Performances Magazine San Diego | San Diego Symphony, April 2023

AWADAGIN PRATT

RAFAEL

P1 Program

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

4 In the Wings

The return of Riverdance; two new exhibits at MCASD La Jolla; Exotic Deadly: Or the MSG Play at The Old Globe (director Jesca Prudencio is pictured); and more.

8 Feature: Theater Spotlight on the WOW Festival

La Jolla Playhouse presents its Without Walls (WOW) Festival at The Rady Shell this year—featuring myriad uber-creative productions. (Birdmen is pictured.)

13 Dining

Where to eat and imbibe in April—including Addison (the kanpachi is pictured); Captain’s Quarters; and The Kitchen @ MCASD.

24 Parting Shot

Niki de Saint Phalle’s Coming Together sculpture at the S.D. Convention Center is 30 feet tall and weighs 10 tons.

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

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Ted Levy

For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 300 Los Angeles, CA 90034

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Epstein Family Amphitheater

San Diego’s newest destination for art, culture and entertainment.

Step right off the UC San Diego Blue Line trolley and into the Epstein Family Amphitheater - your ticket to a new world of art, culture and entertainment. With deep gratitude to Daniel and Phyllis Epstein for facilitating connection, community and a space to gather around a shared love of the arts, this world class performing arts center brings globally-recognized talent to campus and invites a cultural exchange between students, faculty and SoCal residents.

Epstein Family Amphith ea ter UC San Diego

IRISH DANCING & BALLET

KICK YOUR HEELS UP for Riverdance, in town for its 25th anniversary show, April 11-13.

Presented by Broadway San Diego (broadwaysd.com) at the Civic Theatre, the newly reimagined production is an electric fusion of Irish and international dance. Its Grammy Award-winning score has been re-recorded by composer Bill Whelan; along with updated staging, lighting and costume designs—architected by producer Moya Doherty and director John McColgan. And nab tickets now for City Ballet of San Diego’s presentation of Romeo & Juliet, May 6-7 at California Center for the Arts, Escondido (cityballet.org; artcenter.org). Resident choreographer Elizabeth Wistrich stages Shakespeare’s famous tragedy about two lovestruck teenagers— channeling Renaissance Italy with lush scenery and costumes. Arrive 45 minutes early for a pre-performance lecture by Steven Wistrich, City Ballet’s artistic director.

The Riverdance 25th Anniversary Show. Opposite: artwork by Celia Álvarez Muñoz.

MUSEUMS

New MCASD Must-Sees

TWO STUNNING NEW exhibits are now on view at the Museum of Contemporary Art San Diego (MCASD), La Jolla. Celia Álvarez Muñoz: Breaking the Binding comprises the first museum career retrospective of Celia Álvarez Muñoz. Known for her bilingual puns and witty, playful methodology, the Texas-born conceptual artist’s career spans 40 years, inspired by her experiences as a resident of the U.S.Mexico borderlands. The exhibit comprises 35 works, including a photographic series, book

projects and several large-scale, immersive installations. Griselda Rosas: Yo te cuido is the first solo museum exhibition by San Diego/ Tijuana-based artist Griselda Rosas. Honing her embroidery skills taught to her by her mother, grandmother and aunts, Rosas presents a collection of sculptural installations and intricate textile drawings centered on themes of culture, intergenerational connection and inheritance. Both exhibits are on view at MCASD through Aug. 13. 700 Prospect St., La Jolla, 858.454.3541, mcasd.org

Drama, Comedy, Murder Mystery

IF YOU RECALL the 19th Olympic Games in Mexico City, 1968, you’ll likely remember the historic moment when two Black American sprinters, both medalists, raised their fists in protest during the National Anthem. The event inspired The Old Globe’s world-premiere play by Kemp Powers, The XIXth, through April 23 (theoldglobe.org). Based on the English actor and playwright himself, Noël Coward’s farce, Present Laughter, plays at Cygnet Theatre (cygnettheatre.com) through April 29. An adored London theater star’s life is thrown into chaos just as he is about to set out on an African tour. Keiko Green’s hilarious, timetraveling, world-premiere of Exotic Deadly: Or the MSG Play runs at The Old Globe, April 8-May 7. At North Coast Rep (northcoastrep.org) April 19-May 14, Steven Dietz’s world-premiere comic mystery, Murder on the Links, is based on the famous detective novel by Agatha Christie.

Present Laughter starred Kevin Kline (far right) on Broadway in 2017. Below (L-R): Biko Eisen-Martin, Korey Jackson and Patrick Marron Ball in The XIXth

BY STEVEN DIETZ from

the novel by Agatha Christie

WORLD PREMIERE APRIL 19 – MAY 14

Acclaimed playwright Steven Dietz brings the famed Belgian detective to life to solve one of Agatha Christie’s most intricate whodunits. Of course, there are the host of usual — and — unusual suspects. A cast of six versatile actors embody a myriad of characters as they navigate the twists and turns of this lively and fun new adaptation. You won’t want to miss a thrilling moment of this comic mystery

I’m not a comedian...I’m lenny bruce

april 24 & 25 @ 7:30pm

starring ronnie marmo | Directed by Joe Mantegna

Ronnie Marmo’s crowd-shocking portrayal of the undisputed comic legend, Lenny Bruce, brings the notorious funnyman to life with all the electrifying, insightful and comedic brilliance as only Lenny Bruce could himself.

(Rated R. Explicit language, Mature Content & very brief Nudity.)

my life with will:

an evening with will shakespeare & james sutorius may 1 & 2 @ 7:30pm

North Coast Rep favorite, James Sutorius, chronicles his lifelong love a air with the Bard of Avon. In an acting career highlighted by roles on television and film, Sutorius always returns to Shakespeare for sustenance. So he will again, in the delightful My Life with Will.

THE WOW FACTOR

San Diego Symphony Hosts La Jolla Playhouse’s Without Walls

BY STEPHANIE SAAD THOMPSON

SINCE ITS LAUNCH 10 years ago, La Jolla Playhouse’s biennial, free Without Walls (WOW) Festival has fulfilled its promise to lead performing arts enthusiasts outside the traditional confines of theater walls to unusual or unexpected places. Locations for its eclectic and innovative programming have included the backseat of a car, a basketball court and a local beach. The most recent WOW Festival was a series of pop-ups that took place throughout the Arts District at Liberty Station. Audience members might find

themselves drawn into being part of the performance—at a dance party, for instance, or walking through a lush botanical garden.

So, you might wonder what’s untraditional about the 2023 WOW, which is being presented this year in and around San Diego’s most eyecatching new performance venue: the San Diego Symphony’s outdoor home—The Rady Shell at Jacobs Park—April 27–30. Well, what if you, the audience, were on stage under that signature curving white shell; while the performers were

out in the seating area? Or what if the artists were to incorporate San Diego Bay as part of their work?

“One of the things I love the most is artists finding inspiration in all kinds of spaces and places,” says Christopher Ashley, La Jolla Playhouse’s Rich Family Artistic Director. He spearheaded the creation of the WOW Festival in 2013. “We’ll see performers using the spaces in and around The Rady Shell in surprising ways, turning the space on its head. Nothing will be the way you’re used to seeing shows there.”

WOW Festival production of Choreo & Fly, from Disco Riot

Festival at The Rady Shell

“When we began planning to open The Rady Shell, we always thought of it as a gift to San Diego, and part of our desire and mission is to activate The Rady Shell at Jacobs Park with free performances and programming open to the San Diego region,” says Martha Gilmer, San Diego Symphony CEO. “Working with the La Jolla Playhouse to host the WOW Festival at The Rady Shell offers a tremendous diversity of free cultural experiences for the city—in addition to our other San Diego Symphony programming. We are committed to innovation and creativity, and the WOW Festival symbolizes the embracing of the new. We could not be more excited to see what this year’s WOW Festival will

bring to the community.”

Ashley says he has been in talks with the Symphony for years about creating a collaboration. “The Shell is such an important, iconic space right on the water,” he says. “Its design and location can’t help but inspire artists in new ways. For example, one of the pieces, salty water, by Blindspot Collective, weaves music, movement, spoken testimony and poetry to explore our community’s history and connection to the sea.”

“Since The Rady Shell opened in the summer of 2021, both Christopher Ashley and [La Jolla Playhouse Managing Director]

Debby Buchholz have frequently attended concerts at the venue,” Gilmer adds. “They have both

shared their love for this new space and our organizations felt like a collaboration with La Jolla Playhouse and the San Diego Symphony was meant to happen at some point. WOW seemed like the perfect opportunity for a collaboration.”

Taking place over four days, WOW 2023 includes theater, dance, music, puppetry and more; along with family-friendly programming. One highlight is the world premiere of La Lucha, a new interactive experience by award-winning designer David Israel Reynoso and his immersive theatrical company, Optika Moderna. Presented in collaboration with the Museum of Contemporary Art San Diego (MCASD), it’s the WOW /CONTINUED ON PAGE 20

The 2023 WOW Festival unfolds at The Rady Shell.

FROM THE CHIEF EXECUTIVE OFFICER

Dear friends,

One of the most important roles that art plays in our lives is to introduce us to what we do not know, to take us outside the confines of our own experiences, to see the world as wider, more diverse, more exciting, and more filled with imagination than we had believed possible. This is true not only of the many genres and styles of music, but of dance, painting, film, poetry, and theater.

Beethoven was outspoken about this. He suggested listening to music was a way of learning about the world. And that after listening and learning, we must also “act upon what we have learned.”

Orchestral music is an especially grand way of doing this. There are so many people in the audience and on stage, and each one of us brings our own life to the shared experience of a concert. I think of this especially as this month we return to our home at The Rady Shell at Jacobs Park™, an extraordinary venue in a beautiful place, where music can be performed and heard by so many people in such a spirit of openness.

The programs for this month’s concerts celebrate this call to listen, learn and act. We have two composers whose works make clear what Dvořák called out long ago: that American music should embrace and be influenced by the experience and expression found in the Black experience and that it should guide and shape the creation of American music. Coleridge-Taylor Perkinson, one of the jewels of 20th century American music, should be far better known and we are excited to include his Sinfonietta for Strings in our programming. In addition, on the same program we present Rounds for Piano and string orchestra by the wonderful young composer of our own time, Jessie Montgomery, whose energy, humor, political commitment and blazing curiosity about the rest of the world, embody perfectly Beethoven’s proposal, but in a language of now.

On the same program we have Prokofiev’s first symphony written 100 years ago in revolutionary Russia, trying to imagine what Haydn, from more than a century before that, might have made of the tumult of a violently changing time. And we have Haydn himself, born in an Eastern European village finding himself in the bustling and cacophonous city of London. In this Symphony No. 104 (the last of his “London” Symphonies) he interweaves the wild shouts of English street-traders with the beautiful Croatian folk-tunes of his childhood.

And, in our first concert back at The Rady Shell at Jacobs Park with our beloved music director Rafael Payare, we have Debussy, dreaming like a sleepy schoolboy of Ancient Greece; and one of Mahler’s most beautiful and accessible symphonies, a huge panorama of the composer’s life and native land, with scraps of Jewish music, Hungarian music, Romany music, Bohemian music, gorgeous Viennese waltzes and love-songs… and at the end we find one of the most beautiful depictions of childhood in the whole of classical music, where the singer dreams of an imaginary Heaven, with no more hunger, no more grief.

A whole tapestry of different human experiences and different kinds of musical beauty!

Martha A. Gilmer Chief Executive Officer

Front cover photo credits: Rafael Payare – Gary Payne; Yaniv Dinur – Jiyang Chen; Jean-Yves Thibaudet – E. Caren

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 February 15, 2023.

$100,000 AND ABOVE

Raffaella and John Belanich

Rafael Payare, Music Director

Phyllis and Daniel Epstein

Sheryl Renk, Principal Clarinet

$50,000 – $99,999

Terry Atkinson

Igor Pandurski, Violin

Anonymous

San Diego Symphony Musicians

Nikki A. and Ben G. Clay

Mary Szanto, Cello

Kevin and Jan Curtis

Nancy Lochner, Associate Principal Viola

Una Davis and Jack McGrory

Susan Wulff, Associate Principal Bass

Mr. and Mrs. Brian K. Devine

San Diego Symphony Musicians

Esther and Bud◊ Fischer

Ethan Pernela, Viola

Arlene Inch

San Diego Symphony Musicians

Karen and Warren Kessler

Chi-Yuan Chen, Principal Viola

KAREN AND WARREN KESSLER CHAIR

Dr. William and Evelyn Lamden

Andrea Overturf, Oboe

DR. WILLIAM AND EVELYN LAMDEN

ENGLISH HORN CHAIR

Carol and Richard Hertzberg

Nick Grant, Principal Associate Concertmaster Emeritus

Joan and Irwin Jacobs

Martha Gilmer, Chief Executive Officer

Judy McDonald

Gerard McBurney, Creative Consultant

Monica and Robert Oder

Erin Dowrey, 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 and Jeff Silberman

Jisun Yang, Assistant Concertmaster

Gayle◊ and Donald Slate

Wesley Precourt, Associate Concertmaster

Dr. Bob and June Shillman and Maxwell Louis Shillman

Greg Cohen, Principal Percussion

Dave and Phyllis Snyder

Julia Pautz, Violin

Gloria and Rodney Stone

Paul ("P.J.") Cinque, Bass

Haeyoung Tang

San Diego Symphony Musicians

Sylvia Steding and Roger Thieme◊ Nicole Sauder, Violin

Jayne and Bill Turpin

San Diego Symphony Musicians

Cole and Judy Willoughby

Benjamin Jaber, Principal Horn

Mitchell Woodbury

Douglas Hall, Horn

Sarah and Marc Zeitlin

Cherry Choi Tung Yeung, Associate Principal Second Violin

For more information, or to join, please contact Vice President of Institutional Advancement, Sheri Broedlow at (805) 637-4948 or sbroedlow@sandiegosymphony.org.

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

$25,000 – $49,999

Annette and Daniel Bradbury

Yao Zhao, Principal Cello

Karen and Donald Cohn

Hanah Stuart, Acting Associate Principal Second Violin

Karin and Gary Eastham

San Diego Symphony, Viola Chair

Anne L. Evans

San Diego Symphony Musicians

Lisette and Mick Farrell/ Farrell Family Foundation

Navroj ("Nuvi") Mehta, Concert Commentator

Pam and Hal Fuson

Courtney Cohen, Principal Librarian

$15,000 – $24,999

Anonymous

Hernan Constantino, Violin

Anonymous

Nathan Walhout, Cello

Warren and Eloise Batts

Alicia Engley, Violin

Michael Blasgen

Tricia Skye, Horn

Norman and Diane Blumenthal

Aaron Blick, Bass

Dr. Anthony Boganey

Logan Chopyk, Trombone

Julia R. Brown

Leyla Zamora, Bassoon and Contrabassoon

Pam and Jerry Cesak

Samuel Hager, Bass

Ann Davies

Xian Zhuno, Cello

Kathleen Seely Davis

Qing Liang, Viola

The Eleanor and Hank Family Trust

Kevin Gobetz, Bass

Janet and Wil Gorrie

Zou Yu, Violin

Jill Gormley and Laurie Lipman

Frank Renk, Bass Clarinet

Elaine Galinson and Herbert Solomon

Yumi Cho, Violin

Sandra and Arthur◊ Levinson

Kyle Covington, Principal Trombone

Eileen Mason

Julie Smith Phillips, Principal Harp

Deborah Pate and John Forrest

Jeff Thayer, Concertmaster

DEBORAH PATE AND JOHN FORREST CHAIR

Allison and Robert Price

San Diego Symphony Musicians

Raghu and Shamala Saripalli

Chia-Ling Chien, Associate Principal Cello

Judith Harris◊ and Dr. Robert Singer

John MacFerran Wilds, Trumpet

Marilyn James and Richard Phetteplace

John Stubbs, Violin

Jo Ann Kilty

Marcia Bookstein, Cello

Helen and Sig Kupka

Lily Josefsberg, Piccolo/Flute

Lisa and Gary Levine, Arthur J. Gallagher & Co.

San Diego Symphony Musicians

Carol Lazier and James Merritt

Sarah Tuck, Flute

Dr. Marshall J. Littman

John Lee, Cello

Anne and Andy McCammon

Richard Levine, Cello

Lynn and Sue Miller

Max Opferkuch, Clarinet

Riley◊ and Patricia Mixson

Xiaoxuan Shi, Violin

Michael Nissman and Paige Stone

San Diego Symphony Musicians

Val and Ron Ontell

Darby Hinshaw, Assistant Principal & Utility Horn

Jeanette Stevens

Kathryn Hatmaker, Violin

Sandra Timmons and Richard Sandstrom

Sarah Skuster, Principal Oboe

Leslie and Joe Waters

Rose Lombardo, Principal Flute

Sue and Bill Weber

Jing Yan Bowcott, Violin

Kathryn and James Whistler

Rachel Fields, Librarian

Sheryl and Harvey White

Alexander Palamidis, Principal Second Violin

Rich and Rena Paul, Paul Plevin Quarles

Ryan Simmons, Bassoon

Jane and Jon Pollock

Evan Pasternak, Section Violin

Pamela and Stephen Quinn

San Diego Symphony Musicians

Sally and Steve Rogers

Kyle Mendiguchia, Bass Trombone

Robert Caplan and Carol Randolph, Seltzer Caplan McMahon Vitek

Pei-Chun Tsai, Violin

Dr. Robert Rubenstein and Marie Raftery

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

Isabelle and Mel◊ Wasserman

Andrew Hayhurst, Cello

Judy Gaze-Zygowicz and John Zygowicz

Johanna Nowik, Viola

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 (805) 637-4948.

$200,000 and

$5 MILLION and above

$1 MILLION and above

PHYLLIS AND DANIEL EPSTEIN

JOAN AND IRWIN JACOBS

DR. WILLIAM AND EVELYN LAMDEN

KAREN AND WARREN KESSLER

ANONYMOUS ( 2 )

JAYNE AND BILL TURPIN

SUE AND BILL WEBER

MITCHELL WOODBURY COLE AND JUDY WILLOUGHBY

SARAH AND MARC ZEITLIN

SYLVIA AND ROGER ◊ THIEME

JUDY M c DONALD

MONICA AND ROBERT ODER LINDA AND SHEARN ◊ PLATT

ELENA ROMANOWSKY

PAM AND HAL FUSON ARLENE INCH

UNA DAVIS AND JACK M c GRORY

ESTHER FISCHER

TERRY L. ATKINSON NIKKI A. AND BEN G. CLAY JAN AND KEVIN CURTIS

MR. AND MRS. BRIAN K. DEVINE

DAVE AND PHYLLIS SNYDER GAYLE ◊ AND DONALD SLATE GLORIA AND RODNEY STONE

PENNY AND LOUIS ROSSO KAREN AND KIT SICKELS

THE KONG TANG FAMILY

above

KAREN AND JEFF SILBERMAN

DOCTOR BOB AND MAO SHILLMAN SAN DIEGO SYMPHONY

SAN DIEGO SYMPHONY BOARDS

BOARD OF DIRECTORS

Harold W. Fuson Jr. Chair of the Board*

David R. Snyder, Esq. Immediate Past Chair*

Terry Atkinson Vice Chair*

Una Davis Vice Chair*

Colette Carson Royston Vice Chair*

J. William Weber Vice Chair*

Kathleen Davis Treasurer*

Linda Platt Secretary*

Tim Barelli

Lisa Behun

David Bialis*

Anthony C. Boganey, M.D., FACS

Julia R. Brown*

Pam Cesak*

Ben G. Clay

Phyllis Epstein*

Lisette Farrell

Janet Gorrie

Dr. Nancy Hong

Arlene Inch

Warren O. Kessler, M.D.*

Kris Kopensky

HONORARY LIFETIME DIRECTORS

Dr. Irwin M. Jacobs

Joan K. Jacobs

Warren O. Kessler, M.D.

FOUNDATION BOARD OF

Warren O. Kessler, M.D. Chair

David R. Snyder, Esq. Vice Chair

Sandra Levinson Secretary

Mitchell R. Woodbury Treasurer

PAST BOARD CHAIRS

Anne Francis Ratner (1911-2011)

Lawrence B. Robinson (d. 2021)

DIRECTORS

Robert Caplan, Esq.

Harold W. Fuson Jr.

Martha Gilmer

Joan K. Jacobs

Susan Mallory

Beth Sirull

Mark Stuart

Ellen Whelan, Esq.

Jeff Light

Deborah Pate

Alan Prohaska

Mary Casillas Salas

Sherron Schuster

Marivi Shivers

Christopher "Kit" Sickels

Donald Slate*

Gloria Stone

Frank Vizcarra

Mitchell R. Woodbury*

*EXECUTIVE COMMITTEE MEMBER

Herbert Solomon

Mitchell R. Woodbury

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

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, Rafael Payare is “electrifying in front of an orchestra” (Los Angeles Times). Now in his fourth season as Music Director of California’s San Diego Symphony, the Venezuelan conductor began his tenure as Music Director of Canada’s Montreal Symphony (OSM) in fall 2022. Appointed as Principal Conductor of Virginia’s Castleton Festival in 2015, he is also Conductor Laureate of Northern Ireland’s Ulster Orchestra, where he served from 2014 to 2019 as Principal Conductor and Music Director, making multiple appearances at London’s BBC Proms.

Payare embarks on a high-profile season in 2022-23. He inaugurates his new role as Music Director of the Montreal Symphony with 24 concerts in Quebec and two major international tours, highlighted by the orchestra’s debut at London’s Southbank Centre and its returns to the Vienna Konzerthaus, Brussels’s BOZAR, Washington, D.C.’s Kennedy Center and New York’s Carnegie Hall. The coming season also brings debuts with the New York Philharmonic and San Francisco Symphony, as well as at London’s Royal Opera House, Covent Garden; returns to the Cleveland Orchestra, Los Angeles Philharmonic, London Symphony Orchestra and Munich Philharmonic; and eight weeks of concerts in the fourth season of his already transformative tenure as Music Director of the

San Diego Symphony, where his opening of The Rady Shell, the orchestra’s stunning new open-air venue, wowed the national press last season.

Since winning first prize at Denmark’s Malko collaborations include engagements with the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Houston Symphony, Los Angeles Philharmonic and Philadelphia Orchestra, while his notable European appearances include dates with the Bavarian Radio Symphony, Chamber

Orchestra, London Symphony Orchestra, Munich Philharmonic, NDR Elbphilharmonie Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, Philharmonia Orchestra, Royal Stockholm Philharmonic, Staatskapelle Dresden, Tonhalle

which he has led at the Vienna Konzerthaus and Musikverein, on a Baltic tour and at Paris’s Théâtre des Champs-Élysées. Payare has undertaken concerto collaborations with soloists including Piotr Anderszewski, Emanuel Ax, Yefim Bronfman, Elīna Garanča, Sergey Khachatryan, Gil Shaham, JeanYves Thibaudet, Daniil Trifonov, Alisa Weilerstein, Frank Peter Zimmermann and Nikolaj Znaider. Also a dedicated opera conductor, he made his celebrated Glyndebourne Festival debut with a 2019 production of Il barbiere di Siviglia, as well as leading 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 French horn in the El Sistema program. After just three weeks he joined the Symphony Orchestra of Anzoátegui, before transferring to the National Children’s Orchestra of Venezuela, with which he toured Europe 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 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, enjoying a close relationship with London’s Royal College of Music, where he conducts the symphony orchestra each season, and leading youth projects with the Chicago Civic Orchestra, Orchestra of the Americas, and Filarmónica Jóven de Colombia.

PHOTO: J. HENRY FAIR SAN

SAN DIEGO SYMPHONY ORCHESTRA

RAFAEL PAYARE

Music Director

EDO DE WAART

Principal Guest Conductor

JAHJA LING

Conductor Laureate

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 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

Thomas Dougherty*

Benjamin Hoffman*

Margeaux Maloney*

Nicole Sauder*

Sarah Schwartz*

VIOLA

Chi-Yuan Chen

Principal KAREN AND WARREN KESSLER CHAIR

Nancy Lochner

Associate Principal

Jason Karlyn

Wanda Law

Qing Liang

Abraham Martín

Johanna Nowik

Ethan Pernela

Rachel Halvorson*

Michael Molnau*

CELLO

Yao Zhao Principal

Chia-Ling Chien

Associate Principal

Marcia Bookstein

Andrew Hayhurst

John Lee

Richard Levine

Mary Oda Szanto

Nathan Walhout

Xian Zhuo

Ben Solomonow*

BASS

Jeremy Kurtz-Harris Principal

SOPHIE AND ARTHUR BRODY FOUNDATION CHAIR

Susan Wulff Associate Principal

Aaron Blick

P.J. Cinque

Kaelan Decman

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

Tricia Skye

Douglas Hall

Mike McCoy*

TRUMPET

Christopher Smith Principal

John MacFerran Wilds

Ray Nowak

Jonah Levy*

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

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.

THURSDAY, APR 13 7:30PM

FRIDAY, APR 14 7:30PM

The Conrad Prebys Performing Arts Center

SATURDAY, APR 15 7:30PM

The Village Church

DINUR, MONTGOMERY AND THE "CLASSICAL" SYMPHONY

Yaniv Dinur, conductor

Awadagin Pratt, piano

San Diego Symphony Orchestra

PROGRAM

COLERIDGE-TAYLOR PERKINSON

Sinfonietta No. 1 for Strings

Sonata Allegro Song Form

Rondo

SERGE PROKOFIEV

Symphony No. 1 in D Major, Op. 25, Classical Symphony

Allegro con brio

Larghetto

Gavotte: Non troppo allegro

Finale: Molto vivace

– INTERMISSION –

JESSIE MONTGOMERY

Rounds for Piano and String Orchestra

Awadagin Pratt, piano

FRANZ JOSEPH HAYDN

Symphony No. 104 in D Major, London

Adagion - Allegro Andante

Menuet: Allegro Spiritoso

Approximate program length: 1 hour, 35 minutes (includes one, 20-minute intermission)

The April 13 and 14 performances are made possible, in part, through the generosity of the Atkinson Family in memory of Rita Loyd Atkinson.

Scan this QR code with your smartphone or text SDS to 55741 to access the interactive version of the program

JACOBS MASTERWORKS

AWADAGIN PRATT YANIV DINUR

JIYANG CHEN

ABOUT THE CONDUCTOR

Named the 2019 Sir Georg Solti Conducting Fellow (the largest award for conductors in the U.S.), YANIV DINUR is currently Resident Conductor of the Milwaukee Symphony and Music Director of the New Bedford Symphony Orchestra. The League of American Orchestras honored the New Bedford Symphony by selecting it to be one of the orchestras to perform at the 2021 League Conference. Mr. Dinur is lauded for his bold and beautiful programming, insightful interpretations, and unusual ability to connect with audiences.

Recent and upcoming highlights include subscription debuts with the symphonies of Detroit, Fort Worth, Houston, and Sarasota, as well as return engagements with the San Diego Symphony, and the Peninsula (Wisconsin) and Round Top (Texas) festivals. Among other U.S. guest conducting appearances are the Louisiana Philharmonic, New World Symphony and the San Antonio Symphony.

Dinur made his conducting debut at the age of 19 with the National Symphony Orchestra of Ireland, which led to multiple return engagements. Following his European debut, he was invited to perform with the Israel Camerata in Jerusalem, making him the youngest conductor ever to conduct a professional orchestra in Israel. Since then, he has conducted orchestras around the world, including the Israel Philharmonic, State Orchestra of St. Petersburg, Portugal Symphony Orchestra, Torino Philharmonic and the National Arts Centre Orchestra in Ottawa.

Dinur is also a professional level pianist and a passionate music educator, who is committed to exposing new audiences to classical music. He often gives preconcert talks and lectures in which he incorporates live demonstrations on the piano, aiming to reveal surprising connections between pieces, composers, and eras.

Dinur has worked closely with such world-class conductors as Lorin Maazel, Michael Tilson Thomas, Pinchas Zukerman, the late Kurt Masur and Jorma Panula. He holds a Doctorate in Orchestral Conducting from the University of Michigan School of Music, Theatre and Dance, where he was a student of Kenneth Kiesler.

ABOUT THE ARTIST

Pianist AWADAGIN PRATT is acclaimed for his musical insight and intensely involving performances in recital and with orchestras.

Pratt studied at the Peabody Conservatory of Music where he became the first student in the school's history to receive diplomas in piano, violin and conducting. He won the Naumburg International Piano Competition and was awarded an Avery Fisher Career Grant. Since then, he has appeared in recital and as concerto soloist in many of this country’s most prestigious venues and with many of the major American orchestras. An experienced conductor, his most recent conducting activities include play/ conducting the Chamber Orchestra of Pittsburgh and conducting performances of Porgy and Bess for the Greensboro Opera.

As Artistic Director of the Art of Piano Festival, through the Art of the Piano Foundation, Pratt commissioned seven composers—Jessie Montgomery, Alvin Singleton, Judd Greenstein, Tyshawn Sorey, Jonathan Bailey Holland, Paola Prestini and Peteris Vasks— to compose works for piano and string orchestra and a Roomful of Teeth. Montgomery’s concerto was premiered in the spring of 2022 with subsequent performances with the Boston, Chicago and St. Louis symphonies as well as The Minnesota Orchestra among many others. All seven works were recorded in summer 2022 for New Amsterdam Records.

Pratt is currently a Professor of Piano at the CollegeConservatory of Music, University of Cincinnati and in July 2023 joins the faculty of the San Francisco Conservatory of Music as Professor of Piano.

For more information, please visit www.awadagin.com.

ABOUT THE MUSIC

Sinfonietta No. 1 for Strings

COLERIDGE-TAYLOR PERKINSON

Born June 14, 1932, Manhattan

Died March 9, 2004, Chicago

APPROXIMATE PERFORMANCE TIME

15 minutes

Born into a musical family, Coleridge-Taylor Perkinson was named after the Afro-British composer Samuel Coleridge-Taylor (who in turn had been named after the English poet Samuel Taylor Coleridge). The young man showed unusual musical talent, and at age 13 he entered New York’s High School of Music and Art. After graduation, he attended New York University and eventually received his bachelors and masters degrees from the Manhattan School of Music. From there he went on to study conducting at the Berkshire Music Center and at the Salzburg Mozarteum—among his conducting teachers were Dean Dixon and Dmitri Mitropoulos. Perkinson had a long and successful career that ranged over many different kinds of music: he was a jazz pianist who performed for several years as a member of the Max Roach Jazz Quartet, he was an arranger for many of the leading vocalists of his era (including Henry Belafonte, Lou Rawls and Marvin Gaye), he composed scores for different dance troupes, and he composed music for films and for television.

But above all else, Perkinson wished to succeed as a composer of classical music. He was one of the cofounders of the Symphony of the New World, the first fully integrated orchestra in the United States, and he served as associate conductor of that orchestra from 1965-70. Among his many compositions are works for orchestra (including two Sinfoniettas for Strings), choral settings and works for small instrumental ensembles or solo performers.

Perkinson’s Sinfonietta No. 1 for Strings is the work of a very young composer: he wrote it in 1954, when he was only 22. The Sinfonietta is also a compact work—its three movements span only a quarter of an hour—and each of those movements is in a different classical form. Perkinson marks the opening movement Sonata Allegro. Shortest of the movements, it proceeds along vigorous counterpoint and driving energy to a firm conclusion. The second movement, which Perkinson titles Song Form, is dark, intense and expressive music. Many have heard echoes here of Barber’s Adagio for Strings: both are somber movements, both rise to a great climax, and both fade away to a quiet conclusion. The concluding movement is in rondo form, and Perkinson specifies that the performance should be Allegro furioso. This movement—full of slashing energy, shifting meters and dancing interludes—may be “furious” music, but it is so infectious that it is sometimes performed by itself. Matters relax slightly for a reflective interlude in the middle of the movement, but the bristling energy of

the opening soon returns, and Perkinson’s Sinfonietta No. 1 concludes with a strident flourish.

Symphony No. 1 in D Major, Op. 25, Classical Symphony

SERGE PROKOFIEV

Born April 23, 1891, Sontsovka

Died March 5, 1953, Moscow

APPROXIMATE PERFORMANCE TIME

15 minutes

In the summer of 1917, with the Russian Revolution beginning to explode around him, Serge Prokofiev set to work on an experiment: he wanted to write a symphony and to compose without being seated at the piano. He wished to think “orchestrally” rather than conceiving his ideas pianistically, and in fact this symphony was composed mostly during long walks in the woods outside St. Petersburg.

But what makes this symphony so remarkable—and so charming—is that this young firebrand chose as his model the classical symphony of the eighteenth century: “It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. This was the kind of symphony I wanted to write: a symphony in the classical style.” The symphony he wrote during the summer of 1917—only fifteen minutes long—is a model of classical order and style, enlivened at some points by Prokofiev’s characteristically pungent harmonies. This symphony seems to exist outside time: there is not the faintest echo here of the political cataclysm about to bury Russia, nor is this music consciously a part of the neo-classical movement then beginning in music. (Ravel was composing Le Tombeau de Couperin and Debussy his Violin Sonata at just this same time.) Rather, the “Classical” Symphony seems a stylistic experiment: a fiery young composer, seeking greater clarity and a specifically orchestral sonority, consciously chose to turn to the distant past for his model.

Music this clear and pleasing needs little explanation or comment. The Allegro is built on the expected two theme-groups: the lively opening explosion, and a poised second theme for first violins that Prokofiev marks con eleganza, full of wide skips and grace-notes. It is a measure of Prokofiev’s attention to classical form that these two themes are in the “correct” keys: the first is in the home key of D Major, the second in the dominant of A Major. The form of this miniature movement is right out of Haydn: exposition, lively development, a big climax, a recapitulation of both theme-groups and an exciting close.

The gentle second movement is in ternary form. Over pulsing accompaniment from the lower strings, first violins have the very high main idea, which Prokofiev marks molto dolce. The center section features

pizzicato strings and the bubbling sound of the two bassoons, before an abbreviated return of the opening section. The third movement brings a slight deviation from the classical model: this is not the expected minuet but a gavotte, based on a main theme that dances by stomping (Prokofiev marks it pesante); a stately middle section gives way to a concise repeat of the gavotte tune by the two flutes before the music suddenly vanishes on two quiet pizzicato strokes. Out of this quiet, the finale bursts to life. In sonata form, complete with exposition repeat, this Molto vivace is full of the sound of chattering woodwinds; the bright energy of the opening never lets up as the symphony rushes to its shining close.

The “Classical” Symphony is scored for classical orchestra: pairs of woodwinds, trumpets and horns, plus timpani and strings. Prokofiev consciously chose to step outside time when he wrote this music. In the process, he wrote a symphony that may live for all time.

Rounds for Piano and String Orchestra

JESSIE MONTGOMERY

Born December 8, 1981, New York City

APPROXIMATE PERFORMANCE TIME

15 minutes

The daughter of theater and musical artists, Jessie Montgomery learned to play the violin as a child and earned her bachelors degree in violin performance from Juilliard and her masters in composition from New York University. She is currently a Graduate Fellow in composition at Princeton as well as a Professor of Violin and Composition at The New School in New York City. In May 2021 Montgomery began her tenure as composer-in-residence with the Chicago Symphony Orchestra.

The composer has provided a program note for Rounds for Piano and String Orchestra:

Rounds for solo piano and string orchestra is inspired by the imagery and themes from T.S. Eliot’s epic poem Four Quartets. Early in the first poem, Burnt Norton, we find these evocative lines:

At the still point of the turning world. Neither flesh nor fleshless;

Neither from nor towards; at the still point, there the dance is,

But neither arrest nor movement. And do not call it fixity,

Where past and future are gathered. Neither movement from nor towards,

Neither ascent nor decline. Except for the point, the still point,

There would be no dance, and there is only the dance.

(Text © T.S. Eliot. Reproduced by courtesy of Faber and Faber Ltd)

In addition to this inspiration, while working on the piece, I became fascinated by fractals (infinite patterns found in nature that are self-similar across different scales) and also delved into the work of contemporary biologist and philosopher Andreas Weber who writes about the interdependency of all beings. Weber explores how every living organism has a rhythm that interacts and impacts with all of the living things around it and results in a multitude of outcomes.

Like Eliot in Four Quartets, beginning to understand this interconnectedness requires that we slow down, listen, and observe both the effect and the opposite effect caused by every single action and moment. I’ve found this is an exercise that lends itself very naturally towards musical gestural possibilities that I explore in the work—action and reaction, dark and light, stagnant and swift.

Structurally, with these concepts in mind, I set the form of the work as a rondo, within a rondo, within a rondo. The five major sections are a rondo; section “A” is also a rondo in itself; and the cadenza—which is partially improvised by the soloist—breaks the pattern, yet, contains within it, the overall form of the work.

To help share some of this with the performers, I’ve included the following poetic performance note at the start of the score:

Inspired by the constancy, the rhythms, and duality of life, in order of relevance to form:

Rondine – AKA Swifts (like a sparrow) flying in circles patterns

Playing with opposites – dark/light; stagnant/swift

Fractals – infinite design

I am grateful to my friend Awadagin Pratt for his collaborative spirit and ingenuity in helping to usher my first work for solo piano into the world.

-Jessie Montgomery, February 2022

Symphony No. 104 in D Major, London

FRANZ JOSEPH HAYDN

Born March 31, 1732, Rohrau

Died May 31, 1809, Vienna

APPROXIMATE PERFORMANCE TIME

30 minutes

CONTINUED ON PAGE 16

FRIDAY, APR 21 7:30PM

SATURDAY, APR 22 7:30PM

The Rady Shell at Jacobs Park™

JEAN-YVES THIBAUDET PLAYS DEBUSSY

Rafael Payare, conductor

Jean-Yves Thibaudet, piano

Hera Hyesang Park, soprano

San Diego Symphony Orchestra

PROGRAM

CLAUDE DEBUSSY

Prélude à “L’après midi d’un faune” (Prelude to “Afternoon of a Faun”)

CLAUDE DEBUSSY

Fantaisie for Piano and Orchestra

Andante; Allegro Lento e molto espressivo Allegro molto

Jean-Yves Thibaudet, piano

– INTERMISSION –

GUSTAV MAHLER

Symphony No. 4 in G Major

Bedächtig; nicht eilen Im gemächlicher Bewegung; ohne Hast Ruhevoll

Sehr behaglich

Hera Hyesang Park, soprano

Approximate program length: 1 hour, 50 minutes (includes one 20-minute intermission)

The April 21 performance is made possible, in part, through the generosity of the Atkinson Family in memory of Rita Loyd Atkinson.

Scan this QR code with your smartphone or text SDS to 55741 to access the interactive version of the program

JACOBS MASTERWORKS

JEAN-YVES THIBAUDET

HERA HYESANG PARK RAFAEL PAYARE

GARY PAYNE

ABOUT THE CONDUCTOR

RAFAEL PAYARE Please turn to page 6.

ABOUT THE ARTISTS

For more than three decades, JEAN-YVES THIBAUDET has performed world-wide, recorded more than 50 albums, and built a reputation as one of today's finest pianists. From the start of his career, he delighted in music beyond the standard repertoire, from jazz to opera, which he transcribed himself to play on the piano. His profound professional friendships crisscross the globe and have led to spontaneous and fruitful collaborations in film, fashion, and visual art.

Thibaudet has a lifelong passion for education and fostering young musical talent. He is the first-ever Artistin-Residence at the Colburn School in Los Angeles, where he makes his home. In 2017, the school announced the Jean-Yves Thibaudet Scholarships, funded by members of Colburn’s donor community, to provide aid for Music Academy students, whom Thibaudet will select for the merit-based awards, regardless of their instrument choice.

Thibaudet's recording catalogue has received two Grammy® nominations, the Preis der Deutschen Schallplattenkritik, the Diapason d'Or, the Choc du Monde de la Musique, the Edison Prize and Gramophone awards. His most recent solo album, 2021’s Carte Blanche, features a collection of deeply personal solo piano pieces never before recorded by the pianist. He is the soloist on Wes Anderson’s 2021 film The French Dispatch; his playing can also be heard in Pride and Prejudice, Extremely Loud & Incredibly Close, Wakefield, and the Oscar-winning and critically acclaimed film Atonement. His concert wardrobe is designed by Dame Vivienne Westwood.

In 2010 the Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012. In 2020, he was named Special Representative for the promotion of French Creative and Cultural Industries in Romania. He is co-Artistic Advisor, with Gautier Capuçon, of the Festival Musique & Vin au Clos Vougeot.

Thibaudet's worldwide representation: HarrisonParrott. Thibaudet records exclusively for Decca Classics.

Hailed by The New York Times for her “bright, clear voice and impressive coloratura technique,” Korean soprano HERA HYESANG PARK is attracting the attention of opera houses and concert houses worldwide.

In the 2022-23 season, Park returns to the Staatsoper Berlin for Adina L’elisir d’amore; makes her role debut as Nannetta in Falstaff at The Metropolitan Opera and makes her operatic house debut as Pamina in Die Zauberflöte at the Teatro Colón Buenos Aires. In concert, she sings Mahler’s Symphony No. 4 with San Diego Symphony and Naples Philharmonic; Handel’s Messiah with St. Paul’s Chamber Orchestra and appears with Baltimore Symphony as soloist in their Lunar New Year celebration concert. Park will also give recital and concert performances on tour in Mexico, South America and South Korea and makes her solo recital debut in New York’s Carnegie Hall.

The 2021-22 season saw Hyesang triumph in three role debuts: Pamina in The Magic Flute at the Metropolitan Opera; Susanna in Le Nozze di Figaro at Glyndebourne Festival and Adina at Staatsoper Berlin. She also made her Opéra national de Paris debut in Marina Abramovic’s Seven Deaths of Maria Callas. Concert highlights included gala concerts with the New York Philharmonic and Prague Philharmonia as well as a multi-city tour of South Korea.

Her honors and awards include first prize in the April 2016 Gerda Lissner Foundation International Competition, second prize and the Audience Choice Award at the 2015 Montreal International Musical Competition, winning second place overall in the women’s division in Placido Domingo’s 2015 International Operalia competition, as well as taking First Prize in the women’s Zarzuela.

Park records exclusively for Deutsche Grammophon. Her debut album I am Hera was released in November 2020.

ABOUT THE MUSIC

Prélude à “L’après midi d’un faune”

(Prelude to “Afternoon of a Faun”)

CLAUDE DEBUSSY

Born August 22, 1862, Saint-Germain-en-Laye

Died March 25, 1918, Paris

APPROXIMATE PERFORMANCE TIME

10 minutes

This shimmering, endlessly beautiful music is so familiar to us—and so loved—that it is difficult to comprehend how assaultive it was to audiences in the years after its premiere in December 1894. Saint-Saëns was outraged: “[It] is pretty sound, but it contains not the slightest musical idea in the real sense of the word. It’s as much a piece of music as the palette a painter has worked from is a painting.” Later his outrage took a more emphatic direction: “the doors of the Institute must at all costs be barred against a man capable of such atrocities.”

We smile, but Saint-Saëns had a point. Though it lacks the savagery of The Rite of Spring, the Prélude à “L’après midi d’un faune” may be an even more revolutionary piece of music, for it does away with musical form altogether—this is not music to be grasped intellectually, but simply to be heard and felt. Pierre Boulez has said that “just as modern poetry surely took root in certain of Baudelaire’s poems, so one is justified in saying that modern music was awakened by ‘L’après-midi d’un faune.’”

Debussy based this music on the poem “L’après-midi d’un faune” by his close friend, the Symbolist poet Stephane Mallarmé. The poem itself is dreamlike, a series of impressions and sensations rather than a narrative. It tells of the languorous memories of a faun on a sleepy afternoon as he recalls an amorous encounter the previous day with two passing forest nymphs. This encounter may or may not have taken place, and the faun’s memories—subject to drowsiness, warm sunlight, forgetting and drink— grow vague and finally blur into sleep.

Like the faun’s dream, Debussy’s music is directionless, and Saint-Saëns was right to feel assaulted. In the words of Italian pianist-composer Ferruccio Busoni, this music “is like a beautiful sunset; it fades as one looks at it.” The famous opening flute solo (the sound of the faun’s pipe?) draws us into this soft and sensual world, and while the key signature may say E Major, Debussy’s music obliterates any sense of a stable tonality from the start. The middle section, introduced by woodwinds in octaves, may be a subtle variation of the opening flute melody—it is a measure of this dreamy music that we cannot be sure. The opening section returns to lead the music to its glowing close, finally in uncomplicated E Major. Debussy uses a small orchestra (without trombones,

trumpets, tuba or any percussion but antique cymbals) and keeps the emphasis not on musical incident but on color, harmony and beauty of sound. Audiences have come to love this music precisely for its sunlit mists and glowing sound, but it is easy to understand why it troubled early listeners. Beneath its shimmering and gentle beauties lies an entirely new conception of what music might be.

Fantaisie for Piano and Orchestra

CLAUDE DEBUSSY

APPROXIMATE PERFORMANCE TIME

25 minutes

Debussy never wrote a concerto. Like Schubert, he was not interested in large-scale compositions designed to show off the virtuosity of an individual performer. He did write for soloists, but these rhapsodies for clarinet and saxophone and a set of dances for harp were conceived primarily to show off those instruments, not their performers. However, as a young man struggling to find his way as a composer, Debussy did write a concerto-like piece for piano and orchestra. He chose to title it “fantaisie” rather than “concerto,” and that distinction was important to him.

The Fantaisie for Piano and Orchestra had a very rough start. At age 21 Debussy won the Prix de Rome, which involved two years of study in Rome. It was the highest honor possible for a young French composer, but Debussy hated Rome and everything about it; he left that city early, and he did everything he could to circumvent the requirements of the prize, which included writing a series of pieces to demonstrate his progress. Eventually he had to present his works, and between October 1889 and April 1890 Debussy composed the Fantaisie, which was to be performed at a concert of the Société Nationale under the direction of Vincent d’Indy. At the end of the first rehearsal, d’Indy announced that due to time restrictions on rehearsals, he would present only the first movement of the Fantaisie at the concert. Debussy promptly climbed onto the stage, collected the parts off the orchestra’s music stands, and walked out the door. He never heard the Fantaisie, and it was not premiered until November 20, 1919, when Alfred Cortôt played it in London with the Royal Philharmonic. Debussy had been dead for over a year at that point.

Debussy’s choice of the title Fantaisie was a good one. The nineteenth-century concerto was based on a general form: sonata-form first movement, lyric slow movement, and a rondo or dance finale. Debussy wanted to write something completely different— a work for soloist and orchestra based not on the contrast of themes of sonata-form but instead on the continuous evolution of just one theme—and his Fantaisie is based almost entirely on this cyclical evolution of themes.

The Fantaisie is in three movements, and the second and third are joined. In the opening movement, the germinal theme is heard immediately in the woodwinds, and this theme will then reappear in a number of guises throughout. The opening may feel restrained, but the music soon pushes ahead at the Allegro giusto. This change in tempo does not bring a change in the gentle character of this music, however: throughout the score Debussy continually reminds the players that their performance should be très doux (“very gentle”) and espressivo. This opening movement may not be based on conflict and resolution, but it does drive to a surprisingly dramatic conclusion.

Debussy mutes the strings at the beginning of the Lento e molto espressivo, and there is a dreamy, almost diaphanous quality to this movement, which proceeds directly into the finale. That movement, marked Allegro molto, might be thought of as a variation movement—it is structured on continuous evolutions of the main theme.

Audiences hearing this music without knowing its composer might never guess that it is the work of Claude Debussy. When he wrote this music, he was still searching for an authentic voice, and the works that would begin to define that voice—the String Quartet and Prélude à l’après midi d’un faune—were still several years in the future. The Fantaisie may represent an unexpected side of Debussy, but this music remained important to him: as late as 1909 he spoke of going back to revise it, but he never got around to doing that.

Symphony No. 4 in G Major GUSTAV MAHLER

Born July 7, 1860, Kalischt, Bohemia

Died May 18, 1911, Vienna

APPROXIMATE PERFORMANCE TIME

55 minutes

In April 1897 Mahler was named director of the Vienna Court Opera, the most prestigious post in the world of music. But the fierce demands of that position brought his composing to a standstill, and from the summer of 1896 until the summer of 1899 he composed no new music. Finally established in Vienna, he could return to creative work, and during the summer of 1899 he retreated to the resort town of Alt-Aussee in the Styrian Alps and composed the first two movements of his Fourth Symphony. He completed the symphony the following year at his new summer home on the shores of the Wörthersee and led the premiere in Munich on November 25, 1901.

The Fourth is Mahler’s friendliest symphony—even people who claim not to like Mahler take this music to their hearts. At just under an hour in length, it is also the shortest of Mahler’s ten symphonies, and it is scored for an orchestra that is—by his standards—relatively

modest: it lacks trombones and tuba. Mahler’s claim that the Fourth never rises to a fortissimo is not literally true, but it is figuratively true, for even at its loudest this symphony is Mahler’s most approachable work. Much of its charm comes from the text sung by the soprano in the last movement, with its wide-eyed child’s vision of heaven. In fact, several recordings use a boy soprano in place of a woman in the finale, because the sound of a child’s voice is exactly right in this music. This sense of a child’s vision—full of wonder, innocence and radiance— touches the entire Fourth Symphony.

The symphony opens with the sound of sleighbells, and violins quickly sing the graceful main subject. Mahler marks this movement Bedächtig (“Deliberately”), and it is remarkable for the profusion of its melodic material: a jaunty tune for clarinets, a broad and noble melody for cellos, a lyric melody for cellos, a poised little duet for oboes and bassoons. We arrive at what seems to be the development, and scarcely has this begun when an entirely new theme—a radiant call for four unison flutes—looks ahead to the celestial glories of the final movement. This movement proceeds melodically rather than dramatically – there are no battles fought and won here—and at the end the opening violin theme drives the movement to its ringing close on great G-Major chords.

The second movement—In gemächlicher Bewegung (“Moving leisurely”)—is in a rather free form: it might be described as a scherzo with two trios. Mahler requires here that the concertmaster play two violins, one of them tuned up a whole step to give it a whining, piercing sound—Mahler asks that it sound Wie eine Fiedel: “like a fiddle.” Mahler said that this movement was inspired by a self-portrait by the German painter Arnold Böcklin in which the devil—in this case a skeleton—plays a violin (with only one string!) in the painter’s ear. Despite all Mahler’s suggestions of demonic influence, this music remains genial rather than nightmarish—in Donald Francis Tovey’s wonderful phrase, the shadows cast here “are those of the nursery candlelight.”

However attractive the second movement may be, it finds its match in the third, marked Ruhevoll (“Peaceful”), which begins with some of the most beautiful music ever written: a long, glowing melody for cellos and its countertheme in the violins. This movement is in variation form, with the variations based on this opening theme and on a more somber second subject, sung first by the oboe. Near the close, violins suddenly leap up and the gates of heaven swing open: brilliant brass fanfares and smashing timpani offer a glimpse of paradise, but that finale must wait for this movement to reach its utterly peaceful close.

Out of the silence, solo clarinet sings the main theme of the finale, marked Sehr behaglich (“Very comfortable”), and soon the soprano takes up her gentle song. Mahler had originally composed this song, titled Das himmlische Leben (“The Heavenly Life”), in 1892 when he was conductor of the Hamburg Opera. Its text, drawn from Das Knaben Wunderhorn, offers a child’s vision of

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heaven. Mahler said that he wished to create a portrait of heaven as “clear blue sky,” and this vision of heaven glows with a child’s sense of wonder. It is a place full of apples, pears and grapes, a place where Saint Martha does the cooking, Saint Peter the fishing, where there is music and dancing and joy. The sleighbells from the symphony’s opening now return to separate the four stanzas, and at the end the soprano sings the key line: “Kein Musik ist ja nicht auf Erden” (“There is no such music on earth”). For this truly is heavenly music, music of such innocence that it feels as if it must have come from another world, and at the end of this most peaceful of Mahler symphonies the harp and contrabasses draw the music to a barely-audible close.

-Program notes by Eric Bromberger

PROGRAM NOTES | DINUR, MONTGOMERY AND THE "CLASSICAL" SYMPHONY

CONTINUED FROM PAGE 11

On September 28, 1790, Prince Nikolaus Esterházy died, and his successor Prince Anton did not share the family passion for music. Anton disbanded the Esterházys’ professional orchestra, and Haydn—who had been music director to the Esterházy family for thirty years— suddenly found himself without a job. He was given a generous pension, and at age 58 he looked forward to a quiet retirement. But suddenly his life changed. The impresario Johann Peter Salomon appeared in Vienna and invited the composer to come to London to put on a series of concerts of his own music. Haydn set off for new territory—and triumphed. His first visit, during the years 1791-92, was so successful that he returned for a second in 1794-95. For each visit he composed six symphonies, and the Symphony No. 104 was the last of the twelve. In fact, it would be his final symphony, for he would turn his attention to vocal music over the remaining years of his life. There is no particular reason to call No. 104 the “London”—that name might apply with equal accuracy to all twelve of the symphonies Haydn wrote for his visits to that city.

The first performance took place on May 4, 1795, at the King’s Theatre at Haymarket in London. Haydn was delighted by the quality of the orchestra, by the enthusiasm of the large audience and by the profits: “The room was full of select company...The whole audience was very pleased and so was I. I made four thousand gulden on this evening. Such a thing is possible only in England!”

Some have suggested that Haydn, released from his service to a refined aristocratic family and now faced with writing to please a middle-class audience, simplified his musical language to give it more immediate appeal, but this is not to suggest that there is anything condescending or compromised about this music. Quite the opposite. All of Haydn’s English symphonies show him at the height of his powers as a symphonist, and these twelve symphonies demonstrate a technical mastery, grand sonority and breadth of scope that would represent the furthest development of the symphony until Beethoven took up the form five years later.

From the moment of that festive premiere, Haydn’s Symphony No. 104 has been an audience favorite, and it is not hard to understand why. This is music not just of enormous technical accomplishment but full of energy and high spirits. That energy is evident from the first instant, when the symphony explodes to life on a ringing tutti fanfare. This noble call to order will return twice during the course of the long introduction before the music leaps ahead at the Allegro on a theme that seems simplicity itself. But this simple little tune will yield unexpected riches. Haydn had long been interested in building sonata-form movements on just one theme, and now he re-uses his principal theme in place of the expected second subject and proceeds to build much of the development on a string of repeated notes taken from that seminal idea.

The Andante gets off to a poised, almost innocent beginning, but soon this is interrupted by tumultuous outbursts from full orchestra, punctuated by timpani and brass. These in turn are set off by striking silences and passages for woodwinds alone. The Menuetto catches us by surprise rhythmically, for Haydn places the accent on the third beat here; the wistful, yearning trio section makes its way back to the minuet via an unexpected bridge passage.

The buoyant finale has set scholars searching for the source of its principal theme, first heard over a bagpipelike drone at the opening. Some have argued that this theme is based on a street-vendor’s cry that Haydn had heard in London: “Hot cross buns! Hot cross buns!” More recent research has shown that the theme is based on the Croatian folksong “Oj jelena,” which Haydn had heard while in the service of the Esterházy family. Whatever its source, the theme is developed with all the skill Haydn had acquired and refined in over forty years as a symphonist, and his final symphony rushes to its conclusion in a blaze of energy.

-Program notes by Eric Bromberger

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.

RAFFAELLA AND JOHN BELANICH ALAN

BENAROYA

DAVID BIALIS

San Diego Symphony is pleased to have Sycuan as the Lead Sponsor of Music Connects, the Symphony’s community engagement series!

* DECEASED

DR. BOB AND JUNE SHILLMAN VAIL MEMORIAL FUND, MEREDITH BROWN, TTEE

CORPORATE HONOR ROLL

SAN DIEGO BAYFRONT

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 February 15, 2023.

Anonymous (2)

Leonard Abrahms*

Alfred F. Antonicelli*

Pat Baker and Laurence Norquist*

William Beamish

Stephen and Michele* Beck-von-Peccoz

Alan Benaroya

Rosanne B. and W. Gregory Berton

Dr. James L. Bowers*

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

Penny* and Harold Dokmo, Jr.

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*

Helene Grant*

Dorothy and Waldo* Greiner

David and Claire Guggenheim

Alice Dyer*

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

Beatrice P. and Charles W. Lynds*

Gladys Madoff

Pamela Mallory

Richard Manion

James Marshall

Patricia and Peter Matthews

Elizabeth R. Mayer*

Vance M. McBurney*

Antoinette Chaix McCabe*

Una Davis and Jack McGrory

Sandra Miner

Riley Mixson*

Judith A. Moore

Ermen and Fred Moradi*

Mona and Sam Morebello

Joani Nelson

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

Colette Carson Royston and Ivor Royston

Dr. Arno Safier*

Joan and Jack* Salb

Craig Schloss

Todd Schultz

Melynnique and Edward Seabrook

Pat Shank

Kathleen and Lewis* Shuster

Karen and Kit Sickels

Drs. Bella and Alexander* Silverman

Stephen M. Silverman

Judith Harris* and Dr. Robert Singer

Gayle* and Donald Slate

Lyn 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

Miriam Summ

Sheryl Sutton

James L.* and June A. Swartz

Elizabeth and Joseph* Taft

Joyce and Joseph Timmons

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 Director of Advancement, Major Gifts and Planned Giving, Jodie Graber at (619)

Madeline and Milton Goldberg*

THE FUTURE IS HEAR CAMPAIGN

The San Diego Symphony Orchestra acknowledges the following donors who have made a gift of $10,000 or more toward The Future is HEAR campaign, our current $125 million campaign supporting the San Diego Symphony’s construction of The Rady Shell at Jacobs Park and its wide-ranging artistic and community programs. We are extremely grateful! To make a gift, please call (619) 237-1969. The following listing reflects pledges or gifts entered as of February 15, 2023.

$1,000,000 AND ABOVE

Terry L. Atkinson

Bank of America

Dianne Bashor

Malin and Roberta Burnham

Harry and Judy Collins Foundation

Daniel J. and Phyllis Epstein

Ted and Audrey Geisel◊

The George Gildred Family and The Philip Gildred Family

Joan and Irwin Jacobs

Sheri Lynne Jamieson

The Kong Tang Family

Dick◊ and Dorothea Laub

Jack McGrory

The Alexander and Eva Nemeth Foundation

The Conrad Prebys Foundation

Allison and Robert Price

Evelyn and Ernest Rady

Lou and Penny Rosso and the Rosso Family

Colette Carson Royston and Ivor Royston

Sahm Family Foundation

T. Denny Sanford

Karen and Christopher “Kit” Sickels

Karen and Jeff Silberman

Donald and Gayle◊ Slate

The State of California

Gloria and Rodney Stone

Sycuan Casino Resort

Roger Thieme◊ and Sylvia Steding

Sue and Bill Weber

$250,000 AND ABOVE

Anonymous

Raffaella and John Belanich

Alan Benaroya

Susan and Jim Blair

The James Silberrad Brown Foundation

Julia Brown Family

David C. Copley Foundation

Sam B. Ersan

Esther Fischer

Pam and Hal Fuson

Karen and Warren Kessler

Carol Ann and George Lattimer

The Payne Family Foundation

M&I Pfister Foundation

Linda and Shearn◊ Platt

Robert Glenn Rapp Foundation

Dave and Phyllis Snyder

Elaine Galinson and Herbert Solomon

Elizabeth and Joseph◊ Taft

Jayne and Bill Turpin

Kathryn A. and James E. Whistler

$100,000 AND ABOVE

American Specialty Health

Jules and Michele Arthur

David Bialis

Nikki and Ben Clay

Stephanie and Richard Coutts

Diane and Charles Culp

Diane and Elliot Feuerstein

Walt Fidler

Anne and Steve Furgal

Lisa Braun Glazer and Jeff Glazer

In memory of Jim Lester

The Hering Family

Carol and Richard Hertzberg

Arlene Inch

A gift to honor my grandchildren

Aiden and Gaia

Brooke and Dan◊ Koehler

Bill and Evelyn Lamden

Sandra and Arthur◊ Levinson

Catherine and Phil Blair

The Alex C. McDonald Family

Lori Moore, Cushman Foundation

The Parker Foundation (Gerald T. and Inez Grant Parker)

Bill and Clarice Perkins

Marilyn James and Richard Phetteplace

Jeannie and Arthur◊ Rivkin

Sage Foundation

Tucker Sadler Architects

U.S. Bank

Jo and Howard Weiner

Cole and Judy Willoughby

Richard◊ and Joanie Zecher

$50,000 AND ABOVE

Carol Rolf and Steven Adler

Bonnie and Krishna Arora and Family

David A. and Jill Wien Badger

Carolyn and Paul Barber

Cindy and Larry Bloch

Lisa and David Casey

The John D. and Janice W. Cone Family Trust

Kathleen Seely Davis

The den Uijl Family

In Loving Memory of LV

Gary and Karin Eastham

In loving memory of Kenrick "Ken" Wirtz

Jose Fimbres Moreno◊

Karen Wahler and Michael Gay

William and Martha Gilmer

The Jaime Family Trust

Roy, Peggy, Dean and Denise Lago

The Peggy and Robert Matthews Foundation

Admiral Riley D. Mixson◊

Gerry and Jeannie Ranglas

Marilyn and Michael Rosen, Juniper and Ivy Restaurant

Richard Sandstrom and Sandra Timmons

Congresswoman Lynn Schenk

Kris and Chris Seeger

Deborah Heitz and Shaw Wagener

Emma and Leo Zuckerman

$25,000 AND ABOVE

Anonymous

Lisa and Dennis Bradley

Gordon Brodfuehrer

Pamela and Jerry Cesak

County of San Diego

The Druck/Silvia Family

Susan E. Dubé

Lisette and Mick Farrell

Dr. John and Susan Fratamico

Janet and Wil Gorrie

Virginia and Peter Jensen

Jeff Light and Teri Sforza

Sig Mickelson◊

Sandy and Greg Rechtsteiner

The Segur Family

In honor of Robert (Bud) Emile, SDS Concertmaster 1960-1975

Bill and Diane Stumph

Gayle and Philip Tauber

In memory of my husband

Raymond V. Thomas, Lover of the Symphony

The Bartzis-Villalobos Family

RANAS

Leslie and Joe Waters

John J. Zygowicz and Judy Gaze-Zygowicz

$10,000 AND ABOVE

Anonymous

Erina Angelucci

Aptis Global, a subsidiary of The Kimball Group

DeAnne Steele, Carlo Barbara and Cole Barbara

Eloise and Warren Batts

Lauren Lee Beaudry

Karl and Christina Becker

Edgar and Julie Berner

Diane and Norm Blumenthal

The Boros Family

Sarah◊ and John Boyer

Annette and Daniel Bradbury

Lori and Richard Brenckman

Beth Callender and Pete Garcia

Carol Randolph and Robert Caplan

The Casdorph Family

Angela Chilcott

Kurt and Elizabeth Chilcott

Dr. Samuel M. Ciccati and Kristine J. Ciccati

Thomas Jordan and Meredith M. Clancy

P. Kay Coleman and Janice E. Montle

Dr. William Coleman

Peter V. Czipott and Marisa SorBello

Ann Davies

Caroline S. DeMar

Drs. Edward A. and Martha G. Dennis

George and Jan DeVries

Robert and Nina Doede

In loving memory of Karen Cooper Ferm

Michael and Susan Finnane

Gertrude B. Fletcher

K. Forbes

Deborah Pate and John Forrest

4040 Agency–

Mary, Bill and John

Judith and William Friedel

Barbara and Doug Fuller

Cheryl J. Hintzen-Gaines and Ira J. Gaines

Vicki Garcia-Golden and Tim Jeffries

Gardiner & Theobald, Inc.

Joyce M. Gattas, PhD

Lynn and Charlie Gaylord

In memory of Royce G. Darby

Kimberly and Jeffrey Goldman

In memory of Samuel Lipman, Clarinetist

The Granada Fund

Robert and Carole Greenes

Carrie and Jim Greenstein

Lulu Hadaya

Jeff and Tina Hauser

In memory of Lucille Bandel

In Memory of Dick Hess

Richard A. Heyman and Anne E. Daigle Family Foundation

Let the music play on, Drew!

Mary Ann and John Hurley

Cynthia Thornton and Michael Keenan

Keith and Cheryl Kim

Katherine Kimball

Helen and Sig Kupka

Linda and Tom Lang

Alexis and Steven Larky

Tom and Terry Lewis Foundation

The Li Family

Larry Low and Mikayla Lay

Josephine and Alex Lupinetti◊ Daniel and Chris Mahai

Sally and Luis Maizel

Susan and Peter Mallory in honor of Martha Gilmer

David Marchesani Family

Anne and Andy McCammon

The McComb Family

Katy McDonald

Larry McDonald and Clare White-McDonald

Mark, Amy, Auguste and Paris Melden

In Memory of James C. Moore

Judith and Neil Morgan

Clara and Donald Murphy

Patricia R. Nelson

The Lorna and Adrian Nemcek Family

The Ning Family

Frank O'Dea, O'Dea Hospitality

Val and Ron Ontell

Carol and Vann Parker

The Hong-Patapoutian Family

The Pollock Family

The Quintilone and Cooper Families

Phillip Rand, M.D. Dedicated Ob-Gyn, kind and gentle soul, humanitarian

In loving memory of Long “Chris” Truong

Ruth Reznikoff

Dr. Vivian Reznik and Dr. Andrew Ries

Burton X and Sheli Rosenberg

Marie G. Raftery and Dr. Bob Rubenstein

The Ryde Family Memorial Foundation

Shari and Frederick Schenk

Colin Seid and Dr. Nancy Gold

Susan and Michael Shaffer

Brigg and Jayne Sherman

Shinnick Family

Ruey and Marivi Shivers

Stephen M. Silverman

Janet Simkins

Hon. Stephanie Sontag and Hon. David B. Oberholtzer

Jeanette Stevens

Sudberry Properties

Beatriz and Matthew Thome

Katherine “Kaylan” Thornhill

Michael and Eunicar Twyman

Susan and Richard Ulevitch

Sheri Broedlow and Kyle Van Dyke

Patricia and Joe Waldron

Lori and Bill Walton

The Warner Family

The K. Nikki Waters Trust

Shirli, Damien and Justin Weiss

Mike and Susan Williams

Jeffrey P. Winter and Barbara Cox-Winter

The Witz Family

In loving memory of Ching H. Yang

Howard and Christy Zatkin

San Diego Foundation

Rancho Santa Fe Foundation

Jewish Community Foundation

◊ Deceased

The Musicians, members of the Board of Directors and the Administrative Staff wish to gratefully acknowledge the growing list of friends who give so generously to support the San Diego Symphony. To make a gift, please call (619) 615-3901. The following listing reflects pledges entered as of February 15, 2023.

San Diego Foundation

STRADIVARIUS CIRCLE: $100,000 AND ABOVE

American Specialty Health

Rita◊ and Richard Atkinson

Raffaella and John Belanich

City of San Diego Commission for Arts and Culture

Daniel J. and Phyllis Epstein

Dr. Seuss Fund

Joan and Irwin Jacobs

The Conrad Prebys Foundation

Dr. Bob and June Shillman

The State of California

MAESTRO CIRCLE:

$50,000-$99,999

Anonymous (2)

Terry L. Atkinson

Alan Benaroya

Cohn Restaurant Group/ David Cohn

Kevin and Jan Curtis

Una Davis and Jack McGrory

Mr. and Mrs. Brian K. Devine

The Fish Market

Pam and Hal Fuson

Karen and Warren Kessler

Jerry and Terri Kohl

The Kong Tang Family

Dr. William and Evelyn Lamden

Judy McDonald

Monica and Robert Oder

Linda and Shearn◊ Platt

Price Philanthropies

Elena Romanowsky

Jack and Sherron Schuster

Karen and Kit Sickels

Karen and Jeff Silberman, Silberman Family Fund

Gayle◊ and Donald Slate

Dave and Phyllis Snyder

Gloria and Rodney Stone

Sylvia Steding and Roger◊ Thieme

Jayne and Bill Turpin

Vail Memorial Fund

Sue and Bill Weber

Mitchell Woodbury

Sarah and Marc Zeitlin

GUEST ARTIST CIRCLE:

$25,000-$49,999

Anonymous

Annette and Daniel Bradbury

Nikki A. and Ben G. Clay

Karen and Donald Cohn

Karin and Gary Eastham

Anne L. Evans

Lisette and Mick Farrell, Farrell Family Foundation

Norman Forrester and Bill Griffin

Goldman Sachs Philanthropy Fund

Rancho Santa Fe Foundation

Sandra and Arthur◊ Levinson

Eileen Mason

Deborah Pate and John Forrest

Allison and Robert Price

Colette Carson Royston and Ivor Royston

Scripps Research Institute

Elaine Galinson and Herbert Solomon

Jeanette Stevens

Sandra Timmons and Richard Sandstrom

Leslie and Joe Waters

Kathryn and James Whistler

Sheryl and Harvey White

CONCERTMASTER CIRCLE: $15,000-$24,999

Anonymous

Warren and Eloise Batts

David Bialis

Michael Blasgen

Diane and Norman Blumenthal

Dr. Anthony Boganey

Julia Richardson Brown Foundation

Pam and Jerry Cesak

Ann Davies

Kathleen Seely Davis

Jill Gormley and Laurie Lipman

Judith Harris◊ and Dr. Robert Singer

Laurie Sefton Henson

Marilyn James and Richard Phetteplace

One Paseo

Jo Ann Kilty

Helen and Sig Kupka

Carol Ann and George Lattimer

Carol Lazier and James Merritt

Dr. Marshall J. Littman

Anne and Andy McCammon

Lynn and Sue Miller

Rich Paul and Rena Minisi/ Paul Plevin, Sullivan and Connaughton, LLP

Riley◊ and Patricia Mixson

James and Josie Myers

Michael Nissman and Paige Stone

Val and Ron Ontell

Pinnacle Advertising

Jane and Jon Pollock

Pamela and Stephen Quinn

Sally and Steve Rogers

Ellen Browning Scripps Foundation

Seltzer Caplan McMahon Vitek

Jayne and Brigg Sherman

Stephen M. Silverman

The Eleanor and Hank Family Trust

Elizabeth and Joseph◊ Taft

R.V. Thomas Family Fund

University of San Diego

Isabelle and Mel◊ Wasserman

Jewish Community Foundation ◊ Deceased

Judy Gaze-Zygowicz and John Zygowicz

VIRTUOSO CIRCLE:

$10,000-$14,999

The Bjorg Family

The Boros Family

Ercil Brown and Linda Silverman

California Bank & Trust

David C. Copley Foundation

Sally Cuff

Ana de Vedia

Scott and Tracy Frudden

Lynn and Charles Gaylord

Joyce Glazer

Vicki Garcia-Golden and Tim Jeffries

Beverley Haynes

Marla Hess

Richard A. Heyman and Anne E. Daigle Family Foundation

Nancy and Ross Stephen Howard

Keith and Cheryl Kim

Robert Leone

Donald and Clara Murphy

National Endowment for the Arts

The Kenneth T. and Eileen L. Norris Foundation

ResMed Foundation

Harold and Evelyn Schauer

Susan Sharin and Laurina Young

Shinnick Family

Hon. Stephanie Sontag and Hon. David Oberholtzer

Katherine "Kaylan" Thornhill

Stephen L. Tierney

Dixie Unruh

K. Nikki Waters

Drs. Larry and Mara Ybarrondo

ORCHESTRA CIRCLE:

$5,000-$9,999

Anonymous (2)

Carol Rolf and Steven Adler

Cheryl and Rand Alexander

Arthur J. Gallagher Insurance

Edgar and Julie Berner

Denise Bevers

Joyce Biffar

BioMed Realty

Evelyn Truitt and Dr. Paul Black

Benjamin Brand

Sophie Bryan and Matthew Lueders

Wendy Burk and Harold Frysh Household

Vickie Camper

The Chicago Community Foundation

Melvin Cohn

Cooley LLC

Robert and Nina Doede

Karen Dow

Susan Dubé

Berit and Tom Durler

Erika and Kyle Fetter

Gertrude B. Fletcher

Karen Forbes

Calvin Frantz

Joan and Gary Gand

Genesco Sports Enterprises, Inc.

Eric Gnand

Carrie and James Greenstein

David and Claire Guggenheim

Kay and Bill Gurtin

Art and Pam Handman

Beau Haugh

The Hong-Patapoutian Family

Maryka and George◊ Hoover

Arlene Quaccia and Robin Hughes

James B. Idell and Deborah C. Streett-Idell

Angela and Matthew Kilman

Ken and Kim Krug

Krumholz Family Trust

Gary and Lisa Levine Fund

Oliver McGonigle

Edward and Elizabeth McIntyre

Menard Family Foundation

The Cynthia and George Mitchell Foundation

Morrison & Foerster

Trupti and Pratik Multani

David and Judith Nielsen

Northern Trust Charitable Giving Program

Dave and Jean Perry

Mary Ann and David Petree

Gail Lee Powell

Peggy and Peter Preuss

Marie Raftery and Dr. Robert Rubenstein

Sandy and Greg Reichsteiner

RiverVest

Ryan Family Charitable Foundation

Mr. Les Silver

Silicon Valley Community Foundation

Alan and Louarn Sorkin

The Stainrook Foundation

Richard and Susan Ulevitch

Ingrid M. Van Moppes

Patricia and Joe Waldron

Jo and Howard Weiner

Shirli Weiss

Margarita and Philip Wilkinson

Edward and Anna Yeung

Joan Zecher

SYMPHONY CIRCLE: $2,500-$4,999

Anonymous Kevin Aufmann

Allen Azar

Lauren Lee Beaudry

Dr. Thomas Beers

Mr. Mark Bramson and Ms. Ellen Bramson

Loyce Bruce

Ken Bullock

Joseph Caso

Marilyn Colby

Caroline S. DeMar

Morey A. Feldman and Jeanne D. Feldman Family

Endowment Fund

Linda Fortier

Carol and William Githens

Sharon and Garry Hays

Leon and Sofia Kassel

Marge Katleman and Richard Perlman

Judy Leftwich

Sylvia and Jamie Liwerant

Blake Machado

Barbara and Harry Markowitz

Mark C. Mead

Pillsbury Winthrop Shaw Pittman LLP

Jeff and Clare Quinn

Dr. Marilyn Friesen and Dr. Michael Rensink

Dr. Nancy Gold and Colin Seid

Lari Sheehan

Ruey and Marivi Shivers

Linda J. and Jeffrey M. Shohet

Mitch and Lindsay Surowitz

Two Bear Capital

Diana and Roger Van Duzer

Norton S. and Barbara Walbridge Fund

Ronald and Diane Walker

Thomas P. Ward and Rosemary T. Ward

Ellen and Bill Whelan

Carolyn and Eric Witt

Luann and Brian E. Wright

Carmen Young

Robert Young

CONCERTO CIRCLE:

$1,000-$2,499

Anonymous (2)

K. Andrew Achterkirchen

David Akers

Dede and Michael Alpert

Laura and Fred Applegate

Patricia and Brian Armstrong

Sondra Berk

Mary Ann Beyster

Virginia and Robert Black

Ralph Britton

Joseph H. Brooks and Douglas Walker

Joyce Burns

Barbara and Salvatore Capizzi

Rew P. Carne

Kathleen Carroll

Angela Chilcott

Stan Clayton

John Cochran and Sue Lasbury

Household

Colwell Family Fund

Community Service Association, San Diego Unified School District

Jeanette and Hal Coons

Mid Deng

Anne and Charles Dick

John E. Don Carlos

Pamela and Craig Eisenberg

Tina Evans

Max Fenstermacher

Walt Fidler

Marilyn Field

Douglas Flaker

Elena I. Foronda

The Samuel I. and John Henry Fox Foundation

Judith Fullerton

Richard and Sharon Gabriel

Kenneth F. Gibsen Memorial Fund

Marilyn Friesen and John Greenbush

Fred Hafer and W. Haskins-Hafer Household

Dr. and Mrs. William P. Haney

Stephanie and John Hanson

Donna Hendrix

Jill Herbold

Suzanne and Lawrence Hess

Mert and Joanne Hill

Barbara and Paul Hirshman

Peggy and John Holl

Kate Hong

Thomas Houlihan

Thao Hughes

Kenneth Hunt

John Hurley

Jay William Jeffcoat

Zella Kahn-Jetter and Gary Jetter

Gina Kakos

Maurice Kawashima

Bob Kelly

Rhea and Armin Kuhlman

Robert and Laura Kyle

Dr. Mary Lawlor

Joseph K. Drag and Karen L. Lee

Greg Lemke

Stephen Lending

Gayle M. Lennard

Robin and Charles◊ Luby

Daniel and Chris Mahai

Madonna Christine Maxwell

David McCall and Bill Cross

Susan and Douglas McLeod

Mr. Paul J. McMahon

Dr. Grant Miller

Dr. Sandra E. Miner

Martha and Chuck Moffett

Bibhu P. Mohanty

Patricia Moises

Dr. Thomas Moore

Kathryn Murphy

Tom and Anne Nagel

Patricia R. Nelson

Lawrence and

Rebecca Newman

Patricia and Kent Newmark

Dr. Jon Nowak

Sandra and David Polster

Pratt Memorial Fund

Jim Price and Joan Sieber

Qualcomm Matching Grant Program

Barbara Rabiner

Robert Glenn Rapp Foundation

Janet and Bill Raschke

Renaissance Charitable Foundation

Christa and Gerald Reynolds

Lois Richmond

Darci Roger-Tracy

The Ryde Family Memorial Foundation

Gloria and Dean Saiki

Sanderson Family Donor

Advised Fund

Bonnie and Josef Sedivec

Donna Sher

Holland M. Smith II

Valerie Stallings

Larry and Pamela Stambaugh

Steve and Carmen Steinke

Emily Renee Stroebel

John E. Sturla II

Harry V. Summer

Deborah Klatskin and Burton Sutker

Swinton Family Fund

Mary and Jonathan Szanto

Jacqueline Thousand and Richard Villa

Col. and Mrs. Joseph C. Timmons

Jennifer Toth

William Townsend

Jean and Mark Trotter

Janet Anderson and Victor Van Lint

Janis Vanderford

Mary Walshok

Lori and Bill Walton

Carol and Thomas Warschauer

Dr. Jeffrey and Barbara Wasserstrom

Margaret Weigand

Irene, David◊ and Diana Weinrieb

Judy and Bob Weisman

Fernanda Whitworth

Andrea and Victor Wild

Martha Wingfield

Joseph and Mary Witztum

Olga and Oscar Worm

Maria and Randy Zack

Britt Zeller

Dr. and Mrs. Philip Ziring

SONATA CIRCLE: $500-$999

Anonymous

Alana and Roger Albertson

June and Daniel Allen

Elizabeth Anderson

Andrade Family Trust

Hector and Jennifer Anguiano

Arleene Antin and Leonard Ozerkis

Colleen Bechtel

Patricia and Bruce Becker

David Belanich

Barry and Emily Berkov

Elena Bernardi

Rosanne B. and W. Gregory Berton

Terri Bignell

Jerry and Karen Blakely

Stephen and Priscilla Bothwell

Greg Bowcott

Elizabeth E. Bruton

Jolie and Glenn Buberl

John M. Burns

Shirley Cantu

William Carrick

Lynne Champagne

Geoff and Shem Clow

Dan Collins and Nancy Shimamoto Household

Lee Connor

Ann Craig

Bob and Kathy Cueva

Roberta Culbreath

Georgia and Emery Cummins

Kathryn K. Dabbs

Karen Dalton-Koch

Julie and Don De Ment

Heather Dietsch

Ann Green Diggdon*

Dr. Greg Dixon

Gail Donahue

Elizabeth and Richard Dreisbach

Pamela Dunlap

Florence Nemkov and Dr. Bernard Eggertsen

John Eldon

Jeane Erley

Chris Eshelman

Karin and Alfred Esser

Joel Ewan and Carol Spielman-Ewan

Linda Lyons Firestein

Chris and LeAnne Floom

John Foltz

Marcia and Leonard Fram

Holli and Ronald Franzese

Rob Gilmore

Brenda and Michael Goldbaum

Donna Gordon

Laurie M. Gore

Dennis Grady

Stephen Gray

Stephanie and H. Griswold

Douglas Gross

Charles Gyselbrecht

Gerald Hansen and Marilyn Southcott

Thomas Hawkins

Dr. Robert and Diane Haynes

Brian Hays

Helmut W. Schumann Foundation

Ray Henderson

James Herman

The Herr Family

Dr. Avi Hettena

Deborah Hirsch

Janet and Clive Holborow

Robert Holmes

Gurdon Hornor

Lulu Hsu

Nancy Hylbert

Justin Jackson

Faith and Steve Jennings

Robert Jentner

Dimitri and Elaine Jeon

Benjamin Johnson

Thesa Lorna Jolly

Dr. Divya Kakaiya

CONTINUED ON NEXT PAGE

Carol Kearney

Dwight A. Kellogg

Maureen C. Kendrick

Maureen Kilfoyle

John and Sue Kim

Ken Kobayashi

Stephen Korniczky

John Lally

Mayra Curiel and Carlos Larios

Dr. James and Lois Lasry

Elizabeth Leech

Lewis Leicher

Stacey LeVasseur Vasquez

Ann and Joseph Lipschitz

David Louie

Claudia Lowenstein

Daniel Lysne

Kiyoe MacDonald

Anne Macek

Kyong Macek

Michael Mahaffey

Amy and John Malone

Deborah and Fred Mandabach

Sue Marberry

Nikolay and Tatyana Matusov

Patrick McArron and Glenn Stokes

Mac McKay

Narriman McNair

Joseph Milchen and Aleica Ayers

Theresa Morley

Mary Neilan

Frank O'Dea

James and Jean O'Grady

Larry and Linda Okmin

Household

Madonna Omens

Brent Orlesky and Ronald T. Oliver

Julian Parra

Edward Phelan

Dorothy Kay Phillips

Sheila and Ken Poggenburg

Dean Popp

Joseph and Sara Reisman

Patrick Ritto

Theodore E. Roberts

Nancy Robertson

Steve and Cheryl Rockwood

Esther Rodriguez

Bill and Janet Rogers

Bill and Melanie Roper

Sheryl Rowling

Rose Marie and Allan Royster

Norman and Barbara Rozansky

Sanderson Family Fund

Julie and Jay Sarno

Henry Sauls

Mary Margaret Saxton

Mr. Daniel H. Schumann

Thomas Schwartz

Dr. Sharron Seal

Selati Family Fund

Lu and Georgina Sham

Ben and Julia Shiller

Professor Susan Shirk

Martha Shively

Hano and Charlotte Seigel

David Skinner

Mary Slatten

Marilyn and Brian Smith

Daniel Soto

John L. Stover

Derek Stults

Dr. David E. and Susan F. Summers

Suzanne and William Sutton

Kay and Cliff Sweet

Phoebe and Eugene◊ Telser

Thomas Templeton and Mary Erlenborn

Robert and Tamara Thibodeau

Paul and Mary Anne Trause

Steven Traut

VOSA Student Symphony

Ticket Fund

John Walsh

Joyce Walters

Rex and Kathy Warburton

Don and Sharon Watkins

J. Susan Watson

Janet and Joel Weber

Criseida Werdenberg

Mike and Janet Westling

Noel Wheeler

Joyce Williams

Symphorosa Williams

David A. Wood

Karen and Rod Wood

Steven Yagyagan

Naima and Mike Yelda

Herb and Margaret Zoehrer

MEMORIAL GIFTS

In memory of Jim Bashor

Dianne Bashor and Cal West Apartments

In memory of Nomi Feldman

Elaine Galinson and Herb Solomon

In memory of Dick Hess

Marla Hess

In memory of Wolfgang Horn

Kathleen Seely Davis

In memory of my mother

Charlene Kenny, who was a professional violinist and violist for many decades.

Cathleen Kenny

In memory of Cherri Klueck

Jonathan Kendrick

In memory of Bob Kyle

Robert and Laura Kyle

In memory of Carl Maggio

Linda and Shearn◊ Platt

In memory of Lawrence McCleary

John Ferrara

Darrell and Patricia Marsh

Tyler Pitman

In memory of

RADM Riley Mixson

Colonel and Mrs. W.R. Jones

In loving memory of Karen Pernela, mother of violist Ethan Pernela

Ann Morrison

In loving memory of Ed Reed. May his memory be a blessing.

Marlee Jones

In memory of Carlyn Rosse

Eileen Wingard

In memory of Florence ShillerGoldman, who loved classical music and was a loyal fan of the San Diego Symphony

Mid Deng

In memory of my Oma (grandmother) Ursula Stroebel who enjoyed the San Diego Symphony throughout her life. She passed in early 2021.

Emily Renee Stroebel

In memory of Jospeh Taft

Elizabeth Taft

In memory of Carleton and Andree Vail

William F. Burns and

Meredith Brown

In memory of Nellora J. Walker

Northern Trust

In memory of David and Ilene Weinreb

Diana Weinreb

HONORARIA GIFTS

In honor of Victoria AndÚjar

Vance and Gloria Baker

In honor of Maria Atkins, and James & Theresa Grant, in lieu of Christmas presents this year

Mrs. Thao Nguyen Hughes

In honor of Robert Caplan

Dr. Robert and Fran Preisman

In honor of Hal Fuson

Jay and Julie Sarno Fund

In honor of Martha Gilmer

Edward and Martha Dennis

In honor of our son Benjamin Jaber, principal horn

Thomas Jaber

In honor of Joan and Irwin Jacobs' Wedding

Anniversary

Seltzer Caplan McMahon Vitek

Hal and Debby Jacobs

Paul Jacobs Household

Jeffrey Jacobs

In honor of Joan Jacobs' 90th birthday

Lawrence and Rebecca Newman

In honor of Dr. Irwin Jacobs' birthday

Paul Jacobs Household

In honor of Irwin and Joan Jacobs as this year's JFS Gala Honorees

Robert Rubenstein and Marie Raftery

In honor of Dr. Warren O. Kessler

Dr. Walter and Barbara Doren

Gayle M. Lennard

Bill and Ellen Whelan

In honor of Rebecca Littman, Sietse Jonkman & Nora Littman Jonkman

Dr. Marshall J. Littman

In honor of two moms on Mother's Day who support the Symphony strongly!

Judith Wenker

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 Sherron Schuster's birthday

Mrs. Marilyn Colby

In honor of Herbert J. Solomon's 90th birthday

Seltzer Caplan McMahon Vitek

In honor of Sarah Tuck

Maryana Bhak

In honor of Isabelle Wasserman's 90th birthday

Nancy Goldberg

ESSENTIAL APRIL EATS

Where to Dine, Imbibe and Be Merry This Month by

Three Michelin stars for a fine-dining superstar, a casual sushi spot at Liberty Public Market, SoHostyle pizzas by the square-shaped slice, a seaworthy speakeasy and more … San Diego dining (and drinking) in April is as diverse as it is delicious.

How do we adore Addison? Let us count the ways. A fine-dining institution helmed by executive chef William Bradley since 2006, Addison recently earned three Michelin stars by the esteemed Michelin Guide. It’s the first SoCal restaurant and one of just 14 in the U.S. to receive three stars. Addison is also the first and only San Diego restaurant to be honored in the prestigious La Liste guide and international ranking system. Spotlighting local, seasonal ingredients, Bradley and his team craft exquisite, SoCal-influenced French dishes—serving a

SARAH DAOUST

nine-course menu paired with wines from an exceptional, 10,000-bottle cellar. The restaurant overlooks the Fairmont Grand Del Mar Golf Course—with views of the 18th hole and waterfall. Make reservations soon; Addison is booked solid for months. 5200 Grand Del Mar Way, Del Mar, 858.314.1900

Ahoy! Hospitality group SDCM brings us Captain’s Quarters—the new sister to the Grass Skirt located next door. Modeled after a 17th-century sailing ship, the nautical-themed, speakeasy-esque bar serves a mix of “refreshing” and “direct” cocktails, including an array of gin-based libations; plus a “From the Galley” light bites menu crafted by SDCM executive chef Brian Redzikowski, featuring grilled prawns and caviar bumps. The cozy-chic, low-lit decor features nautical portholes lit by video projections of ocean sunsets and stormy

Alfonsino at Addison

seas. 910 Grand Ave., Pacific Beach, 858.412.5237

Tracy Borkum and chef/partner Tim Kolanko bring us The Kitchen @ MCASD, now open on the La Jolla campus of the Museum of Contemporary Art San Diego (MCASD). The full-service alfresco cafe feels akin to a European garden, outfitted with large umbrellas that shade a quaint dining courtyard. Serving breakfast and lunch, the Mediterranean-inspired menu offers Spanish-style French toast, a lobster and mushroom omelet, a swordfish kebab plate, salads, sandwiches, house-made pastries and more; plus wine, cocktails, Paru teas and Dark Horse coffee. 700 Prospect St., La Jolla, 619.880.8719

An ode to oysters and refined sea fare, Salt & Fin is the fifth full-service restaurant to open at Harrah’s Resort. The elegant outpost offers chilled seafood and spe-

cialties like wild-caught, whole-grilled orate fish, poached Pacific halibut, and the signature Salt & Fin Shrimp ‘n’ Grits; plus pasture-raised chicken, flat-iron prime steak, and cornbread with spiced honey, chili butter and smoked sea salt; and bourbon-caramel budino for dessert. The seainspired decor features warm lighting supplied by hanging sphere-shaped lanterns; along with whimsical accents, including mermaid artwork dotting the walls and octopus candleholders. Start your evening with a classic cocktail at the bar, such as the Oaxaca Old Fashioned or Bugatti Margarita; and end the night trying your luck on the Harrah’s casino floor. 777 S. Resort Drive, Valley Center, 760.751.3100

First opened in 2012 in NYC (then expanding to Los Angeles and Miami), the Morano family’s Prince Street Pizza

The Crab Louie Salad at Salt & Fin

DINING

is known for its SoHo squares and Neapolitanstyle round pies—incorporating Sicilian recipes and handcrafted sauces. Now pizza lovers can enjoy its famous fare at its new location in the Gaslamp. Expect the same menu offerings named after landmark SoHo streets; such as the Mercer Margherita pie, the Prince Perfection and the trademarked Spicy Spring; plus 10-inch pizzettas, salads and mozzarella balls. 415 Market St., Gaslamp Quarter, 619.501.4261

The owners of Le Parfait Paris have opened Liberty Public Market’s first and only sushi restaurant. Welcome to The Sushi Stand, a fast-casual concept where patrons can grab fresh, locally sourced sushi to-go—served in custom recyclable (and adorable) boxes—for lunch and dinner. Try the Maria Maria roll, with spicy Kanikama, cucumber, avocado, Hamachi, pineapple and jalapeño; and the vegan Blue in Green roll with radish sprouts, cucumber, tempura asparagus, avocado, roasted mushrooms and chili garlic. 2820 Historic Decatur Road, Liberty Station, 858.789.6557

Gaslamp hotspot

Lionfish debuts a revamped dinner menu by executive chef JoJo Ruiz.

Presented by La Jolla Playhouse since 2013, Without Walls Festival (WOW) is an annual multi-day, family-friendly event that bursts outside traditional theatre spaces, turning unexpected locations into an interactive stage. Discover innovative American and international artists, and experience a dizzying array of “bold and extreme” new works (Time).

New offerings include Korean hot chicken with mochi waffles, truffle butter, house-made hot sauce and smoked maple; Lamb Lollipop Anticucho; and King Crab Dynamite. Feast on new specialty sushi rolls like the Bonecrusha made with king crab, tuna toro, caviar, crispy shoestrings, white truffle shoyu and bone-marrow butter; and the Geisha with kampachi, spicy tuna and avocado. Or indulge in the 180-ounce, prime striploin “Oscar” crusted with blue crab. 435 Fifth Ave., Gaslamp Quarter, 619.738.7200

San Diego’s largest urban winery, Carruth Cellars, introduces some delicious offerings. Cheese lovers will adore the new “crostini flights” at Carruth’s Liberty Station Wine Garden cheese shop. Made with Prager Brothers Artisan Bread baguette slices, the flights feature toppings like fennel-fig gouda and honey-brie chili flakes. Or try one of several new sandwiches, such as the Cold Cut Trio and Bistro Sandwich. And enjoy “Mimosa Sundays” at the Liberty Station, Carlsbad and Solana Beach tasting rooms—featuring Blanc de Blanc sparkling chardonnay mimosas and pastries. See website for addresses. carruthcellars.com

Our Culinary, Baking, and Hospitality Apprenticeship programs give individuals who are facing barriers to employment the opportunities and support they need to embark on meaningful careers!

Following 10 weeks of intensive technical and career readiness training, our Apprentices move into paid onthe-job training with one of our wonderful Employer Partners like C-Level, Continental Catering, Holiday Inn Bayside, Hotel Del Coronado, Humphrey's Half Moon Inn, Island Palms, Island Prime, La Valencia, Maya's Cookies, Omni La Costa, Park Social, Petco Park, The Dana, Town & Country Resort, and Cucina Urbana.

Please support these transformational programs today! www.kitchensforgood.org

RACHMANINOFF: ALL-NIGHT VIGIL

One Night Only — April 29, 2023

Rachmanino counted his a cappella choral work, All-Night Vigil, among his two favorite compositions. The San Diego Master Chorale presents Rachmanino ’s soul-stirring All-Night Vigil for one night only.

For tickets and information, visit sdmasterchorale.org.

The San Diego Master Chorale is auditioning for new singers this summer for the 2023-24 Season. We are auditioning for all sections, and looking especially for tenor and bass voices. Do you have a singer in your life who might like to join us? Apply by May 5. For more information, visit sdmasterchorale.org/auditions.

SING WITH US!

Audition Deadline — May 5, 2023

Sergei

Obsession, Overacting and Ladies Losing Their Latchkeys

CONT’D. FROM PAGE 10

Festival’s only ticketed event. It takes place at MCASD’s downtown location—a short shuttle ride from The Rady Shell. Inspired by lucha libre— the Mexican wrestling performance in which professional wrestlers use masks and high-flying maneuvers to entertain audiences—La Lucha will take visitors on a voyage to experience ringside thrills and backstage secrets. After the festival, La Lucha will open to the public in May.

Directed by Rosina Reynolds

PRESENT LAUGHTER PRESENT LAUGHTER PRESENT LAUGHTER PRESENT LAUGHTER PRESENT LAUGHTER

Not all is as it seems in this hilarious and Hitchcockian story that makes you question… well, everything.

By Keiko Green

SHARON SHARON SHARON SHARON

Ashley and Gilmer are both excited about A Shared Space, a program by Ryan Carter in which the San Diego Symphony will perform. Carter will transform cell phones into instruments, as the audience joins Symphony musicians as players in a communal performance— aiming to enhance a sense of togetherness that develops by being in the audience of a live musical performance.

“Of course, we are looking forward to many of the events at this year’s WOW Festival,” says Gilmer, “But we’re particularly proud of the program that our Symphony musicians will perform; and the collaboration between our two organizations to put this incredible event together.”

Sean MurrayJames NewcombAmanda SittonShana WrideLindsey Young

Drew BradfordTrevor CruseMelissa FernandesAnnie HintonSteven Lone

Other highlights of the 2023 Wow Festival:

Birdmen, from the Close-Act Theatre Company, The Netherlands, features huge, illuminated creatures that are operated by mysterious men. Their movement and colors are synchronized—as if programmed for a mission. Their glowing bodies react to their environment, and they seem to communicate in colors.

Choreo & Fly, from San Diego’s Disco Riot, combines performance with an activity that allows audience members to engage in something physical between short dance performances (by local movement artists) in a unique combination of dance and kite-flying. Spectators will have the opportunity to move their bodies, enjoy physical expression and build community through movement.

Circular Dimensions, from Cristopher Cichocki, who is based in the Coachella Valley, harnesses elements of the natural world as well as industrial mutation as primary

BCSD 20 SOMETHING :

SCORCHERS!

May 5-6, 2023

Celebrating our 20th season with favorite hits by Rameau, Handel, Purcell, Bach, Haydn, and others

www.bachcollegiumsd.org

FEATURE

mediums; alongside original compositions fused into Cichocki’s DJ sets that embrace sonic ambience and experimental dance genres. Circular Dimensions will map the surrounding environment with monumental video projections experienced in chroma-depth 3D.

Diversionary Theatre’s Drive—an immersive theater experience based on Broadway veteran Sharon Wheatley’s book Drive—chronicles her real-life, pandemic-necessitated cross-country RV trip with her wife and family. Unfolding around a 30-foot RV, this warm and funny play follows the two women as they struggle to set up a campsite; all the while tackling discussions of family, the loss of working in live theater, and how to manage the great outdoors.

The End, from Control Group Productions in Denver, hijacks a traditional civic bus tour to take audiences on a ride through a city transformed by escalating climate catastrophe— rolling toward the brink of collapse. Exploring our city’s present and futures, The End seeks refuge from the rising storm in an interactive expedition visiting multiple sites in a custom-renovated, apocalyptic school bus.

TWENTIETH SEASON Ruben Valenzuela, Artistic Director

Petra and Nati’s Las Cuatro Milpas restaurant in Barrio Logan is a local landmark and a longtime favorite among San Diego food enthusiasts. In Las Cuatro Milpas, San Diego’s TuYo Theatre creates an immersive journey through a corn maze inspired by the restaurant that bridges ancient Aztec mythology with the American dream. Audiences enter a maze modeled on Aztec codices and covered in murals that tell the journey of the Estudillo family—from Mexico to California.

Aimed at families with children, The NEST, from St. Paul’s Megan Flød Johnson, is an immersive playscape for young people and their communities to explore the identity and home of an elusive and migrating “Creature.” Children can explore ideas through unstructured play and hands-on making guided by a cohort of NEST facilitators.

WOW Festival 2023 takes place April 27-30. For more info, visit wowfestival.org and theshell.org.

JESSICA CRAY MARTIN PHOTO (WALKER ARTS CENTER)

Photo by Chelsea Penyak

WOW production The NEST, from Megan Flød Johnson

Artist Niki de Saint Phalle’s Coming Together sculpture at the San Diego Convention Center is 30 feet tall and weighs 10 tons.

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