Opening night Saturday, May 11, 2013
President’s Welcome It is my pleasure to welcome you to Opening Night at Heritage Center. For alumni/ae, faculty, students, staff, and friends of the University, the dream of a center for students, for performing arts, and for worship is a reality. On behalf of the entire University family – on-campus, across the nation, and around the globe, I want to express our thanks to the major investors in the project: Joe and Linda Chlapaty, John and Alice Butler, Ed and Shirley Babka, Jack and Suzanne Preiss. Our thanks also to the countless corporate and individual donors without whose support we would not have the privilege of being here for this glorious and exciting event. We are abundantly blessed. A word of special thanks to Joe and Linda Chlapaty for their sponsorship of this evening’s concert with special guest artist, Gil Shaham. In the classic sense of the word, a concert that brings together musicians from two symphony orchestras is, indeed, unique – “one of a kind.” In the early planning for this event almost two years ago, the Chlapatys broached the idea of a concert that would bring together the orchestras from their two hometowns – Columbus, Ohio and Dubuque, Iowa. It is a tribute to the management and conductors of these two orchestras who were enthusiastic about working out the complicated details involved in presenting a rare, joint symphonic concert. Thank you for being with us this evening. I hope that this will be the first of many visits to Heritage Center for performances, worship, gallery openings, and other special events.
With gratitude for this Center, and thanks for each of you,
Jeffrey F. Bullock President
Opening night Saturday, May 11, 2013 b 8:00 p.m. b Heritage Center b University of Dubuque
Program Peter Stafford Wilson, Associate Conductor, Columbus Symphony Orchestra Columbus Symphony Orchestra William Intrilligator, Music Director and Conductor, Dubuque Symphony Orchestra Dubuque Symphony Orchestra Charles Barland, Director, University of Dubuque Concert Choir University of Dubuque Concert Choir Gil Shaham, violinist Marian Hoffman, soprano
Welcome
Jeffrey F. Bullock, President
Berlin / Healey
God Bless America
Marian Hoffman, soprano University of Dubuque Concert Choir
Beethoven, Ludwig Van
Symphony No. 7 in A Major, Op. 92
I. Poco sostenuto - Vivace II. Allegretto III. Presto IV. Allegro con brio
INTERMISSION Brahms, Johannes
Concerto in D Major for Violin and Orchestra, Op. 77
I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace Gil Shaham, violin
Gil Shaham is one of the foremost violinists of our time: an American master combining flawless technique with inimitable warmth and a generosity of spirit. Since 2010 Shaham has been working on a long-term exploration of the “Violin Concertos of the 1930s,” a project that comprises performances and recordings with some of the world’s greatest orchestras. This season, he issues the project’s first CD on his own label, Canary Classics, playing the Barber, Stravinsky, and Berg Violin Concertos with three leading orchestras under the baton of David Robertson. Shaham has more than two dozen concerto and solo CDs to his name, many of them topping charts and earning prestigious awards, including several Grammys, a Grand Prix du Disque, and a Diapason d’Or. His more recent recordings – on Canary Classics, which he founded in 2004 – include collaborations with Yefim Bronfman, Akira Eguchi, and his sister, pianist Orli Shaham. Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Award. He plays the 1699 “Countess Polignac” Stradivarius.
Marian Hoffman, soprano, received a master of fine arts degree in vocal performance from the University of Minnesota and a bachelor of music education degree from the University of Dubuque. An active recitalist and oratorio soloist throughout the Midwest, she has soloed and recorded with the Minnesota Chorale, the Bach Society, and the Dale Warland Singers. She has sung with the Minnesota Opera and her performances for the Schubert Club have been broadcast over Minnesota Public Radio. As an active artist with Thursday Musical, she performs regularly. She has been featured with the Minneapolis Civic Orchestra, Venice Florida Symphony, as well as performing with the Scottish National Orchestra in Benjamin Britten’s War Requiem Scottish premiere. Marian taught college voice for 18 years and now maintains a private studio. Following the tradition of two generations before her, Marian entered the University of Dubuque in the fall of 1952. Her family’s association with UD began with her grandfather, mathematics professor and registrar, John Zimmerman, and continued with her mother, Alma, who was among the first group of co-eds at UD in 1911. She married classmate Warren Hoffman, and began her married life teaching music in the Wisconsin public schools while Warren attended UDTS.
P r o g r a m No t e s God Bless America (1918/38) by Irving Berlin (Mogilyov, Russian Empire [now Belarus], 1888 – New York, 1989) arranged by Bruce Healey (b. St. Louis, 1950) The song that became America’s unofficial national anthem in 1938 was written by a Russian Jewish immigrant whom his younger contemporary George Gershwin called ‟“the American Schubert.” Another eminent colleague, Jerome Kern, wrote: ‟Irving Berlin has no place in American music – he is American music.” This legendary songwriter composed both the lyrics and the music to close to 1,500 songs, including such immortal gems as “White Christmas,” “Easter Parade,” “There’s No Business Like Show Business,” and “Puttin’ on the Ritz.” Berlin first wrote “God Bless America” in 1918 for a revue called Yip Yip Yaphank but then decided not to use it in that show. He set the song aside until 1938, when he revived it and had singer Kate Smith (1907-86) perform it on the radio on Armistice Day. It immediately became a hit and an unofficial national anthem, sung at countless public functions; the song has taken on an even deeper meaning since the terrorist attacks of September 11, 2001. The present arrangement is by Bruce Healey, a composer and arranger long associated with the Walt Disney Company.
Symphony No. 7 in A major, Op. 92 (1812) by Ludwig van Beethoven (Bonn, 1770 – Vienna 1827) I can distinctly remember the day I heard Beethoven’s Seventh Symphony for the first time. I was about five or six years old, and a recording with Arturo Toscanini and the NBC Symphony was playing on the radio. I was completely mesmerized by the performance, and when the fourth movement began, I jumped to my feet and started to dance. About a dozen years later, I learned about Richard Wagner’s description of the symphony as the “apotheosis of the dance,” and although I wasn’t sure what an apotheosis was, I could certainly agree that dance was at the center of what this symphony was all about. Even later, I became acquainted with other attempts by nineteenth-century writers to capture the work’s essence, invoking political revolutions, military parades, masquerade balls, Bacchic orgies, and more. Finally, about 25 years after my first encounter with the symphony, I read Maynard Solomon’s excellent book on Beethoven, in which the author shows how all these fanciful interpretations were really variations on a single theme, that of the “carnival or festival, which, from time immemorial, has temporarily lifted the burden of perpetual subjugation to the prevailing social and natural
order by periodically suspending all customary privileges, norms and imperatives.” In other words, generations of listeners have felt that Beethoven’s Seventh Symphony is a wild celebration of life and freedom. While the Ninth Symphony is a fierce struggle with fate that is won only when the “Ode to Joy” is intoned, from the start the Seventh radiates joy and happiness that not even the second movement (to some, a funeral march) can seriously compromise. The dance feelings associated with the work find their explanation in the fact that each of the four movements is based on a single rhythmic figure that is present almost without interruption. (The third movement has two such figures, one for the Scherzo proper and one for the central Trio section.) In the first movement, we may see how the predominant rhythm gradually comes to life during the transition from the lengthy slow introduction to the fast tempo. Every rock lover knows how intoxicating the constant repetition of simple rhythmic patterns can be. That’s part of what Beethoven did here, but he also did much more than that: against a backdrop of continually repeated dance rhythms, he created an endless diversity of melodic and harmonic events. There is a strong sense of cohesion as the melodies flow from one another with inimitable spontaneity. At the same time, harmony, melody, dynamics and orchestration are all full of the most delightful surprises. It is somewhat like riding in a car at a constant (and rather high) speed while watching an ever-changing, beautiful landscape pass by. The first movement starts with the most extended slow introduction Beethoven ever wrote for a symphony. It presents and develops its own thematic material, linked to the main theme of the “Allegro” section in a passage consisting of multiple repeats of a single note – E – in the flute, oboe, and violins. Among the many unforgettable moments of this movement, I would single out two: the surprise oboe solo at the beginning of the recapitulation (which has no counterpart in the exposition) and the irresistible, gradual crescendo at the end that culminates in a fortissimo statement of the movement’s main rhythmic figure. The second movement “Allegretto” in A minor was the section in the symphony that became the most popular from the day of the premiere. (It had to be repeated already at the first performance.) The main rhythmic pattern of this movement was used in Austro-German church litanies of the 18th and 19th centuries. The same pattern is so frequent in the music of Franz Schubert that it is sometimes referred to as the “Schubert rhythm.” The
“Allegretto” of Beethoven’s Seventh combines this rhythm with a melody of a rare expressive power. The rhythm persists in the bass even during the contrasting middle section in A major. The third movement “Scherzo” is the only one of the symphony’s movements where the basic rhythmic patterns are grouped in an unpredictable, asymmetrical way. The joke (which is what the word Scherzo means) lies in the fact that the listener may never know what will happen in the next moment. Only the Trio returns to regular-length periods. In another innovative move, Beethoven expands the traditional Scherzo-Trio-Scherzo structure by repeating the Trio a second time, followed by a third appearance of the Scherzo. At the end, Beethoven leads us to believe that he is going to start the Trio over yet another time. But we are about to be doubly surprised: first when the by-now familiar Trio melody is suddenly transformed from major to minor; and second when, with five quick tutti strokes, the movement abruptly ends, as if cut off in the middle. In the fourth movement “Allegro con brio,” the exuberant feelings reach their peak as one glorious theme follows another over an unchanging rhythmic pulsation. The dance reaches an almost superhuman intensity (and that, incidentally, is the meaning of the Greek word “apotheosis,” literally, “becoming God-like”). This is a movement of which even Sir Donald Francis Tovey, the most celebrated British musical essayist of the first half of the 20th century, had to admit: “I can attempt nothing here by way of description.” Fortunately, the music speaks for itself.
Violin Concerto in D major, Op. 77 (1878) by Johannes Brahms (Hamburg, 1833 – Vienna, 1897) Johannes Brahms was twenty years old when he first met the great Hungarian-born violinist Joseph Joachim, two years his senior, for whom he would eventually write his Violin Concerto. They became acquainted through another Hungarian violinist, Eduard Reményi, who had been touring Germany with Brahms as his accompanist. The bond between Brahms and Joachim was strengthened by the fact that both were protégés of Robert Schumann. Joachim had been a child prodigy, making his debut at age 12 under Mendelssohn; he was also responsible for making Beethoven’s Violin Concerto, until then a neglected work, part of the standard concert repertoire. Joachim had been asking Brahms for a violin concerto for a long time. Finally, in the summer of 1878, the composer set to work during his summer vacation at Pörtschach on the beautiful lake, the Wörthersee. The previous summer, Brahms had composed his Second Symphony in the same place, and the two works have a number of features in
common: they share not only their tonality (D major) and the meter of their first movements (3/4), but some thematic material as well. Brahms and Joachim worked closely on many details of violin technique; Brahms asked the violinist for advice, although he didn’t always follow it. Brahms originally planned to write a four-movement concerto, something classical composers had never done. Brahms eventually changed his mind and reverted to the usual three-movement concerto structure, and his sketches for the original middle movements are now lost. (He returned to the idea of a four-movement concerto some years later, in the Second Piano Concerto.) The immediate model for Brahms’s Violin Concerto was, obviously, Beethoven – we have mentioned Joachim’s close association with the Beethoven concerto. In fact, Brahms was the first composer to have matched the scope of that masterpiece, in terms of its dramatic quality and the perfect equality between soloist and orchestra. (Mendelssohn’s great violin concerto in E minor followed a different tack, being a predominantly lyrical work. Coincidentally, Tchaikovsky wrote his violin concerto the same year as Brahms wrote his, responding to the same Beethovenian challenge.) The gigantic first movement (itself more than 20 minutes in length) presents an entire gamut of characters, from majestic to lyrical and from calm to agitated. Like the classical concertos, it has a place for a cadenza to be added by the soloist. The cadenza written by Joachim continues to be used in performances to this day. The second movement starts with a rapturous oboe solo, accompanied by a group of wind instruments. Its melody closely resembles one of Brahms’s most beautiful songs, the “Sapphic Ode.” The solo violin embellishes the melody with lavish figurations, and takes it through several stages of transformations, involving many subtle changes of key, before we reach the truly ethereal ending. Both the first and the last movements are begun by the orchestra. The finale, by contrast, starts with a violin solo, so the soloist has no time to rest: the last chord of the Adagio is immediately followed by the lively theme of the last movement. The style of this rondo was inspired by Hungarian gypsy tunes, which had inspired Brahms in his Hungarian dances and his G-minor piano quartet as well. The impetuous “gypsy” theme is contrasted with some calmer episodes. Its final return, in a faster tempo, gives the concerto its exuberant conclusion. -
Program notes written by Peter Laki, a musicologist originally from Hungary and now based in the United States, where he is the Programme Annotator for the Columbus Symphony Orchestra.
t h e Co l u m b u s S y m p h o n y Now in its 62nd season, the Columbus Symphony (CSO), led by dynamic Music Director Jean-Marie Zeitouni, is reaching a growing and more diverse audience each year through an array of innovative artistic, educational, and community outreach programming. This season, the Columbus Symphony will share classical music with more than 175,000 people in central Ohio through concerts, radio broadcasts, and special programming. The Columbus Symphony has worked passionately throughout its history to uphold a tradition of artistic achievement and community engagement. Founded in 1951 as the Columbus Little Symphony, the CSO is central Ohio’s oldest professional orchestra, with a tradition of excellence led by past Music Directors and conductors, including Evan Whallon, Christian Badea, Alessandro
Siciliani, and Junichi Hirokami. In 2001, the Orchestra made its historic debut in New York’s Carnegie Hall, garnering critical acclaim at the national level. Current artistic programming includes the Masterworks series, with symphonic masterworks from all periods of classical composition; an indoor winter Pops series; the popular summer outdoor Picnic with the Pops series; family series Concerts for Kids and Popcorn Pops; and special events. The orchestra also accompanies performances by BalletMet Columbus and Opera Columbus. In addition, 10 education and community engagement programs and six youth orchestras educate, entertain, and enrich people of all ages throughout central Ohio. For more information, visit www.columbussymphony.com.
leadership, the CSYO has appeared at national conventions of the Music Educators National Conference and the League of American Orchestras. The group has also toured internationally with highly acclaimed performances in Canada, Europe, China, and Hong Kong. In 2010, the CSO honored Wilson with its Honorary Music Educator of the Year Award for his 20 years of service to the organization’s education activities.
Peter Stafford Wilson
Columbus Symphony Associate Conductor Peter Stafford Wilson has served the Columbus Symphony (CSO) since 1990 when he joined the staff as assistant conductor. In 1993, he was promoted to associate conductor, and since that time, has appeared on all of the CSO’s subscription, education, and outreach series. He served as artistic director of the Festival Weeks at the Southern Theatre, played a prominent role in the CSOvations Series, and led the popular Gospel Meets Symphony performances. He has also led the CSO in performances throughout the state of Ohio, and in collaborative performances with BalletMet. Wilson also leads the nationally-renowned Columbus Symphony Youth Orchestras (CSYO) program, conducting the senior orchestra, the Columbus Symphony Youth Orchestra, and the Columbus All-City Orchestra comprised of students from the Columbus city schools. Under Wilson’s
Born in Greensboro, North Carolina, Wilson graduated from the University of Cincinnati College-Conservatory of Music, where he was a protégée of the late Thomas Schippers. He also attended L’Accademia Santa Cecilia in Rome, the Aspen Music School, and the Pierre Monteux School for Conductors. He has also held conducting posts with the Canton Symphony Orchestra, the Eastern Music Festival, the Ohio Light Opera, and the Cincinnati Symphony. Wilson enjoyed a lengthy association with the Cleveland Orchestra, acting as cover conductor for performances at Severance Hall and the Blossom Music Center. In addition to his duties with the CSO, Wilson has served the Springfield Symphony Orchestra (SSO) as music director since 2001, and in 2010, won a League of American Orchestras/ASCAP Award for adventuresome programming for his commitment to contemporary American music in collaboration with the SSO. He has also led the Westerville Symphony at Otterbein University as Music Director for more than 16 years. He has also begun an association with the Tulsa Ballet, where he serves as principal conductor, and will lead three productions per season. This season’s selections include Ben Stevenson’s Dracula and Val Caniparoli’s The Lady of the Camillias.
The Dubuque Symphony Orchestra Although its antecedents can be traced back to 1903, the Dubuque Symphony Orchestra, as it is organized today, was formed in 1957 under the auspices of the University of Dubuque. Dr. Parvis Mahmoud, a UD associate professor of music, served as the conductor. Their first concert was on December 11, 1957, in Peters Commons on the UD campus. That same year UD’s President Dr. Gaylord Couchman, Music Chair Dr. Doy Baker, and supporters of the Arts, Drs. Paul Laube and Clark Stevens, began working to change the name of the UD Symphonic Orchestra to the University Civic Orchestra. The new name would recognize that members of the orchestra were drawn from both the University and Dubuque community. In 1963 the board elected to change the name to the Dubuque Symphony Orchestra (DSO).
Today, under the direction of the symphony’s third Music Director and Conductor, William Intriligator, the orchestra has experienced tremendous growth and success – attracting new audiences and musicians, adding opera productions to the season, doubling the number of education concerts, and forging new partnerships in the community. The only professional orchestra in a 70-mile radius, the symphony creates exceptional live musical experiences that challenge and inspire audiences. Performances include classical, popular, opera, and educational concerts.
William Intriligator is currently in his thirteenth
many distinguished orchestras across the country, including those of Honolulu, Houston, Minnesota, Richmond, Saint Paul, Savannah, Syracuse, Tulsa, and others.
season as Music Director and Conductor of the Dubuque Symphony Orchestra. During his tenure, the orchestra has seen a period of tremendous growth. It continues to attract outstanding guest artists and has added staged operas, large-scale festivals, and new education programs. The orchestra is continually engaging the community in new and exciting ways. Intriligator has led performances with
Formerly apprentice conductor and staff conductor of the Minnesota Orchestra, Intriligator led that orchestra in youth concerts and new music readings, and assisted with subscription concerts and national tours. While in Minnesota, he was also assistant conductor of the Minnesota Opera, music director of the Metropolitan Symphony Orchestra, and was a regular guest conductor of the Saint Paul Chamber Orchestra, conducting the latter ensemble in classical, family, and educational concerts, we well as concerts of new music and regional tours. In addition to his duties with the Dubuque Symphony Orchestra, Intriligator is concurrently in his fifth season as music director and conductor of the Cheyenne Symphony Orchestra in Wyoming. Originally from Santa Monica, California, Intriligator played clarinet, oboe, violin, and piano before turning to conducting. He graduated with highest honors in music from Princeton University, after which he studied conducting in France and Germany. He returned to the U.S. to earn his master’s and doctoral degrees in currently in his thirteenth season as conducting at the University of Minnesota.
William Intriligator
is Music Director and Conductor of the His principal conducting teachers were Charles Bruck, Dubuque Symphony Orchestra. Keith Clark, Michael Gielen, Murry Sidlin, Claudio Spies, Christian Thielemann, and David Zinman. Twice, he was a conducting fellow at the Aspen Music Festival, and he attended the Pierre Monteux School for many summers.
The University of Dubuque Co n c e r t C h o i r
Charles Barland was appointed director of the University of Dubuque Choir in 2002 and is currently associate professor of music and head of the fine and performing arts department. A native of Eau Claire, Wisconsin, Barland earned his bachelor of arts degree from Carroll University, Waukesha, Wisconsin, a master of arts degree from the University of Iowa, and the doctor of musical arts degree from the University of Kansas. Under Dr. Barland’s direction, the University of Dubuque Concert Choir has performed in 38 states and Puerto Rico. As an organist, he has performed throughout the United States and in Germany, Northern Ireland, and Scotland. His most recent recitals were solo performances for the Cathedral of Our Lady of the Angels in Los Angeles, California, and the Church of the Holy Rude in Stirling, Scotland. In addition to his duties at the University of Dubuque, he is an active member of the Dubuque Symphony Orchestra Board, serving on the artistic advisory committee and the education committee, and is dean of the Dubuque Chapter of the American Guild of Organists.
Columbus Symphony Orchestra
Dubuque Symphony Orchestra
VIOLIN I Alicia Hui Tatiana Hanna Zoran Stoyanovich Michael Buccicone Mikhail Baranovsky Erin Gilliland Joshua Ulrich
VIOLIN I Caroline Curtis Hannah Barton Timothy Kamps David Trelles Erik Leveille Laura Mericle Carol Carlson
VIOLIN II Rhonda Frascotti Gail Sharp Joyce Fishman Jana Ross Paula Korak Karin Harrell VIOLA Karl Pedersen Chris Saetti Mary Farrington Kenichiro Matsuda Lucy Firlie Ginther Jeannine Fancher CELLO Victor Firlie Pei-An Chao Marjorie Chan Sabrina Lackey
BASS Jena Huebner Russell Gill James Faulkner FLUTE Randall Hester OBOE Stephen Secan CLARINET David Thomas BASSOON Betsy Sturdevant HORN Adam Koch Erin Lano TRUMPET Jeff Korak TIMPANI Benjamin Ramirez Tour Staff Bill Conner
Managing Director and CEO
Pavana Stetzik
General Manager
Daren Fuster
Personnel Manager
Bill Lutz
VIOLIN II Wesley Luke Qi Cao Barb Ehlers Anna Carlson Connie Swift Genevieve Gourley Viola Christina Mixemong Molly O’Brien Hannah Lamm Ju Dee Ang Paul Price-Brenner Jenwei Yu Cello Kevin Price-Brenner Jonathan Hodges Emily Gruselle Eunkyung Son
Bass Steve Kasprzak Rose Gear Stephen Reichelt Flute Hsing-I Ho Oboe Tim Sawyier Clarinet Corey Mackey Bassoon Barry Ellis French Horn Kelly Langenberg Josh Johnson Trumpet Wes Skidgel Timpani Sally Stulken Project Staff Deb Sandry Executive Director
Joshua Johnson
Orchestra Manager
Linda Goldsmith Librarian
Stage Manager
David Frost
Principal Librarian
University of Dubuque Concert Choir Dr. Charles Barland, Conductor Ms. Nancy Woodin, Accompanist Soprano
Tenor
Ashleigh Davis Jessica Estebo Kayla Hamilton Hannah Hitzeroth Alicia Little Nicole McCall Michele Phalen Jennifer Pohlman Miranda Russell Sarah Soukup Krista Stork Nicole Weiss
Kris Doss Matthew Kilburg Nash Makayi Michael Myers Jalal Paul Jamil Paul Lucas Van Norman Kyle Winter
Keota, IA Lansing, IA Eldridge, IA Elgin, IL Cassville, WI Franklin, WI Crystal Lake, IL West Branch, IA Davis, IL West Branch, IA Dubuque, IA Grinnell, IA
Alto Ashley Cooper Kristen Field Connie Hammer Katelyn Jolivette Tiffiney Kavars Celine Koch Allyson Machala Katherine Machala Samantha Oestreicher Anna Rechtenbach Sydney Temperly Melissa Whitney
Rockford, IL Fulton, IL Shannon, IL Newton, IA Elkader, IA Dubuque, IA Richland, IA Traer, IA Sycamore, IL Peosta, IA Clinton, IA Davis, IL
Clinton, IA Maquoketa, IA Oakdale, MN Duluth, MN Hackensack, NJ Hackensack, NJ Whitewater, WI Clinton, IA
Bass Carter Albrecht Brett Aspenson Jon Grobstick Taylor Isham Noah Kachelski Andrew Kendell Devin Lantagne Joshua Michelson-King Clive Moffat Gavyn Samuelson Brandon Winter
Kaukauna, WI Mount Sterling, WI Dubuque, IA South Elgin, IL Verona, WI Bellevue, IA Bitburg, Germany West Oneonta, NY Weatogue, CT Decorah, IA Clinton, IA
Heritage Center Arts Facilities Staff
General Performance Facilities Information
Thomas J. Robbins Executive Director Tom oversees operations of Heritage Center arts facilities. Most recently, Tom completed nearly twelve years as executive director of the Schauer Arts and Activities Center in Hartford, Wisconsin. Originally from Dubuque, Tom holds a bachelor of business management from Central College and a master of arts administration from University of Wisconsin Madison.
▪ Farber Box Office Hours are generally 12:30 p.m. to 5:30 p.m. Monday through Friday and 90 minutes prior to scheduled events. Tickets are available at the box office window as well as by phone, 563-585-SHOW. Mastercard, Visa, and Discover accepted. Tickets may be held at will call for no extra charge or mailed for $2.00 per order. ▪ Doors to Heritage Center performance facilities, John and Alice Butler Hall, and Babka Theatre, generally open 30 minutes prior to scheduled events. ▪ Restroom locations are immediately adjacent to both performance facilities. ▪ Elevators are available to access all levels of Heritage Center.
Victoria Molle Audience Services Manager Victoria manages the box office and front-of-house operations. Victoria has a bachelor of music merchandising from University of Wisconsin Oshkosh and, before coming to the University of Dubuque, spent six years as the director of operations and orchestra personnel at the Dubuque Symphony Orchestra.
Jonathan Rustebakke Technical Director/ Production Manager Jonathan supervises all technical and backof-house operations including lighting, sound, staging, and rigging. Jonathan completed his bachelor in theatre at Northwestern College in St. Paul, Minnesota. Most recently, he completed eight years as an entertainment lighting technician and supervisor for Carnival Cruise Lines.
▪ Wheelchair access is available in all sections and at all performance facility levels. ▪ Beverages and concessions are generally available for purchase in the lobby during intermission for events occurring in John and Alice Butler Hall. ▪ Cell phones, pagers, cameras, video and sound recording devices are prohibited during performances, unless otherwise announced. Flash photography during a live performance is not only distracting, but may also present a safety hazard for performing artists and audiences alike. ▪ Smoking is not permitted anywhere inside or immediately outside of Heritage Center premises. ▪ Lost items may be reclaimed at the Heritage Center Farber Box Office Monday-Friday, 9:00 a.m. to 5:30 p.m. Call 563-585-SHOW for assistance.
▪ The University of Dubuque reserves the right to use patron images or likenesses for promotional purposes or in conjunction with any broadcast or recording of an event. ▪ Sound enhancement is offered through hearing-assisted listening devices. Devices are available at no extra charge upon request through a House Manager or usher. ID required. Find us at:
Reach us at:
2255 Bennett Street Dubuque, Iowa
Heritage Center University of Dubuque 2000 University Avenue Dubuque, Iowa 52001-5099 heritagectr@dbq.edu
“Live at Heritage Center” 2 0 1 3 - 2 0 1 4 Per for m in g A r ts S er ies Saturday, September 21
Doc Severinsen & His Big Band “Once More With Feeling”
Friday, October 11
Jim Witter “The Piano Men” (Homecoming at UD)
Sunday, November 3
Ensemble Galilei: First Person Seeing America, Scottish/Irish folk music
Saturday, December 14
Christmas at Heritage Center
Monday, February 3
The King’s Singers
Sunday, February 16
The Very Hungry Caterpillar & Other Eric Carle Favorites
Tuesday, February 25
Aquila Theater presents Ray Bradbury’s “Fahrenheit 451”
Wednesday, March 12
Soweto Gospel Choir
Friday, March 28
Charlotte’s Web, Theatreworks USA
Friday, April 4
San Jose Taiko, Japanese drummers
Mark your calendars now for the debut of this new series and stay tuned for more information. Full 2013-2014 brochures will be available in early July. Subscription series tickets will be available.
To join our mailing list please email heritage@dbq.edu or call the box office at 563.585.SHOW.
Co n c e r t S p o n s o r Joe and Linda Chlapaty
Event SponsorS
Po s t - E v e n t S p o n s o r Frank Farber Family