Overture #5, February/March 2020

FEBRUARY – MARCH 2020 I ISSUE 5

Tchaikovsky’s Violin Concerto MARCH 20 & 21 | PAGE 31

BARTÓK’S FAREWELL BACK-TO-BACK BEETHOVEN

TROUPE VERTIGO SHOSTAKOVICH’S SIXTH SYMPHONY

wso.ca | 204-949-3999

PHOTO BY MARCO BORGGREVE

WALL-TO-WALL PERCUSSION Vadim Gluzman

wso.ca/gala

MESSAGE FROM THE EXECUTIVE DIRECTOR Welcome to the heart of the WSO’s artistic season.

Somehow in the fall we rush from the season-opening events and first concerts in each series to the holiday concerts, and then to the new-year concerts and the whirlwind of the Winnipeg New Music Festival. Then in this period from February 21 to March 21 there are six wonderful concerts that take us through some marvellous repertoire and are a perfectly satisfying way to add exploration and enjoyment to the hibernating time of year.

There is the comfort music of Franck’s Symphony in D minor, and the much-anticipated opportunity to hear Alexei Volodin and the WSO take us through all of Beethoven’s piano concertos and the U of M and CMU choirs join in for Beethoven’s Choral Fantasy. Troupe Vertigo will amaze us with their circus, dance, theatre show that will inspire us and will be a perfect performance to bring children or grandchildren for a family experience that will be unforgettable. We finish March with a visit from Vadim Gluzman, a brilliant violinist, who will perform Tchaikovsky’s Violin Concerto on the Stradivari violin for which the concerto was composed.

Of course, there is always so much more going on for the WSO at this time of year as well. We have presented our proposed concert season for the coming year, and we hope that you will join us in a series or two next year. The WSO will also be putting the final touches to the Netherlands Tour, and making connections and contacts that will make this a truly memorable Manitoba extravaganza. If you are of the travelling persuasion, I would encourage you to make the journey to Amsterdam to be part of this noteworthy moment in Manitoba’s musical life.

This is also a key period in the year for planning for the future. Budgets, business plans and strategic plans become a central part of my work plan during these months. We are working on a strategic plan that takes us from 2020 to 2040. (Of course, the plan will have more focus on the first five years of this period, but it is so interesting to think about our community in 20 years.) If you have some great ideas for us, stop me in the hall or give me a call.

There are many ways you can add enjoyment to your life and also support the orchestra’s work, but the WSO’s upcoming annual gala (Monday, April 20) offers some specific ways to accomplish both: you can purchase a table or ticket, or donate an item for our live or silent auction. We are so pleased to honour WSO friends and supporters Mrs. Tannis Richardson and Mr. Michael Nozick at the gala.

Bring friends and family members to our concerts. Attend our special events and consider making a donation to the WSO this year. It does truly take a whole community of music lovers to maintain Winnipeg’s tradition of musical excellence, but we know that it is well worth the effort.

Trudy Schroeder Executive Director

F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 3

In the spirit of gratitude, please join us as we gather to play and listen to music on the ancestral lands of the Anishinaabeg, Cree and Dakota, and on the homeland of the Métis nation. The Winnipeg Symphony Orchestra is performing on Treaty 1 territory. The intention of the treaties was to share the gifts of the land.

We acknowledge the ancient history of this land and its original people, and the harms and mistakes of the past.

The WSO commits to being part of the ongoing process of reconciliation and to strengthen the community through sharing the gift of music.

– The musicians, staff and board of directors of your Winnipeg Symphony Orchestra We encourage you to learn more by visiting the Truth and Reconciliation Commission of Canada at www.trc.ca and the Treaty Relations Commission of Manitoba at www.trcm.ca.

THURSDAY, JULY 2, 2020

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F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 5

CONDUCTORS & COMPOSERS Daniel Raiskin, Music Director A son of a prominent musicologist, Daniel Raiskin grew up in St. Petersburg.

He attended the celebrated conservatory in his native city and continued his studies in Amsterdam and Freiburg. First focusing on viola, he was inspired to take up the baton by an encounter with the distinguished teacher Lev Savich.

Daniel Raiskin began as Music Director of the Winnipeg Symphony Orchestra with the 2018/19 season and has been recently appointed Principal Conductor of the Slovak Philharmonic Orchestra, starting 2020/21. Since 2016/17, he has also been Principal Guest Conductor of the Belgrade Philharmonic Orchestra. The engagements in the 2019/20 season include appearances with Iceland Symphony Orchestra, Slovak Philharmonic, Daejeon Philharmonic, RTV Slovenia Symphony, Staatsorchester Rheinische Philharmonie, State Academic Symphony of Russia “Svetlanov” and Stuttgarter Philharmoniker orchestras. Moreover, he will give his debut with Edmonton Symphony and Warsaw Philharmonic orchestras. With the Winnipeg Symphony he will undertake a European tour with appearances at the Concertgebouw in Amsterdam, De Doelen in Rotterdam and De Singel in Antwerp, among others.

Daniel Raiskin was Principal Guest Conductor of the Orquesta Sinfónica de Tenerife (between 2016 and 2018), Chief Conductor of both the Staatsorchester Rheinische Philharmonie in Koblenz (2005–2016) and of the Artur Rubinstein Philharmonic Orchestra in Lódz (2008–2015).

Recent recordings include Mahler Symphony No. 3 and Shostakovich Symphony No. 4 for the label AVI, both to great critical acclaim. danielraiskin.com

Julian Pellicano, Associate Conductor A musician with wide-ranging musical interests, conductor Julian Pellicano has made his mark with a multifaceted approach to programming and performing, engaging audiences in a diverse mélange of concerts and genres. Dedicated to invigorating performances of the traditional and contemporary symphonic repertoire, Pellicano’s range has extended to films live with orchestra, classical and modern ballet, collaborations with composers, opera, pops, musical theatre, multimedia productions, workshops, as well as carefully programmed concerts for young listeners. The Winnipeg Free Press says of Pellicano, “His versatility is truly astonishing…”

The 2018/19 season included exciting debut performances with the Vancouver Symphony Orchestra, National Arts Centre Orchestra and the Edmonton Symphony Orchestra as well as a return to conduct two productions with the 6 O V E R T U R E | F e b r u a r y – M a r c h 2 0 2 0

Royal Winnipeg Ballet. This year also marks Pellicano’s seventh season as Resident Conductor of the Winnipeg Symphony Orchestra with concerts on the WSO’s Masterworks Series in addition to leading a multitude of performances throughout the season on the WSO’s Pops, Movie, Kids, Specials and Education series. He studied conducting on fellowship at the Yale School of Music where he was also a member of the critically acclaimed Yale Percussion Group.

Naomi Woo, RBC Assistant Conductor Canadian Naomi Woo is a versatile conductor, pianist, and researcher. She is the RBC Assistant Conductor of the Winnipeg Symphony Orchestra, Music Director of the University of Manitoba Symphony Orchestra and Artistic Director of Sistema Winnipeg. Outside of conducting, she has an active career as a pianist, spanning opera coaching, collaborative piano and solo performance. She has performed as a soloist with orchestras in Canada, the US and the UK, and been reviewed as an “elegant” performer in the New York Times.

Naomi regularly collaborates with artists, choreographers, poets and composers in the creation of interdisciplinary performance work, which has shown at venues including Somerset House, Kunsthalle Darmstadt and Kettle’s Yard.

Alongside Sasha Amaya, she runs tick tock, which focuses on sonic and choreographic performance.

Prior to completing a PhD at the University of Cambridge, Naomi studied math, philosophy and music at Yale University and the University of Montreal.

Harry Stafylakis, WSO Composer-in-Residence, WNMF Co-Curator New York City-based composer Harry Stafylakis (b. 1982) hails from Montreal.

“Dreamy yet rhythmic” (NY Times), with a “terrible luminosity” and “ferociously expressive” (Times Colonist), his concert music is “an amalgamation of the classical music tradition and the soul and grime of heavy metal” (I Care If You Listen).

He is the Winnipeg Symphony Orchestra’s Composerin-Residence and Co-Curator of the Winnipeg New Music Festival. His works have been performed by the Toronto, Winnipeg, Vancouver, Edmonton, Victoria, Spokane, Stamford and PEI symphonies, American Composers Orchestra, McGill Chamber Orchestra, ICE, Contemporaneous, Mivos Quartet, Quatuor Bozzini and Aspen Contemporary Ensemble, among others. hstafylakis.com

WINNIPEG SYMPHONY ORCHESTRA | 2019/20 SEASON MUSIC DIRECTOR Daniel Raiskin ASSOCIATE CONDUCTOR Julian Pellicano RBC ASSISTANT CONDUCTOR Naomi Woo COMPOSER-IN-RESIDENCE & WNMF CO-CURATOR Harry Stafylakis FIRST VIOLINS Gwen Hoebig, Concertmaster

The Sophie-Carmen Eckhardt-Gramatté Memorial Chair, endowed by the Eckhardt-Gramatté Foundation

Karl Stobbe, Associate Concertmaster Mary Lawton, Assistant Concertmaster Chris Anstey Mona Coarda Jeff Dyrda Tara Fensom Hong Tian Jia Sonia Shklarov Julie Savard Jun Shao Christine Yoo* SECOND VIOLINS Jeremy Buzash, Principal Elation Pauls, Assistant Principal Karen Bauch Kristina Bauch Elizabeth Dyer Bokyung Hwang Rodica Jeffrey Momoko Matsumura* Susan McCallum† Takayo Noguchi Jane Pulford Claudine St-Arnauld†

VIOLAS Daniel Scholz, Principal Anne Elise Lavallée, Assistant Principal Marie-Elyse Badeau Laszlo Baroczi Richard Bauch Greg Hay Michaela Kleer* Michael Scholz Heather Wilson†

HORNS Patricia Evans, Principal Ken MacDonald, Associate Principal The Hilda Schelberger Memorial Chair

Aiden Kleer Caroline Oberheu Michiko Singh TRUMPETS Chris Fensom, Principal Paul Jeffrey Isaac Pulford

The Patty Kirk Memorial Chair

CELLOS Yuri Hooker, Principal Alex Adaman Grace An* Arlene Dahl Emma Quackenbush Alyssa Ramsay Sean Taubner

TROMBONES Steven Dyer, Principal Keith Dyrda BASS TROMBONE Tamas Markovics, Principal TUBA Jarrett McCourt*

BASSES Meredith Johnson, Principal Andrew Goodlett, Assistant Principal Bruce Okrainec Daniel Perry Anna Scheider* Eric Timperman

TIMPANI Mike Kemp, Principal PERCUSSION Andrew Johnson, Principal HARP Richard Turner, Principal

Endowed by W.H. & S.E. Loewen

FLUTES Jan Kocman, Principal

Supported by Gordon & Audrey Fogg

Alex Conway

PRINCIPAL LIBRARIAN Greg Hamilton

OBOES Beverly Wang, Principal Robin MacMillan

ASSISTANT LIBRARIAN Aiden Kleer

ENGLISH HORN Robin MacMillan, Principal CLARINETS Micah Heilbrunn, Principal Taylor Eiffert

In loving memory: Meredith McCallum, violin

The James Thomson Memorial Chair

BASSOONS Kathryn Brooks, Principal Kristy Tucker

ORCHESTRA PERSONNEL MANAGER Greg Hay

Please note: Non-titled (tutti) string players are listed alphabetically and are seated according to a rotational system.

* Temporary Position † On Leave Fred Redekop is the official Piano Tuner and Technician of the WSO. F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 7

The OfďŹ cial Radio Station for the WSO Masterworks Series.

Winnipeg’s only dedicated classical & jazz music station

Matthias Bamert, conductor Zoltán Fejérvári, piano

(B)EYOND CLASSICS

Bartók’s Farewell

Zoltán Fejérvári

Légendes, Op. 76* Alexis le Trotteur (Alexis Trotting Horse) Le Diable au bal (The Devil at the Ball) La Chasse-Galerie (The Enchanted Canoe)

Jacques Hétu (1938–2010)

Piano Concerto No. 3 Allegretto Andante religioso – Allegro vivace

Béla Bartók (1881–1945)

– INTERMISSION –

Symphony in D minor* Lento – Allegro non troppo Allegretto Allegro non troppo

César Franck (1822–1890)

Friday, February 21 Saturday, February 22

Official Radio Station of the WSO Classics

7:30 pm 7:30 pm

Pre-concert chat on the Piano Nobile at 6:45 pm

SPECIAL CONDENSED RELAXED MATINEE Hétu and Franck Friday, February 21

10:30 am

*Matinee program consists of marked pieces above Pre-concert chat on the Piano Nobile at 10:05 am For more information about relaxed performances, visit wso.ca/relaxed or see our staff at the welcome centre in the lobby.

F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 9

PROGRAM NOTES

(B)EYOND CLASSICS

Bartók’s Farewell

by James Manishen

Légendes

Jacques Hétu

b. Trois-Rivières, Quebec / August 8, 1938 d. Saint-Hippolyte / February 9, 2010 Composed: 2007 First performance: 2008 (Québec City) First WSO performance

This festive work is a musical illustration of three Quebec legends. Narrative and descriptive at the same time, each movement is based upon the scherzo form. Allusions to folk dances are a common thread throughout these pieces, giving a character that is choreographic in nature.

1. Alexis Trotting Horse: In composing the overture of this cycle, I was inspired by this actual historic figure from the Saguenay region, who became legendary for his astonishing exploits. Alexis Lapointe, also known as the trotting horse, thought he was a horse, and he had the capacity to run faster than horses, bicycles, cars or trains, and on top of all this he would spend evening after evening dancing the night away!

The music, energetic and brisk, recalls this uppity character (illustrated by the horns), his run against a train (fugato of the woodwinds), his dancing (gigue Shandon bells), and the reprise of the galloping of this tireless trotter…

2. The Devil at the Ball: A young girl, wanting to marry, enjoyed dancing at social balls. But one day she was invited to a high society ball where a tall, good looking young man began courting her by offering her a magnificent golden necklace which gradually turns into a red hot iron. The young girl fell to the ground, lifeless, and the devil, who it really was, took away her soul.

Drawn from several variations, Rose Latulipe among them, the music suggests at first the dreams of the girl dancing to the rhythm of her favourite waltz (Valse à Philippe Bruneau). When 1 0 O V E R T U R E | F e b r u a r y – M a r c h 2 0 2 0

the handsome young dancer arrives, the waltz has the intensity of a possessed soul. The soft final cadence of the piece suggests the young girl’s soul is still dancing somewhere!

3. The Enchanted Canoe: The most famous legend of Quebec folklore, the story of the enchanted flight, is also the oldest and may be traced back to the Middle Ages. It tells of a hunter and infidel who was condemned to go hunting up in the clouds every night until the end of time, all because he left the church in the middle of mass to go deer hunting. In Quebec this traditional legend has been kept alive by trappers and lumberjacks, isolated from civilization.

On New Year’s Eve, all alone in the woods, the workmen are so lonely to spend a few hours in town with loved ones, they are ready to sign a pact with the devil to make this happen. The devil promises to deliver them in their tree bark canoe and later return them to the site.

After a quiet introduction, a gradual crescendo describes the men gathering. Then, the magic words are intoned and the canoe is airborne, navigating between enormous waves of clouds (successive crescendos). This is followed by the happy chattering of the adventurers (a canon with the woodwinds; a fugato in the strings).

The canoe rises and falls in altitude, arriving at a house which gives the impression of inviting the men in.

There is a party where the men dance with the girls, live it up and drink, all to the sound of lively music (Quadrille de Rivière-du-Loup and the Monkey Musk Reel, in succession).

Time passes and soon they must return. The canoe takes off and the drunkards curse at the rough ride like the very devil (short staggering episode of the orchestra). The canoe rises in altitude and the men fall asleep.

The first rays of sunshine suddenly light up the sky (theme from the introduction) which awakens the men who start getting excited and

begin to curse. The canoe then goes into free fall (tumbling of the whole orchestra). Some of the men cling to tree branches, others fall down into the deep snow (leaps of low strings). All will suffer from amnesia except for one who will recount to future generations the legend of the enchanted canoe (coda).

– Jacques Hétu

Piano Concerto No. 3 Béla Bartók

b. Nagyszentmiklós, Austria-Hungary / March 25, 1881 d. New York, USA / September 26, 1945 Composed: 1945 First performance: February 8, 1946 (Philadelphia) conducted by Eugene Ormandy with György Sándor as soloist Last WSO performance: 2010; Alexander Mickelthwate, conductor; Andreas Boyde, piano

Bartók was in dire straits both health-wise and financially in 1945. His Concerto for Orchestra had been successfully premiered in 1944 but his income was meager, he suffered from anemia and his overall health was rapidly declining. Though Bartók was working on a piece for viola and orchestra the great violist William Primrose had commissioned, Bartók wanted to leave a legacy to his family in the form of a solo piano concerto his wife Ditta Pásztory could use in her own performances and earn income from. The result was the Third Piano Concerto, which Bartók completed just four days before his death.

The Third Concerto is identifiably Bartók but with a mellower persona, lightness of texture and seemingly gentle resignation to what was occurring in his life. The opening movement’s first theme is spiked with Magyar rhythms. The middle movement’s centrepiece is notable for its absence of themes altogether, with whispering strings and bird calls the composer had noted down in 1944 while at a summer retreat. The finale arrives without interruption – a strong peasant dance in rondo form led by timpani to a lively conclusion.

Symphony in D minor

César Franck

b. Liège, Belgium / December 10, 1822 d. Paris / November 8, 1890 Composed: 1886-1888 First performance: February 17, 1889 (Paris) conducted by Jules Garcin Last WSO performance: 2007; Jean-Philippe Tremblay, conductor

Private, self-effacing and dedicated to bringing a greater seriousness of musical purpose to the primarily operatic fare on offer in France at the time, César Franck became a figurehead for a generation of French composers looking to elevate their ideas of symphonic form and function. With broad brush strokes one can link Franck to Messiaen and Dutilleux, plus earlier descendants of Franck such as Vincent d’Indy, Debussy, Ravel, Saint-Saëns and more.

Although Belgian-born to a Flemish family, which explains the mix of French and Flemish in his name, Franck’s aggressive father moved the family from Belgium to Paris so that 13-yearold César could study at the prestigious Paris Conservatoire to become, as Father Franck wanted, a touring piano virtuoso. After much exploitation by his father, César had enough and left home in 1848 to marry. Soon after, he took on a position of organist at Notre Dame de Lorette where he distinguished himself as a brilliant performer, going on to become one of the greatest church organists of his time when he occupied the important post at Sainte-Clothilde in Paris.

The remaining 40 years of his life were spent teaching, playing organ and composing. Franck’s finest works were crammed into his last decade, his first acclaim as a composer coming from his Sonata for Violin and Piano. The Symphony in D minor of 1888 dates from two years before Franck’s death. The work was not only among the earliest symphonies produced in France in the late 19th century, but a rallying plea to French musicians for more deeply felt musical statements.

F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 1 1

ARTIST BIOS

PROGRAM NOTES

New York Voices

POPS (B)EYOND CLASSICS New York Voices Christmas Special

Bartók’s Farewell

continued

New York Voices was With the dawn of the 21st century, NYV increased the mid-1980s its currency jazzpitch. worldRising via collaborations circling aroundinathe single and falling Other than Berlioz, Franck hadborn fewinmodels when New York’s passages with institutions as the Count Basie make up such the development, the he began the work. He turnedattoupstate the influences Ithaca College.

Peter movement Orchestra,closing Paquito d’Rivera, and the Dizzy of with a climactic statement of Liszt’s symphonic poems and Wagner operas, Eldridge, an aspiring jazz theGillespie Big Band.They openingAll-Star three-note motive. also launched a both of whose cyclic structures used material pianist who came education initiative, inaugurating its Vocal previously heard to inventively transform and late to Thejazz second movement opens with harp and singing; KimInNazarian, Jazz Camp for aspiring jazz singers in 2008. (A metamorphose as their contexts change. plucked strings, after which the English horn who dreamed of a life ideas on Broadway; Darmon European version of the Camp began in 2016).

Franck’s Symphony, from theand work’s first intones one of its most famous solos. The middle Meader, a saxophonist and self-described “choral Each of its members has also established a career two movements are recalled in the third, all geek,” of the movement is a delicate scherzo. came together the school’s vocal jazz ensemble. as an educator: Eldridge is a voice professor at within a pliantinbalance of light and shade where finale College is in sonata form Nazarian but this time in jazz Director Daveweight Reilly included all three them,grace. as well TheBerklee of Music; is vocal symphonic is tempered withofGallic D major.

Its main theme is arpeggiated, with as Caprice Fox, in an ensemble he’d been invited to instructor at Ithaca College and artist-inThe opening movement is in sonata form, additionalattheme that is scalar recalls bring on a tour of European jazz festivals.“It seemed to anresidence both Bowling Greenand State University beginning with a three-note theme heard the it material from the first two movements. The go over so well that Darmon and I decided toin keep and Tri-C Community College in Cleveland; stringstrythat becomes part ofhappen the main theme going, to make something professionally,” Kinhan isends an adjunct member at New York Symphony with afaculty triumphant affirmation in the following section of faster tempo.

Eldridge recalls.“Kim and Caprice were partThe of that and Meader an artist byUniversity; all of the finale’s main is theme.

■in residence at secondband, theme in we theslowly majorbut is asurely gentlemade melody original and the Indiana University. transition to New York City in 1988.”There they met ADDITIONAL MUSICIANS: Sara Krieger, who became the fifth member of the band Nenad Zdjelar, bass; Derrick Gardner, trumpet; Reilly had named “New York Voices.”

Will Bonness, keyboard; Victoria Sparks, percussion

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ARTIST BIOS

(B)EYOND CLASSICS

Bartók’s Farewell

Matthias Bamert, conductor Matthias Bamert’s reputation in the Classical to Romantic repertoires, his championship of contemporary music and his innovative programming has received international praise.

He has been described in the international press as elegant, stylish, dynamic, enthusiastic, and sensational. In 2016, he visited Japan four times, and conducted the Gunma Philharmonic Orchestra, Sapporo Symphony Orchestra, Ensemble Kanazawa, Hiroshima Symphony Orchestra, Japan Virtuoso Symphony Orchestra and Osaka Philharmonic Orchestra. In 2017, he was appointed Principal Guest Conductor of the Daejeon Philharmonic Orchestra, and celebrated his 75th birthday conducting at the Lucerne Festival and the Brevard Music Festival. Since April 2018, he holds a position of Chief Conductor of Sapporo Symphony Orchestra (Japan).

Matthias Bamert’s distinguished career began in North America as an apprentice to George Szell, later as Assistant Conductor to Leopold Stokowski, and Resident Conductor of the Cleveland Orchestra under Lorin Maazel. Since then, Matthias Bamert has held Music Director positions with the Swiss Radio Orchestra, London Mozart Players, West Australian Symphony and the Malaysian Philharmonic Orchestra. He has also served as Principal Guest Conductor of the Royal Scottish National Orchestra and New Zealand Symphony Orchestra, and as Associate Guest Conductor of the Royal Philharmonic Orchestra in London.

Music Director of the London Mozart Players for seven years, Matthias Bamert masterminded a hugely successful series of recordings of works by “Contemporaries of Mozart”, which has already exceeded 75 symphonies. As part of their 50th-anniversary celebrations in 1999, he conducted the LMP at the BBC Proms, in Vienna and at the Lucerne Festival.

Zoltán Fejérvári, violin Zoltán Fejérvári has emerged as one of the most intriguing pianists among the newest generation of Hungarian musicians. Winner of the 2017 Concours Musical International de Montréal and recipient of the prestigious Borletti-Buitoni Trust Fellowship in 2016, Zoltán Fejérvári has appeared in recitals throughout the Americas and Europe, at prestigious venues including Carnegie Hall, Canada’s Place des Arts, Gasteig in Munich, Lingotto in Turin, Palau de Música in Valencia, Biblioteca Nacional de Buenos Aires, and Liszt Academy in Budapest. He has performed as a soloist with the Budapest Festival Orchestra, Hungarian National Orchestra, Verbier Chamber Orchestra and Concerto Budapest, and he has collaborated with such conductors as Iván Fischer, Gábor Tákács-Nagy, Ken-Ichiro Kobayashi and Zoltán Kocsis. Fejérvári’s solo recording debut, Janáček, released in January 2019, earned rave reviews as “the most sensitive and deeply probative recording” of that composer’s work (Gramophone).

In the 2019/20 season, Fejérvári continues to perform chamber music, recital and orchestral repertoire spanning five centuries. He begins the season at the Santa Fe Chamber Music Festival with a recital of Bartók, Jörg Widmann and Schumann, followed by chamber music performances.

Fejérvári makes his Washington Performing Arts recital debut in November 2019, performing works

by Janáček, Schubert and Chopin. Additional recital debuts include the La Jolla Music Society; Howland Chamber Music Circle in Beacon, NY; Frederic Chopin Society of Minnesota; Sanford-Hill Piano Series at Western Washington University; and the Norfolk & Norwich Music Society in the UK. ■

ADDITIONAL MUSICIANS Yuri Liu, violin; Karin Erhardt, cello; Laurel Ridd, flute; Caitlin Broms-Jacobs, oboe; Sharon Atkinson, clarinet; Anna Milian, horn; James Langridge, trumpet; Victoria Sparks, percussion F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 1 3

Friday, March 6 | 8:00 pm Daniel Raiskin, conductor Alexei Volodin, piano

Alexei Volodin

Piano Concerto No. 2 in B-flat major, Op. 19 Allegro con brio Adagio Rondo: Molto allegro

Ludwig van Beethoven (1770–1827)

Piano Concerto No.1 in C major, Op. 15 Allegro con brio Largo Rondo: Allegro scherzando

Beethoven

– INTERMISSION –

Piano Concerto No. 3 in C minor, Op. 37 Allegro con brio Largo Rondo: Allegro

Beethoven

Pre-concert chat on the Piano Nobile at 7:15 pm

Official Radio Station of the WSO Classics

1 4 O V E R T U R E | F e b r u a r y – M a r c h 2 0 2 0

PHOTO BY MARCO BORGGREVE

(A)BSOLUTE CLASSICS

Back-to-Back Beethoven

U of M Singers

Saturday, March 7 | 8:00 pm Daniel Raiskin, conductor Alexei Volodin, piano University of Manitoba Singers Elroy Friesen, artistic director

CMU Chorus

(A)BSOLUTE CLASSICS

Back-to-Back Beethoven

Canadian Mennonite University Chorus Janet Brenneman, artistic director

Piano Concerto No. 4 in G minor, Op. 58 Allegro moderato Andante con moto – Rondo: Vivace

Ludwig van Beethoven (1770–1827)

– INTERMISSION –

Piano Concerto No. 5 in E-flat major, Op. 73 “Emperor” Allegro Adagio un poco mosso – Rondo: Allegro

Beethoven

Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80 (Choral Fantasy)

Beethoven

Pre-concert chat on the Piano Nobile at 7:15 pm

Official Radio Station of the WSO Classics

DINNER & SYMPHONY

Catered by:

Three-course dinner starts at 5:30 pm

F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 1 5

PROGRAM NOTES

(A)BSOLUTE CLASSICS

Back-to-Back Beethoven

by James Manishen

Friday, March 6 Piano Concerto No. 2 Ludwig van Beethoven

b. Bonn / December 17, 1770 d. Vienna / March 26, 1827 Composed: 1794–1795, revised in 1798 First performance: March 29, 1795 (Vienna), with the composer as soloist Last WSO performance: 2016; James Feddeck, conductor; Louis Schwizgebel, piano

So confident was the Elector of Bonn in the abilities of the 22-year-old Beethoven, in November of 1792 he underwrote the young composer’s move from Bonn to Vienna, the musical capital of Europe. Franz Joseph Haydn was no less enthused, seeing in Beethoven a willing if ultimately temporary pupil. Other teachers, Salieri among them, followed, but Beethoven’s Viennese star quickly rose more as a pianist, whose passionate intensity and original communicative gifts soon had the most elegant Viennese nobility exhibiting him at evening soirées for their friends.

Beethoven’s first Vienna public appearance took place at a pair of concerts organized in part by Salieri, a large affair for charity involving over 150 participants. Beethoven chose to play a piano concerto in B-flat major he had been working on, completing it just in time for the performance, which was a success that did much to propel Beethoven’s career as both composer and performer.

The B-flat Concerto was written before the “First” but is known as “No. 2” since it was published later. Though clearly a product of the Classical era in its construction and expression, it is easy to view Beethoven’s singular forces permeating No. 2 in the face of what we know lay ahead.

The opening movement follows a familiar classical narrative. The second movement’s solo embellishments remind of Beethoven’s massive powers as an improviser. The rondo-finale bounds along energetically, with both a look back to Beethoven’s classical forebears and the 1 6 O V E R T U R E | F e b r u a r y – M a r c h 2 0 2 0

premonition of a whole new story in creativity that would change music forever.

Piano Concerto No. 1 Ludwig van Beethoven

Composed: 1798 First performance: October, 1798 (Prague), with the composer as soloist Last WSO performance: 2012; Joshua Weilerstein, conductor; Beatrice Rana, piano

In his twenties, Beethoven was far removed from the common perception of him as a stern persona, where deafness, recurring illnesses and struggles with his mature works had turned the composer into an understandably dour and often uncompromising figure. Conversely, his early years in Vienna were remarkably happy ones, free of the responsibilities of looking after his two brothers who had found work, and free of his rough-hewn and abusive father who had died soon after Beethoven’s departure from Bonn.

Though mostly self-taught as a pianist, Beethoven’s untamed, impassioned playing and bold personality quickly won over audiences in music-mad Vienna. Czerny called Beethoven’s playing “titanic execution,’’ though careful to apologize for the composer’s impetuous lack of precision, a far cry from Mozart’s refined playing, well-remembered among the Viennese since Mozart had died just a few months before Beethoven’s arrival. Beethoven’s star quickly rose, with corresponding financial reward in tow.

The first four of Beethoven’s piano concertos were composed for his own concerts. The Concerto No. 1 was actually the second one written but labeled No. 1 since the earlier B-flat Concerto (1795) was late in reaching publication.

Both works did not appear until 1801 since Beethoven wanted exclusive use of them for himself when they came out and not for competing pianists.

Beethoven’s First Piano Concerto is clearly indebted to Mozart and Haydn, both of whom Beethoven much admired. As expected, their

classical models are formidably expanded through a wider range of harmony, virtuoso display for the soloist and general emotional states. Noteworthy are the song-like second movement, with its clarinet solo, and the bracing finale’s Haydn-esque spirit.

Piano Concerto No. 3 Ludwig van Beethoven

Composed: 1797–1803 First performance: April 4, 1803, with the composer as soloist Last WSO performance: 2018; José Luis Gomez, conductor; Katherine Chi, piano

The conditions of the premiere of Beethoven’s Piano Concerto No. 3 would be quite amusing if they weren’t so fraught with stress for the composer. Beethoven’s friend Emanuel Schikaneder was the director of Vienna’s Theater an der Wien, and the two were hatching plans for Beethoven’s only opera Fidelio in 1803.

Since opera could not be performed during Lent, the theatre was available for Beethoven to present some of his instrumental works, which was opportune since he hadn’t produced a concert of his own music in three years. The date was set during April 1803, and Beethoven was looking forward to introducing his Third Piano Concerto; his Second Symphony was also on the bill.

Schikaneder had a rival in Baron Peter von Braun, director of the court-subsidized Kärtnertortheater, who had plans of his own to snare an audience that same evening. Von Braun not only mounted Haydn’s Creation, a huge hit in Europe at the time, but snapped up Vienna’s best musicians, leaving Beethoven with a ragtag group. Additionally, only one six-hour rehearsal on the concert day had been scheduled. Beethoven played his Third Concerto mostly from memory, not writing it down until a year later for a performance by his pupil Ferdinand Ries.

Though the mild audience response was undoubtedly due to the spotty performance, Beethoven knew he had a good work and enjoyed a laugh in the pub afterwards with his page-turner, who had had fits trying to turn mostly invisible pages encoded with scrawls!

As with the Fifth Symphony, the Third Concerto is in C minor and sets the key out clearly from the first motive. Piano and orchestra are equal partners, living in the emotional narrative of the Romantic era. This is espcially the case in the second movement, a by-turn sensuous and tranquil aria. The Rondo takes the classical form of a returning theme to new heights, developing it further and extending its dramatic elements well beyond its classical roots, vivaciously letting C minor go to C major at its bounding close.

Saturday, March 7 Piano Concerto No. 4 Ludwig van Beethoven

Composed: 1804-1806 First performance: March 5, 1807 (Vienna), with the composer as soloist Last WSO performance: 2011; Alexander Mickelthwate, conductor; Anton Kuerti, piano

The Vienna that Beethoven was experiencing during the genesis of the Fourth Piano Concerto F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 1 7

PROGRAM NOTES

(A)BSOLUTE CLASSICS

Back-to-Back Beethoven

continued

was all about Napoleon, who twice overran the city between 1805 and 1809, creating much hardship for the citizens. Still, Beethoven found it within himself to be incredibly productive and inspired. Some of his greatest music – the Fifth and Sixth Symphonies as examples – appeared on several scores simultaneously, making exact placement of his work between 1805 and 1810 impossible. The Fourth Piano Concerto was in the mix and it is interesting to note its opening three notes, followed by an accented fourth, resemble in letter – if not in spirit – a similar theme to the opening of the Fifth Symphony!

Since opportunities for public performances were difficult during those stormy times, the Fourth’s public premiere did not take place until December 22, 1808, almost two years after its first performance. It was an elite private affair that took place in a Viennese palace under the sponsorship of Prince Lobkowitz, who had returned to the city after Napoleon had evacuated in 1805 and awarded Beethoven the considerable proceeds of the event. The Fourth fell into neglect, though, and did not receive another performance until November 3, 1836, when Felix Mendelssohn played and conducted it in Leipzig. Reviewing the concert, Robert Schumann wrote, “I have received a pleasure from it such as I have never enjoyed, and I sat in my place without moving a muscle.’’

As with Beethoven’s other piano concertos, the Fourth breaks the 18th-century mould of purely virtuosic display. Here one finds the most carefully considered personal statement – poetry, introspection, elevation of moods and feelings – all the elements one associates with Beethoven’s highly individual and deeply felt way of communicating.

The opening movement is grand yet intimate.

Franz Liszt compared the remarkable slow movement to that of Orpheus, where the music charms the fiends of Hell, the piano subduing the threats that lay before its entries. A short pause leads to the rondo-finale, the strings softly stealing in, leading to a rousing display.

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Piano Concerto No. 5 Ludwig van Beethoven

Composed: 1809 First performance: November 11, 1811 (Leipzig) conducted by Johann Philipp Schulz with Friedrich Schneider as soloist.

Last WSO performance: 2018; Daniel Raiskin, conductor; Emanuel Ax, piano

Nothing came easy for Beethoven. In May 1809 Napoleon invaded Vienna with enough firepower to send Beethoven running to his brother’s basement for protection, covering his ears with pillows to shield him from all the noise. “The man will trample the rights of men underfoot and become a greater tyrant than any other,’’ he said. Austria’s financial situation was gloomy. Beethoven had to take a reduced stipend from the noblemen that supported him.

But from all the drums, cannons and misery, out came the ‘Emperor’ Concerto, the majestic fifth of Beethoven’s five piano concertos.

The Leipzig premiere in 1811 was a success.

The press called the work one of the most imaginative ever, and one of the most difficult!

But the Vienna premiere didn’t go as well due to its presentation at “The Society of Noble Ladies for Charity for Fostering the Good and Useful’’ benefit concert where musical bon-bons were the usual bill of fare to raise money for the ladies’ pet charities. Beethoven’s Emperor Concerto was placed alongside a ‘living tableau’ of paintings

by Raphael, Poussin and others. Beethoven promptly left.

Beethoven didn’t attach the name Emperor to the piece and likely would have objected. There was a rumoured story of a French officer at the premiere, saying during a particularly noble passage, ‘C’est l’Empereur.’ But Anton Schindler, Beethoven’s longtime friend and biographer, related that the Viennese premiere took place on the birthday of the Emperor, which was the occasion for the party by the Noble Ladies.

Yet the title really does capture the overall feeling of this great work, especially the grandly imposing presence of the piano writing stated

right from the beginning and resoundingly affirmed throughout the first movement. A lovely slow movement follows, leading into a vast rondo whose bounding theme gets a royal workout before its imaginative coda, dying away before one final romp to the finish.

Choral Fantasy

Ludwig van Beethoven

Composed: 1808. First performance: 1808 (Vienna) Last WSO performance: 2009; Alexander Mickelthwate, conductor; David Moroz, piano

The lyrics tell the story in Beethoven’s Choral Fantasy (below), for they are a paean to music itself; to “life’s harmonies,’’ how the sunshine of music draws light into one’s life and unites mankind.

What a fitting partner the piece is, then, to Beethoven’s mighty Ninth Symphony. And what a fitting conclusion to the mammoth all-

Beethoven four-hour concert of December 22, 1808, where the premiere of the Choral Fantasy was the grand closing number, following premiere performances of the Fifth and Sixth Symphonies, the concert aria Ah! Perfido, portions of the Mass in C major, plus some piano improvisations by Beethoven himself.

The Choral Fantasy was written so quickly, some of the players found wet ink on their parts that night! Beethoven had improvised the opening piano solo, writing down bits of it after the performance to insert into the complete work.

After the piano introduction, the orchestra enters to kick off a healthy set of variations on the song Gegenliebe, which Beethoven wrote in 1794. An Adagio arrives, followed by a march, that gives way to the chorus, who ring out their praise to music with joyous hearts on sleeves. ■

Schmeichelnd hold und lieblich klingen unseres Lebens Harmonien, und dem Schönheitssinn entschwingen Blumen sich, die ewig blühn.

Fried und Freude gleiten freundlich wie der Wellen Wechselspiel.

Was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl.

With grace, charm and sweet sounds The harmonies of our life, And the sense of beauty engenders The flowers which eternally bloom.

Peace and joy advancing in perfect accord, Like the alternating play of the waves; All harsh and hostile elements Render to a sublime sentiment.

Wenn der Töne Zauber walten und des Wortes Weihe spricht, muss sich Herrliches gestalten, Nacht und Stürme werden Licht. Äuss’re Ruhe, inn’re Wonne herrschen für den Glücklichen.

Doch der Künste Frühlingssonne lässt aus beiden Licht entstehn.

When the magic sounds reign And the sacred word is spoken, That strongly engender the wonderful, The night and the tempest divert light, Calm without, profound joy within, Awaiting the great hour.

Meanwhile, the spring sun and art Bathe in the light.

Großes, das ins Herz gedrungen, blüht dann neu und schön empor.

Hat ein Geist sich aufgeschwungen, hallt ihm stets ein Geisterchor.

Nehmt denn hin, ihr schönen Seelen, froh die Gaben schöner Kunst Wenn sich Lieb und Kraft vermählen, lohnt den Menschen Göttergunst.

Something great, into the heart Blooms anew when in all its beauty, Which spirit taken flight, And all a choir of spirits resounds in response.

Accept then, oh you beautiful spirits Joyously of the gifts of art.

When love and strength are united, The favour of God rewards Man.

F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 1 9

ARTIST BIOS

(A)BSOLUTE CLASSICS

Back-to-Back Beethoven

Alexei Volodin, piano Alexei Volodin was born in St. Petersburg, and began taking piano lessons there at the age of nine. A year later he moved to Moscow, where he studied first with Irina Chaklina and later with Tatiana Zelikman at the Gnessin Music School. In 1994 he enrolled at the Moscow Conservatoire and ended his studies there in 2001 in the master class of Professor Eliso Virsaladze. In 2001/02, he rounded off his studies at the Theo Lieven International Piano Foundation in Como. He was the 2003 winner of the 9th Concours Géza Anda in Zurich.

Volodin has had a remarkable career, giving recitals all over the world. He has performed with prestigious orchestras, such as the Sydney Symphony, the Orchestra della Radio Svizzera Italiana, the SWR Radio Symphony Orchestra, the St. Petersburg Philharmonic Orchestra,

Teaching opportunities available!

For more information, please contact: Marilyn Unrau, MYCC Regional Coordinator - Western Canada 1.877.603.3MYC m.unrau@myc.com

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University of Manitoba Singers Elroy Friesen, artistic director

The last three decades have brought the University of Manitoba Singers to prominence as a performing ensemble in Canada, known for their performances of both new and traditional choral repertoire. In addition to the University Singers’ extensive performance of new works, they regularly perform traditional choral repertoire and masterworks. Recent concerts have included Handel’s Messiah, Weihnachtsoratorium by Bach, Mozart’s Requiem, Stravinsky’s Symphony of Psalms, and Carl Orff’s Carmina Burana. The University Singers have placed first in the CBC Radio National Amateur Choir Competitions (Chamber Choir Category). They have toured extensively throughout the Americas and they have taken numerous concert tours to Europe, including Germany, Holland, Austria, Poland, Finland, Switzerland, Italy, Ireland and England. In 2011 they toured Sweden and Finland, and represented Canada at the Vaasa International Choral Festival.

ALEXEI VOLODIN PHOTO BY MARCO BORGGREVE

At Music for Young Children®, we encourage children to be more creative, inventive, imaginative and expressive through our keyboard-based music education program. We provide them with a unique set of skills that will carry throughout their lives. Whether it’s improving their grades, enhancing coordination skills for their athletic activities, or to learn the rewarding skill of playing the piano; MYC® is the first key to getting them there.

the Orchestra of the Mariinsky Theater, the NDR Radio Philharmonic Orchestra Hannover, Gewandhaus-Orchester Leipzig, the Orchestre national du Capitole de Toulouse, the Moscow Tchaikovsky Symphony, the Orchestra of the Deutsche Oper Berlin and the Tonhalle Orchester Zurich. He has worked with conductors like Riccardo Chailly, Mikhail Pletnev, Eiji Oue, Gerd Albrecht, Carlo Rizzi, Zoltan Kocsis, David Zinman, Valery Gergiev and Vladimir Fedoseyev, among others.

Canadian Mennonite University Chorus Janet Brenneman, artistic director

The CMU Festival Chorus, in its inaugural season, brings together the choral traditions and excellent quality of three distinct ensembles under the CMU umbrella to create an ensemble composed of current CMU students, CMU alumni, and community members. With its roots in excellent performances by the former Mennonite Festival Chorus, the choir members have worked with distinguished WSO directors Bramwell Tovey, Andrey Boreyko and Alexander Mickelthwate, as well as guest conductors such as Helmut Rilling, Robert Shaw, Ivars Taurins, Jane Glover, and Tania Miller. Performances with the WSO include masterworks by Mozart, Britten,

Handel, Beethoven, Verdi, Mahler, Schoenberg, Silvestrov, and Pärt.

CMU Festival Chorus Director Janet Brenneman is Associate Professor of Music at Canadian Mennonite University where she teaches music education, choral conducting, and conducts the CMU Singers and the CMU Women’s Chorus.

Active in the Manitoba choral community, Janet is also the Conductor of Renaissance Voices, and the Faith and Life Women’s Choir. Janet has studied and worked with notable conductors Doreen Rao, Elmer Iseler, Charles Smith, and Helmuth Rilling. Recent guest conducting engagements have taken her across Canada, most notably to conduct the Elmer Iseler Singers and the Amadeus Choir of Toronto in a performance of Bach’s Christmas Oratorio in December 2017.

The current season brings CMU Festival Chorus to the concert hall stage with the WSO and conductor Jane Glover to perform Handel’s Messiah in December 2019. ■

WINNIPEG PHILHARMONIC CHOIR

HAPPY 250TH, LUDWIG BEETHOVEN’S MASS IN C MARCH 22•2020

3 PM ST. BONIFACE CATHEDRAL

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GUEST ARTISTS Winnipeg Symphony Orchestra Sarah Jo Kirsch, soprano Kirsten Schellenberg, alto James McLennan, tenor Justin Welsh, bass

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Adults $30 / Seniors $25 / Under 30 $15 Tickets available at McNally Robinson Booksellers or online at thephil.ca

YURI KLAZ ARTISTIC DIRECTOR & CONDUCTOR

www.thephil.ca F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 2 1

Building creative communities and bright futures Together, we can do more for Canadians, for each other and for the communities we love.

Naomi Woo, conductor Vern Griffiths

Vern Griffiths, percussion

CANADA LIFE KIDS CONCERTS

Wall-to-Wall Percussion Ray Co-Co Stevenson, drummer

Washington Post March

Sousa

Kitchen Concerto

Griffiths

Xylophonia

Green/Cahn

Tuileries from Pictures at an Exhibition

Mussorgsky arr. Ravel

The Swan from Carnival of the Animals Saint-Saëns Sabre Dance

Khachaturian

Aragonaise from Carmen

Bizet

Star Wars: Main Title

John Williams

Conga from Oiseaux exotiques

Harry Freedman

1812 Overture

Tchaikovsky

Theme from Mission: Impossible

Lalo Schifrin

Sunday, March 8

2:00 pm

Pre-concert activities begin at 1:00 pm Pre-Concert Activities Partner:

Kids Concerts Series Sponsor:

Instrument Petting Zoo Sponsor:

Presenting Media Sponsor:

Instrument Petting Zoo Volunteers:

F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 2 3

ARTIST BIOS

CANADA LIFE KIDS CONCERTS

Wall-to-Wall Percussion

Vern Griffiths, percussion Percussionist Vern Griffiths is one of the prominent players in Vancouver’s musical community. He joined the Vancouver Symphony as Principal Percussionist in 1997, and is also a member of the CBC Radio Orchestra, and the new music groups Standing Wave and Turning Point Ensemble. He can be heard on recordings with all of these groups, as well as soundtracks to movies by Disney, Imax, ABC, PBS, EA Sports, Lion’s Gate, and Dreamworks. Griffiths was born and raised in North Vancouver, and has degrees from UBC in both music and commerce. His percussion teacher at UBC was the then-VSO Principal John Rudolph. He then earned his Master of Music degree in Orchestral Performance from the Manhattan School of Music, as a scholarship student of Chris Lamb of the New York Philharmonic and Duncan Patton of the Metropolitan Opera Orchestra. Other studies include the Aspen Music Festival, National Youth Orchestra of Canada, the National Orchestral Institute (Maryland), the Altenberg Music Festival (Germany), and the Leigh Stevens Marimba Seminar.

Griffiths has appeared as soloist with the Vancouver Symphony, CBC Radio Orchestra, and Victoria Symphony. This season he will perform his Wall-to-Wall Percussion kid’s concert with the Vancouver Symphony (third time) and the Toronto Symphony (debut). Other recent highlights include a Music on Main recital at the Jazz Cellar plus performances with the Music on Main All-Star Band, Victoria Symphony, Music in the Morning series, MusicFest Vancouver, UBC’s Wednesday Noon Hour and Pacific Spirit series, the Canadian premiere of Nebojsa Zivkovic’s Sex in the Kitchen, and the CBC Radio2 broadcast of one of his own recent compositions.

A committed educator, he has taught at UBC since 1997, and has directed the Percussion Ensemble since 2005. Students of his have gone 2 4 O V E R T U R E | F e b r u a r y – M a r c h 2 0 2 0

on to study with Alan Abel, Russell Hartenberger, John Rudolph, Don Liuzzi, Jack Van Geem,and Nancy Zeltsman; have participated in the Aspen Music Festival, National Orchestral Institute, and National Youth Orchestra of Canada; have performed as soloists with both the UBC Orchestra and Wind Ensemble; and a former student is now the Principal Percussionist of the Chicago Symphony.

Ray Co-Co Stevenson, drummer Singer and composer Waking Wolf Ray Co-Co Stevenson has released seven albums over the years and has performed off and on with the award-winning band Eagle & Hawk for more than 20 years. Ray collaborates regularly with different artists in a variety of music genres, and has performed with the WSO on more than one occasion. For over 20 years, Ray has facilitated powwow clubs, educating people of all ages on Indigenous song and dance. He currently facilitates powwow clubs at the University of Winnipeg and the University of Manitoba. ■

ADDITIONAL MUSICIANS Caitlin Broms-Jacobs, oboe Justin Hickmott, tuba Victoria Sparks, percussion

Classically Romantic ALEXEI VOLODIN P i an o Sunday, March 8 | 3:00 PM Eckhardt-Gramatté Hall 204.786.9000

VIRT UOSI.MB.CA

AIR CANADA SOUNDBYTES POPS

On behalf of

DARRELL G EBHARDT

Family, Partners, & Associates

Proud supporter of the Winnipeg Symphony Orchestra, we celebrate and wish them a huge success on their 72nd season!

April – May 2018 I OVERTURE 17

yes, we deliver S E L E C T P R O D U C T S AVA I L A B L E F O R D E L I V E R Y AT L I Q U O R M A R T S . C A

Troupe Vertigo, theatrical circus ensemble Julian Pellicano, conductor

Night on Bald Mountain

Mussorgsky / arr. Rimsky-Korsakov

Rumanian Folk Dances

Bartók

Slavonic Dance No. 8 in G minor, Op. 46

Dvořák

POPS

Troupe Vertigo

Polovtsian Dances from Prince Igor Borodin Dance of the Polovtsian Maidens Polovtsian Dance with Chorus – INTERMISSION –

Ritual Fire Dance from El Amor Brujo Falla Spanish Dance No. 1 from La Vida Breve Falla Miller’s Dance from The Three-Cornered Hat Falla Dawn on the Moskva River

Mussorgsky

Suite from The Firebird (1919) Introduction The Firebird and its Dance Variations of the Firebird The Princesses’ Round Infernal Dance of King Kaschei Lullaby Finale

Stravinsky

Friday, March 13 Saturday, March 14 Sunday, March 15

8:00 pm 8:00 pm 2:00 pm

Pops Series Sponsor: Presenting Media Sponsor:

MUSICIANS IN THE MAKING Pre-concert performances in the lobby, Orchestra Level South: Friday, 7:15 pm Westgate Mennonite Collegiate String Orchestra Saturday, 7:15 pm Winnipeg Youth Concert Orchestra Pre-concert performance on the Piano Nobile: Sunday, 1:15 pm Music for Young Children F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 2 7

ARTIST BIOS

POPS

Troupe Vertigo

Troupe Vertigo

2010 at the Ford Amphitheater with a young rock ‘n’ roll group – Nightmare & The Cat, featuring Django and Sam Stewart.

The company returned to the Ford Amphitheater in 2012 with Nighthawks: A Film Noir Circus, inspired by American jazz, Edward Hopper paintings and the gritty streets of crime novels from Hammett to Chandler.

Los Angeles-based theatrical circus company Troupe Vertigo was founded in 2009 by Aloysia Gavre (Cirque du Soleil) and her husband Rex Camphuis (Pickle Family Circus/film and theatre producer). They create an eclectic and refreshing mix of circus-dance-theatre works that ignite the imagination with mentally and physically spellbinding performances.

The year 2016 brought to life their newest work, Tableaux, originally presented by the Dance Resource Center at the Bootleg Theater in Los Angeles. Tableaux features five women inquiring about confinement and freedom, while finding themselves constrained on an island of boxes, trapped by the constrictions of society and themselves.

Troupe Vertigo encompasses the wide spectrum of the performing arts, including performances at theatres, concert halls, festivals and special events.

Troupe Vertigo’s facility is also home to Cirque School, LA’s premier circus training space, which inspires an appreciation for the circus arts for “Anybody with Any Body.”

Troupe Vertigo has been creatively involved with world-class symphonies, contributing widely to their theatrical sensibilities to help attract new audiences to symphonic concerts. Most recently, this includes working with renowned Maestro Jack Everly for Cirque Goes Broadway and Cirque Cracker with the Phoenix Symphony.

Their unique perspective on the circus arts has led to a variety of speaking engagements, including with the Center Theater Group Los Angeles, Directors Lab West, TEDx Talk and the Chicago Contemporary Circus Festival, as well as in publications such as Dance Teacher Magazine (August 2016 cover story) and in the book Ordinary Acrobat.

Troupe Vertigo premiered its first show in Los Angeles Big Top for a New Generation in

2 8 O V E R T U R E | F e b r u a r y – M a r c h 2 0 2 0

Due to their Los Angeles home and having Cirque School as their sister company, Aloysia and Rex’s expertise are often in demand for the film and television industry. Most notably for Rebel Wilson’s aerial performance in Pitch Perfect 2 and with Reese Witherspoon and Christoph Waltz, who utilized Cirque School resources not only for circus instruction but for character background research for the film Water for Elephants. ■

ADDITIONAL MUSICIANS Laurel Ridd, flute Justin Hickmott, tuba Victoria Sparks, percussion Darryl Friesen, keyboard

Daniel Raiskin, WSO Music Director

MAESTRO HEATS UP Sunday, March 15 | Two seatings: 5:00 pm & 7:30 pm 312 Des Meurons St. | $100 per person WITH $65 CHARITABLE TAX RECEIPT Menu Glass of sparkling wine upon arrival

SOUP CHOICE

Georgian kharcho (hearty lamb soup) Borscht with sour cream Glass of wine with first course

ENTRÉE CHOICE

Fern Kirouac, Daniel Raiskin and Elise Lavallée prepare to deliver a wonderful feast, with Fern and Daniel cooking and WSO musicians serving and pouring wine.

Duck breast with mango, buckwheat, raisin, pine nuts and a port reduction Braised beef brisket with dried plums in Armangnac served with potato and zucchini latkes Roasted stuffed eggplant topped with feta served with stewed lentils Glass of wine with entrée

For tickets visit my.wso.ca/inferno or contact Theresa at 204-949-3973 or thuscroft@wso.mb.ca

WINE PROVIDED BY

DESSERT

Baked Apple Daniel served with hazelnut ice cream Glass of apple cider with dessert

T H E WO M E N ’ S C O M M I T T E E of the

invites you to attend

A brunch at the

St. Charles Country Club celebrating

Manitoba’s 150th anniversary

Sunday, March 29, 2020

Music by

Richard Turner, WSO Entertainment by

Desautels Faculty of Music, Musical Theatre Silent Auction

For tickets, visit the Music Stand during WSO concerts or call Shirley at 204-269-1912

$75 per person (with a partial tax receipt)

ALL PROCEEDS GO TO THE

Daniel Raiskin, conductor Vadim Gluzman, violin

(B)EYOND CLASSICS

PHOTO BY MARCO BORGGREVE

Tchaikovsky’s Violin Concerto

Vadim Gluzman

Rhapsody on Moldavian Themes Mieczysław Weinberg (1919–1996) Violin Concerto in D major, Op. 35 Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo

Peter Ilyich Tchaikovsky (1840–1893)

– INTERMISSION –

Symphony No. 6 in B minor, Op. 54* Largo Allegro Presto

Dmitri Shostakovich (1906–1975)

Friday, March 20 Saturday, March 21

Official Radio Station of the WSO Classics

7:30 pm 7:30 pm

Pre-concert chat on the Piano Nobile at 6:45 pm Shostakovich’s Symphony No. 6 features

Your personal concert companion

SPECIAL CONDENSED MATINEE Shostakovich’s Sixth Symphony Friday, March 20

10:30 am

*Matinee program consists of marked pieces above Pre-concert chat on the Piano Nobile at 10:05 am

F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 3 1

PROGRAM NOTES

(B)EYOND CLASSICS

Tchaikovsky’s Violin Concerto

by James Manishen

Rhapsody on Moldavian Themes

Mieczysław Weinberg

b. Warsaw / December 8, 1919 d. Moscow / February 26, 1996 Composed: 1949 First performance: November 30, 1949 (Moscow) conducted by Alexander Gauk First WSO performance

The renaissance of interest in Mieczysław Weinberg’s music over the past decade is heartening, for during his lifetime his music was performed by the greatest musicians in the Soviet Union.

He was highly regarded by his friend and duo-piano partner Dmitri Shostakovich, and his output was vast, encompassing seven operas, 22 symphonies, 17 string quartets and much more over many musical genres. Despite a single visit to his native Poland, Weinberg never travelled abroad, which may explain why his music was such a well-kept secret outside his homeland.

Born in Warsaw to parents from Bessarabia, the present-day Republic of Moldova, Weinberg fled the Nazis from Poland to the Soviet Union in 1939, where he spent most of his life. His father was a violinist and composer who worked for the local Jewish theatre troupes before migrating to Poland. Apart from Mieczysław, who escaped in time, both his parents and his sister were murdered by the Nazis after the invasion of Poland.

In 1949, a year following the infamous Party directive against so-called “formalist” composers, Weinberg found himself implicated on that list. Compounding the situation in 1948 was Stalin’s direct order for the murder of his father-in-law, the famous Yiddish actor Solomon Mikhoels. Weinberg himself came very close to “disappearing,” being accused of “Jewish bourgeois nationalism.” Intercession by Shostakovich (at great personal risk) very likely saved him.

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Since the Soviet Communist Party had also urged composers to employ the country’s ethnic traditions, Weinberg’s compliance to all this came in the form of his Rhapsody on Moldavian Themes.

Most of the melodies Weinberg used in this vividly orchestrated Rhapsody are native Moldavian folk songs, culturally linked to Romania, but the final section is an unmistakably Jewish klezmer tune. Perhaps Weinberg was recalling the tragic pogrom that took place in 1903 against the Jewish population of Moldavia’s capital Kishinev. In any case, the Rhapsody proved a seminal work for the composer and a highly entertaining one for the listener.

Violin Concerto in D major Piotr Ilyich Tchaikovsky

b. Votkinsk, Russia / May 7, 1840 d. St. Petersburg, Russia / November 6, 1893 Composed: 1878 First performance: December 4, 1881 (Vienna), conducted by Hans Richter with Adolf Brodsky as soloist.

Last WSO performance: 2016, Alexander Mickelthwate, conductor; Joshua Bell, violin

Tchaikovsky was in a dire emotional state during the summer of 1877. A disastrous marriage lasting less than three weeks caused a suicide attempt, so his brother Modeste arranged for him to flee Moscow to recuperate at Modeste’s home in St. Petersburg. Over a few months, the composer settled down and was able to work on his Fourth Symphony as well as the opera Eugene Onégin.

Modeste felt another change of scenery would help further, so the two set out for Clarens on Lake Geneva in Switzerland. There, Tchaikovsky heard a performance of Lalo’s Symphonie espagnole and became entranced with the possibility of writing a similarly appealing violin concerto, almost immediately putting

pen to paper. Joseph Kotek, a former Moscow Conservatory student of Tchaikovsky’s, was visiting Clarens and played the sketches as they were completed. Tchaikovsky finished the entire work in just one month.

In 1878, the composer sent a printed version of the violin and piano reduction to his friend Leopold Auer, who headed the violin department at the St. Petersburg Conservatory.

Though appreciative of the dedication, Auer felt the solo part needed supplementary editing and undertook the task. Due to the delay and Auer’s reticence to perform the premiere, Adolf Brodsky, a former Moscow Conservatory colleague of Tchaikovsky’s, studied the Concerto, and, by 1881, Brodsky felt secure enough to perform it with the Vienna Philharmonic.

Whether the result of the single spotty rehearsal or the orchestra’s perceived dislike for the piece, the audience hissed at the premiere, as did the influential critic Eduard Hanslick, who proclaimed it “stinking music.’’

But Brodsky persevered and played it throughout Europe. Audiences gradually came onside. Even Auer took on the Concerto, teaching it to his students Heifetz, Elman and others, whose recordings we can enjoy today.

Tchaikovsky’s Violin Concerto is one of the most popular in the literature. Its directness of expression, striking melodies, formidable virtuosity and airtight narrative never fail to win audiences over as it speaks from heart to heart. One scarcely believes its origin could be so troubled.

THE BEST MEMORIES START WITH A GREAT MEAL

Symphony No. 6 Dmitri Shostakovich

b. St Petersburg, Russia / September 25, 1906 d. Moscow / August 9, 1975 Composed: 1939 First performance: December 3, 1939 (Moscow), conducted by Yevgeny Mravinsky Last WSO performance: 2002, Alexander Vedernikov, conductor

Along with those of Mahler, the symphonies of Dmitri Shostakovich occupy the cornerstone of that repertoire in the ability to convey contradictory meanings in music.

Shostakovich’s symphonies do not have a progression of career evolution, where one might track a current of advancement. Instead, as the composer’s friend, cellist Mstislav Rostropovich, stated, one finds “a conviction that the 15 symphonies are a secret history of Soviet Russia.” In them Shostakovich samples all the country’s emotions: from the exhilaration of Leninist times to Stalinist despair; from youthful optimism to desperate appeasement of the commissars.

By the age of 20, Shostakovich had written two symphonies. As early as 1924, he had wanted to write something on a grand scale in tribute to the hero of the Russian Revolution of 1917, Vladimir Ilyich Lenin. In 1936, Shostakovich received a scathing condemnation of the modernist tendencies in his opera Lady Macbeth of Mtsensk, which he sought to redress in his Fifth Symphony, subtitled “A Soviet artist’s response to justified criticism.”

Success from the Fifth Symphony won Shostakovich encouragement from across the Soviet Union to keep writing in the affirmative spirit. In November 1938, he announced plans to compose a monumental choral work dedicated to the immortal image of Lenin, drawing the texts from Vladimir Mayakovsky’s Ode to Lenin.

But that work was not to be, for Shostakovich balked at a musical response to such an epic text (waiting until 1961 and the 12th Symphony to complete his musical tribute to Lenin).

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PROGRAM NOTES

(B)EYOND CLASSICS

Tchaikovsky’s Violin Concerto

continued

The new Symphony No. 6 was a very different story – modest in dimensions, devoid of extra-musical associations and with a contrast between the intense opening movement and cheerful, satiric other movements to lend a somewhat split personality to the work overall. Though its premiere at the Festival of Soviet Music in Moscow was overshadowed by the acclaim for Prokofiev’s patriotic cantata Alexander Nevsky, Shostakovich’s Sixth is now regarded among his finest work.

The second movement is a scherzo of biting humour, with hammering motives in the central section vividly passed around the orchestra before the scurrying opening material returns.

The spiky finale opens with caustic motives in the strings that give way to a second section in pounding triple metre. Solo violin brings back the opening material, leading to a brash burlesque-like tune that hurtles the work to a rousing close. ■

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ow Ne w Ad de

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Maher’s influence is evident in Shostakovich’s Sixth, especially in the giant opening movement’s depth of expression, which recalls the opening movement of Mahler’s bitter 10th

Symphony. The funereal Largo, frequently interrupted in hyperactivity, seems to convey, in Norman Lebrecht’s words, “a documentary report of daily life under the shadow of a tyranny that knocks at the door in the dead of night.”

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—Christine Walevska, master cellist

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March 3–4 Centennial Concert Hall

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ARTIST BIOS

(B)EYOND CLASSICS

Tchaikovsky’s Violin Concerto

Vadim Gluzman, violin Universally recognized among today’s top performing artists, Vadim Gluzman brings to life the glorious violinistic tradition of the 19th and 20th centuries.

Gluzman’s wide repertoire embraces new music and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label.

The Israeli violinist has appeared with the Berlin Philharmonic, Boston Symphony, Orchestre de Paris, Leipzig Gewandhaus, Israel Philharmonic, London Symphony, Royal Concertgebouw and many others. He collaborates with leading conductors including Riccardo Chailly, Christoph von Dohnányi, Tugan Sokhiev, Sir Andrew Davis,

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Neeme Järvi, Michael Tilson Thomas, Semyon Bychkov and Hannu Lintu. Festival appearances include performances at Ravinia, Tanglewood, Verbier and the North Shore Chamber Music Festival in Chicago, founded by Gluzman and pianist Angela Yoffe, his wife and recital partner.

Highlights of the current season include performances with the Orchestre de Paris, Orpheus Chamber Orchestra, St. Petersburg Philharmonic, Detroit Symphony and the ProMusica Chamber Orchestra in Ohio, where he serves as its Creative Partner and Principal Guest Artist. He gives world premiere of Erkki-Sven Tüür’s concerto with the Frankfurt Radio Symphony, Moritz Eggert’s “Mir mit Dir” at the Kronberg Academy Festival, and UK premiere of Sofia Gubaidulina’s Triple Concerto with BBC Philharmonic.

Distinguished Artist in Residence at the Peabody Conservatory, Gluzman performs on the legendary 1690 ‘ex-Leopold Auer’ Stradivari, on extended loan to him through the generosity of the Stradivari Society of Chicago. ■

ADDITIONAL MUSICIANS Laura MacDougall, flute Caitlin Broms-Jacobs, oboe Sharon Atkinson, clarinet Mike Dassios, clarinet Allen Harrington, bassoon Justin Hickmott, tuba Jeremy Epp, percussion Andrew Nazer, percussion Victoria Sparks, percussion Brendan Thompson, percussion

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The year has barely begun,

and it has already been packed full of excitement at Sistema Winnipeg! As a program of the Winnipeg Symphony Orchestra, students are given the opportunity to participate in activities prior to WSO concerts at the Centennial Concert hall. We started the new year by performing prior to performances by KUNÉ – Canada’s Global Orchestra. The students were excited to perform in the Concert Hall’s lobby, and even more excited to experience KUNÉ’s performance afterwards.

Before each Canada Life Kids Concert, the Sistema students run an instrument petting zoo for children attending the concerts.

The Sistema students are proud to share their skills with the community, and light up when they are able to teach others how to play their instruments. On January 19, some of our Elwick students rotated running the instrument stations with exploring the other stations provided pre-concert. They then enjoyed “Al” and the Wolf, especially since the program highlighted each individual instrument.

On January 29, students from King Edward School performed at the Gwen Secter Creative Living Centre as part of the Rady JCC Music ‘N’ Mavens series. We were thrilled to be able to give back to the community in this way, and the attendees seemed to be equally as thrilled to play the wooden spoons along with our traditional Métis reels.

St. John’s College at the University of Manitoba once again hosted a Sistema fundraising concert on February 2. This year, we partnered with students from the Desautels Faculty of Music, who performed both individually and alongside our students in the program. We performed for a packed chapel, and all proceeds from the concert and silent auction that followed were donated directly to Sistema Winnipeg!

In addition to our performances, students attend Sistema every day after school from 3:30 to 6:00 pm. During this time they are provided with a healthy snack and attend a variety of classes. Serving students at King Edward and Elwick Schools, Sistema Winnipeg reaches approximately 130 students in Winnipeg’s North End at no charge to the students or families.

After an action-packed start to the year, the Sistema Winnipeg team is looking forward to what the rest of 2020 will have in store for us!

Sistema Winnipeg cannot exist without the generosity of the community. Donations to Sistema can be used to support the annual operations or the Sistema Endowment Fund. Donations to the endowment are eligible for matching funds. To donate, visit wso.ca/support or phone Theresa Huscroft, Development Coordinator, at 204-949-3973.

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Above: Sistema Music Director Naomi Woo conducting at St. John’s College 1 King Edward students performing as part of the Rady JCC Music ‘N’ Mavens series 2 Elwick Instrument Petting Zoo helpers 3 Performance at the Centennial Concert Hall prior to KUNÉ

2

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Join the WSO on the world stage when we perform in the Netherlands and Belgium in May 2020 as part of the 75th anniversary of the liberation of the Netherlands by Canadian Forces during WW2.

You can come along as part of one of two tours that are being offered through the Great Canadian Travel Company, or they will help you build your own tour. For more information, call (204) 949-0199 or visit www.greatcanadiantravel.com/destination/wso-netherlands-tours/ ADOPT A MUSICIAN Help us ensure that we can make this once in a lifetime opportunity possible by adopting a musician and showing your financial support of the WSO’s world tour.

Musicians are $5,000 to adopt but donations of every size are welcome.

Contact Beth Proven at (204) 949-3989 or bproven@wso.mb.ca for more information.

ROTTERDAM GALA AND CONCERT Join us in Rotterdam on May 5, 2020 for a gala dinner and concert celebrating Netherland’s Liberation Day. Tickets are $300 Cdn and include a pre-concert gala dinner and a ticket to the WSO’s concert in Rotterdam. To book the Rotterdam gala, call (204) 949-0199.

TRAVELLING ON YOUR OWN TO THE NETHERLANDS? Please go online to the concert halls in the cities where you will travel to book your concert tickets. Links may be found on the WSO’s website.

Sunday, May 3, 2020 Arnhem, Musis Sacrum Monday, May 4, 2020 Amsterdam, Concertgebouw Tuesday, May 5, 2020 Rotterdam, de Doelen Wednesday, May 6, 2020 Groningen, Oosterpoort Thursday, May 7, 2020 Antwerp, de Singel Friday, May 8, 2020 Utrecht, Tivoli Vredenburg Saturday, May 9, 2020 Heerlen, Parkstad Theatre

Belgian-style beer and shareable dishes right around the corner.

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Our taproom + kitchen are a one minute walk from the Centennial Concert Hall, anchored at the corner of Lily and Pacific.

WSO SUPPORTERS Riser

UNDER $500

The WSO gratefully acknowledges the following companies and organizations whose generous support helps to ensure musical enrichment within our community.

Podium $25,000 + Johnston Group Inc. The WSO Women’s Committee Resident Artist $10,000–24,999 Caspian Construction Travel Manitoba Wawanesa Mutual Insurance Co Principal Chair $5,000–9,999 Cambrian Credit Union ft3 Architecture Landscape Interior Design James Richardson & Sons, Limited Qualico Telus Terracon Development Ltd. Assistant Principal Chair $2,500–4,999 J.K. May Investments Ltd. Premier Printing Ltd. Orchestra Chair $1,000–2,499 Maxim Truck & Trailer Long & McQuade Musical Instruments Music Stand $500–999 Mid West Packaging Limited Number Ten Architectural Group Our Lady of Perpetual Help Parish

Barn Hammer Brewing European Art Glass Ltd. InterGroup Consultants Ltd. Bruce Miltenberg Real Estate, in memory of Loren Karlowsky

Foundations The WSO gratefully acknowledges the following foundations: Robert & Ina Abra Family Fund, The Winnipeg Foundation Elizabeth B. Armytage Fund, The Winnipeg Foundation The Benevity Community Impact Fund Sylvia & Robin Cowan Foundation D’Addario Foundation Nadia & Ken Dolenko Memorial Fund Nita Eamer Memorial Fund, The Winnipeg Foundation Foundation for Choral Music in Manitoba Francofonds Inc. The Bertram Austin Goodman, Mary Easton McLaren Goodman & Dorothy Jean Goodman Foundation Marjory Alexander Graham & Family Fund Jewish Foundation of Manitoba George Warren Keates Memorial Fund, The Winnipeg Foundation Allen & Marion Lambert Fund Lutz Family Foundation Marjory Stewart McLaren Fund John & Carolynne McLure Fund, The Winnipeg Foundation Moffat Family Fund, The Winnipeg Foundation John & Shelley Page Fund Maurice (Moe) & Ethel Pierce Fund Program for the Enrichment of French in Education Siobhan Richardson Foundation Inc. Richardson Foundation

Burton A. & Geraldine L. Robinson Fund, The Winnipeg Foundation Ross Robinson Family Foundation Fund, The Winnipeg Foundation Esther & David Sanders Foundation of Winnipeg Sandra & Harvey Secter Family Fund David & Leda Slater Memorial Fund, Jewish Foundation of Manitoba Inga & Anna Storgaard Fund, Aqueduct Foundation Leslie John Taylor Fund, The Winnipeg Foundation

The Maestro’s Circle recognizes patrons whose significant philanthropy furthers the musical artistry of the WSO. Based on 12 months accumulative giving

Honorary Chair Daniel Raiskin, Music Director Diamond MC $50,000 + Michael Nesbitt

The Legacy Circle exists to recognize the following patrons whose foresight ensures that the WSO plays on for all Manitobans for generations to come.

The WSO gratefully acknowledges Legacy Circle members for their planned future gift to the WSO. Dr. Siana Attwell Greg Doyle & Carol Bellringer Lucienne Blouw Dolores P. Brommell Lorraine & Gerry Cairns Hugh B. Cowan Mrs. Audrey F. Hubbard Richard & Carol Jones Koren & Leonard Kaminski Henry Katz, in memory of Dena Kevin & Els Kavanagh Margaret Kellermann McCulloch & Paul McCulloch Erwin Kitsch M. Michel D. Lagacé Robin Wiens & Emilie Lagacé-Wiens Gail Loewen Bill & Shirley Loewen Dr. Brendan MacDougall Nathan & Carolyn Mitchell Lesia Peet Beth M. Proven Edward Fisher & Lyse Rémillard Olga & Bill Runnalls Trudy Schroeder June Slobodian Muriel Smith Mrs. Elizabeth Szirom Edith A. Toews Dr. Helen A. Toews Donn K. Yuen 8 Anonymous

Platinum MC $25,000–49,000 Gail Asper, OC, OM, LLD & Michael Paterson James Cohen & Linda McGarva-Cohen Marten Duhoux & Joanne Duhoux-DeFehr Daniel Friedman & Rob Dalgliesh Bill & Shirley Loewen Tannis Richardson Curt & Cathy Vossen Gold MC $10,000–24,999 Marjorie Blankstein, CM, OM, LLD Timothy & Barbara Burt Art & Leona Defehr John & Gay Docherty Elmer & Hilda Hildebrand Duncan & Judy Jessiman Peter & Dana Jessiman Kevin & Els Kavanagh Grant & Eleanor MacDougall Scott MacDonald & Tracey Novak, The Winnipeg Foundation Dr. Bill Pope & Dr. Elizabeth Tippett-Pope Daniel Raiskin Don & Anne Reimer Hartley & Heather Richardson Rubin Spletzer Bob & Heather Williams

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Silver MC $5,000–9,999

Black Tie $1,500–2,499

Dr. Tatiana Arcand Lucienne Blouw Herb & Erna Buller Raymond & Elsie Chrunyk Bill & Margaret Fast Family Foundation David Folk & Laurel Malkin Deborah Gray Sara Gray Robin Hildebrand Michael & Glenna Kay Fernand Kirouac Aaron Lewis, in memory of Norma & Ernst Schell Art Mauro & Naomi Levine Kevin & Betty McGarry Ron & Sandi Mielitz Ken & Judy Murray Michael Nozick & Cheryl Ashley Shelley & John Page Frank & Jeanne Plett Gerry & Barb Price Shirley Richardson Pietra Shirley Lea Stogdale Jim & Jan Tennant Dr. Ken Thorlakson Arni Thorsteinson & Susan Glass David C. Wilson Jens Wrogemann 1 Anonymous

Sandra Altner Dr. Linda Asper Shibashis Bal Carol Bellringer & Greg Doyle Francis Booth Doneta Brotchie, CM & Harry Brotchie Emily Burt & Tyler Makodanski Kevin & Jan Coates Ben & Shari Diamond Ryan & Janice Diduck John & Gay Docherty Steven & Elizabeth Dyer Joan & Glen Dyrda Micah Heilbrunn Chelsey Hiebert Richard & Carol Jones Ed Jurkowski John Kearsey Margaret Kellermann McCulloch & Paul McCulloch Sotirios Kotoulas Rob & Idelle Kowalchuk Peter & Ellen Kroeker Dr. Judith Littleford Robin MacMillan Marten W. Duhoux Architect Inc. Brent Mazur & Nancy Quiring Jocelyn McKillop & Mark Gabbert Gord & Sherratt Moffatt Valerie Mollison Drs. Kenneth & Sharon Mould Dr. Michael Nelson & Dr. Selena Friesen Bob & Cindy Newfield Lesia Peet, in memory of Nicholas & Phyllis Chopp Jean-Francois Phaneuf Carolynne Presser Beth M. Proven Dr. Diane Ramsey Jim & Leney Richardson Rick Riess & Jean Carter Sanford & Deborah Riley Julia K. Ryckman Terry Sargeant & Margaret Haney Trudy Schroeder Lorne & Cheryl Sharfe Pam Simmons Muriel Smith Marlene Stern & Peter Rae Dr. & Mrs. Eric Vickar Don & Florence Whitmore Dr. Klaus & Mrs. Dorit Wrogemann

Concertmaster’s Bow $2,500–4,999 Pierce & Amy Cairns Dr. Aaron Chiu & Dr. Leslie Simard-Chiu Dr. Albert & Lee Friesen Margaret & Peter Hughes David & Diane Johnston Gail Loewen, in memory of her Mother Sue Lemmerick Dr. David Lyttle Dr. Neil & Ms. Elaine Margolis Ted & Mary Paetkau Wayne & Linda Paquin Fran Pollard Olga & Bill Runnalls Winnifred Sim Christine Skene & Nick Logan Ian R. Thomson & Leah R. Janzen E. Toews Brent Trepel & Brenlee Carrington Trepel Professor A.M.C. Waterman Klaus & Elsa Wolf Sandy Woytowich

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Friends of the WSO support the WSO each season.

Honorary Chair Gwen Hoebig, Concertmaster Symphony $600–1,499 Andrew L. Cooke Medical Margaret-Lynne & Jim Astwood G. & D. Bird Dr. & Mrs. Brian & Cathie Bowerman Sheldon & Penny Bowles Sheila & David Brodovsky Stephen Brodovsky, in memory of our grandparents, Ethel & Moe Pierce Lorraine & Gerry Cairns Shelley Chochinov Dave Christianson & Vera Steinberger John Corp & Mary Elizabeth McKenzie Ruth Crook Margaret Cuddy Kathleen & David Estey Wayne Forbes Robert & Linda Gold Guillermo Rocha Medical Corporation Gregg & Mary Hanson Daniel Heindl & Eugene Boychuk Robert Jaskiewicz Marianne Johnson Lawrence Jones Millie & Wally Kroeker Katarina Kupca Francoise Lesage & Ken Mills Christie MacDonald & Phil St. John Joseph & Judith Malko Dr. & Mrs. John & Natalie Mayba Jonathan E. Mitchell Vera Moroz Bonnie & Richard Olfert Our Lady of Perpetual Help Parish Donna & Ian Plant Marina Plett-Lyle Tim Preston & Dave Ling Levi & Tena Reimer Barbara Scheuneman Dr. Marlis Schroeder Judy Nichol & Jim Skinner Debbie Spracklin Lorne Sunley C. & R. Thomsen

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Samara May Dr. & Mrs. Ihor Mayba Angela McDonald C. & J. McIntyre Terri & Jim McKerchar Garfield McRae Linda Meckling Estelle Meyers Mr. & Mrs. Walter & Gladys Mildren Jocelyn Millard Bob & Penny Miller Peter Miller & Carolyn Garlich Sheila Miller Peter Morgan Joan Ann Morton Cathy Moser Charlotte Murrell Mel & Sharon Myers Bonnie Neil Fredy Y. Noriega Lucy Nykolyshyn David & Hermine Olfert Margaret Parker Sonjia Pasiechnik Nettie Peters Ian & Ann-Margret Plummer Cristian Popescu Rose Popowich Judith Putter Jim Ray Marie Ann Reeves Daryl & Sheila Reid Mrs. Barbara Rempel Eleanor Riach Melissa Rice Tracy Ridley Susan Rosner Johnny & Pearly Rule Salangad Nicola Schaefer William Scheidt David Schroeder R. Schroeder Mr. Gunter Schupke B.J.N. Scott Jim & Susan Shaw Lynn & Bill Shead Heida & Skuli Sigfusson Gail & Murray Singer Cathy Skene Kaye Snatenchuk Garry & Linda Specht Geri & Peter Spencer Eleanor Stardom Bonnie Hoffer-Steiman & Lionel Steiman Helena Stelsovsky Sally Stephens Bill & Billie Stewart Art Turner & Lyn Stienstra Archie & Shirley Stone David Szwajcer Charles Tax Dr. Robert Thomas Robert & Barbara Tisdale

Elizabeth Toews Dr. Helen A. Toews Shelley Turnbull Edith Ugrin Judy & Francisco Valenzuela Barry & Gail Veals Roy & Nancy Vincent Gordon & Charlotte Walkty Jim & Joan Warbeck Myrna & Noah Weiszner Noah & Myrna Weiszner Evelyn Wener Clinton Wilmot Dorcas & Kirk Windsor Terrie Woodward Patrick Wright Libby Yager & Billy Brodovsky Anne Yankiwski Donn K. Yuen 11 Anonymous Sonatina UNDER $75 Linda Anderson Lisa M. Anderson Margaret P. Anderson Tyson Anderson Avigail Arda Dorothy Arnold Aaron Bailey Jonathan Baker Shellometh Baladad Debbie Baty Terri Beaudoin Eva Berard Donald & Edith Besant Kristine Betker Wayne Blackmore Doug Blaylock Dick J. Bloemheuvel Paul Boge Ingrid Bolbecher Richard Bowering Donnie Bowness Jean Boyes Jocelyne Brar Andrea Brigham Jackie Brignall Dorothy Broomhall Tyler Buchko Alfred Buelow Sharon Burden Francoise Cahill Mr. & Mrs. Ian B. Campbell Linda Campbell Doug Carter Terena Caryk Amiya Chakraborty Rosemary Chambers Linda J. Chernenkoff Sister Josephine Chudzik Clifford & Rita Clark S.K. Clark John Connor & Gail Mildren Karen Couch Peggy Cove

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June Cowan Fred J. Cross Brian & Barbara Crow Jean Curtis D. Cymbalist Dr. & Mrs. Helena Czuboka Ashleigh Czyrnyj Hyacinth DaCosta Bob & Alison Darling Ryan Delaronde Karen Derkacz Sharmain Donovan Devon Dorosh Sarah Doyle Katherine Drewniak Dorothy W. Dubinsky Spencer Duncanson Tim Edginton Adriana Elliott Jutta Emms Madison Espie Marianne Farag Marg Fast Vera & Peter Fast Jenny Fehr Shaneesa Ferguson Joanne E. Fleck-Toews Tom Flight Dr. Theo Fourie Anne Friesen Marie Elizabeth Friesen Irma Froese Joycelyn & Bryan Gawryluk Bonnie Geller Douglas Gerlach Dr. William Glover Paul Granelli Inga Granovskaya Faye Grant Marie-Alice Grassick Victoria Gretchen Marianne Gruber Gertrude Hamilton Leslie Hancock Lenore Hewitt Bill & Shirley Hicks Mr. & Mr. Ernest Hiebert Margaret Hill Arlene Hintsa Diane Holding Andrew Hooper Dr. Stella Hryniuk David Hughes Lee & Theresa Huscroft Ishbel Isaacs & Deborah Isaacs Pat Jarrett Martina Jaterka Dr. Petra Jebbink Paul & Bonnie Johnson Karen Kaplen Gordon C. Keatch Thomas Keenan Marilynne Keil, in memory of David H. Skinner Katie Kirkpatrick Lauralea Klassen

Joanne Klym Sandi Kneller Dorothy Knowles John Knowles & Kathryn Knowles Kozub/Halldorson Family Michael J. Kraynyk Avery Kroeker Irene Kuhtey Loretta Kulchycki Carole Kurdydyk Anne La Tour Desiree La Vallee Deirdre Laidlaw Betty Laing Linda Lamoureux Chantal Lancaster Tom Lane Daniel Christian Lavallee Binhan Le Nancy Leblond Malinda Lee David & Sherrill Levene K. Lewis Lisa Lewis Rick Linden Jacqueline Louer Joan Macdonald William & Christina MacKay Linda Magne Joyce Manwaring Audrey Mark Irene Marriott Chris Mart Dennis & Cherylynn Martai Ryan Martinez Patricia McDowell Shirley McGregor Barry McKay Jim McLaren Ardythe McMaster Iona McPhee Stacey McRuer Lisa Molin Jeremy Morantz Erika Morin-Nett Mrs. Brenda Morlock Liana Morson Kim Morton Youssef Mouzahem Josh & Kimberly Muehling Kathy J. Mulder Karen L. Nast-Kolb Gordon Nenka Bill Newman Vivienne Nickerson Cathy Nieroda Claudette Novak Robert O’Kell Gindalee Ouskun Shirley & Graham Padgett Georgine Palmquist Hubert & Linda Parker Judy Pateman Patricia Mary Patterson Liz Patzer

Ellen Peel & Neil Bruneau Susan Pelikys Denise Penley Ken Penner Linda Penner Mrs. Valerie Perron Diana Peters Ken & Geri Porath Ryan Poworoznik Janis Pregnall James & Christine Prendergast Tom & Lorainne Prescott David Procner Joanne Prygrocki Dr. David Punter Catherine Purchase M. Reguly Susan Renard Pat Repa Louis Ricciuto Beverley Ridd Heather Robbins Mr. Michael Rodyniuk V. Rosolowich Zev Rumstein Shirley Russell Elaine Rust Cheryl Ryan Brittany Rycroft Violeta Sabo Gary & Jackie Sallows Eduardo & Olga Saveliovsky Jessie Sawicz Jonathon A. Schmidt Leslie Schroeder Sid Secter Ms. Deborah Seguin Nancy Semchuk Robert Shaw Norrine Shobrooke Arlene Sinclair Jen Skelly Fred & Margaret-Ann Smith Larissa D Solomon Nancy Sommerfeld Nata & Avery Spigelman Troy Steingard Lorne Stelmach Robert B. Stinson Katrina Stratton Muriel Sutherland Ross & Bette Jayne Taylor Edith Sharon Taylor Garvin Taylor Neil Taylor Brandy Tessier Maggie Thiesen Philys Thordarson Nellie Tokarchuk Shirley Twerdun Norman Umali Rachel Unger Joanne Voelpel Amber Walstrom Glen Angus Webster Geraldine Weigeldt

Annemarie Wiebe Cathy Wiebe Edward Wiebe Dr. Debra Wiens Theresa Wiktorski Mark L. Wilcoxson Lilli Williams Helen Willison Myra Wolch & Saul M. Cherniack Tyler Young Judith Zetaruk Jude M. Zieske Bruno Zimmer Marissa Lousie Zurba 15 Anonymous

Festival donors help to further the musical artistry of the WSO’s New Music Festival. Thank you!

Premier Patron $50,000 +

Ron Lambert Bernard Léveillé & Moira Swinton Frank & Terry Martin Brent Mazur & Nancy Quiring Sheila Miller Brenda Morlock Bob & Cindy Newfield Mikaela Oldenkamp Dr. Bill Pope & Dr. Elizabeth Tippett-Pope Beth M. Proven Pat & Bill Reid Michael Rennie Olga & Bill Runnalls Barbara Scheuneman Pietra Shirley Muriel Smith Marlene Stern & Peter Rae Art Turner & Lyn Stienstra Arni Thorsteinson & Susan Glass Stephanie M. van Nest Williamson Foundation for Music Karin Woods Anne Yankiwski 1 Anonymous

Michael Nesbitt Ensemble $10,000–49,999 Caspian Construction Daniel Raiskin Soloist $5,000–9,999 Grant & Eleanor MacDougall Kevin & Betty McGarry Ron & Sandi Mielitz Dr. Ken Thorlakson Jens Wrogemann Friends $20–4,999 Beth Grubert/ Baked Expectations Alison Baldwin Jackie Brignall Kevin Burns Timothy & Barbara Burt T. Patrick & Mary Jo Carrabre Peter Czaplinski Kathleen & David Estey Dr. LeeAnn Fishback Guillermo Rocha Medical Corporation Don & Jerri Hall Marilyn & Helios Hernandez Elmer & Hilda Hildebrand Koren & Leonard Kaminski Kozub/Halldorson Family Deirdre Laidlaw

Share the Music is a unique outreach initiative of the WSO that allows economically disadvantaged children and their families to attend WSO performances.

Thank you for helping to Share the Music!

Debbie Baty Doug Blaylock Shelley Chochinov Eric Clapham Marlene Crielaard Don & Linda Edel Dr. William Glover Alison Holliday John Knowles & Kathryn Knowles Joan Macdonald Dr. & Mrs. John & Natalie Mayba Lori McCarville Cathy Nieroda Barbara Scheuneman Brenda Sklar Telus Jim & Jan Tennant Norman Umali Donna Wills Alan & Linda Wright

Sistema Winnipeg is a free daily after-school program that enriches the lives of children and young people with the fewest resources and the greatest need. The WSO gratefully acknowledges the following patrons whose support makes a difference in the everyday lives of these children. Thank you!

Honorary Chair Naomi Woo, Music Director Vivace $1500 + Chelsey Hiebert Margaret & Peter Hughes Dr. David Lyttle Jocelyn McKillop Jean-Francois Phaneuf Shirley Richardson Lea Stogdale Jim & Jan Tennant E. Toews Con Brio $600–1,499 Timothy & Barbara Burt Art & Leona Defehr Joseph & Judith Malko Jonathan E. Mitchell Our Lady of Perpetual Help Parish Dr. Bill Pope & Dr. Elizabeth Tippett-Pope Judy Nichol & Jim Skinner Thuraya Weedon Grace M. Wiebe 1 Anonymous Allegro $150–599 Ted & Betty Ash K. Beach Nelson Helga & Gerhard Bock Stephen Brodovsky, in memory of our grandparents, Ethel & Moe Pierce Doneta Brotchie, CM & Harry Brotchie Carol Budnick Audrey Campbell Stephen Smith & Melina Chow Dr. Minna Rose Chung Michele Del Rizzo Juliana & Rick Fast Hon Janice Filmon

F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 4 5

Judith & Peter Flynn Nicole Gautron Penny Gilbert Karmen Gill Diane Hiebert-Murphy Darlene Hildebrand & Steve van Vlaenderen Margaret Jeffries Brent & Karen Johnson Nancy Leigh Deborah Linney Norma Linney Zeeba Loxley Christie MacDonald & Phil St. John Grant & Eleanor MacDougall Lydia MacKenzie Dr. Neil & Ms. Elaine Margolis Jackie Markstrom Maureen McIntosh Vera Moroz Morna-June C. Morrow Stella C. Pena Sy Perce & Elizabeth Schirmer Foundation Patricia Pollard Dr. Fiona Punter Levi & Tena Reimer Nichole Riese Ed & Susan Schmidt Kurt Schwarz Margot Sim Debbie Spracklin Hartley & Margaret Stinson Canadian Association of Communicators in Education – 2019 Conference June & Lorne Thompson Carol & Neil Trembath Jim Turnock & Glynis Corkall Edith Wiebe The Women’s Committee Arlene Young & Robert O’Kell Betty Young 4 Anonymous Con Moto $1–149 Dr. David Annandale Brenda Batzel Ralph & Eileen Baxter Diane Bewell Shirley Book Rae Bradshaw Jocelyne Brar J.E. & J.V. Braun Sheila & David Brodovsky Paul & Doreen Bromley

Dee Buchwald Lorraine & Gerry Cairns Linda Campbell Victoria Stayner-Albl Rosemary Chambers Art & Donna Chow Mary Clarke Margaret Cuddy Bob & Alison Darling Harry & Mary Lynn Duckworth R. Duddek Patricia Allen & Len Dueck Spencer Duncanson Don & Linda Edel John & Marilyn Ekins Marianne Farag Greg & Linda Fearn Nelma Fetterman Joycelyn & Bryan Gawryluk Marie-Alice Grassick Marianne Gruber Gertrude Hamilton Teresa A. Hay Barbara Herriot-Miller Bill & Shirley Hicks Hermina & Peter Hildebrand Arlene Hintsa Mary Holmen Lee & Theresa Huscroft Victor Isfeld Thomas Keenan Marilynne Keil, in memory of David H. Skinner Ms. Joanne Klym Edward & Helen Kolomaya Jennifer Krestanowich Anne La Tour Linda Lamoureux Ingrid Lee Lisa Lewis Dr. Mark Libin Helen Litz Priya Mani Allan Mapes Ryan Martinez Angela McDonald Iona McPhee Linda Meckling Heather Menzies Jocelyn Millard Nathan & Carolyn Mitchell Margaret Moroz Kim Morton Youssef Mouzahem Bonnie Neil Gordon Nenka Dr. Thomas Nesmith Fredy Y. Noriega

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Claudette Novak Lucy Nykolyshyn Shelley & John Page Judy Pateman Patricia Mary Patterson Liz Patzer Donald Pearen Ken Penner Rose Popowich Edna Poulter James & Christine Prendergast Tom & Lorainne Prescott David Procner Dr. David Punter Catherine Purchase Jim Ray Marie Ann Reeves M. Reguly Barbara Rempel Claudia Sarbit John Sauder Eduardo & Olga Saveliovsky Nicola Schaefer Barbara Scheuneman Janet Schubert Harald & Vicky Schulz B.J.N. Scott Charlene Scouten Sharna Searle Mr. & Ms. Ed Shwedyk Cathy Skene Garry & Linda Specht Eleanor Stardom Melissa Steele & George Toles Bill & Billie Stewart David Szwajcer Ross & Bette Jayne Taylor Dr. Robert Thomas Philys Thordarson Betsy F. Thorsteinson, in memory of Ruth Dowse Judy & Francisco Valenzuela Roy & Nancy Vincent Gordon & Charlotte Walkty Dr. Vanessa Warne Geraldine Weigeldt Noah & Myrna Weiszner Annemarie Wiebe Cathy Wiebe Helen Willison Myra Wolch & Saul M. Cherniack Dr. Klaus & Mrs. Dorit Wrogemann Libby Yager & Billy Brodovsky 7 Anonymous

GENERAL WSO

The WSO gratefully acknowledges the following patrons whose foresight helps to ensure long-term financial support for the WSO. Thank you!

The Robin Wiens & Emilie Lagacé-Wiens Endowment Fund The Estate of Mark Bernstein Lorraine & Gerry Cairns Rosemarie Cloutis Raymond Davis Marion Delaney Helene Dyck Marilyn & Helios Hernandez Karen Ozamoto Marilynne Keil, in memory of David H. Skinner Pamela Lockman Blumie & Iser Portnoy Endowment Fund Barbara Scheuneman Ivor & Lorna Schledewitz Colleen Schneider Daniel & Maureen Sitar Lorne Sunley Jim & Jan Tennant James & Claudia Weselake Bronwen Yewdall 1 Anonymous

ENDOWMENT FUND Sistema Winnipeg gratefully acknowledges those who have started their own named funds at The Winnipeg Foundation.

The Tannis M. Richardson Sistema Endowment Fund The Michael Nozick Family Sistema Endowment Fund The Marjorie & Morley Blankstein Sistema Endowment Fund Jeffrey & Caron Sveistrup Alison Mendres Faye Warren OTHER DONATIONS Dr. David Annandale, in honour of Robert O’Kell Rex & Connie Blamey, in memory of Barbara Filuk Lucienne Blouw, in memory of “Trix” Rae Bradshaw, celebrating Bob O’Kell’s 80th birthday In memory of our grandparents, Ethel & Moe Pierce Arthur Chow, in honour of Bob O’Kell Eric Clapham, in memory of Gerry Atwell and all that he shared with our city Joyce Cormack, in memory of Lawrence Margaret Cuddy, in honour of Dr. Robert O’Kell’s birthday Ryan & Janice Diduck, in memory of Mary Diduck Harry & Mary Lynn Duckworth, in honour of Dr. Robert O’Kell Judith & Peter Flynn, in honour of Anthony Waterman Judith & Peter Flynn, in honour of Arlene Young’s birthday Judith & Peter Flynn, in honour of Robert O’Kell’s birthday Heather Graham, in memory of Harold George Vogt Alison Holliday, in honour of Lynda Holliday Moira Swinton & Bernard Leveille

Dr. Mark Libin, in honour of Robert O’Kell Norma Linney, in memory of Bernice Blakeman Margot Macinnes, in honour of Judy Nichol Lydia MacKenzie, in loving memory of Donn Heather Menzies, in memory of William Menzies Dr. Thomas Nesmith, in honour of Dr. Robert O’Kell Dr. Shelley Page, in honour of Joanne Martin & Peter King Donald Pearen, in honour of Robert O’Kell Patricia Pollard, in memory of Gary Pollard Michael Rennie, in memory of Dr. Douglas & Ms. Eva Rennie Sam & Claudia Sarbit, in memory of David Edwards John Sauder, in memory of Thelma Jean Sauder Sharna Searle, in honour of the newlyweds, Erica Schultz & Phil Denomme Paul & Christine Soubry, in memory of Barb Filuk Nata & Avery Spigelman, in memory of Margaret Dalgliesh Marianne Staub, on the occasion of the birthday of Mrs. Rose Millet Melissa Steele & George Toles – Happy birthday, Bob O’Kell Ross Taylor, in honour of Bette Jayne Taylor’s 72nd birthday Betsy F. Thorsteinson, in memory of Ruth Dowse Richard Turner, in memory of Wally Fox-Decent Richard Turner, in memory of Roslyn Silver Stephanie Van Nest, in memory of Blair Simpson Dr. Vanessa Warne, in celebration of Robert O’Kell’s birthday Terence Wiebe, in memory of Lorne Karlowsky Linda & Roger Wilson, in memory of Blanche & Lloyd Morrissey Debbie & Robert Witzke, in memory of Mayer Rabkin Arlene Young & Robert O’Kell, in honour of Judith Prescott Flynn’s birthday Wanda Young, in memory Edwin Yee

ESTATE GIFTS RECEIVED The Estate of Paula Achtemichuk The Estate of Daphne Florence Bolton The Estate of Barbara Cook The Estate of Ellen Beatrice Hirst The Estate of Elizabeth Pawlicki The Estate of Jean Irene Sanderson NETHERLANDS TOUR ADOPT A MUSICIAN AND DONORS Thank you to the following musician adopters and donors who are contributing to make our Netherlands Tour in May 2020 a reality. We still need your help. Contact Beth for more information at bproven@wso.mb.ca.

Iris Abraham Dr. Russell & Mrs Donna Albak Gorden Andrus & Adele Kory The Asper Foundation Gail Asper, OC, OM, LLD & Michael Paterson Agnes Bailey Rosemary Beal Marjorie Blankstein, CM, OM, LLD Jackie Brignall Timothy & Barbara Burt Lorraine & Gerry Cairns Carla Campbell Sylvia Cassie Thor & Chrystyna Choptiany Raymond & Elsie Chrunyk James Cohen & Linda McGarva-Cohen Susan Cooke John & Gay Docherty Bryce Douglas Marten Duhoux & Joanne DeFehr ft3 Architecture Landscape Interior Design Urlene Edwards Lorne Hurst & Elly Hoogterp Ursula Erhardt Bill & Margaret Fast The Bill & Margaret Fast Family Foundation Inc. Catherine Flower Gitta Fricke Daniel Friedman & Rob Dalgliesh Paul Godard Golden West Broadcasting Ltd.

Deborah Gray Sara Gray Isobel Harvie Margaret W. Harvie Elmer & Hilda Hildebrand Robin Hildebrand Duncan & Judy Jessiman Peter & Dana Jessiman The Johnston Group Colleen Jury Michael & Glenna Kay Margaret Kellermann McCulloch & Paul McCulloch Hubert & Bernice Kleysen G. Andrus & A. Kory Eva Lavallee Richard Leipsic & Kerrie Halprin Aaron Lewis Bill & Shirley Loewen Janice Lutz Art Mauro & Naomi Levine Grant & Eleanor MacDougall Paul Ronald & Jan McCulloch Jane McGrigor Sandi & Ron Mielitz Gord & Sherratt Moffatt Margaret Moroz D.E. Morrison Ken & Judy Murray Michael Nesbitt Michael Nozick & Cheryl Ashley John & Shelley Page Ms. Joan S. Papushka Lesia Peet Marina Plett-Lyle Carolynne Presser Dr. & Mrs. Peter & Jennie Prystupa Reimer World Corporation George & Tannis Richardson Fund, The Winnipeg Foundation Hartley & Heather Richardson James Richardson & Sons, Limited Susan Richardson Henriette Ricou & Jure Manfreda Olga & Bill Runnalls Helen Schaetzle Barbara Scheuneman Pietra Shirley Arlene Skull Travel Manitoba Eve Vickar Nancy Weedon Bob & Heather Williams Winnipeg Airports Authority Inc. Listing as of January 31, 2020

F e b r u a r y – M a r c h 2 0 2 0 | O V E R T U R E 4 7

PRESIDENTS OF THE WINNIPEG SYMPHONY ORCHESTRA 1948–51 1951–53 1953–55 1955–57 1957–58 1958–61 1961–62 1962–64 1964–65 1965–67 1967–69 1969–71 1971–73 1973–74 1974–76 1976–78 1978–79 1979–80 1980–81 1981–82 1982–83 1983–84

Hon. Mr. Justice J.T. Beaubien Mr. J.M. Sinclair Dr. Digby Wheeler Mr. W.D. Hurst Dr. Hugh H. Saunderson Mr. E.W.H. Brown Mr. David Slater The Hon. Mr. Justice Monnin Mr. Norman J. Alexander Mr. R.W. Richards Mr. W.R. Palmer Mr. E.J. Smith Dr. M.M. Pierce Mr. H.S. Brock-Smith Mr. Allan G. Moffatt Mr. Julian D.T. Benson Mr. John L. Buckworth Mr. N. Roger McFallon Mr. John F. Fraser Mr. William W. Draper Mr. John O. Baatz Mr. Andrew D.M. Ogaranko, QC

1984–86 1986–88 1988–90 1990–92 1992–94 1994–96 1996–97 1997–98 1998–99 Feb. – May 1999 Jun. 1999 – 2000 2000 – Feb. 2003 Mar. – Dec. 2003 Dec. 2003 – Jan. 2005 Jan. 2005 – Jul. 2006 Jul. 2006 – Nov. 2006

Dec. 2006 – Jun. 2007 2007–2012 2012–2016 2016–2019 2019 – present

Mr. Harold Buchwald, QC Mr. Michel Lagacé Mr. William H. Loewen Mrs. Julia DeFehr Mr. Gordon Fogg Mrs. Helen Hayles Mr. Anthony Brookes Mrs. Helen Hayles Mr. William Norrie Mr. William Loewen Mr. Bruce MacCormack Mr. Roger King Ms. Patti Sullivan Mr. Wally Fox-Decent Ms. Carol Bellringer Mr. Harvey I. Pollock, QC (Interim President) Dr. Brendan MacDougall Ms. Dorothy Dobbie Mr. Timothy E. Burt, CFA Mr. Terry Sargeant Curt Vossen

PRESIDENT’S ADVISORY COUNCIL Ida Albo Al Alexandruk Sandra Altner Mal Anderson Carol Bellringer Marilyn Billinkoff Doneta Brotchie Bonnie Buhler John Buhler Timothy E. Burt James Carr Dorothy Dobbie Greg Doyle Jamie Dolynchuk

Julia DeFehr Susan Feldman Jack Fraser Alan Freeman Evelyn Friesen Elba Haid Helen Hayles Kaaren Hawkins Sherrill Hershberg Peter Jessiman Ian Kay Dr. Maureen Kilgour Roger King, QC Bill Knight

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Silvester Komlodi Michele Lagacé Zina Lazareck Gail Leach Dr. Hermann Lee Naomi Levine Bill Loewen Jackie Lowe Dr. Brendan MacDougall Dr. Eleanor MacDougall Don MacKenzie Bill Marr Michael Nozick Harvey I. Pollock, QC

Dr. William Pope John Rademaker Lenny Richardson Tannis Richardson Ed Richmond Lorne Sharfe William Shead Graeme Sifton Joanne Sigurdson Muriel Smith Bonnie Staples-Lyon Brenlee Carrington Trepel Richard Turner Dennis Wallace

WSO BOARD & STAFF | 2019/20 SEASON BOARD OF DIRECTORS

Curt Vossen, President Daniel Friedman, Vice President Rob Kowalchuk, CPA, CA, Treasurer Michael D. Kay, Corporate Secretary Terry Sargeant, Past President Lucienne Blouw Emily Burt, MBA, CFA James Cohen Arlene Dahl Marten Duhoux Steven Dyer Dr. Selena Friesen

OUR DISTINGUISHED PATRONS

Margaret Harvie Micah Heilbrunn Robin Hildebrand Edward Jurkowski Margaret Kellermann McCulloch Sotirios Kotoulas Uri Kraut Gail Loewen Robin MacMillan Julia Ryckman Marlene Stern Daniel Raiskin, Ex Officio Trudy Schroeder, Ex Officio

Trudy Schroeder, Executive Director Lori Marks, Confidential Executive Assistant ARTISTIC

Daniel Raiskin, Music Director Julian Pellicano, Associate Conductor Naomi Woo, RBC Assistant Conductor Harry Stafylakis, Composer-in-Residence & Co-Curator, Winnipeg New Music Festival

Her Honour the Honourable Janice C. Filmon, CM, OM, Lieutenant Governor of Manitoba The Honourable Brian Pallister, Premier of Manitoba His Worship Brian Bowman, Mayor of the City of Winnipeg Mr. W.H. Loewen & Mrs. S.E. Loewen, WSO Directors Emeritus WOMEN’S COMMITTEE EXECUTIVE

Margaret Harvie, President Nancy Weedon, Vice President Carolynne Presser, Secretary Winnifred Warkentin, Co-Treasurer Isobel Harvie, Co-Treasurer Sherratt Moffatt, Past President

FINANCE & ADMINISTRATION

Lyn Stienstra, CPA, CMA, VP Finance & Administration Sandi Mitchell, Payroll & Accounting Administrator Oscar Pantaleon Jr, Finance & Administration Assistant MARKETING

Brent Phillips, VP Marketing & Communications Mark Saunders, Brand & Design Manager S. Thompson Designs Inc.

HONORARY STAFF

DEVELOPMENT

Alexander Mickelthwate, Director Emeritus Bramwell Tovey, Conductor Laureate

Beth Proven, VP Development Carol Cassels, Development Manager Theresa Huscroft, Development Coordinator Chelsey Hiebert, Sistema & Special Events Manager Sarah Krahn, Development Intern

ARTISTIC OPERATIONS & COMMUNITY ENGAGEMENT

Jean-Francois Phaneuf, VP Artistic Operations & Community Engagement James Manishen, Artistic Operations Associate Laura Lindeblom, Production Manager Tatiana Carnevale, Operations Coordinator Sheena Sanderson, Stage Manager Stuart Bremner, Stage Supervisor Greg Hay, Orchestra Personnel Manager Greg Hamilton, Principal Librarian Aiden Kleer, Assistant Librarian Brent Johnson, Education & Community Engagement Manager

CONTACT US:

SALES & AUDIENCE SERVICES

Ryan Diduck, VP Sales & Audience Services Jen Skelly, Sales & Audience Services Manager Rachel Himelblau, Box Office Coordinator Jeffrey Acosta, Group & Education Events Coordinator Patron Services Representatives (P/T): Allison Challes Paul Longtin Meg Dolovich Chenoa McKelvey Shoshana Goldenberg Stephanie Van Nest Laura Gow Lindsay Woolgar

BOX OFFICE: 204-949-3999 boxoffice@wso.mb.ca ADMIN OFFICE: 204-949-3950 wso@wso.mb.ca

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We’re proud to present the BMO Night at the Movies concert series.

“Because arts and culture illuminate our lives, enrich our emotional world and have a powerful unifying influence on our communities.”

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