Avery Fisher Prize, and is a member of the American Academy of Arts and Sciences.

In the 2023-24 season, Denk premieres a new concerto written for him by Anna Clyne, co-commissioned and performed by the Dallas Symphony Orchestra led by Fabio Luisi, the City of Birmingham Symphony led by Kazuki Yamada, and the New Jersey Symphony led by Markus Stenz. He also returns to London’s Wigmore Hall for a three-concert residency, performing Bach’s Solo Partitas, as well as collaborating with the Danish String Quartet, and performing works by Charles Ives with violinist Maria Włoszczowska. He further reunites with Krzysztof Urbański to perform with the Antwerp Symphony and again with the Danish String Quartet in Copenhagen at their festival Series of Four.

In the US, he performs a program focusing on female composers, and continues his exploration of Bach with multiple performances of the Partitas. His collaborations include performances with violinist Maria Włoszczowska in Philadelphia and New York, and, in the Summer, returning to perform with his longtime collaborators Steven Isserlis and Joshua Bell. He closes the season with the San Diego Symphony and Rafael Payare with Beethoven’s Piano Concerto No. 4.

Denk is also known for his original and insightful writing on music, which Alex Ross praises for its “arresting sensitivity and wit.” His New York Times Bestselling memoir Every Good Boy Does Fine was published to universal acclaim by Random House in 2022, with features on CBS Sunday Morning, NPR’s Fresh Air, The New York Times, and The Guardian. Denk also wrote the libretto for a comic opera presented by Carnegie Hall, Cal Performances, and the Aspen Festival, and his writing has appeared in the New Yorker, the New Republic, The Guardian, Süddeutsche Zeitung and on the front page of The New York Times Book Review.

Denk has performed multiple times at Carnegie Hall and in recent years has worked with such orchestras as Chicago Symphony, Philadelphia Orchestra, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, and Cleveland Orchestra. Further afield, he has performed multiple times at the BBC Proms and Klavierfestival Ruhr, and appeared in such halls as the Köln Philharmonie, Concertgebouw in Amsterdam, and Boulez Saal in Berlin. He has also performed extensively across the UK, including recently with the London Philharmonic, Bournemouth Symphony, City of Birmingham Symphony, Royal Liverpool Philharmonic, BBC Symphony, Scottish Chamber Orchestra, and play-directing the Britten Sinfonia. Last season’s highlights include his performance of the Well-Tempered Klavier Book 1 at the Barbican in London, and performances of John Adams’ Must the Devil Have All The Great Tunes? with the Cleveland Orchestra, St. Louis Symphony, and Seattle Symphony, as well as a return to the San Francisco Symphony to perform Messiaen under Esa Pekka Salonen.

Denk’s latest album of Mozart piano concertos was released in 2021 on Nonesuch Records. The album, deemed “urgent and essential” by BBC Radio 3. His recording of the Goldberg Variations for Nonesuch Records reached No. 1 on the Billboard Classical Charts, and his recording of Beethoven’s Piano Sonata Op. 111 paired with Ligeti’s Études was named one of the best discs of the year by the New Yorker, NPR, and the Washington Post, while his account of the Beethoven sonata was selected by BBC Radio 3’s Building a Library as the best available version recorded on modern piano. n

Photo credits: Josh Goleman

ABOUT THE MUSIC Piano Concerto No. 4 in G Major, Op 58

LUDWIG VAN BEETHOVEN

Born December 16, 1770, Bonn

Died March 26, 1827, Vienna

Jeremy Denk, piano

APPROXIMATE PERFORMANCE TIME

34 minutes

Beethoven could relax a little in the spring of 1806. Over the previous three years, most of his energy had gone to just two works – the Eroica Symphony and his opera Leonore –and with his lengthy labors on those heroic achievements behind him he could turn to the other works that had been germinating in his imagination during those three years. Now music poured out of him: the Fourth Piano Concerto, the Fourth Symphony, the three Razumovsky Quartets, and the Violin Concerto were all completed during the summer and fall of 1806. Yet despite this rush of energy, many have noted a calmer quality in this music, and the Fourth Piano Concerto in particular seems unusually relaxed and lyric. But if the surface of this concerto is serene, some unusual things are going on within the music itself, particularly in the relation between piano and orchestra.

The first movement in all three of Beethoven’s first piano concertos had been marked Allegro con brio, but here he begins with an Allegro moderato. And in that same instant he defies classical tradition by having the solo piano open the concerto. In the classical concerto, it had been the orchestra that would launch the music, laying out the themes before the entrance of the soloist. But now the solo piano opens Beethoven’s Fourth Piano Concerto, and only when it has stated the opening idea does the orchestra enter to begin the actual exposition. Just as intriguing are the four fundamental notes of the piano’s theme – they outline the same rhythm (three shorts and a downbeat) that would open Beethoven’s Fifth Symphony, written the following year. But where those four notes blast that symphony to life, here – at a slower tempo and marked dolce – they give the music an easy forward impetus, and Beethoven uses that rhythm – which saturates this music – to underpin and propel much of the Allegro moderato. At eighteen minutes, this is a spacious movement, and Beethoven builds it on three-theme groups, all of a breadth and relaxation similar to the piano’s opening theme and all marked piano; the other two themes are the first violins’ dotted melody heard near the beginning and a noble, lyric idea introduced by the strings somewhat later. Beethoven’s detailed markings make clear the kind of performance he wants – despite moments of turbulence in the development, he repeatedly reminds the performers: dolce e con espressione, espressivo and leggieramente (“lightly”).

The relation between soloist and orchestra is even more unusual in the Andante con moto. Beethoven builds this movement on a dialogue between the orchestral strings – whose music is gruff, explosive, angry – and the piano, which is serene, calm, and restrained (Beethoven marks

its entrance molto cantabile). These exchanges between the rough orchestra and calm piano are one of the most famous moments in music (Liszt compared this movement to Orpheus taming the wild beasts). Gradually the piano’s serenity subdues the orchestra’s aggressiveness, and the movement flows directly into the rondo-finale.

The finale’s central theme is built on crisp martial rhythms, made all the more effective by being stated so quietly at first. Only after the piano has begun to develop this figure does Beethoven let go, and the orchestra stamps it out to launch the finale on its way. While this movement can have moments of power and brilliance, Beethoven generally keeps orchestral textures light, with one passage for solo cello, another for divided violas, and – at many points –an orchestral accompaniment of only pizzicato strings. The Presto coda seems to point matters toward a violent conclusion, but Beethoven suddenly turns whimsical, allowing the piano a few moments to mull over the movement’s main theme before the orchestra leaps back in to hammer out the shining final chords.

The first performance of the Piano Concerto No. 4, a private one, took place at Prince Lobkowitz’s palace in March 1807, with the first public performance in December 1808. The soloist on both occasions was Beethoven himself; though his hearing was seriously impaired by this point, he could still hear well enough to perform in public. And to perform very well – one of those who attended this concert said that Beethoven played “with astounding cleverness and the fastest possible tempi. The Adagio, a masterly movement of beautifully developed song, he sang on this instrument with a profound melancholy that thrilled me.” n

The Firebird

IGOR STRAVINSKY

Born June 17, 1882, Oranienbaum

Died April 6, 1971, New York City

Mike Tutaj, projection designer Hillary Leben, character animation Gerard McBurney, creative consultant

APPROXIMATE PERFORMANCE TIME

45 minutes

In 1909, following a successful visit of the Ballets Russes to Paris, the Russian impresario Serge Diaghilev and his choreographer Mikhail Fokine made plans for a new ballet to be presented in Paris the following season, based on the old Russian legend of the Firebird. They at first asked Anatoly Lyadov to compose the music, but when it became clear that the notoriously lazy Lyadov would never get around to it, they decided to take a chance on a young composer who had orchestrated some pieces for the Ballets Russes the year before. His name was Igor Stravinsky, and he was virtually unknown. Recognizing that this was his big chance (and terrified that he would not be up to the challenge), Stravinsky set to work in November 1909 at a dacha owned by the Rimsky-Korsakov family (to which he had gone, as he said, “for a vacation in

birch forests and snow-fresh air).” He finished the piano score in St. Petersburg in March, and the orchestration was complete a month later. The first performance, which took place in Paris on June 25, 1910, eight days after the composer’s twentieth-eighth birthday, was a huge success. Stravinsky would go on to write quite different music over the course of his long career, but the music from The Firebird – now over a century old – remains his most popular creation.

The Firebird tells of a young prince, Ivan Tsarevich, who unknowingly pursues the magic Firebird – part woman, part bird – into the garden of the green-taloned Kastchei, most horrible of all ogres: Kastchei captures and imprisons maidens within the castle and turns all knights who come to rescue them to stone. Ivan captures the Firebird, but she begs to be released, and when he agrees she gives him a magic feather and vanishes. The prince sees a group of thirteen princesses playing with golden apples, and when dawn breaks and they have to return to Kastchei’s castle, he follows them. Instantly he is confronted by the hideous fiends who inhabit the castle and is about to be turned to stone himself when he remembers the feather. He waves it, and the Firebird returns, puts all the ogres – including Kastchei – to sleep, and shows him where a magic egg is hidden in a casket. When Ivan smashes the egg, Kastchei and his fiends disappear, the petrified knights return to life, the maidens are freed, Kastchei’s castle is transformed into a cathedral, and Ivan marries the most beautiful of the thirteen princesses.

Stravinsky drew three orchestral suites from his complete score to The Firebird, and the music from the ballet has become familiar to audiences through these suites. This concert, though, presents the complete The Firebird as it was performed at the premiere of the ballet in Paris in June 1910. Not only does this version preserve the large orchestra that he used for the ballet, but it allows audiences to hear a great deal of generally unknown music from The Firebird. A brief description of that action and music will help listeners, even those familiar with the orchestral suites, follow the action of the ballet as it unfolds in its original opulence.

The beginning will be familiar to all. The ominous Introduction, in the unusual key of A-flat minor, hints at the music that will be associated with the monsters; near the end of this section comes one of Stravinsky’s most striking orchestral effects, a series of rippling string glissandos played entirely in harmonics. The Enchanted Garden of Katschei leads to music that Stravinsky omitted from the suites, the Appearance of the Firebird, full of trills and tremolos from the strings. The music proceeds without pause into the shimmering, whirling Dance of the Firebird and The Firebird’s Variation, which were Stravinsky’s own favorite music from this score. But between these comes the unfamiliar Capture of the Firebird, full of quick-paced staccato writing that concludes with ringing horn attacks.

More unfamiliar music follows. Appearance of the Thirteen Enchanted Princesses is marked by shimmering string chords, followed by a series of woodwind and violin solos and culminating in a flute cadenza. As Prince Ivan

watches, the princesses engage in their Game with the Golden Apples, which bustles along energetically on its steady rhythmic pulse. Stravinsky himself was later critical of this movement, calling it too “MendelssohnianTchaikovskyan,” but it is brilliant music, and it makes an effective scene in the ballet. The Sudden Appearance of Prince Ivan, with its striking horn solos, accompanies Ivan Tsarevich’s entry into the garden.

The music now proceeds into the familiar Khorovod, or Round Dance, which is the fourth movement of the 1919 suite. One of the intentions of Diaghilev and Fokine had been to make The Firebird as “Russian” as possible, and in The Princesses’ Khorovod Stravinsky uses the old Russian folk-tune “In the Garden.” Announced by solo oboe as the thirteen captive princesses dance in the castle garden, the melody is then taken over by the violins and extended in the ballet’s most lyric section.

The Khorovod comes to a peaceful close, and it is at this point that listeners will find a long sequence of unfamiliar music. In the suites, the Khorovod gives way to the Infernal Dance of Katschei’s Subjects, but in the complete ballet a number of scenes separate these two movements. Daybreak, with its fierce trumpet calls, leads to the Magic Carillon: bells ring wildly as Katstchei’s monsters appear and take Prince Ivan captive. Those monsters arrive to violent music, and then Kastchei the Immortal enters the garden on a series of brass fanfares and threatens Ivan. The princesses intercede to little avail, but the Firebird herself enters and gradually puts Katschei’s minions to sleep, and only now does the great Infernal Dance of Kastchei’s Subjects explode to life on one of the most violent orchestral attacks ever written.

Sharply syncopated rhythms and barbaric snorts from the low brass depict the fiends’ efforts to resist the Firebird’s spell; without the slightest relaxation or slowing of tempo this dance powers its way to a dazzling (and ear-splitting) close on a great rip of sound. In its aftermath, solo bassoon sings the gentle (almost lugubrious) Berceuse, the music with which the Firebird lulls Kastchei and his followers to sleep. In the familiar suites, the Berceuse leads without pause into the Finale, but in the ballet Kastchei – rather than remaining conveniently asleep –comes back to life to the sound of contrabassoons, then bassoons, then the entire wind and brass sections. The Firebird lulls him not to sleep but to death (deep string chords), and this leads through a magical passage for tremolo strings into the Finale. Here solo French horn sings the main theme, marked dolce and cantabile and based on another Russian folksong, “By the Gate.” Beginning quietly, this noble tune simply repeats, growing in strength as it recurs, and the ballet drives to a magnificent conclusion on music of general rejoicing. n

-Program notes by Eric Bromberger

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Richard and Sharon Gabriel

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Jon and Carol Gebhart

Kenneth F. Gibsen Memorial Fund

Brenda and Michael Goldbaum

Laurie M. Gore

Sally and Dave Hackel

Fred Hafer and W. Haskins-Hafer Household

Stephanie and John Hanson

Mert and Joanne Hill

Barbara and Paul Hirshman

Peggy and John Holl

Thomas Houlihan

Kenneth and Patricia Janda

Jay William Jeffcoat

Dimitri and Elaine Jeon

Sergio and Sonya Jinich

Gina Kakos

Marge Katleman and Richard Perlman

Julia Kenyon

Marian Klein

Sachiko Kohatsu

Rhea and Armin Kuhlman

Robert and Laura Kyle

George & Mei Lai

Gautam and Anjali Lalani

Sharon Lapid

Mayra Curiel and Carlos Larios

Greg Lemke

Stephen Lending

Gayle M. Lennard

Kiyoe MacDonald

Amy and John Malone

Eugene Malone

Madonna Christine Maxwell

David McCall and Bill Cross

Janet McClure

Mr. Paul J. McMahon

Julie and James Merkel

Dr. Sandra E. Miner

Martha and Chuck Moffett

Patricia Moises

Dr. Thomas Moore

David Morris

Tom and Anne Nagel

Patricia R. Nelson

Patricia and Kent Newmark

Dr. Jon Nowak

Ricki Pedersen

Sandra and David Polster

Jim Price and Joan Sieber

Arlene Quaccia and Robin Hughes

Robert Glenn Rapp Foundation

Janet and Bill Raschke

Keith Record

Dr. Marilyn Friesen and Dr. Michael Rensink

Darci Roger-Tracy

Gloria and Dean Saiki

Susan and Edward Sanderson

Household

Dr. Nancy Gold and Colin Seid

Lari Sheehan

Professor Susan Shirk

Kyle Short

Ronald Simon

Suzy Soo

Valerie Stallings

John E. Sturla II

Kathleen Sullivan

Harry V. Summer

Suzanne and William Sutton

Melissa Swanson

Mary and Jonathan Szanto

Fred and Erika Torri

Jennifer Toth

Kathleen Victorino

Carol and Thomas Warschauer

Dr. Jeffrey and Barbara Wasserstrom

Janet and Joel Weber

Margaret Weigand

Janet and Joel Weber

Martha Wingfield

Joseph and Mary Witztum

Karen and Rod Wood

Britt Zeller

Dr. and Mrs. Philip Ziring

SONATA CIRCLE: $500-$999

Anonymous

June and Daniel Allen

Dr. Robin Allgren

Alex Alonzo

Elizabeth Andersen

Andrade Family Trust

Shane Arlt

Maureen Arrigo

Pamela and James Balderrama

Dr. Joshua Bardin

Joe Baressi Jr.

Patricia and Bruce Becker

David Belanich

Barry and Emily Berkov

Elena Bernardi

Dr. Leonard and

Beverly Bernstein

Jerry and Karen Blakely

Stephen and Priscilla Bothwell

Gloria and Sed Brown

Alyssa Brzenski

Barry and Debbie Burris

William Carrick

Juliana Caso

Caroline Chen and George Boomer

Geoff and Shem Clow

Georgia and Emery Cummins

Dr. Dalia Daujotyte

Julie and Don De Ment

Marilou Dense

Dr. Greg Dixon

Donna F. Dotson

Douglas P. Doucette

Elizabeth and Richard Dreisbach

Pamela Dunlap

Drs. Eric and Barbara Emont

Jeane Erley

Arlene Esgate

Karin and Alfred Esser

Joel Ewan and

Carol Spielman-Ewan

Anne Porter Finch

Hank Finesilver

Linda Lyons Firestein

John Foltz

Nynke Fortuin

Michele Fournier

Michelle Fox

Laura Georgakakos

Eric Gnand

Dr. William Goggin

Kathleen and John Golden

Ser Andre Gonzalez

James Gordon

Jerry and Diana Greenspan

Stephanie and H. Griswold

Douglas Gross

Charles Gyselbrecht

Victoria Haberman

Georgette Hale

Angela Hansen

Gerald Hansen and Marilyn Southcott

Benjamin Harder

Christine Harmon

Richard and Gail Harriss

Sue Haverkamp

Brian Hays

Jill Herbold

Clifford Hollander

Cecile Holmes

Gurdon Hornor

Thomas Houlihan

Lulu Hsu

Warren Hu

Charlotte Langmaid and David Hunter

John Hurley

Laura Ingebritsen

Intuit Foundation

Faith and Steve Jennings

Bjorn and Brigette Jensen

Robert Jentner

Deborah Jezior

Benjamin Johnson

R. Douglas and Jeanette Johnson

Ronald Johnson

Sabby Jonathan

Vance Kaopuiki

Wilfred Kearse and Lynne Champagne

Dwight A. Kellogg

John and Sue Kim

Cynthia King

Jeremy Kolins

Stephen Korniczky

Andrea and Stephen Kowalewsky

Martha Krasne

Robert and Elena Kucinski

Mary Kyriopoulos

Laura Laslo

Elizabeth Leech

Lewis Leicher

Kathleen Lennard

Stacey LeVasseur Vasquez

Denee and Xiaoping Logan

David Louie

Claudia Lowenstein

Daniel Lysne

Scott MacDonald

Anne Macek

Kyong Macek

Micolyn Magee

Annie Cruz Magill

Susan and Douglas McLeod

Patricia Mahtani

Deborah and Fred Mandabach

Arnulfo Manriquez

Allen and Barbara Manzona

Sue Marberry

Ana Esther Martinez

Beverly and Harold Martyn

Kyle McEachern

Mac McKay

Susan and Douglas McLeod

Narriman McNair

Daniel McNaughton

James and Estelle Milch

Judith Morgan

Dr. Thomas Moore

Jan and Mark Newmark

Larry and Linda Okmin

Household

Abraham Ordover

Brent Orlesky and Ronald T. Oliver

Yolanda Ortiz Palacio

Julie Park

Julian Parra

Sally and Phillip Patton

Robert Plimpton II

Sheila and Ken Poggenburg

Dean Popp

David Pryor

Cindy and Daniel Reynolds

Patrick Ritto

Nancy Robertson

Steve and Cheryl Rockwood

Louis Rosen

Alice Rosenblatt

Norman and Barbara Rozansky

Mary Salas

Mary Margaret Saxton

Gretchen

Louise Schafer

Joel Schaller

Mr. Daniel H. Schumann

David and Martha Schwartz

Thomas Schwartz

Ben and Julia Shiller

Dr. Bruce Shirer

Martha Shively

Stanley Siegel

Linda Small

Marilyn and Brian Smith

Darryl and Rita Solberg

Amelia Soudan

Mark Stenson

John L. Stover

Helga and Sam Strong

Derek Stults

Kimberly Sullivan

Nelson Surovik

Kay and Cliff Sweet

Willard Tayler

Thomas Templeton and Mary Erlenborn

Paul and Mary Anne Trause

Steven Traut

Jean and Mark Trotter

Allen Voigt

VOSA Student Symphony

Ticket Fund

Loren Waldapfel

John Walsh

Rex and Kathy Warburton

Don and Sharon Watkins

Mike and Janet Westling

David◊ & Diana Weinrieb

Symphorosa Williams

Sherri Wittwer

David A. Wood

Karen and Rod Wood

Paul Wunsch

Victor T. Yamauchi

Naima and Mike Yelda

Maria and Randy Zack

Charleen Zieky

Herb and Margaret Zoehrer

MEMORIAL GIFTS

In memory of Rita Loyd Atkinson

Richard Atkinson

In memory of Sandra Cohen

Anonymous

In memory of Melvin Cohn

Sherry Cracroft

Dr. and Mrs. Douglas Brown

In memory of Peter Eros, Georgia Eros, Dale Klabunde

Eileen Wingard

In memory of Severino and LaVerne Foronda

Elena I. Foronda

In memory of Marcia Fram

Leonard Fram

In memory of James Jessop Hervey

Linda Hervey

In memory of Sergio Jinich

Kathleen Seely Davis

In memory of Roger W. Kravel and Francesca M. Kravel

Kelly Ann Reilly

In memory of Bob Kyle

Laura Kyle

In memory of Mariam Lapid

Sharon Lapid

In memory of Mariam Lapid

Sharon Lapid

In memory of Judy McDonald

Ray and Gina Ellis

Herbert Solomon and Elaine Galinson

James and Estelle Milch

Bob Morris

Darryl and Rita Solberg

Pam and Hal Fuson

Judith Morgan

Stephanie and Richard Coutts

In memory of Judy and Alex McDonald

Ross Cohen and Valerie Leman

In memory of Bob Nelson Who Loved the Music, the Bay and San Diego

Kevin Tilden

In memory of Lorna Nemcek, wife of Adrian Nemcek from their friends at Mason Investment Advisors

David Engler

In memory of Lloyd Pernela, Ethan Pernela’s father

Ann Morrison

Lois Richmond (of blessed memory)

Jewish Community Foundation

In memory of Bruce Sutherland

Jo-anne Brownwood

In memory of Nellora J. Walker

The Chicago Community Foundation

In memory of Bill Weber

Colette Carson Royston and Ivor Royston

Joyce Burns

Elaine and Dave Darwin

John Bloedorn

Franci Free

Patricia and Kent Newmark

Bob Morris

Penny and Lou Rosso

Linda and Michael Galagher

In memory of Bill Weber and Judy McDonald

Kathleen Seely Davis

In memory of David and Ilene Weinreb

Diana Weinreb

HONORARIA GIFTS

In honor of Victoria Andujar

Vance and Gloria Baker

In honor of Jan and Kevin Curtis

Claudia Levin

In honor of Matt Garbutt

Eileen Wingard

In honor of Martha Gilmer, CEO San Diego Symphony

John Cochran and Sue Lasbury

In honor of Melanie Gillette

Sandi Sigurdson

In Honor of Dr. Melvin Goldzband’s 94th Birthday

Howard Koenig

In Honor of James & Theresa Grant, and Maria Atkins

Thao Hughes

In honor of Dr. Nancy Hong

Susan Diekman

In honor of Joan Jacobs' 90th Birthday

Lawrence and Rebecca Newman

In honor of Dr. Irwin Jacobs

Paul Jacobs

To recognize Irwin and Joan Jacobs as this year's JFS Gala Honorees

Robert Rubenstein and Marie Raftery

In honor of Dr. Warren O. Kessler

Gayle M. Lennard

In honor of Cheri LaZarus

Joani Nelson

In honor of Harriett Mallory

Kris and Pam Mallory and Linda Dawson

To welcome Bob Morris and Jodie Graber to the Development Staff of the San Diego Symphony

Robert Rubenstein and Marie Raftery

In honor of Ray Nowak

Linda Thomas

In honor of Dave & Phyllis Snyder

Barbara and Robert Scott

In honor of Yoav Talmi

Eileen Wingard

Renovation and Endowment Campaign JACOBS MUSIC CENTER

BUILDING A SOUND TOMORROW

“To have the opportunity to improve the beautiful hall we call home, and to improve the musical communication on stage with the musicians, and to create a more intimate connection with our audiences, is a fantastic dream.”

- Rafael Payare, Music Director, San Diego Symphony

Under the leadership of Music Director Rafael Payare and Chief Executive Officer

Martha Gilmer, the San Diego Symphony is undergoing a $125 million renovation of its indoor home. The renovation of The Joan and Irwin Jacobs Music Center will complement The Rady Shell at Jacobs Park™ and provide San Diego with two extraordinary venues both designed to celebrate music and community.

PLAY A PART IN BUILDING THE SYMPHONY’S FUTURE

We are transforming the orchestra’s indoor home which will provide expanded programming and inspiring experiences for the community for years to come. For information on how you can support this campaign, email us at Campaign@SanDiegoSymphony.org.

UC San Diego is proud to be the Official Education and Community Engagement Sponsor of the San Diego Symphony.

SAN DIEGO SYMPHONY ADMINISTRATION

EXECUTIVE

Martha A. Gilmer

Chief Executive Officer

Katy McDonald

Chief of Staff

Elizabeth Larsen

Sr. Executive Assistant to the CEO and Board of Directors

Ellen Damore

Executive Coordinator

ARTISTIC AND PRODUCTION

Lea Slusher

Vice President of Artistic Administration and Audience Development

Alan J. (AJ) Benson Director of Artistic Planning

Theodora Bellinger

Director of Artistic Operations

Liam McBane

Artistic Coordinator

Seasonal Artistic Assistants:

Kristen Garabedian, Michael Hull, Melyssa Mason, Sade Rains, Evelyn Zuniga

Jeffrey Jordan

Director of External Events

Angela Chilcott

Managing Director, Orchestra and Stage Operations

Pete Seaney

Director of Stage Operations

Jason Rothberg

Production & Technical Designer

Joel Watts

Audio Director

Beth Hall

Production Stage Manager

Shea Perry

Orchestra Personnel Manager

Diego Plata

Assistant Orchestra Personnel Manager

Courtney Cohen

Principal Librarian

Rachel Fields Librarian

Gerard McBurney

Creative Consultant

MARKETING AND COMMUNICATIONS

Craig Hall

Vice President of Marketing and Communications

Elizabeth Holub

Director of Marketing

J.D. Smith

Director of Marketing and Sales Technology

Kristen Turner

Director of Communications, Content and Digital Strategies

John Velasco

Communications Manager

Graphic Designers: Jane Sanders, Elie Haddad

Maria Kusior

Digital Media Specialist

Noëlle Borrelli-Boudreau

Marketing Coordinator

Sabina Spilkin

Digital Systems Analyst

Theater Direct

Outbound Sales and Fundraising

TICKETING AND PATRON SERVICES

Casey Patterson

Director of Ticketing Services, Partnerships and Premium Seating

Kym Pappas

Manager of Ticketing and Subscriptions

Anastasia Franco

Assistant Ticketing Manager

Cheri LaZarus

Ticket Service Associate -

Lead Subscriptions

Ticket Services Associates:

Kailey Agpaoa, Clelia Cabezas, Levan Korganashvili, Eden Llodrá, Nayeli Valencia

FINANCE AND ADMINISTRATION

Maureen Campbell Melville Chief Financial Officer

Ashley Madigan Controller

Oscar Gonzalez

Assistant Controller

Tiyony (Tee) Ellingson

Revenue Accountant

Kimberly Vargas

Director of Human Resources

Susan Cochran

Payroll and Benefits Manager

Amanda Shepherd Human Resources Generalist

Sean Kennedy

Director of Information Technology

Jovan Robles IT Operations Manager

German Luna IT Coordinator

INSTITUTIONAL ADVANCEMENT

Sheri Broedlow

Vice President of Institutional Advancement

Rick Baker

Director of Advancement, Institutional Giving

Jennifer Nicolai

Director of Advancement, Campaign and Major Gifts

Bob Morris

Major Gifts Officer

Theresa Jones

Major Gifts Officer, Corporate Relations

Maya Steinberg

Institutional Advancement Gift Officer

Megan Peet

Associate Director, Advancement Operations

Ida Sandico-Whitaker Director, Donor Programs

and Special Events

Kirby Lynn Tankersley

Special Events Manager

Sydne Sullivan

Advancement Operations Manager

Sydney Wilkins Tyree

Annual Fund Manager

Luke Wingfield

Stewardship Manager

LEARNING AND COMMUNITY

ENGAGEMENT

Laura Reynolds

Vice President of Impact and Innovation

Stephen Salts

Director of Learning and Leadership

Lauren Rausch, Social Impact & Leadership Programs Manager

OPERATIONS AND FACILITIES

Travis Wininger

Vice President of Venue Operations

Rob Arnold

Managing Director of The Rady Shell

Paige Satter

Director of Operations Administration

Diane Littlejohn Venue Operations Manager

Jose Lopez

Chief Mechanical Engineer

Robert Saucedo

Senior Technician

Lead Facilities Technicians:

Peter Perez, David Russell

Lorenzo Peay

Facilities Technician

Roberto Castro

Director of Guest Experience

Danielle Litrenta

Manager, Guest Experience

Front of House Managers:

Beverly Feinberg, Christine Harmon, K Roesler, Karen Tomlinson

Front of House Staff:

Judy Bentovim, Sue Carberry, Julio Cedillo, Kerry Freshman, Sharon Karniss, Laurel Nielsen, Linda Thornhill,

Marilyn Weiss

Event Operations Leads:

Mateo Alvarez, Luke Ban, Jackson Butler

Facilities Event Staff:

Alejandro Aguirre, Joshua Albertson, Tyler Bao Buu, Lily Castillo, Jafet Chavez, Kinsey Claudino, Chris Collado, Brandon Croft, Jessica Dau, Gabriel Carlo De Guzman, Ryan Fargo, Dawna Hernandez, Brook Hill, Kara Huynh, Jocelyn Jenkins, Ben Kelly, Dennis La, Garrett Lockwood, Edward Manzo, Harry McCue, Shannon McElhaney, Ricardo Mendoza, Slaine Miller, Reuben Molina, Abraham Montoya, Cyrille Morales, Valerie Navarrete, Gertrude Nixon, Gabriela Perez, Gerry Reoyo, Apollo Rosas, Mario Ruiz, Tom Rufino, Brandon Scott, Mia Sevilla, Owen Stiefvater, Nicholas Stroh, Ryan Stuver, Paige Vigiletti, Yadira Zuniga

STAGE PERSONNEL

Adam Day

Head Carpenter

Evan Page

Electrical Department Head

Shafeeq Sabir

Property Department Head

RJ Givens

Audio Department Head

Ryan Morse

Video Department Head

Jonnel Domilos

Piano Technician

THE LEGACY SOCIETY

The Legacy Society honors the following outstanding individuals who have committed a gift from their estate to the San Diego Symphony Foundation and/or to the San Diego Symphony Orchestra's Annual Fund to ensure the success of the San Diego Symphony Orchestra Association for generations to come. The following listing reflects pledges entered as of March 6, 2024.

Anonymous (3)

Leonard Abrahms*

Carol Rolf and Steven Adler

Alfred F. Antonicelli*

Pat Baker and Laurence Norquist*

William Beamish

Stephen and Michele* Beck-von-Peccoz

Alan Benaroya

Rosanne B. and W. Gregory Berton

Lt. Margaret L Boyce USN*

Dennis and Lisa Bradley

Gordon Brodfuehrer

Sophie & Arthur Brody Foundation

Joseph H. Brooks and Douglas Walker

Julia Brown

Margaret and David* Brown

Donna Bullock

Roberta and Malin Burnham

Robert Caplan and Carol Randolph

The Carton Charitable Trust

Barbara and Paul Chacon

Melanie and Russ Chapman

Nikki A. and Ben G. Clay

Catherine Cleary

Warrine and Ted Cranston*

Elisabeth and Robert* Crouch

Bob and Kathy Cueva

Peter V. Czipott and Marisa SorBello

Caroline S. DeMar

Peggy Ann Dillon

Penny* and Harold Dokmo, Jr.

Alice Dyer*

Arthur S. Ecker*

Elizabeth and Newell A. Eddy*

Daniel J. and Phyllis Epstein

Jeanne and Morey Feldman*

David M. Finkelstein*

Esther and Bud* Fischer

Teresa and Merle Fishlowitz

Margaret A. Flickinger

John Forrest and Deborah Pate

Norman Forrester and Bill Griffin

Pauline Foster*

Judith and Dr. William Friedel

Pam and Hal Fuson

Carol J. Gable*

Edward B. Gill

Joyce Glazer

Nancy and Fred Gloyna

Muriel Gluck*

Madeline and Milton Goldberg*

Helene Grant*

Dorothy and Waldo* Greiner

David and Claire Guggenheim

Pamela Hamilton Lester

Susan and Paul Hering

Lulu Hsu

Joan and Irwin Jacobs

Marjory Kaplan

Barbara M. Katz

Patricia A. Keller

Karen and Warren Kessler

Anne and Takashi Kiyoizumi

Evelyn and William Lamden

Carol Lazier and James Merritt

Inge Lehman*

Sandra and Arthur* Levinson

Joan Lewan*

Sylvia and Jamie* Liwerant

Beatrice P. and Charles W. Lynds*

Gladys Madoff

Pamela Mallory

Richard Manion

James Marshall, Ph.D.

Patricia and Peter Matthews

Elizabeth R. Mayer*

Vance M. McBurney*

Antoinette Chaix McCabe*

Una Davis and Jack McGrory

Imozelle and Jim McVeigh

Sandra Miner

Judith A. Moore

Ermen and Fred Moradi*

Mona and Sam Morebello

Helen and Joseph R. Nelson*

Mariellen Oliver*

Elizabeth and Dene Oliver

Val and Ron Ontell

Steven Penhall

Margaret F. Peninger*

Pauline Peternella*

Marilyn James and Richard Phetteplace

Shona Pierce*

Linda and Shearn* Platt

Robert Plimpton

Elizabeth Poltere

Sheila Potiker*

Jim Price and Joan Sieber

Anne Ratner*

Sarah Marsh-Rebelo and John Rebelo

Debra Thomas Richter and Mark Richter

Penny and Louis Rosso

Colette Carson Royston and Ivor Royston

Dr. Arno Safier*

Joan and Jack* Salb

Craig Schloss

Todd Schultz

Ken Schwartz

Melynnique and Edward Seabrook

Kris and Chris Seeger

Pat Shank

Kathleen and Lewis* Shuster

Karen and Kit Sickels

Drs. Bella and Alexander* Silverman

Stephen M. Silverman

Judith Harris* and Dr. Robert Singer

Richard Sipan*

Gayle* and Donald Slate

Sheila A. Sloan*

Lynn Small and Miguel Ikeda

Linda and Bob Snider

Dave and Phyllis Snyder

Elaine Galinson and Herbert Solomon

Suellen and James Sorenson

Valerie Stallings

Pat Stein*

Richard Stern*

Marjorie A. Stettbacher

Susan B. Stillings*

Joyce and Ted Strauss*

Gene Summ

Sheryl Sutton

James L.* and June A. Swartz

Elizabeth and Joseph* Taft

Joyce and Joseph Timmons

Katherine “Kaylan” Thornhill

Harriet and Maneck Wadia

Pauline and Ralph Wagner*

Betty and Phillip Ward PIF Fund*

Leslie and Joe Waters

Sue and Bill* Weber

Mike & Janet Westling

James* R. Williams and

Nancy* S. Williams

Martha Jean Winslow*

Marga Winston*

Edward Witt

Carolyn and Eric Witt

David A. Wood

Mitchell R. Woodbury

Zarbock 1990 Trust*

LeAnna S. Zevely

Dr. and Mrs. Philip Ziring

If you are interested in more information about joining The Legacy Society, please contact Vice President of Institutional Advancement Sheri Broedlow at (619) 615-3910 or sbroedlow@sandiegosymphony.org. *DECEASED

YOU’RE HERE.

Congrats, You’ve Picked a Great Performance! Check out the interactive version of this theater program magazine and enjoy even more insight into the performers, creative talent and theater activities that are behind it all.

LINKS TO PERFORMERS’ SOCIAL MEDIA ACCOUNTS

MULTI - MEDIA PRESENTATIONS ABOUT THE PERFORMANCE.

UNDERSTUDY UPDATES

THEATER SUPPORT OPPORTUNITIES

UPCOMING SHOWS AND CONCERTS AROUND TOWN

INSIDER SCOOPS FROM THEATER AND MUSIC PROFESSIONALS

It’s the new way to read the program, it’s

Culinary offerings and libations

MAY DINING NEWS

For elevated dining

From Refined Cali-Baja Cuisine on Harbor Island to Nostalgic Pub Grub in Coronado . . . / by SARAH DAOUST / on Harbor Island, head to the Sheraton San Diego Hotel & Marina, which recently debuted Rumorosa—its first new restaurant as part of the property’s $100 million renovation. The fine-dining flagship boasts prime marina views, high ceilings and CaliBaja cuisine by executive chef Cesar Oceguera. Try the San Diego Burrito

Frito with braised short ribs and scrambled eggs for breakfast; the Pambazo Double Burger for lunch; and the Achiote Crispy-Skin Salmon with buttered jasmine rice for dinner; plus reimagined classics from aguachiles to tuna tostadas to nachos; and family-style, whole-roasted local fish with warm heirloom tortillas. Be sure to spend a little time in

the lobby bar, offering curated agave spirits, Mexican wines, and craft cocktails like the Golden Daiquiri and signature Rumorosa Michelada. 1380 Harbor Island Drive, Harbor Island, 619.692.2331, rumorosasd.com

Hotel del Coronado welcomes its latest dining concept: The Laundry Pub. Nestled in the property’s historical Laundry Building (originally built

at Rumorosa

The Music of Leonard Cohen

Wednesday, May 15, 2024 • 7:30 PM

Three international choreographers.

Fourteen dazzling dancers. One musical icon.

The revered torch singer’s words find new expression through dance in this stylish, sexy, and innovative program performed by one of today’s most renowned dance companies: Ballets Jazz Montréal.

Don’t miss this thrilling one-night-only event at the San Diego Civic Theatre! Great seats are still available!

in 1919), the neighborhood-style eatery features original brickwork, vaulted ceilings, restored wood floors and an 1880s-era bar. Offerings include local craft beers and classic pub fare; as well as darts, shuffleboard, billiards, foosball, pinball and retro video games. Try the Nashville “Hot Cycle” sando with crispy chicken, coleslaw, pickles and hot sauce on a brioche bun; and the double-patty “Suds & Buds” Smash Burger, with a side of sea salt fries. Save room for the Candy Bar Mash Alaska, which is as decadent as it sounds. 1500 Orange Ave., Coronado, 619.435.6611, hoteldel.com/dine

The Collection at UTC welcomes its newest culinary offering, The Amalfi Llama. A blend of Mediterranean and Patagonian cuisine, the first-of-its kind fusion restaurant (known for its original location in Miami) specializes in rustic, live-fire cooking. Think: woodfired wagyu tomahawk, branzino and pizzas; along with pasta dishes such as baked tagliolini with prosciutto and bechamel; and cocktails like the Kingston Negroni and Amalfi Martini. We suggest starting

with the cedar-roasted burrata and short-rib empanadas; then moving on to the truffle tagliatelle pasta dish; then the wood-fired A5 wagyu steak; and finishing with the burnt cheesecake with berry compote. The space is pretty, too—mod farmhouse accents, Peruvian llama tassels, an oversized circular bar and an ample patio with fire pits. 4575 La Jolla Village Drive, Suite 1155, UTC, 858.224.9606, amalfillama.com

Known for its health-conscious fare, pastries, smoothies, coffees and

teas, casual eatery chain Parakeet Cafe has opened its newest outpost at The Forum Carlsbad. An all-day brunch menu features favorites like the shakshuka, breakfast burrito, French omelet sandwich, activated-charcoal Belgian waffle, and overnight oats; plus a selection of toasts, bowls, soups, salads and larger lunch and dinner plates. We recommend the “Best Burger Ever” with grass-fed Australian beef and organic cheddar on brioche; and the signature Parakeet Bowl with brown rice, roasted mushrooms, sesamecollard greens, pickled cucumbers and almond-butter-miso mayo. 1935 Calle Barcelona, Suite 176, Carlsbad, 760.201.1002, parakeetcafe.com

Choose your own adventure at North Park’s new multitasking venue, the Bivouac Ciderworks Adventure Lodge & General Store. Located adjacent to Bivouac Ciderworks’ flagship taproom, the 5,700-square-foot space is a cafe (try the Campfire Latte) and a community hub; a general store offering

From top: patio dining at The Amalfi Llama; the Nashville "Hot Cycle" chicken sando and craft beer at The Laundry Pub.

daily made sandwiches, salads, curated pantry items, ciders from around the world, merchandise, and a zero-waste snack bar; a cider-tasting bar with 20 rotating taps; a speakeasy-style private brandy lounge; and a new, bigger onsite cider production facility (private event bookings available). 3980 30th St., North Park, bivouaccider.com

Known for its Brooklynstyle pies and casualcool vibe, North County pizzeria Corner Pizza (with outposts in Leucadia and Oceanside) has opened its third location at Bressi Ranch. Choose from at least a dozen pizzas, such as the popular Killer BEE with charred pepperoni, soppressata, gorgonzola, mozzarella, rosemary and chili honey (and request an extra crispy crust or the “Dirty Crust”). There’s also an array of salads, small

plates such as burrata and meatballs, a raw bar, gelato, craft beers and biodynamic wines. 2628 Gateway Road, Carlsbad, Unit 120, 442.232.6191, corner-pizza.com

Downtown, an East Village dining staple has achieved a remarkable feat of staying power. Opened in 2004, Lotus Thai celebrates its 20th anniversary this year.

Owner/chef Piyawat Sangkapong’s awardwinning restaurant— with Somly Khounnoraj as head chef—honors regional recipes from Bangkok, Chiang Mai and Southern Thailand, offering curries, noodles, soups, vegetarian dishes, entrees and much more. Try the Chicken on Fire, the signature Lotus sampler platter, and the panang curry with shrimp. 906 Market St., East Village, 619.595.0115, lotusthaisd.com

Johnny Cash and June Carter had one of the most iconic love stories in music history. This whole-hearted and clear-eyed musical told through the eyes of their son covers it all — complete with a soundtrack of hits, including I Walk the Line, Ring of Fire, Jackson, I’ve Been Everywhere and more.

WORLD-PREMIERE MUSICAL

Lotus Thai's panang curry; Bivouac Adventure Lodge's private brandy lounge.

CONT’D. FROM PAGE 10

the National Register of Historic Places in 1996. By then, the theater had been purchased by the Centre City Development Corporation (CCDC). The CCDC decided to undertake the theater’s renovation, which began in 2005. The extensive work included earthquake retrofitting; installing allnew electrical, plumbing and mechanical systems; and replacing the original auditorium seats with larger ones.

The Balboa Theatre finally reopened in 2008, after a 20-year closure, following a $26.5 million renovation. It’s now run by San Diego Theatres, a nonprofit organization that operates both the Balboa Theatre and the Civic Theatre downtown. Since 2008, the theater has hosted mainly touring performers; as well as shows by San Diego performing arts companies, including San Diego Opera, San Diego Symphony, La Jolla Music Society, Golden State Ballet, and Classics 4 Kids. Headliners who have performed there include John Legend, Herbie Hancock, Josh Groban, Patti LuPone, Adam Lambert, Hal Holbrook, Wynton Marsalis, Willie Nelson, William Shatner, Patrick Stewart and “Weird Al” Yankovic.

“The Balboa Theatre has come to be San Diego Opera’s ‘second home,’” says David Bennett, General Director of San Diego Opera. “It’s a beautiful venue for the human voice—resonant, ample enough to accommodate a sizable audience, yet small enough to provide intimacy. It allows us to produce a wide variety of repertoire—from chamber operas to concerts to recitals—and has resulted in a large number of firsttime ticket buyers for the Opera. It’s a tremendous asset for us, and for all of San Diego.”

“We love presenting performances at the Balboa Theatre,” says La Jolla Music Society Artistic Director Leah Rosenthal. “Whether we have programmed modern dance, mariachi or jazz events, the Balboa Theatre is, in my opinion, one of the best venues in San

“THE ENSEMBLE IS SUPERCHARGED!”

“ASTONISHING! RAVISHING! FASCINATING!”

JEAN

“LAMB’S TERRIFIC WORLD PREMIERE APPEALS TO EVERYONE FROM BOOMERS TO GEN Z!”

DAVID CODDON / THE SAN DIEGO UNIONTRIBUNE

LOWERISON / STAGE & SCREEN

BILL EDDIE SAN DIEGO STORY

Organist Ken Double

Diego and a wonderful and supportive home to a variety of artistic genres. To top it off, this worldclass venue is run by the theatre’s extraordinary and dedicated staff.”

In 2023, Buell says, 105 events were held at the Balboa and were attended by 140,000 patrons.

“2023 was our most successful year, since even before the pandemic shutdown,” she says. “We’re very grateful that we seem to be bucking the trend of audiences not coming back in numbers.”

San Diego Theatres is also expanding its role to support other nonprofits renting the venue.

Launched in 2023, the Balboa Theatre Grant Fund awarded a total of $43,000 in grants to six local arts nonprofits that presented shows at the Balboa that year. The grants covered costs that included staffing, stagehands, ticketing, theater license fees, and in-house

Balboa Theatre’s eye-catching facade

equipment use fees. The 100th Anniversary Gala was a fundraiser for this initiative.

“We’re really excited about it,” says Buell. “The fund is designed to fully or partially subsidize the heavy costs that go along with using a union house; and help alleviate some of the financial pressures on arts organizations so they can focus on what they do best. We will continue to actively raise funds to do this, and expand it to remove barriers to both performers and audiences.”

Buell says that in future years, funds will also be set aside for free tickets for underserved youth, buses to bring students to shows, and other arts education initiatives. “Our intention is to be much more community-focused, and to be purposeful in serving the community.”

For more info, please visit sandiegotheatres.org

Hummingbird (with Figure Standing), a mixed-media collage by Holly Roberts at MOPA@SDMA.