WSO 2017-2018 Overture Issue 1

SEPTEMBER – OCTOBER 2017 I ISSUE 1

HAPPY 70TH WSO ARRIVAL FROM SWEDEN: THE MUSIC OF ABBA SCHEHERAZADE FALL FESTIVAL: ANGELS & DEMONS

wso.ca I 204-949-3999

ECSTASY AND DESPAIR, yin and yang, the duality of the human spirit… For this year’s Autumn Festival, the WSO dives into musical visions of our highest aspirations and darkest conceits. Liszt’s massive tone poem inspired by Dante’s Inferno. Kurt Weill’s ground-breaking musical Seven Deadly Sins. Henryk Górecki’s masterpiece Symphony of Sorrowful Songs. Visionary works of art inspired by powerful themes.

Oct 27/28 Beethoven, Chopin and a Sorrowful Song (WSO) Oct 29 Songs of Darkness and Light (Winnipeg Philharmonic Choir) wso.ca/autumn-festival

Oct 30 Oct 31 Nov 1 Nov 3/4

Natasha Paremski plays Pictures at an Exhibition Frankenstein!! (WSO) Winnipeg Chamber Music Society Seven Deadly Sins (WSO)

MESSAGE FROM THE MUSIC DIRECTOR Welcome to the Winnipeg Symphony Orchestra’s 70th Anniversary Season!

From the bottom of my heart, I would like to thank the musicians, board, staff, supporters, and most importantly, you, our audience, for helping us create this 70-year legacy. We are incredibly grateful for this city that has embraced our orchestra.

As always, this season we will hear symphonic music in many different ways. Arrival from Sweden brings an incomparable tribute to ABBA. In October, the enfant terrible himself Ashley MacIsaac fiddles Cape Breton style like no one else. Our Great-West Life Kids Concerts start with Scheherazade: Sinbad, Aladdin, and other magical tales from The Arabian Nights – a musical treat parents will like just as much as the kids, or even more so.

Our first Classics concert Happy 70th WSO! pays homage to the orchestra’s anniversary. Victor Feldbrill, WSO Music Director from 1958-1968, now 92, joins us with his selection of Beethoven’s dramatic Lenore Overture No. 3. I can only hope to have his stamina when I’m his age.

This year’s Autumn Festival is a personal highlight for me. The music we selected for this week with our partners plays to the theme of Angels & Demons. There’s mysticism and paranormal themes in this music and it gives us the chance to wade deep into the emotional waters of the human spirit where we’ll go from ecstasy to despair. As audience members, I invite you to experience where these composers can take us as we all open the door to an alternative reality. I don’t have enough room here to dig into the breadth of the festival, so please visit wso.ca for more about this music and concept of the festival.

If you, or someone you know, is interested in taking in some WSO concerts this year but are not sure where to start, we’ve created something called the Beginner’s Guide to the Symphony. Visit our website and we will help you navigate this exciting world and get you into experiences that will speak to your soul – because that’s what it’s really all about.

This year is my final season at the helm of the WSO, and throughout the year I will have many celebratory moments, passion projects, and music I can’t wait to conduct. It’s bitter sweet to leave this wonderfully cultural city and the many friends I have made, but I can’t wait for this new adventure professionally, musically, and personally for my family and me. I wouldn’t trade the memories I’ve made here for anything, and I can only hope that I have inspired a passion for music in Winnipeg.

Here’s to this year of celebration and music!

Auf Wiedersehen,

Alexander Mickelthwate Music Director September – October 2017 I OVERTURE 1

The 70th anniversary of the Winnipeg Symphony Orchestra is a wonderful time to look back in gratitude to those who have been a part of our history. We are so grateful to those members of our community who have shaped our present accomplishments, especially our Maestro, Alexander Mickelthwate.

In honour of Alexander’s final year as our Music Director we are establishing an endowment fund in his name.

This means that every year, in perpetuity, Alexander’s legacy will continue to be a source of support, stability, and inspiration to us.

With an endowment fund in his name, every year, we will remember Alexander’s legacy as one of energy, a passion for achievement, and the confidence to break new ground. Making a gift to his endowment will ensure his years of dedication to our orchestra have continuing impact on the WSO. If you would like to make a gift to the Alexander Mickelthwate Endowment, you can do so by going to wso.ca/support or call Shenna Song at (204) 494-3973.

Make your endowment donation by November 15th and it will be eligible to be matched!

Market Value of WSO Endowment Fund: $7.29 million Current annual dispersal: $300,000 per year

WSO SPONSORS, FUNDERS AND ACKNOWLEDGEMENTS The WSO proudly acknowledges the ongoing support of the following sponsors, media and funders: COMMUNITY ENGAGEMENT PARTNER

EDUCATION & COMMUNITY ENGAGEMENT PROGRAMS

IN MEMORY OF

PETER D. CURRY

POPS SERIES

KIDS CONCERTS SERIES

CLASSICS A SERIES

WSO IN BRANDON

INDIVIDUAL CONCERTS DANIEL FRIEDMAN & ROB DALGLIESH

ARNOLD & MYRA FRIEMAN

MICHAEL NESBITT

MANITOBA HYDRO HOLIDAY TOUR

PIANO RAFFLE

SOUNDCHECK PROGRAM

POPS PRESENTING MEDIA PARTNER

CAR RAFFLE

OFFICIAL RADIO STATION OF THE WSO CLASSICS

CORPORATE SUSTAINABILITY

Women’s Committee of the Winnipeg Symphony Orchestra

FUNDERS

September – October 2017 I OVERTURE 3

Photographer: Nardella Photography Inc.

Photographer: Grajewski Fotograph Inc.

CONDUCTORS AND COMPOSERS Alexander Mickelthwate, Music Director German conductor Alexander Mickelthwate is renowned for his “splendid, richly idiomatic readings” (LA Weekly),“fearless” approach and “first-rate technique” (Los Angeles Times). Critics have noted Alexander’s extraordinary command over the Austro-Germanic repertoire, commenting on the “passion, profundity, emotional intensity, subtlety and degree of perfection achieved” in Bruckner’s Symphony No. 7 as “miraculous” (Anton Kuerti, 2011).

Following on from his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander Mickelthwate was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Essa-Pekka Salonen. Now in his tenth season as Music Director of the Winnipeg Symphony Orchestra, Alexander has significantly developed the orchestra’s profile through active community engagement and innovative programming initiatives like the annual Winnipeg New Music Festival and the Indigenous Music Festival.

Chosen to perform at the Carnegie Hall Spring For Music Festival in New York, May 2014, due to “creative and innovative programming” (CBC Manitoba Scene), the orchestra was the only Canadian ensemble in the showcase.

Julian Pellicano, Resident Conductor A conductor with expansive musical interests, Julian Pellicano is a formidable interpreter of the symphonic repertoire.The Winnipeg Free Press says of Pellicano,“His versatility is truly astonishing…”Marking his fifth season with the WSO, the 2017-2018 season includes appearances at the inaugural edition of the Ciclo de Música Contemporánea in Oviedo, Spain, a return to the Louisiana Philharmonic and his first appearance conducting the Royal Winnipeg Ballet among many other highlights.

The creation, with Dr. Paul Lehrman, of a new performance edition of George Antheil's Ballet Mecanique first brought Pellicano to the public’s attention. Conductor of the Norfolk Contemporary Ensemble since 2008, Pellicano is recognized for his transparent interpretations of contemporary music. He studied conducting as a fellow at the Yale School of Music. An autodidact, he was accepted to the Peabody Conservatory as a percussionist without typical classical training, and continued his studies at the Royal College of Music in Stockholm, Sweden and at the Yale School of Music and was a member of the critically acclaimed Yale Percussion Group. Pellicano also holds a degree in philosophy from The Johns Hopkins University.

Harry Stafylakis, Composer-in-Residence, WNMF Festival Director Harry Stafylakis(b. 1982) hails from Montreal and is now based in NYC. He is the Winnipeg Symphony Orchestra's Composer-In-Residence and Festival Director of the WSO's Winnipeg New Music Festival. His works have been performed by the American Composers Orchestra, the Toronto,Winnipeg,Vancouver, Spokane, Stamford,Victoria, and PEI symphonies, McGill Chamber Orchestra, ICE, Contemporaneous, Mivos Quartet, Quatuor Bozzini, and Aspen Contemporary Ensemble, among others. Awards include the Charles Ives Fellowship from the American Academy of Arts and Letters, the ASCAP Foundation’s Leonard Bernstein Award, four SOCAN Foundation Awards for Young Composers, and grants from the Canada Council, NYSCA, and New Music USA. He is an Associate Composer of the Canadian Music Centre and a member of the NYC composer collective ICEBERG New Music. Stafylakis holds degrees from McGill University and The Graduate Center, CUNY, and lectures at the City College of New York. His doctoral research, supported by SSHRC, examines rhythm and meter in progressive metal. www.hstafylakis.com 4

OVERTURE I September – October 2017

WINNIPEG SYMPHONY ORCHESTRA 2017-2018 SEASON MUSIC DIRECTOR Alexander Mickelthwate RESIDENT CONDUCTOR Julian Pellicano COMPOSER-IN-RESIDENCE Harry Stafylakis FIRST VIOLINS Gwen Hoebig, Concertmaster

CELLOS Yuri Hooker, Principal Leana Rutt, Assistant Principal **Desiree Abbey Alex Adaman Arlene Dahl Carolyn Nagelberg Emma Quackenbush Sean Taubner

The Sophie-Carmen EckhardtBASSES Gramatté Memorial Chair, endowed by the Eckhardt-Gramatté Foundation Meredith Johnson, Principal

Karl Stobbe, Associate Concertmaster Mary Lawton, Assistant Concertmaster Chris Anstey Mona Coarda Teodora Dimova Tara Fensom Hong Tian Jia Meredith McCallum Sonia Shklarov Julie Savard Jun Shao SECOND VIOLINS Jeremy Buzash, Principal Elation Pauls, Assistant Principal Karen Bauch Kristina Bauch Elizabeth Dyer Bokyung Hwang Rodica Jeffrey 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 Michael Scholz Heather Wilson

Andrew Goodlett, Assistant Principal Travis Harrison Paul Nagelberg Bruce Okrainec Daniel Perry **Anna Scheider FLUTES Jan Kocman, Principal

TRUMPETS Chris Fensom, Principal Paul Jeffrey Isaac Pulford TROMBONES Steven Dyer, Principal Keith Dyrda BASS TROMBONE **Stephen Clayton, Principal *Julia McIntyre, Principal TUBA Chris Lee, Principal TIMPANI Mike Kemp, Principal PERCUSSION Frederick Liessens, Principal HARP Richard Turner, Principal Endowed by W.H. & S.E. Loewen

OBOES Beverly Wang, Principal Robin MacMillan

ORCHESTRA PERSONNEL MANAGER Chris Lee

ENGLISH HORN Robin MacMillan, Principal

PRINCIPAL LIBRARIAN Greg Hamilton

CLARINETS Micah Heilbrunn, Principal

ASSISTANT LIBRARIAN Laura MacDougall

BASSOONS Alex Eastley, Principal Kathryn Brooks

*On Leave **Temporary Position

HORNS Patricia Evans, Principal Ken MacDonald, Associate Principal James Robertson Caroline Oberheu Michiko Singh

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

Fred Redekop is the official Piano Tuner and Technician of the WSO.

September – October 2017 I OVERTURE 5

Arrival from Sweden, vocal group Victoria Norback, Tove Lind Mckeever, lead singers Ebba Thorn, Elisa Bryant, Bente Thorsén, back-up singers Lars Egon Larsson, keyboard Daniel Palmqvist, guitar Ronald Hogan, bass Mathias Backstrom, saxophone/keyboard Fredrik Karlberg, drums Julian Pellicano, conductor

AIR CANADA SOUNDBYTES POPS

Arrival from Sweden: The Music of ABBA

That’s Me Knowing Me Knowing You When I Kissed the Teacher Fernando SOS Money Money Money Intermezzo No. 1 Medley: Waiting / Honey / Brother Waterloo Mamma Mia - INTERMISSION -

Voulez Vous As Good As New Medley: Kisses / Angel / Lay All Gimme Gimme / Super Trouper One Man One Woman The Winner Chiquitita Take a Chance Summer Night City

Friday, September 22 8:00 p.m.

Saturday, September 23 8:00 p.m.

Sunday, September 24 2:00 p.m.

Pops Series Sponsor: Presenting Media Sponsor:

September – October 2017 I OVERTURE 7

ARTIST BIOS

AIR CANADA POPS

Arrival from Sweden: The Music of ABBA

Arrival from Sweden, vocal group

ARRIVAL from Sweden was founded by Vicky Zetterberg in 1995 in Gothenburg, Sweden.

Arrival from Sweden very soon became one of the world’s most popular and highest selling ABBA show bands. Since their start in 1995, the band has toured in close to 55 countries and has appeared in several TV and radio shows all over the world. Since 2007, Arrival from Sweden has made 42 successful tours in the USA.

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OVERTURE I September – October 2017

Arrival from Sweden has also played with more than 60 symphony orchestras throughout the world.

Successful shows with some of the finest orchestras in the USA include the Boston Symphony Orchestra, San Francisco Symphony Orchestra, Dallas Symphony Orchestra, Houston Symphony Orchestra and Atlanta Symphony Orchestra.

Arrival from Sweden has exact copies of the original staging clothes of ABBA, a permission granted by the ABBA clothing designer. Arrival from Sweden is also the only group who has been given an unreleased ABBA song directly from Björn Ulvaeus and Benny Andersson of ABBA. The song Just A Notion is soon due for a worldwide release.

ADDITIONAL MUSICIANS: Allen Harrington, bassoon; Tony Cyre, percussion

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OVERTURE I September – October 2017

Alexander Mickelthwate, conductor Victor Feldbrill, special guest conductor* Yegor Dyachkov, cello

Leonore Overture No. 3, Op. 72a*

Ludwig van Beethoven (1770-1827)

Cello Concerto in C major, H.VIIb:1 Moderato Adagio Allegro molto

Franz Joseph Haydn (1732-1809)

CLASSICS

Happy 70th WSO!

- INTERMISSION -

Symphony No. 2 in D major, Op. 73 Allegro non troppo Adagio non troppo Allegretto grazioso (quasi andantino) Allegro con spirito

Johannes Brahms (1833-1897)

Friday, October 13 Saturday, October 14

Classics A Series Sponsor:

8:00 p.m.

8:00 p.m.

Pre-Concert Chat on the Piano Nobile at 7:15 p.m.

Official Radio Station of the WSO Classics: Concert Presented by:

SPECIAL CONDENSED MATINEE Johannes Brahms: Symphony No. 2 in D major

Friday, October 13

10:30 a.m.

Saturday’s concert is dedicated in memory of Robert Nix, a former 2nd trombone player who passed away on February 28, 2017 and left a gift of $10,000 in his will to the WSO.

September – October 2017 I OVERTURE 11

PROGRAM NOTES

by James Manishen

Leonore Overture No. 3

Ludwig van Beethoven b. Bonn / December 17, 1770 d. Vienna / March 26, 1827 Composed: 1806 First performance: March 29, 1806 (Vienna) Last WSO performance: 2001, Imre Pallo, conductor

sonata-allegro design journeying from darkness to light in the style of the Fifth and Ninth Symphonies, with a telling offstage trumpet call signaling deliverance for Florestan and the faithful Leonore. However, No. 3 gives away so much of the opera’s story in such magnificent fashion, the much briefer, sunnier Fidelio Overture serves as the opera’s prelude, with the Leonore Overture No.3 either performed as a concert work or between the two scenes of Act II, a practice begun by Otto Nicolai in Vienna productions of the 1840s. In any case, one feels the sweep and emotional grandeur of Beethoven’s conception in this unforgettable digest curtain-raiser.

During the aftermath of the Second World War, the Czech National Library confiscated many of the country’s private collections. It took scholars years to identify material in the huge pile of manuscripts that included a complete set of parts to the C major Cello Concerto, discovered by Oldrich Pulkert and H.C. Robbins Landon in 1961.

In the C major Concerto, Haydn seems to have one foot in the Baroque period and the other in the Beethoven’s only opera Classical period, transitioning Fidelio caused him no end forward while looking back. It is one of grief over the decade it of the few works where all three took to create it. Beginning movements are in the same form, the work in 1804 and young Haydn appearing both composing virtually nothing else until respectful to the nobility of the old mid-1805, Beethoven revised the drafts models while infusing a new and many times for different performances, Cello Concerto in C major vigorous spirit of abundant melody some of which never took place.When Franz Joseph Haydn and expression to every phase of one thinks that over a ten-year period b. Rohrau, Lower Austria / March 31, 1732 them.

Rossini composed 31 operas, Donizetti 35 d.Vienna / May 31, 1809 and Mozart launched seven, the struggle Composed: early 1760s Symphony No. 2 and resolve to complete Fidelio was Johannes Brahms Last WSO performance: 1994; certainly in line with his subject matter. No Bramwell Tovey, conductor with b. Hamburg / May 7, 1833 less angst occurred in the use of the four Arkadiusz Tesarczyk as soloist d.Vienna / April 3, 1897 overtures Beethoven wrote for the opera, Composed: 1877 reflecting his inexperience as a composer Unlike Mozart, Haydn First performance: December 30, 1877 for the theatre. had the luxury of (Vienna), conducted by Hand Richter continuous employment. Last WSO performance: 2010; The “rescue opera”was a popular genre at As a member of the Alexander Mickelthwate, conductor the time, providing heroic stories of fights musical staff of the for freedom, suspense, loyalty and “You have no idea how deliveries from injustice, especially during Esterházy family beginning in 1761 it feels to hear behind and continuing for the next half the violent aftermath of the French you the tramp of a giant century, Haydn was in charge of all Revolution.The fact that Napoleon’s like Beethoven,”Brahms music and befriended his musicians as army was occupying Vienna during the wrote during the 15 he poured out his many compositions, month following the scheduled premiere years it took him to complete his First often writing concertos for their of Fidelio on October 15, 1805, and that considerable skills. Haydn became so Symphony.That monumental work, so enemy officers were in the audience friendly with his principal cellist Franz filled with struggle and victory, couldn’t displacing the many Austrians that had be more different than the character fled, all but guaranteed a less-than-stellar Weigl that he became godfather to and genesis of his Second Symphony. event for Beethoven, steeped in the Weigl’s son Joseph, who would opera’s story of unselfish love, sacrifice become a famous composer of comic In the summer of 1877, Brahms found and courage in the tale of the unjustly opera in Vienna and a regular visitor to imprisoned Florestan, rescued by his wife Haydn during his last days. Haydn’s C himself entranced by the pastoral beauty of Pörtschach in the Carinthian Leonore (disguised as a man, Fidelio). major Cello Concerto was dedicated hills of southern Austria, where he to Weigl senior.

The opera was originally entitled Leonore enjoyed a stay in the local castle. and Beethoven wrote an Overture in Clearly the lovely surroundings of this The Concerto was performed at the C major, quickly rejecting it after a runidyllic country setting found its palace and Haydn entered a note in through at Prince Lichnowsky’s palace his catalogue of compositions in 1765. equivalent in the Second Symphony before the premiere. Leonore Overture that Brahms quickly completed over But then the piece disappeared for No.2 was more successful but proved too 200 years.Though Haydn had likely the summer, bringing the manuscript lengthy to serve as a prelude. But Leonore composed more cello concertos, only back to Vienna at the end of the Overture No.3 emerged as a genuine summer in anticipation of a premiere one in D major was thought to have masterpiece: a symphonic structure in that December. survived.

Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.

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OVERTURE I September – October 2017

Showing no less technical mastery than his First Symphony, the Second seems to delight in itself, especially in the third movement which begins with a gentle oboe theme followed by a quick-tempo mix of triple and duple meters before settling back to its opening reflection.

ARTIST BIOS

Touched by Nature, flowers, breezes and a sunny, gentler world, Brahms is at his most congenial in this work - a wonderful sequel to the First Symphony but one that also covers a wide emotional and dramatic range within its cozy demeanor. Brahms’s inevitable narrative and perfect proportion draw one in, inexorably carrying all right

through to the radiant optimism of the final trombone chord at the end.

CLASSICS

Happy 70th WSO!

Victor Feldbrill, conductor

Yegor Dyachkov, cello

Victor Feldbrill’s career as a conductor spreads over a seventy-year period.The Canadian conductor’s first experience in this field started when he was fourteen-years-old while he was concertmaster of his high school orchestra. All of his basic studies he received in Canada after which he pursued other studies in Europe and with Pierre Monteux.

Lauded for his remarkable stage presence, depth of insight, nuance and generosity, cellist Yegor Dyachkov is an inspired recitalist, chamber musician and concerto soloist.

Since being named Artist of the Year by the Canadian Broadcast Corporation, in 2000, Mr. Dyachkov has gone on to perform throughout Europe, Latin America, Asia, Feldbrill has conducted virtually every major Canada and the United States, making his orchestra in Canada as well as orchestras in Europe, New York debut at Lincoln Center in October Asia and the United States as a guest conductor. He 2000. He has appeared with major orchestras has also been Music Director of the London (Canada) in such cities as Antwerp, Geneva, Montréal, Symphony Orchestra, the Hamilton Philharmonic Rio de Janeiro,Toronto and Vancouver, and Orchestra and the Toronto Symphony Orchestra and has performed at numerous international Chief Conductor of the Geidai Philharmonic in Japan. festivals in Évian, Kronberg, Lanaudière, Ottawa, and Tanglewood.

In addition to symphony concerts, Feldbrill has conducted for the Canadian Opera Company including A champion of new music,Yegor Dyachkov was invited by Yo-Yo Ma to take part in the premieres of important new operas. He has also Silk Road Project, and has premiered works conducted for Ballet, Radio and Television. dedicated to him such as the Sonata by His programmes have whenever possible, included Jacques Hétu, Ironman by Michael Oesterle, compositions by Canadian composers. As well, he has Vez for solo cello by Ana Sokolovic, as well as devoted much time to working with young orchestras Menuhin: Présence by the late André Prévost. and efforts have won him many awards including He has recorded extensively on several lables, Office of the Order of Canada and the Order of including Chandos, Analekta and Atma.Yegor Ontario. He is also the first recipient of the Canadian Dyachkov teaches at the Schulich School of Music citation given by the Canadian League of Music of McGill University and is professor of Composers and The Roy Thomson Hall Award. In the cello and chamber music at l'Université de US he received The American Concert Guild Award for Montréal. his devotion to young performers. In Japan, he was make Professor Emeritus at the Tokyo University of ADDITIONAL MUSICIANS: Fine Arts where he taught conducting for a period of Momoko Matsumura, violin; Virginia McDowell, eight years. He also received the City of Tokyo medal. oboe; Chad Reimer, tuba His last engagement with the WSO was in 2004 in celebration of his 80th birthday.

September – October 2017 I OVERTURE 13

Enchantment Theatre Company presents

Scheherazade!

Aladdin ~ Sinbad ~ The Kalandar Prince Scheherazade’s Magical Stories Co-commissioned by The Cleveland Orchestra This production has been made possible in part by an award from the National Endowment for the Arts that believes that a great nation deserves great art. Art Works.

Music By Nikolai Rimsky-Korsakov

Associate Director Bradley K.Wrenn

Conductor Julian Pellicano

Production Design C. David Russell

Production Created By Jennifer Blatchley Smith, Leslie Reidel and Landis Smith

Lighting Design Simon Harding

Director/Choreographer Leslie Reidel

The Ensemble Enchantment Theatre Company

GREAT-WEST LIFE KIDS CONCERTS

G R E AT- W E S T L I F E

Madison Bree Auch—Scheherazade,Sea Monster,Bird Lady,Aladdin’s Princess, Sultan’s First Love,Far-away Princess Arlen Shane Hancock—Queen’s Lover,Sea Monster,Siren,Customer,Woman from the Lamp,Soldier,Horse,Kalandar Guard,Dragon Jennifer Blatchley Smith—Sultan’s Guard,Sea Monster,Aladdin’s Mother,Soldier, Robber,Dragon Landis Smith—Grand Vizier,Cyclops,Sorcerer,Sultan’s Friend,Soldier,Robber,Guard Peter Smith—The Sultan,Sinbad,Aladdin,Kalandar Prince Leah Rose Holleran—Queen,Siren,Merchant,Wood Nymph,Genie,Soldier,Dragon Lady Andrew Cowles—Touring Technical Director

Pre-concert Activities Sunday, October 15

1:00 p.m.

2:00 p.m.

Kids Concerts Series Sponsor:

Pre-Concert Activities Partner:

Instrument Petting Zoo Sponsor: September – October 2017 I OVERTURE 15

ARTIST BIOS

GREAT-WEST LIFE KIDS CONCERTS

Scheherazade

About Scheherazade!

Scheherazade's one-thousandand-one tales are told to heal her King and to save his kingdom.

Through these fantastic stories, the King experiences adventures both great and small and discovers his true capacity to love.

Music, like theater, has the power to illuminate and transform. As a theater company whose work is primarily movement-based, music supports and enriches our storytelling and becomes another voice woven into the narrative.

Our collaborations with symphony orchestras are inspired by a shared vision that by bringing together the magic of music and theater, greater possibilities are born. The orchestra will evoke Scheherazade musically as we evoke it dramatically, using masks, puppets, magic and movement. It is our intention that our combined efforts will move the audience to discover this marvelous tale in a new and meaningful way.

- Leslie Reidel, Resident Director

appeared with major orchestras nationwide, including those of Atlanta, Baltimore, Cleveland, Houston, Minnesota, and Seattle, and with the Boston Pops on the PBS Christmas at the Pops television special. Other Enchantment symphonic concert productions include The Firebird, Mother Goose, Cinderella, and The Merry Pranks of Till Eulenspiegel.

“Enchantment Theatre Company adds a beautiful visual narrative to Scheherazade, Rimsky-Korsakov’s stirring orchestral music.

The audience was mesmerized by both.”

–Joan Katz Napoli,The Cleveland Orchestra Visit enchantmenttheatre.org for cast and creative staff biographies and more information.

ADDITIONAL MUSICIANS: Laurel Ridd, flute; Virginia McDowell, oboe; Tony Cyre, percussion; Victoria Sparks, percussion

About Enchantment Theatre Company Enchantment Theatre Company thrills audiences with its innovative and visually dramatic family theater productions. The company was founded in 1979 by Jennifer Blatchley Smith and Landis Smith, both actors and playwrights, and expanded to an artistic partnership with Resident Director Leslie Reidel in 1995.

Enchantment Theatre Company’s distinctive artistry combines masked actors, puppets, magic, music, and more. Their original and inspiring productions have served more than a million children and families across America and around the world including performances at the Brooklyn Academy of Music and Lincoln Center in New York City; the John F. Kennedy Center in Washington, D.C.; the Academy of Music and the Kimmel Center with the Philadelphia Orchestra in their home town of Philadelphia; and in the Far East, performing in Taiwan, Hong Kong, Malaysia, Indonesia, and Singapore. The company has

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OVERTURE I September – October 2017

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.

Teaching opportunities available!

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

National Arts Centre Orchestra SPECIAL

Alexander Shelley, Music Director John Storgårds, Principal Guest Conductor Jack Everly, Principal Pops Conductor Alain Trudel, Principal Youth and Family Conductor Pinchas Zukerman, Conductor Emeritus The Canada 150 Tour is made possible with leadership support from Tour Patrons Gail and David O’Brien, Presenting Supporters Alice and Grant Burton, Supporting Partners Peng Lin and Yu Gu, Education Partner Dasha Shenkman, OBE, Hon RCM and Digital Partner Facebook.

Peter A. Herrndorf National Arts Centre President and Chief Executive Officer

Antonín Dvorˇák I. Adagio - Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco

Symphony No. 9, Op. 95, "From the New World"

- INTERMISSION -

Robert Schumann Piano Concerto in A minor, Op. 54 I. Allegro affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivace Jan Lisiecki, piano John Estacio I Lost My Talk* Monique Mojica, actor Based on the poem by Rita Joe, C.M. Donna Feore, creative producer and director Barbara Willis Sweete, filmmaker Tekaronhiáhkhwa Santee Smith, film choreographer Normal, visual and stage design Kimberly Purtell, lighting designer Susan Monis Brett, stage manager *Commissioned for the National Arts Centre Orchestra to commemorate the 75th birthday of the Right Honourable Joe Clark, P.C., C.C., A.O.E. by his family.

Thursday, October 19

7:30 p.m.

September – October 2017 I OVERTURE 17

PROGRAM NOTES Symphony No. 9, Op. 95, “From the New World”

Antonín Dvorˇák b. Mühlhausen, Bohemia (today Nelahozeves, Czech Republic), September 8, 1841 d. Prague, May 1, 1904

Piano Concerto in A minor, I Lost My Talk John Estacio Op. 54

Based on the poem by Rita Joe, C.M. Robert Schumann b. Newmarket, Ontario, April 8, 1966 b. Zwickau, Saxony, June 8, 1810 d. Endenich (near Bonn), July 29, 1856 Now living in Edmonton

In 1841, Schumann brought forth a single-movement work he called Phantasie, which was destined to become the first movement of the Piano Concerto in A minor.The Although the “New World”Symphony exuberance, freshness and poetry was written in the New World, it is not of this Phantasie all reflect specifically about the New World.True, Schumann’s great personal there are themes that could be happiness in life with his new wife. construed as being “authentic”songs of Its deeply lyrical impulses may also the American Indians or Africanbe seen as an extension of the Americans, but in fact, as in Dvorˇák’s previous year’s outpouring of Slavonic works, he did not actually songs. Schumann’s wife Clara gave quote directly from folksong, but rather the world premiere in Dresden on composed his own based on study of December 4, 1845, with Ferdinand the source material. One “New World” Hiller conducting. aspect of this symphony is the role played by Longfellow’s epic poem The Schumann dispenses with the traditional orchestral exposition Song of Hiawatha, which Dvorˇák had found in classical concertos. Instead read in Czech translation some thirty there is a peremptory “shout”from years earlier. Dvorˇák actually visited the full orchestra, followed by a Hiawatha’s land (Iowa and southern cascade of chords from the soloist.

Minnesota), but the symphony was A wistful, plaintive theme from the essentially complete by this time, so solo oboe — as tenderly lyrical and whatever influence Hiawatha had on poetic an idea as any Schumann him was purely literary, not geographical.The world premiere was ever conceived — is taken up given in Carnegie Hall on December 16, immediately by the piano, 1893, with Anton Seidl conducting the indicating at this early stage the close relationship that will prevail New York Philharmonic. between soloist and orchestra.

Alone of Dvorˇák’s nine symphonies, Schumann’s desire to create a From the New World opens with a slow totally unified, cogent piece of work introduction.The main Allegro section is manifests itself in the continuing presence of the pervasive theme of launched by horns in an arpeggiated fanfare motif in E minor, a motif that will the first movement, which reappear in all remaining movements becomes the basis of the following as well. Many listeners know the main two movements as well. theme of the famous Largo as the song The coy, playful, four-note idea that “Goin’home,”but Dvorˇák did not borrow the theme from a spiritual; it is figures prominently in the opening section of the Intermezzo is really his own. no more than a cleverly disguised fragment of the familiar firstThe Scherzo is one of the most energetic and exhilarating movements movement theme.

Dvorˇák ever wrote.

The Finale’s main theme is also In the Finale, the development section generated by the fertile theme develops not only material from this from the first movement.The most movement but from the three previous notable feature of this movement ones as well.The symphony’s final may well be the recurring second chord is a lovely, warm sonority that theme with its tricky syncopations. lingers gently on the ears of New World audiences.

John Estacio ranks as one of Canada’s most frequently commissioned and performed composers.Over the past two decades he has served as composer-in-residence for the Edmonton Symphony, the Calgary Philharmonic and Calgary Opera.In 2003, Calgary Opera gave the world premiere of his first opera, Filumena, to a libretto by Canadian playwright John Murrell.Calgary Opera likewise premiered his second opera, Frobisher, in 2007, and his third opera, Lillian Alling, was premiered

by Vancouver Opera in 2010.Among his many successful orchestral works, Frenergy has become one of his most often-performed compositions.John Estacio’s first full-length ballet score was premiered by the Cincinnati Ballet in 2015, and his fourth opera, Ours, was premiered in July 2016 by Opera on the Avalon (St.John’s, NL).He has also composed for the Toronto Symphony, Orchestre symphonique de Montréal, and Vancouver and Victoria Symphonies.In 2009, he was one of three composers to receive the NAC Award for Composers which resulted in the following commissioned works: Brio (2011), Sinfonietta for Woodwind Quintet (2014), and concluding with tonight’s work, I Lost My Talk.

I Lost My Talk In fifteen lines of poetry, Rita Joe’s poem “I Lost My Talk”captures the discombobulating fear of being forced to leave one’s culture.Just as the poem is divided into four stanzas, the composition is divided into four uninterrupted movements.A bucolic flute solo captures the narrator’s life prior to attending Shubenacadie residential school. Strings play a hymn that suddenly transforms into a harsh musical environment; the flute melody is now fractured and lost within a foreign tonal soundscape.

Throughout the second movement, as shattered musical themes recover, the percussion and lower brass frequently interrupt, forcing the melody to regroup and move forward into an atmosphere that becomes relentlessly oppressive.With the words “you snatched it away,”an aggressive third movement begins; the solo flute returns, swept up in frantic momentum.A percussion solo ushers the return of the hymn, now fraught and anguished. With the text “two ways I talk,”the hymn is played in two different keys simultaneously.With “I offer my hand,”the noble fourth movement begins; here, an anthem for reconciliation soars as the narrator finds the courage to act as an ambassador, bringing peace and understanding to two different cultures as well as her own life.

Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.

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OVERTURE I September – October 2017

ARTIST BIOS

SPECIAL

National Arts Centre Orchestra

National Arts Centre Orchestra

Canada’s National Arts Centre Orchestra is a world class ensemble of outstanding classical musicians from across Canada and around the world, under the inspiring leadership of Music Director Alexander Shelley. Formed in 1969, the Orchestra gives about 100 performances a year in Ottawa, across Canada and around the globe, working with diverse artists of international renown. It breaks boundaries with its regular commissions of new creations including the critically-acclaimed, immersive Life Reflected. The NAC Orchestra reaches a wide audience through national and international tours, recordings, extensive educational outreach across Canada and on tour, and via the websites NACmusicbox.ca and ArtsAlive.ca.

Lisiecki performs with the world’s most prestigious orchestras on major stages, and has cultivated relationships with prominent conductors including Sir Antonio Pappano, Yannick Nézet-Séguin, Daniel Harding, and Pinchas Zukerman. His fourth album for Deutsche Grammophon presents Chopin’s seldom performed works for piano and orchestra with NDR Elbphilharmonie Orchester and Krzysztof Urba´nski. For this recording, Lisiecki received the ECHO Klassik in August 2017, Germany’s most significant classical music award.

An example of recent highlights include his BBC Proms debut with Sir Antonio Pappano at Royal Albert Hall, his debut in the main auditorium at New York’s Carnegie Hall with the Philadelphia Orchestra, performances with the New York Philharmonic and Sächsische Staatskapelle Dresden, subscription debuts with Cleveland Orchestra and San Francisco Symphony and a performance in the opening festival of the new Alexander Shelley, conductor Alexander Shelley is Music Director of Elbphilharmonie in Hamburg. He just recently made his debut with Valery Gergiev and the Munich Philharmonic the National Arts Centre Orchestra, Orchestra. In the 2017-18 season, Lisiecki will open the Principal Associate Conductor of the Royal Philharmonic Orchestra, and was season with Toronto Symphony Orchestra, return to DSO Berlin and Santa Cecilia and perform with Boston Chief Conductor of the Nuremberg Symphony Orchestra from 2009 to 2017. He is also Symphony Orchestra and London Symphony Orchestra.

Artistic Director of the Deutsche In 2013, he became the youngest ever recipient of Kammerphilharmonie Bremen’s ECHO and Gramophone’s Young Artist award, and also received Deutsche Gründerpreis winning “Zukunftslabor”. the Leonard Bernstein Award at the Schleswig-Holstein Born in London in 1979, Shelley studied cello and Music Festival. Jan Lisiecki is an exclusive recording conducting in Germany. Unanimous winner of the artist with Deutsche Grammophon.

2005 Leeds Conductor’s Competition, he works Monique Mojica, actor regularly with leading international orchestras Monique Mojica, from the Guna and including the DSO Berlin, Leipzig Gewandhaus Rappahannock nations, is passionately and Orchestre de la Suisse Romande. dedicated to theatrical practice as an act Shelley’s operatic engagements have included The of healing, of reclaiming Merry Widow (Royal Danish Opera); La Bohème historical/cultural memory, and of (Opera Lyra), Le nozze di Figaro (Opera North) and resistance. Spun directly from the family-web of New Così fan tutte (Montpellier), and in 2017, Harry York’s Spiderwoman Theater, her first play Princess Somers’ Louis Riel with the NAC Orchestra and the Pocahontas and the Blue Spots was produced in 1990.

Canadian Opera Company. Shelley has released She founded Chocolate Woman Collective in 2007 recordings with Deutsche Grammophon, and Life to develop the play Chocolate Woman Dreams the Reflected and Encount3rs with the NAC Orchestra Milky Way, a performance created by devising a on the Analekta label. dramaturgy specific to Guna cultural aesthetics, story narrative and literary structure.

Jan Lisiecki, piano Just 22, pianist Jan Lisiecki is recognized She has taught Indigenous Theatre – theory, process as one of the greatest pianists of our and practice – at the University of Illinois, the Institute time. Acclaimed for his extraordinary of American Indian Arts and McMaster University. interpretive maturity, distinctive sound Upcoming projects include Side Show Freaks & Circus and poetic sensibility, he is “a pianist who makes every note count.” (The New York Times) Injuns, with an illustrious team of Indigenous artists from diverse disciplines, co-written with Choctaw Lisiecki’s insightful interpretations, refined playwright LeAnne Howe, and Kaha:wi Dance Theatre’s technique, and natural affinity for art give him a Re-Quickening, a new work by Santee Smith. musical voice that belies his age.

September – October 2017 I OVERTURE 19

ARTIST BIOS

SPECIAL

National Arts Centre Orchestra

Rita Joe, C.M., poet Rita Joe was a famous Mi’kmaw poet who celebrated her language, culture and way of life. Rita Bernard was born in 1932 in Whycocomagh, Nova Scotia.

Orphaned at the age of ten, she soon found herself at the Shubenacadie Residential School. Forbidden to speak her language, she endured mental and physical abuse and left at age 16. She soon met Frank Joe and they married and started a family. Rita Joe began writing in the mid1970s. She wrote seven books, including Poems of Rita Joe (1978), Song of Eskasoni (1988) and The Blind Man’s Eyes (published posthumously in 2015).

In 1989, Rita Joe was inducted into the Order of Canada and in 1992, she became a member of the Queen’s Privy Council. She received an Aboriginal Achievement Award in 1997 and doctorates from several East Coast universities. Her husband, Frank, died in 1989, and a year later she was diagnosed with Parkinson’s disease. She kept writing until her death in 2009, five days after her 75th birthday.

Upon her death, the Globe and Mail named her the Poet Laureate of the Mi’kmaq people.

Cruel, Martin and Lewis and Stormy Weather. In 2017, Ms. Feore directed and choreographed Guys and Dolls for the Stratford Festival.

Barbara Willis Sweete, Filmmaker A founding partner of Rhombus Media, awardwinning director and producer Barbara Willis Sweete now heads up a dynamic new team at Willis Sweete Productions, a boutique media company specializing in cultural documentaries, arthouse films and cross-media projects.

Willis Sweete has produced and directed more than 50 films which have been seen around the world.

She has also directed 30 live-to-cinema transmissions from The Metropolitan Opera of New York, which are broadcast live to more than 2000 cinemas in 70 countries. In the 2016-17 season, she directed the MetOpera transmissions of Wagner’s Tannhäuser and Puccini’s Turandot.

Within the last year, Barbara Willis Sweete has completed a number of film and television projects: Sketches of Dvorˇák, a feature-length documentary for Czech Television; Songs of Freedom, a multiplatform project, starring Measha Brueggergosman, “I was only a housewife with a dream to bring encompassing a feature-length documentary, a laughter to the sad eyes of my people” series of half-hour television episodes, and a comprehensive digital media component; and, most Donna Feore, Creative producer and director recently, a one-hour special about Chinese New Year Donna Feore is one of Canada’s most featuring Yo-Yo Ma and Lang Lang. versatile creative talents and has been highly praised for her work with the Tekaronhiáhkhwa Santee Smith, Stratford Festival. She directed and Film choreographer choreographed last season’s smash hit, Tekaronhiáhkhwa Santee Smith is a multi-disciplinary A Chorus Line , which enjoyed an extended run. artist: performer, designer and award-winning This came on the heels of her previous hugely director and choreographer. She is from the acclaimed productions of the popular The Sound of Kanien’kehá:ka Nation, Turtle Clan from Six Nations of Music (2015), Crazy for You (2014), and Fiddler on the the Grand River, Ontario. Her dance journey began Roof (2013). She returned to the NAC to act as early and included attending Canada’s National Ballet Creative Producer & Director for the NACSchool. She holds Kinesiology and Psychology commissioned Life Reflected and as Director for degrees from McMaster University and a Master of Mendelssohn’s A Midsummer Night’s Dream with Arts in Dance from York University. the NAC Orchestra. Other directing credits include Tom Stoppard’s Rock & Roll and It’s a Wonderful Life In 1996, the opportunity to choreograph ignited for Canadian Stage, and Lecture on the Weather by her creative force, and in 2004, Smith produced her first choreographic work, Kaha:wi. In 2005, she John Cage and A Soldier’s Tale with F. Murray founded Kaha:wi Dance Theatre as a vehicle for her Abraham for the Detroit Symphony. Selected opera artistic work. The Theatre is thrilled to be credits include staging and choreography for the celebrating 10 years as an Indigenous arts company.

Canadian Opera Company’s Siegfried, which she remounted for the Opera National de Lyon. Also for In 2015, Tekaronhiáhkhwa Santee Smith was the COC: Tosca, Red Emma and Oedipus Rex, which recognized as an Eihwaedei Yerihwayente:ri earned her a Dora Mavor Moore Award for Best (Community Scholar) by Six Nations Polytechnic.

Choreography. Selected film and television credits Her work and life celebrates identity and humanity: include Mean Girls, Eloise, Treading Water, Politics is what it means to be Onkwehon:we on Turtle Island.

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OVERTURE I September – October 2017

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 70th Anniversary!

Ashley MacIsaac, fiddler Jay Andrews, drums Double the Trouble: Aidan and Luc Wrigley, fiddlers Julian Pellicano, conductor

Four Scottish Dances: Pesante Con brio Rita Respective Hard at the Jigs Reel of Tulloch My Mother Looking Glass Devil in the Kitchen

AIR CANADA SOUNDBYTES POPS

Ashley MacIsaac

Malcolm Arnold

arr. Scott MacMillan

- INTERMISSION -

Silver Wells Prince William’s Coronation March Gravel Walks Sleepy Maggie Buddy’s Picks MacDougall’s Pride Tulloch Like It is

Friday, October 20 Saturday, October 21 Sunday, October 22

8:00 p.m.

8:00 p.m.

2:00 p.m.

Pops Series Sponsor: Presenting Media Sponsor:

MUSICIANS IN THE MAKING Pre-Concert Performance on the Piano Nobile, Friday, 7:15 p.m.

Les Rapides en Rythme de Rivière Rouge Saturday, 7:15 p.m. Winnipeg Youth Orchestras Sunday, 1:15 p.m.

Beautiful Savior Lutheran School Strings September – October 2017 I OVERTURE 23

ARTIST BIOS

AIR CANADA POPS

Ashley MacIsaac

Ashley MacIsaac, fiddler One of the most celebrated Canadian roots musicians of all time, having sold in excess of 500,000 albums, Ashley has garnered international acclaim by playing the fiddle in that hardnosed, traditional Cape-Breton style, while adding his own spin, mixing genres and updating Celtic music to appeal to a broader spectrum of fans. Considered something of a local legend and prodigy by the time of his impressive 1992 debut Close To The Floor, Ashley broke through to the mainstream

with the double-platinum genre-bending Hi, How Are You Today? in 1995. International radio play for the single, Sleepy Maggie, and a regular slot on MuchMusic made Ashley an instant Canadian icon.

Much has been said about the antics of the enfant terrible of the Fiddle, but only because he has had international success and notoriety from an early age and grew up under the spotlight as one of the most dynamic fiddlers from Cape Breton, Nova Scotia. MacIsaac constantly pushed the traditional styles of Celtic music as he grew up and incorporated rock, pop, and everything imaginable in between.

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620 - 167 Lombard Avenue I 204 478 5264 I info@bergmannsonlombard.com www.bergmannsonlombard.com 24

OVERTURE I September – October 2017

Dinner & Symphony with

3-COURSE DINNER star ts at 5:30 p.m.

Enjoy a journey of gourmet food and beautiful music in partnership with Bergmann’s on Lombard all in one location at the Centennial Concert Hall, Piano Nobile level. Each three-course meal is themed to a specific WSO concert, offering patrons a unique opportunity to explore cuisine from around the globe.

Kurt Weill’s The Seven Deadly Sins

Nov 4

A Southern BBQ Soul food from the South begins this unique culinary series, igniting your palette with deliciously sinful flavours! A perfect dinner for Autumn’s golden harvest.

Harry Potter and the Philosopher’s Stone™ In Concert Nov 25 Magical Feast Learning on his 11th birthday that he is a wizard destined for greatness, Harry leaves for wizarding school for the first time in Harry Potter and the Philosopher’s Stone™.

This concert presents the first movie of the unforgettable series while a live orchestra performs John Williams’ enchanting score. Join us for an evening of music and magic.

A Night in Spain

Feb 24

Spanish Cuisine Inspired by Gypsy castanets and flamenco guitar, this menu will bring the heat in the middle of winter with traditional Spanish flare. A glass of red wine will be a muy bien pairing.

Luca Buratto Plays Prokofiev

Apr 7

Russian Revelry Dave Bergmann’s take on favourite dishes from composers Rachmaninoff and Prokofiev’s homeland offer an experience of dining in Moscow. Nostrovia!

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The Official Radio Station for the WSO Masterworks Series.

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Daniel Raiskin, conductor Natasha Paremski, piano Nathalie Paulin, soprano*

The Creatures of Prometheus, Overture. Op. 43

Ludwig van Beethoven (1770-1827)

Piano Concerto No. 2 in F minor, Op. 21 Maestoso Larghetto Allegro vivace

Frédéric Chopin (1810-1849)

CLASSICS

Beethoven, Chopin and a Sorrowful Song

- INTERMISSION -

Symphony No. 3, Op. 36, “Symphony of Sorrowful Songs”* Lento sostenuto tranquillo ma cantabile Lento e largo, tranquillissimo, cantabillissimo, dolcissimo, legatissimo Lento cantabile, semplice

Friday, October 27 Saturday, October 28

8:00 p.m.

8:00 p.m.

Henryk Górecki (1933-2010)

Official Radio Station of the WSO Classics:

Pre-Concert Chat on the Piano Nobile at 7:15 p.m.

SPECIAL CONDENSED MATINEE Henryk Mikolaj Górecki: Symphony No. 3 (Symphony of Sorrowful Songs)

Friday, October 27

10:30 a.m.

September – October 2017 I OVERTURE 27

PROGRAM NOTES

by James Manishen

Creatures of Prometheus Overture

Ludwig van Beethoven b. Bonn / December 17, 1770 d. Vienna / March 26, 1827 Composed: 1801 First performance: March 28, 1801 (Vienna) Last WSO performance: 2000, Leon Fleisher, conductor

Piano Concerto No. 2

Frédéric Chopin b.Warsaw / March 1, 1810 d. Paris / October 17, 1849 Composed: 1830 First performance: March 17, 1830 (Warsaw) with the composer as soloist Last WSO performance: 2010; Alexander Mickelthwate, conductor, with Janina Fialkowska as soloist

Chopin was desperately in love when he graduated from the Warsaw Beginning in 1799, Conservatory at age the celebrated 19 – the first love of his life in the dancer/choreographer Salvatore Vigano graced Vienna person of one Constantia Gladowska, a conspicuously with an extended residence. beautiful blond singer Chopin Wanting to compliment Maria Theresa, became entranced with but second wife of Emperor Francis,Vigano was seeking a composer for a new ballet based on couldn’t muster the courage to approach until a full year later. the Prometheus legend. Beethoven was the recommendation of the court, as he had In love Chopin was giddy and recently dedicated the score of his Septet, immature, boasting to his friends Op.22 to Maria Theresa.

“I have found my ideal,”adding

presence felt in the introduction.

The piano role is another story for it is ripe with all the poetry and incomparable pianistic resource Chopin is famous for.The work closes with a dazzling mazurka, the Polish national dance the 19-yearold composer was to return to time and time again.

Symphony No. 3

Henryk Górecki b. Czernica, Poland / December 6, 1933 d. Katowice, Poland / November 12, 2010 Composed: 1976 First performance: April 4, 1977 (Royan, France), conducted by Ernest Bour with Stefania Woytowicz as soloist First WSO performance of the complete work

Born in the industrial town of Katowice, Henryk Górecki originally trained as a primary- schoolteacher before studying composition at its that Constantia was forefront in Conservatory where he then taught Beethoven happily agreed to take on the his mind when he composed the following his graduation in 1960. project which was to be a ballet with Larghetto of his Second Piano Winning prizes for his music from the overture, introduction and 16 scenes. But friction soon developed.Vigano complained Concerto.When he finally met her Polish Composers’Union and other she was pleasant but noninstitutions, Górecki developed a that Beethoven was treating the dance committal. Her marriage in 1832 reputation for a fierce individualism, conventions as background to his music to a Warsaw merchant caused exploring a Webern-like serial style in while Beethoven felt that the Chopin distress, at least until he his Symphony No.1 and his subsequent choreographer was not paying enough moved to Paris and met who was Scontri (Collisions) that enraged attention to the music itself. Still, the to become his greatest supporter, communist officials. Solace for the production was a huge success in its 29 Countess Delphine Potocka, a composer came as Poland thawed performances and Beethoven’s star rose in during post-Stalinist times, reflected in his first effort for the theatre, leading directly grande dame of Parisian society who made sure her composerto the commission for what would be his Górecki’s Symphony No.2 with its friend mingled with people of only opera, Fidelio. evocations of folk songs and texts set high social stature. from the Psalms.Then, his artistic life Prometheus tells of the god who fashions the changed.

The Second Concerto’s premiere first man and woman from clay and water, with was also Chopin’s official debut as life from fire stolen from heaven.Finding that Górecki regularly took walks in the a pianist in Warsaw. It was a he can’t give his new beings the power to Tatras, an alpine-type farming region notable success and a second reason, Prometheus decides to destroy them steeped in old Polish culture. But it performance had to be but is stopped by a higher power.Man and was also near the site of Auschwitz, scheduled the following week woman experience Apollo, Melpomene,Thalia, and the experience became the due to audience demand.

Liszt Terpsichore and Bacchus, all of whom open called the Larghetto “a perfection genesis of his Third Symphony, in new vistas of reason and emotion in the new which he wanted to distill the almost ideal.” creatures, who now may begin life’s journey. emotional cross-references in one large-scale work. Entitled “Symphony Beethoven never again composed for dance, Though the F minor Concerto is of Sorrowful Songs,”Symphony No.3 one of the most beloved in the but the delightful Mozart-like Overture to was composed in 1976 on piano literature, the orchestra Prometheus became both a concert staple in commission from the South West never really enters the musical Beethoven’s own performances and a German Radio in Baden-Baden. argument, serving mostly as springboard to his second creative period.

The opening movement is a lament accompaniment after making its Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.

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OVERTURE I September – October 2017

that gathers in canon up from deep bass melodies, adding voices and leading to a veiled piano figure that ushers in the soprano singing verses from the 15thcentury “Lysagóra Songs”of the Holy Cross Monastery. Another canon concludes the movement with similar melodic material as the first canon but with voices dropping off.

The second movement is the emotional heart of the work.The texts are drawn from a prayer to the Virgin Mary whose words were inscribed in a cell wall in the basement of Gestapo headquarters in Zakopane by Helena Wanda

ARTIST BIOS

Blazusiakówna with the words “18 years old, imprisoned since 26 September 1944.”

The final movement is a folk-song mourning a lost son who might have been killed in combat; further evocation of the ties between mother and child which Górecki maintained as the thrust of the entire work.

Upshaw, David Zinman and the London Sinfonietta brought the work to international acclaim, Górecki’s “spiritual minimalism”creating a triumvirate with the more established John Tavener and Arvo Pärt in what Górecki called the “intensely felt revelation of the human condition.”

Symphony No.3 was tepidly received by critics at the premiere who felt that Górecki had strayed from established avant-gardism. But the phenomenally best-selling 1992 recording by Dawn

CLASSICS

Beethoven, Chopin and a Sorrowful Song

Daniel Raiskin, conductor

Natasha Paremski, piano

A son of a prominent musicologist, Daniel Raiskin grew up in St. Petersburg. He attended music school and later the celebrated conservatory in his native city, where he studied violin, viola and conducting. At the age of twenty, Daniel Raiskin left the Soviet Union to continue his studies in Amsterdam and Freiburg. Inspired to take up the baton by an encounter with the distinguished teacher Lev Savich, he also took classes with Maestri such as Mariss Jansons, Neeme Järvi, Milan Horvat, Woldemar Nelson und Jorma Panula. Raiskin, who cultivates a broad repertoire, often looks beyond the mainstream in his strikingly conceived programmes.

Born in Moscow and now based in New York, Natasha Paremski continues to generate excitement from all corners as she wins over audiences with her musical sensibility and powerful, flawless technique. The 2017-2018 season sees Natasha's return recitals at the Wigmore Hall and Istanbul Resitalleri, as well as a return to the North Carolina Symphony, Oregon Symphony to play Prokofiev’s 2nd Piano Concerto with Carlos Kalmar, Winnipeg Symphony, Colorado Symphony, Columbus Symphony, and her debut with the Kansas City Symphony. Major awards include the Gilmore Young Artists prize in 2006 at the age of eighteen, the Prix Montblanc in 2007, the Orpheum Stiftung Prize in Switzerland.

Natasha began her piano studies at the age of four with Nina Malikova at Moscow’s Andreyev School of Music. She then studied at San Francisco Conservatory of Music before moving to New York to study with Pavlina Dokovska at Mannes College of Music, from which she graduated in 2007. Natasha made her professional debut at age nine with the El Camino Youth Symphony in California. At the age of fifteen she debuted with Los Angeles Philharmonic and recorded two discs with Moscow Philharmonic Orchestra.

He was Chief Conductor of the Staatsorchester Rheinische Philharmonie in Koblenz (2005-2016) and held the same title with the Artur Rubinstein Philharmonic Orchestra in Lódz (2008-2015). From the 2017-2018 season onwards, Daniel Raiskin will be Principal Guest Conductor of the Orquesta Sinfónica de Tenerife and of the Belgrade Philharmonic Orchestra as well as Artistic Partner of the Chamber Orchestra St. Michael Strings in Finland.

September – October 2017 I OVERTURE 29

ARTIST BIOS

CLASSICS

Beethoven, Chopin and a Sorrowful Song

Nathalie Paulin, soprano Soprano Nathalie Paulin has established herself in the United States, Canada, Europe and the Far East as an interpretive artist of the very first rank. Winner of a Dora Mavor Moore Award for Outstanding Opera Performance, she has collaborated with internationally renowned conductors including Jane Glover, Michael Christie, Robert Spano, Kent Nagano, Yannick Nézet-Séguin, Antony Walker, Bernard Labadie, Sir Roger Norrington, Andrew Parrott, David Agler, Jacques Lacombe, Graeme Jenkins, and Andrew Litton on both the concert platform and in opera. As well, critics have been lavish in their praise. Reviewing from Chicago, John van Rhein noted that “Paulin in particular is a

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OVERTURE I September – October 2017

real find; her rich, agile voice possesses great depth and allure, her manner radiates sensuous charm.”

Ms. Paulin debuted for L’Opéra de Montréal as Mélisande in Pélléas Et Mélisande and for Chicago Opera Theater as Galatea in Acis And Galatea. She was re-engaged by Chicago Opera Theater for the title role in Semele and for Mary in La Resurrezione, both by Handel. She has also been heard as Susanna in Le Nozze Di Figaro for Cincinnati Opera and the Dallas Opera featured her in Carmen and Cunning Little Vixen.

ADDITIONAL MUSICIANS: Momoko Matsumura, violin; Laurel Ridd, flute; Katrina Panchuk, flute; Peter Pinteric, clarinet; Ross Edwards, clarinet; Allen Harrington, bassoon; Francois Godere, trombone; Donna Laube, keyboard

Natasha Paremski in Recital

SPECIAL

Autumn Festival:

Natasha Paremski, piano

Three Mazurkas B Major, Op. 63, No. 1 F minor, Op. 63, No. 2 C-sharp minor, Op. 63, No. 3

Frédéric Chopin (1810-1849)

Scherzo No. 4 in E Major, Op. 54

Frédéric Chopin

Variations on a theme by Paganini, Op. 35 Book I

Johannes Brahms (1833-1897)

Thema, non troppo presto Variation 1 Variation 2 Variation 3 Variation 4 Variation 5 Variation 6 Variation 7

Variation 8 Variation 9 Variation 10 Variation 11 Andante Variation 12 Variation 13 Variation 14 Allegro-presto ma non troppo

Book II Thema Variation 1 Variation 2 Poco animato Variation 3 Variation 4 Poco allegretto Variation 5 Variation 6 Poco più vivace Variation 7

Variation 8 Allegro Variation 9 Variation 10 Feroce, energico Variation 11 Vivace Variation 12 Un poco andante Variation 13 Un poco più andante Variation 14 Presto ma non troppo

- INTERMISSION -

Pictures at an Exhibition Promenade 1 Gnomus Promenade 2 The Old Castle Promenade 3 Tuileries Bydlo Promenade 4

Modest Mussorgsky (1839 -1881) Ballet of the Chicks in their Shells amuel Goldenberg and Schmuyle Promenade 5 The Marketplace in Limoges In the Catacombs Con mortuis in lingua mortua The Hut of Baba Yaga The Great Gate of Kiev

Exclusive Management: ARTS MANAGEMENT GROUP, INC., 130 West 57th St., New York, NY 10019

Monday, October 30

7:30 p.m.

September – October 2017 I OVERTURE 31

PROGRAM NOTES

Etudes, Op. 10. Schumann’s Op. 10 was, coincidentally, six Concert Etudes after Caprices by Paganini. Liszt weighed in a

by James Manishen couple of years later with his own Six Three Mazurkas, Op. 63 Etudes after Paganini and Frédéric Chopin “Transcendental”Etudes. Much more was b. Warsaw / March 1, 1810 to follow, notably Rachmaninoff’s d. Paris / October 17, 1849 ebullient Rhapsody on a Theme of Composed: 1846 Paganini. Even Brahms, who stood aloof Chopin’s 60 mazurkas stand at the from much of the virtuoso circus of his pinnacle of folk-inspired art music day, got into the Paganini act with these for the piano.Based on the dance’s two books of Variations, Op.35. three main forms:the mazur, oberek and kujawiak,each mazurka It happened on Brahms’first visit to is a mini tone-poem with many subtleties of rhythm, Vienna, where, intoxicated by the city’s harmony and colour unusual even for Chopin. famous Gemütlichkeit, the shy young man hung around with a couple of notorious Of the Opus 63 Mazurkas,No.1 is a sunny Wagnerians, composer Peter Cornelius recollection of the simplicity of Chopin’s youth. and pianist Karl Tausig. “Do you still No.2 begins with yearning sadness,opening up remember Pressburg,”wrote Tausig to to a richly upholstered central section before Brahms later,“where we three were returning to its veiled opening theme.No.3 is the perfectly drunk, and you kept on insisting best-known of the three,with a memorably that you must have your coffee? I hope nostalgic melody and canonic close at the octaves. we shall be as jolly together again.”The Scherzo No. 4 two were jolly together at the piano as Frédéric Chopin well, but while Brahms was merely one Composed: 1842 of the best pianists around,Tausig was already a legend. It was out of respect for This most extended and complex of Chopin’s his new friend’s technique - or perhaps a four scherzos is the only one which begins to live up to its name (scherzo in Italian - meaning desire to stump him - that Brahms devised these diabolical “Studies for joke or jest), the other Chopin scherzos being Pianoforte,”as he called them. tragic and turbulent.Though the E Major is perhaps less immediate in its appeal than the The famous Paganini theme of Brahms’ others, it’s combination of playfulness and work, however, is hardly a theme at all, sobriety make it possibly more human in but a little one-bar motive repeated over comparison. a progression of chords. In the variations, The opening section deals with a sober motive Brahms keeps the progression and, for that is constantly interrupted by a more the most part, jettisons the motive. frivolous one.These two “characters”act and Thematic development is not the point react at length, one never quite giving in to the here; dazzling technical ingenuity is. other.The central intermezzo has a restrained Double notes, hand crossing, trills in sadness after which we hear a recapitulation of chords, rapid arpeggios spanning three the opening. The extended coda provides a octaves, cross rhythms, leaps in contrary kind of reconciliation for the two conflicting motion, octave glissandos - the catalog of ideas of the opening. exotic difficulties is endless. It is all, however, music worthy of Brahms: finely Variations on a Theme laid out, sonorous moving through of Paganini emotions from playful to eloquent, from Johannes Brahms exhilarating to terrifying. b. Hamburg / May 7, 1833 d.Vienna / April 3, 1897 Pictures at an Exhibition Composed: 1863 Modest Mussorgsky If Bach and Beethoven were the b. Karevo, Pskov district, Russia / March 21, 1839 composers closest to the d. St. Petersburg, Russia / March 28, 1881 Romantics’hearts, Nicolo Paganini was the inspiration for Composed: 1874 In the spring of 1874, their fingers.The slender Italian Mussorgsky and the music violinist with the colossal technique galvanized critic Vladimir Stassov a generation of pianists. After hearing him play organized an exhibition of in 1829, the 19-year-old Chopin began drawings and paintings by composing his revolutionary (with a small “r”)

their friend Victor Hartmann who had suddenly died less than a year earlier. Hartmann’s works were architectural drawings and pictures of scenes that interested Russians at home and abroad.While walking through the gallery, Mussorgsky had a bold and brilliant inspiration: to compose a set of pieces that would be musical reflections of Hartmann’s art. He worked with a speed and certainty that were unusual for him, and on June 22nd, the work was done.

The idea of rendering visual images in music was a modern one.The truly original feature of the work is the Promenade music that opens it and then recurs appropriately altered in character, as the visitor ambles about the gallery and stops to look at the works of art. After the first Promenade, there are ten pictures: GNOMUS.A grotesque, little, bow-legged creature, its jaw open, is in fact a nutcracker.

THE OLD CASTLE. Outside a medieval castle, a troubadour sings a serenade and accompanies himself on the lute.

THE TUILERIES. On a path in the Gardens of the Tuileries,in Paris,children play and quarrel.

BYDLO. A Polish ox-cart with enormous wheels, seen by Hartmann in the town of Sandomir on his way home from Western Europe.

BALLET OF THE UNHATCHED CHICKS. A costume design for a ballet,Trilby, with choreography by Marius Petipa, produced in 1870.

SAMUEL GOLDENBERG AND SCHMUYLE. A drawing of a Sandomir ghetto scene that Mussorgsky described as picturing “two Polish Jews, one rich and the other poor.”

LIMOGES:THE MARKETPLACE. Mussorgsky originally suggested that this was intended to represent two market women exchanging neighborhood gossip, but, after the composer’s death, Stassov said that the women were quarreling angrily.

CATACOMBS (WITH THE DEAD IN A DEAD LANGUAGE). A view of the artist, lantern in hand, examining the ancient Roman catacombs in Paris.“With the dead, in a dead language.”

BABA YAGA (THE HUT ON FOWL’S LEGS).

In Russian folklore, Baba Yaga is a witch who lives in a hut that stands on hen’s legs so that she can turn it in any direction.

Hartmann’s drawing was a design fora clock in the form of Baba Yaga’s hut.

GREAT GATE OF KIEV. The massive gate was intended to commemorate the Czar’s escape from the Kiev Nihilist’s plot to assassinate him, and the design is rich in Imperial symbols.

Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.

32

OVERTURE I September – October 2017

Autumn Festival: SPECIAL

Frankenstein!!

Alexander Mickelthwate, conductor Todd Martin, vocalist*

Night on Bald Mountain

Modest Mussorgsky (1839-1881) Arr. Nicolai Rimsky-Korsakov (1844-1908)

Danse Macabre, Symphonic Poem, Op. 40

Camille Saint-Saëns (1835-1921)

- INTERMISSION -

Frankenstein!! A Pan-Demonium for Chansonnier and Orchestra after children’s rhymes by H.C. Artmann* Fanfare – Prologue Ia. Dedication Ib. Miss Dracula IIa. Goldfinger and Bond IIb. John Wayne IIc. Monster III. A Mi Ma Monsterlet IV. Fanfare – Intermezzo,“Werewolf’s Serenade” V. Frankenstein VI. Rat Song and Crusoe Song VII. Mr. Superman VIII. Finale VIIIa.The Green-haired Man VIIIb. Batman and Robin VIIIc. Monsters in the Park VIIId. Litany VIIIe. Hello, hello, Herr Frankenstein VIIIf. Grete Muller’s Adieu Fanfare – Epilogue

Tuesday, October 31 34

OVERTURE I September – October 2017

H[einz]-K[arl] Gruber (b. 1943)

8:00 p.m.

PROGRAM NOTES

by James Manishen

Night on Bald Mountain

Modest Mussorgsky b. Karevo, Pskov district, Russia / March 21, 1839 d. St. Petersburg, Russia / March 28, 1881 Composed: 1867; arranged by Rimsky-Korsakov in 1886 First performance: October 15, 1886 (St. Petersburg), conducted by the arranger Last WSO performance: 2007, Alexander Mickelthwate, conductor

Danse Macabre

Camille Saint-Saëns b. Paris, France / October 9, 1835 d. Algiers / December 16, 1921 Composed: 1874 First performance: January 24, 1875 (Paris), conducted by Édouard Colonne Last WSO performance: 2007, Alexander Mickelthwate, conductor

A mandate to promote French music became especially potent in the period following France’s defeat at the hands of the Prussians in 1870, who Night on Bald Mountain is had returned to their homeland.The Mussorgsky’s only orchestral result was the founding of the Société work and, apart from his Nationale in 1870 by Camille Saintwell-known Pictures at an Saëns and selected colleagues. SaintExhibition for piano (famously Saëns’contributions to the new orchestrated by Maurice Ravel), the only enterprise included four symphonic instrumental work he composed. As one of poems written between 1871 and the Russian “Five,”as acknowledged in the 1877, in respect to Liszt who West – Balakirev, Cui, Borodin, Rimskydeveloped the genre and who SaintKorsakov and Mussorgsky – and whose Saëns knew well. It was a convenient mandate was to reveal Russia’s distinctive symphonic model, he found, that musical and folkloric voice, Mussorgsky is allowed for several ideas to argue out regularly felt as the most original within the within a single piece. group, which had as its leader Balakirev and The best-known of Saint-Saëns’ Rimsky-Korsakov as its self-appointed symphonic poems is Danse Macabre, musical officiator. whose premiere was so successful, it In 1861,the 21-year-old Mussorgsky was thrilled had to be immediately encored. to receive a commission to compose a dramatic Inspired by a poem by Jean Lahor pagan work for the Russian legend of St.Johns under the pseudonym of Henri Cazilis, Night,where an annual witches’Sabbath would the story is set in a graveyard at take place on “Bald Mountain”(Mount Triglav midnight: near Kiev) June 23-24, the eve of the feast of St.John the Baptist.There would be episodes Zig, zig, zig, Death, in tempo, in the music to describe the happenings.

Kicks at the tombs with his heel, Mussorgsky conceived the work as a piece Death at midnight plays a dance tune, with piano and orchestra.

Zig, zig, zig, on his violin.

Mussorgsky sent the score to his mentor Balakirev who promptly rejected it.Others in the group tweaked the score with added material and even took material from it for an aborted operatic project.All came to naught and Mussorgsky never heard it performed in his lifetime.

The harp opens the piece with the image of distant bells tolling.The demonic mistuned fiddle enters the story, followed by an insinuating flute melody. Both converse imaginatively, later in parody, with the woodwinds It fell on Rimsky-Korsakov to rescue Night on Bald who serve up the Dies Irae (Day of Mountain,supplying an orchestration that cleaned Wrath) chant from the Requiem Mass. up Mussorgsky’s design and sharpened its dramatic All is halted by daybreak signaled by the oboe, after which the defeated thrust.This is the version mostly heard today, though Mussorgsky’s own original one of 1867 violin steals away. (published in 1968) retains a unique savagery.

In Rimsky’s words,the synopsis of the score is as follows:“Subterranean sounds of supernatural voices…Appearance of the spirits of darkness, followed by that of Satan himself…Glorification of Satan and celebration of the Black Mass…The Sabbath Revels…At the height of the orgies the bell of the village church,sounding in the distance disperses the spirits of darkness…Daybreak.”

Frankenstein!!

HK Gruber b.Vienna / January 3, 1943 Composed: 1976/77 First performance: November 25, 1978 (Liverpool), conducted by Simon Rattle with the composer as soloist Last WSO performance: 2000, Bramwell Tovey, conductor with the composer as soloist

The origins of this ‘pandemonium’go back to the Frankenstein Suite of 1971 – a sequence of songs and dances written for the Vienna ‘MOB art and tone ART Ensemble,’ which was then active in the field of instrumental theatre.Although the Suite was a success,I was unhappy about its improvisatory structure,and also needed the resources of a full orchestra.So in 1976/77 I completely recomposed the work in its present form.

It was first performed on 25 November 1978 by the Royal Liverpool Philharmonic Orchestra under Simon Rattle,with myself as soloist.For the 1979 Berlin Festival I wrote an alternative version for soloist and 12 players (first performed that year by the Vienna ensemble ‘die reihe’under Kurt Schwertsik,again with myself as soloist).Since then,the two versions have happily co-existed; and in 1983,at the Espace Cardin in Paris,Frankenstein!! entered the theatre for the first time – an unforeseen development,but one that proved suited to Artmann’s multi-layered fantasy.

The title of the volume from which I took the poems of Frankenstein!! – Allerleirausch,neue schöne kinderreime (Noises,noises,all around – lovely new children’s rhymes) – promises something innocuous; but Artmann himself has described the poems as being,among other things,‘covert political statements.’

Typically he refused to explain what he meant.

But his reticence is eloquent: the monsters of political life have always tried to hide their true faces,and all too often succeed in doing so.

One of the dubious figures in the pandemonium is the unfortunate scientist who makes so surprising an entry at midpoint.Frankenstein – or whoever we choose to identify with that name – is not the protagonist,but the figure behind the scenes whom we forget at our peril.Hence the exclamation marks.

Artmann’s demystification of heroic villains or villainous heroes finds a musical parallel in,for instance,the persistent alienation of conventional orchestral sound by resorting to a cupboard-full of toy instruments.However picturesque or amusing the visual effect of the toys,their primary role is musical rather than playful – even howling plastic horses have their motivic / harmonic function.

In order to do justice to the true significance of the texts it would be enough to provide some extra exercises in structural complexity.By analogy with Artmann’s diction,my aim was a broad palette combining traditional musical idioms with newer and more popular ones,and thus remaining true to the deceptive simplicity of texts whose forms at first glance suggest a naive and innocently cheerful atmosphere.

HK Gruber

Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.

September – October 2017 I OVERTURE 35

ARTIST BIOS

SPECIAL

Frankenstein!!

Todd Martin, vocals Todd Martin is a freelance musician with many interests and talents. A graduate of McGill University with a Bachelor of Music, and a Licentiate Diploma with High Distinction in French Horn performance, Todd has also attended the Banff Centre for the Arts, and The University of Miami.

As a French Hornist, Todd has performed with some of the finest orchestras in Canada, including The Winnipeg Symphony Orchestra, L'Orchestre Symphonique de MontrĂŠal, The Calgary Philharmonic Orchestra, The Thunder Bay Symphony Orchestra and Orchestra London.

Todd is also highly committed to music education. He is the harmonica instructor at the An accomplished singer, Todd has been fronting the Manitoba Conservatory of Music and Arts, and is Winnipeg-based group Dirty Catfish Brass Band for an avid clinician and teacher on the French Horn.

For the past three years, he has also been an the past six years, as well as performing regularly instructor for The Bridge Program, at Hugh John with the WSO, and The Ron Paley Big Band. He is also a member of Polycoro, one of Winnipeg's finest McDonald School. This privately funded program provides music instruction to students, who choirs, and a former member of Camarata Nova. otherwise would not have any music classes.

Adding to his list of accomplishments, he has performed on 2 Juno Award winning albums, most ADDITIONAL MUSICIANS: recently for The Bros Landreth album Let It Lie, Momoko Matsumura, violin; Avalon Lee, bass; which features both his horn and harmonica Laurel Ridd, flute; Tony Cyre, percussion; playing.

Victoria Sparks, percussion; Donna Laube, keyboard

36

OVERTURE I September – October 2017

Alexander Mickelthwate, conductor Sarah Jo Kirsch, soprano Peter John Buchan, tenor Scott Reimer, tenor Kris Kornelsen, baritone Derek Morphy, bass Canadian Mennonite University Women’s Chorus, Janet Brenneman, director*

The Seven Deadly Sins (ballet chanté)

CLASSICS

The Seven Deadly Sins

Kurt Weill (1900-1950) Text by Bertolt Brecht English by W. H. Auden and Chester Kallman

Prologue: Andante sostenuto Sloth: Allegro vivace Meno (city unnamed) Pride: Allegretto, quasi Andantino (Memphis) Anger: Molto agitato (Los Angeles) Gluttony: Largo (Philadelphia) Lust: Moderato (Boston) Greed: Allegro giusto (Baltimore) Envy: Allegro non troppo Alla Marcia, un poco tenuto (San Francisco) Epilogue: Andante sostenuto (the new little house in Louisiana) - INTERMISSION -

Dante Symphony, S. 109 Inferno Purgatorio Magnificat*

Franz Liszt (1811-1886)

This performance is funded by the Kurt Well Foundation for Music, Inc. New York, NY.

Friday, November 3 Saturday, November 4

8:00 p.m.

8:00 p.m.

Pre-Concert Chat on the Piano Nobile at 7:15 p.m.

Classics A Series Sponsor: Official Radio Station of the WSO Classics:

September – October 2017 I OVERTURE 37

PROGRAM NOTES

The story comprises seven short scenes flanked by a Prologue and an Epilogue.The music integrates

by James Manishen popular elements of German The Seven Deadly Sins cabaret and song with American Kurt Weill music styles of the twenties such as b. Dessau, Germany / March 2, 1900 tango, foxtrot, polka or barbershop. d. New York / April 3, 1950 Weill and Brecht perfectly ironize the Bertolt Brecht petty bourgeois double standards of b. Augsburg, Germany / February 10, 1898 each society willing to sacrifice their d. East Berlin / August 14, 1956 values for the sake of financial gain.

Composed: 1933 First performance: June 7, 1933 (Paris), “Sisters”Anna 1, a singer with conducted by Maurice Abravanel, with pragmatic values, and Anna 2, a Lotte Lenya as soloist dancer (both, in fact, the same First WSO performance person) are sent by their family from home in Louisiana on a seven-year journey to various North American cities to earn money to build “a small house near the Mississippi.” During the journey, Anna takes on menial jobs where she is confronted by one Kurt Weill Bertolt Brecht Some of the most successful theatre pieces of of the seven biblical sins in each of the Weimar Republic between 1927 and 1931 the cities of Memphis, Los Angeles, came from the collaboration of composer Kurt Philadelphia, Boston, Baltimore and Weill and the lifelong committed Marxist poet, San Francisco. playwright and singer Bertolt Brecht: The Anna 2 is the spontaneous one, Threepenny Opera, from which The Ballad of prone to give way to sins to achieve Mack the Knife became one of the pair’s signature hits, Happy End, and The Rise and Fall her goals, which she does for of the City of Mahagonny. But when the Nazis monetary gain despite the warnings of Anna 1 and their family (the male came to power in 1933, the Jewish Weill headed straight for Paris and Brecht to Carona vocal quartet in Greek chorus mode). Gradually, they give up their in the Italian Alps. dreams and ideals, eventually and Weill was well-regarded by Parisian luminaries wearily to return to their family in Stravinsky, Cocteau, Picasso and others. Almost Louisiana, disillusioned with what as soon as Weill arrived in Paris on March 23, such temptations can so willfully 1933, he was thrilled to receive a commission achieve. from Diaghilev’s former collaborator Boris The Kurt Weill Foundation Kochno, choreographer George Balanchine and a wealthy English philanthropist Edward The Kurt Weill Foundation, Inc. promotes and perpetuates the legacies of Kurt Weill James, who was looking for a vehicle for his and Lotte Lenya by encouraging an estranged wife, ballerina Tilly Losch, to win appreciation of Weill’s music through back her affection.

Weill had had a falling out with Brecht over issues with Mahagonny in Berlin in 1929 and since German productions of their works were now banned, their financial well-being was tenuous. So when Weill asked Brecht to join him for the project, Brecht accepted the role of devising a satirical libretto for the one-act “sung ballet.”Weill’s also-estranged wife Lotte Lenya was to star (Weill was hoping to win her back as well).

Die sieben Todsünden (The Seven Deadly Sins) premièred in the ballet version of Georges Balanchine at the Théâtre des Champs-Élysées on 7 June 1933. It was the last collaboration of Brecht and Weill and soon become one of their best-known works.

support of performances, recordings, and scholarship, and by fostering an understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts.It administers the Weill-Lenya Research Center, a Grant and Sponsorship Program, the Lotte Lenya Competition, the Kurt Weill/Julius Rudel Conducting Fellowship, the Kurt Weill Prize for scholarship in music theater, and publishes the Kurt Weill Edition and the Kurt Weill Newsletter.Building upon the legacies of both Weill and Lenya, the Foundation nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media.Since 2012, the Kurt Weill Foundation has administered the musical and literary estate of composer Marc Blitzstein. www.kwf.org.

Dante Symphony

Franz Liszt b. Raiding, (Doborján), Austria / October 22, 1811 d. Bayreuth / July 31, 1886 Composed: 1855-56 First performance: October 7, 1857 (Dresden), conducted by the composer First WSO performance Liszt found compelling inspiration for his music in literature, visual arts, history, religion, folklore and Nature.

As with Berlioz, Liszt expanded the realm of what program music could be, influencing many composers going forward.

Most of his 13 symphonic poems generate from the works of such poets as Byron, Shakespeare, Schiller, Hugo and more, but Liszt didn’t overlook two landmark works of Western literature – Goethe’s Faust and Dante’s Divine Comedy – for two large symphonies completed in the 1850s.

In December 1830, Liszt had been swept off his feet at a performance of Berlioz’s Symphonie fantastique and it is thought that he broached the subject of a symphony based on the story of Faust at dinner that evening with Berlioz. Liszt’s splendid Faust-Symphonie was composed in 1854.

His Dante Symphony arrived the following year, for which he felt equal in quality to the earlier symphony.

The Dante Symphony is laid out in two parts.The first represents the Inferno, the second evokes the Purgatorio. Ending the work is a setting of the Magnificat for women’s or boys’voices.The choral closing came from doubts expressed by Wagner, to whom Liszt unofficially dedicated the work, who felt a portrayal of Paradise at the end needed a special musical reaction.

Lower brass and lower strings begin in declamation of the words Dante reads at the gates of Hell. Horns and trumpets then take over with a fearsome statement, after which an “Allegro frenetico”arrives. An “Andante amoroso”section provides respite in the dreams of Paolo and Francesca, rapturously set in a 7/4 metre.

The second movement begins with clearly distilled harmonies in solo horn and woodwinds.The souls are saved in a “Lamentoso,”whose fugue signifies hardwon penitence. Clearly Liszt viewed Purgatory more with hope than despair, the ethereal Magnificat memorably closing the journey.

Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.

38

OVERTURE I September – October 2017

ARTIST BIOS

CLASSICS

Seven Deadly Sins

Sarah Jo Kirsch, soprano Sarah Jo Kirsch is a soprano/vocalist currently based in Winnipeg, Canada.

She continues to make waves as a recitalist and soloist in North America, Europe, and the Middle East. Winner of the 2014 Eckhardt-Gramatté National Music Competition, she has been described as "...one of the finest contemporary dramatic vocalists in Canada today..." (Calgary Herald) "...with the ability to get under the skin of everything she sings..."

(Winnipeg Free Press). From Baroque oratorio to electro-acoustic sound art, Sarah Jo surfs the gamut of musical evolution. In recent seasons, she has premiered works by Michael Matthews, Örjan Sandred, Jim Hiscott, Andrew Staniland, Matthew Ricketts, Luke Nickel, Sid Robinovitch, John Greer, David Scott, Aaron Funk, and Zach Bales in addition to creating her own soundscapes as half of experimental a/v duo The Gritty.

Peter John Buchan, tenor PJ Buchan – a native of Winnipeg – has been involved with choral and vocal music since he joined the men and boys choir at All Saint’s Church in 1979. He has appeared as a chorister and soloist with many of Winnipeg’s foremost ensembles, including the Winnipeg Singers, Camerata Nova, the Manitoba Chamber Orchestra, as well as for CBC national broadcast.

PJ has been a competitor for both the Rose Bowl and the Tudor Bowl at the Winnipeg Music Festival, has appeared as a soloist in London’s Millennium Centre and Prague’s St Vitus’s Cathedral, and was the guest soloist at the February 2005 Reykjavik Winter Festival.

Recently, PJ has been involved in a number of opera productions with Winnipeg’s Musical Offering and Little Opera Company.

Scott Reimer, tenor Scott loves to sing. He believes in valuing music both for of its ability to envelop, discern, and comfort the human soul and its subsequent significance in mobilizing masses and pursuing peace. Since moving to Winnipeg, Scott has sung as a chorister and soloist with most of Winnipeg’s premier ensembles as well as the National Youth Choir and the World Youth Choir, the latter of which included performances at the Nobel Peace Prize celebrations in 2011.

Scott is also a passionate conductor. He has had the honour of teaching music at Garden City Collegiate for four years and conducting youth choirs here in Manitoba. He was also blessed to conduct the Vancouver Chamber Choir as part of their Conductors Symposium.

Known as a vocal chameleon, Scott’s most recent solo work came this past May in the RWB’s premiere of Monteverdi’s Vespers, gracefully conveying King Solomon’s words in Nigra sum.

Kris Kornelsen, baritone Baritone Kris Kornelsen is no stranger to the music scene in Winnipeg. He has sung as both a soloist and chorister with The Winnipeg Singers and Canzona and has enjoyed guest appearances with the Manitoba Chamber Orchestra, the Mennonite Oratorio Choir and the Winnipeg Philharmonic Choir. Kris has performed as soloist in performances of Handel’s Messiah, Haydn’s Creation, and Bach’s St. John and St. Matthew’s Passions. He is known for his musicianship and ability to actively communicate with his audiences. He brings a refreshingly bright yet warm vocal quality marked by sensitive phrasing to his performances. Kris is also very active singing various styles of music, from classical to jazz, gospel and pop with the mixed vocal quartet, Encore.

Derek Morphy, bass Born in England, educated in Wales, Derek Morphy sang as a Choral Scholar in the chapel at St. John’s College, Cambridge, and has sung in a number of chamber choirs in England and Canada.

Derek is still active as a bass soloist, having most recently sung as a bass soloist with Camerata Nova in the Michael Praetorius Christmas Mass, and in an earlier performance of Claudio Monteverdi’s Vespers of 1610, as well as performing the part of the deacon in both Rachmaninoff’s “Liturgy of St John Chrisostom” and Tchaikovsky’s “Liturgy” with The Winnipeg Singers. He also performed as part of the quartet in the Manitoba Chamber Orchestra performance of Kurt Weill’s Seven Deadly Sins.

September – October 2017 I OVERTURE 39

ARTIST BIOS

CLASSICS

Seven Deadly Sins

Derek Morphy retired in 2000 after a thirty-seven-year career teaching choral music and history. He presently conducts the St. Andrew’s River Heights United Church Choir. As well as a number of solo and ensemble performances dating back to the last century, he has also appeared with the Winnipeg Symphony Orchestra in the “Beyond the Score” presentation of Dvorˇák’s New World Symphony, and as the narrator in John Rutter’s Brother Heinrich’s Christmas.

Canadian Mennonite University Women’s Chorus Dr. Janet Brenneman, conductor

vast and demanding repertoire written for women’s choirs with a specific commitment to performing the music of women composers. Together with the CMU Men’s Chorus, they host CMU Choral Connections events, and regularly perform with the Winnipeg Symphony Orchestra.

The CMU Women’s Chorus maintains a demanding concert schedule, performs in worship, and features regularly on Golden West Broadcasting throughout southern Manitoba. For these performances with the WSO, CMU Alumni as well as members of the Mennonite Festival Chorus join the CMU Women’s Chorus.

ADDITIONAL MUSICIANS: Momoko Matsumura, violin; Laurel Ridd, flute; Caitlin Broms-Jacobs, oboe; Peter Pinteric, The CMU Women’s Chorus, open to all CMU students, clarinet; Brendan Thompson, timpani; is an auditioned choir known for its challenging and Byron Wood, percussion; Tony Cyre, percussion; innovative programming. In weekly rehearsals, this Janice Lindskoog, harp; Donna Laube, keyboard; energetic and highly motivated ensemble explores the Andrew Goodlett, guitar/banjo

40

OVERTURE I September – October 2017

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

Podium Johnston Group Inc. Resident Artist Qualico Principal Chair Terracon Development Ltd. Wawanesa Insurance Assistant Principal Chair Cambrian Credit Union J.K. May Investments Ltd. Orchestra Chair Bison Transport Maxim Truck & Trailer Royal Bank of Canada Music Stand Coghlan's Limited Crosier Kilgour & Partners Ltd. Pollard Banknote Limited Premier Printing Ltd. Price Industries Limited Reider Insurance Winmar Property Restoration Riser A. Akaman & Son Ltd. European Art Glass Ltd. Greg Brodsky Law Corporation InterGroup Consultants Ltd. Mid West Packaging Limited Patill/St. James Insurance

Jewish Foundation of Manitoba George Warren Keates Memorial Fund Allen and Marion Lambert Fund Lutz Family Foundation The Winnipeg Foundation, John and Carolynne McLure Fund Maurice (Moe) & Ethel Pierce Fund Program for the Enrichment of French in Education RBC Foundation Richardson Foundation Perce & Elizabeth Schirmer Foundation The Winnipeg Foundation - Chief Justice Richard J. Scott and Mary Scott Fund David & Leda Slater Memorial Fund Aqueduct Foundation - Inga and Anna Storgaard Fund Leslie John Taylor Fund, the Winnipeg Foundation James Thompson Memorial Fund in Trust of WSO The Winnipeg Foundation - Marylla van Ginkel Memorial Fund The Winnipeg Foundation - Dr. Ken and Lorna Thorlakson Fund Winnipeg Jets True North Foundation

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.

Siana Attwell, PhD Greg Doyle and Carol Bellringer Mrs. Lucienne Blouw Dolores P. Brommell Lorraine and Gerry Cairns Mrs. Audrey F. Hubbard Richard and Carol Jones Ethel Karr The WSO gratefully acknowledges Henry Katz the following foundations: Kevin & Els Kavanagh Robert & Ina Abra Family Fund - the Erwin W. Kitsch Michel D. Lagacé Winnipeg Foundation Gail E. Loewen The Noreen & Robert Allen S. E. Loewen Charitable Trust Brandon Area Community Foundation W. H. Loewen Dr. Brendan MacDougall Sylvia & Robin Cowan Foundation Margaret Kellermann McCulloch In memory of Peter D. Curry Nathan & Carolyn Mitchell Foundation for Choral Music in Lesia Peet Manitoba Beth M. Proven Francofonds Inc. Souchay Gossen Family Foundation Edward Fisher & Lyse Rémillard Trudy Schroeder Joseph and Judith Malko Family June Slobodian Fund - the Strategic Charitable Muriel Smith Giving Foundation Dr. & Mrs. S. Szirom Michael S Gray Fund C/O Private Edith A. Toews & Dr. Helen A. Toews Giving Foundation Marjory Alexander Graham & Family Robin Wiens & Emilie Lagacé-Wiens Donn K. Yuen Fund 2 Anonymous

Foundations

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

Honourary Chair Alexander Mickelthwate, Music Director Diamond MC Peter & Dana Jessiman Michael Nesbitt Platinum Baton James Cohen & Linda McGarva-Cohen Marten & Joanne Duhoux Bill and Shirley Loewen* Gold MC Daniel Friedman & Rob Dalgliesh Arlene Wilson & Allan MacDonald Drs. Eleanor & Grant MacDougall Mr. & Mrs. Barry & Carol McArton Ron & Sandi Mielitz Ken and Judy Murray Hartley & Heather Richardson Silver MC Gail Asper and Michael Paterson Mark & CariLyn Buller Timothy & Barbara Burt Dr. Marcel A. Desautels Dr. Ken Fowler Mr. & Mrs. Duncan & Judy Jessiman Kevin & Els Kavanagh* Don & Kim MacDonald Wade Miller & Melissa Malden Michael Nozick & Cheryl Ashley Barb & Gerry Price Tannis Richardson* Mr. & Mrs. Meril & Eveline Rivard Mr. & Mrs. Lyle & Anna Silverman Charlie & Dayna Spiring Dr. Lea Stogdale Jim & Jan Tennant Mr. & Mrs. Curt & Cathy Vossen Dr. Jens J. Wrogemann Concertmaster's Bow David & Ruth Asper Leonard & Susan Asper Shibashis Bal Mr. Jim Barrett Mrs. Lucienne Blouw Herb & Erna Buller Brent Trepel & Brenlee Carrington Trepel Morris Chia Dr. Leslie Simard-Chiu & Dr. Aaron Chiu Frank & Agnes DeFehr John & Gay Docherty Dr. Ravi Dookeran Karl & Petra Dornetshuber Douglas C. Everett, Chairman, Domo Gasoline Corporation Ltd. Bill & Margaret Fast Greg & Linda Fearn Dr. Albert & Mrs. Lee Friesen

James Gibbs Mrs. Audrey F. Hubbard Jared & Robin Jacobson David & Diane Johnston Mr. Sotirios Kotoulas Dr. Judith Littleford Christine Skene & Nick Logan Dr. David Lyttle Elaine & Neil Margolis Brent Mazur & Nancy Quiring John Morriss Diane Payment & Roxroy West Lesia Peet Robert Penner Ms. Pat Philpott Oliver & Gennie Plett Lawrie & Fran Pollard Dr. Bill Pope & Dr. Elizabeth Tippett-Pope* Sanford & Deborah Riley Olga & Bill Runnalls Mr. Terry Sargeant Jimmy & Morse Silden Pam Simmons* Paul & Shelley Smith Don & Jennifer Streuber Ian R. Thomson & Leah R. Janzen Susan Glass & Arni Thorsteinson E. Toews Mr. & Mrs. Simon & Deborah Waller Professor A.M.C. Waterman Elsie Williston Klaus & Elsa Wolf 2 Anonymous Black Tie Austin Abas Ms. Sandra Altner Aubrey & Dr. Linda Asper Mrs. Marjorie Blankstein Frances Booth Doneta & Harry Brotchie Mr. & Mrs. John & Bonnie Buhler Ms. Emily Burt Rev. Msgr. Michael Buyachok Pierce & Amy Cairns Mr. Steven Chipman Jan & Kevin Coates Art & Leona DeFehr Michael & Sigrid Duncan Joan & Glen Dyrda Philipp & Ilse Ens Mr. Alan Freeman & Dr. Radhika Desai Jason A. Goldberg Tyler Gompf Dr. Alexander Grunfeld & Silvester Komlodi Drs. Daya & Chander Gupta Gregg & Mary Hanson Micah Heilbrunn John & Lisa Heimbecker Ms. Robin Hildebrand Derek & Mary Johannson Richard & Carol Jones Nora Kaufman Margaret Kellermann McCulloch & Paul A. McCulloch Mr. & Mrs. Konstantinos & Chrysoula Kotoulas Mr. Rob Kowalchuk, CPA, CA Mr. & Mrs. Bob & Deirdre Kozminski

September – October 2017 I OVERTURE 41

Mr. Aaron Lewis in memory of Robert Handler Mr. & Mrs. David & Nancy MacAngus Gord & Sherratt Moffatt Ms. Valerie Mollison Jim & Krista Morden Dr. Michael Nelson & Dr. Selena Friesen Bob & Cindy Newfield Dr. Joel Nkosi Ted & Mary Paetkau Wayne & Linda Paquin Harvey I. Pollock Q.C. Dr. & Mrs. Brian Postl Beth M. Proven John & Violet Rademaker Dr. Diane Ramsey Ms. Iris Reimer Dr. Donald S. Reimer & Mrs. Anne Reimer Jim & Leney Richardson Mrs. Shirley Richardson Mr. Rick Riess & Mrs. Jean Carter Trudy Schroeder Bob Silver Family Muriel Smith Mrs. Rae Spear Mr. Jason Stefanson Jon & Jodee Stewart Mr. Richard Turner Dr. & Mrs. Eric Vickar Don & Florence Whitmore Klaus and Dorit Wrogemann Mitch & Wanda Zajac 1 Anonymous * Founding Members

Friends of the WSO support the WSO each season.

Honourary Chair Gwen Hoebig, Concertmaster Symphony Mrs. France Adams Ida Albo Margaret-Lynne & Jim Astwood Dr. & Mrs. Mark & Theresa Barker Dr. David Barnard David & Gillian Bird Helga & Gerhard Bock Susan Brownstone Brock & Thomas Brock Sheila & David Brodovsky Stephen Brodovsky Andy Burgess Lorraine & Gerry Cairns Mr. David Christianson Nick Logan & Christine Skene Joy Cooper & Martin Reed Gordon & Jeannine Cornell John Corp and Mary Elizabeth McKenzie Ruth Crook Margaret Cuddy Robert Dawson Miss O. Dilay Duha Group Jennifer & Tim Dumore Helene Dyck Beverley & Fred Dyck Kathleen & David Estey 42

Ms. Susan Feldman Carrie Ferguson Greg Fettes & Carmyn Aleshka Ms. Judith Flynn Jocelyn and Mark Gabbert Robert & Linda Gold Dr. Percy Goldberg in memory of Elaine Goldberg Mr. Gary B. Goossen Mrs. Audrey Harburn N and L Holliday Miss Susan Holt Robert Jaskiewicz Marianne Johnson Lawrence Jones Michael & Glenna Kay Mr. Darrell Klassen Dr. Terry Klassen & Ms. Grace Dueck Dr. Alexander Grunfeld & Silvester Komlodi Millie & Wally Kroeker T.G. Kucera Mr. Frank Lavitt Mr. & Mrs. Philippe Le Dorze Dr. John & Mrs. Natalie Mayba Jonathan E. Mitchell Sylvia Mitchell Terence and Vi Moore Vera Moroz Drs. Kenneth & Sharon Mould Kevin Neiles & Tracy Koga Dr. Rashmi Nigam Mr. Jean-Francois Phaneuf Donna & Ian Plant Ms. Marina Plett-Lyle Carolynne Presser Mike Pyle & Laura Lomow Larry & Thelma Reynolds Mrs. Shirley Richardson Jim & Pat Richtik Noni & Dan Rosenblat Barbara Scheuneman Justin Schinkel Mr. Walter Silicz Jim Skinner & Judy Nichol Marlene Stern Ms. Marilyn Thompson Strang / van Ineveld Family Dr. & Mrs. Willem T.H. van Oers Faye Warren Peter & Marina White Raymond & Shirley Wiest Herbert & Shirley Wildeman 4 Anonymous Concerto Judy & Jay Anderson Gorden Andrus & Adele Kory Cheryl & Earl Barish Ms. Kathleen Beach-Nelson F. Bell Mr. & Mrs. Richard & Joy C. Betts Bernice Blakeman Cathie and Brian Bowerman Mr. & Mrs. Penny & Sheldon Bowles Daniel Heindl & Eugene Boychuk Greg & Sylvia Brodsky Mr. & Mrs. F. Buckmaster Ms. Carol Budnick Alexis Kochan & Nestor Budyk Dr. David Camoriano David Carr James Carr Mr. Raymond Chrunyk Anna-Lisa Cohen Dr. & Mrs. David Connor

OVERTURE I September – October 2017

Pam & Andrew Cooke Irene & Robert Corne Gary & Fiona Crow Mr. Bradley J. Curran Mr. Peter Czaplinski Esther and Hy Dashevsky Hilary Druxman Mr. & Mrs. W. Easton Ms. Ursula Erhardt Randy Ewanika Honourable Gary and Honourable Janice Filmon Dr. LeeAnn Fishback Marcia Fleisher & Kelly MacDonald Margaret Follett Wayne Forbes Penny Gilbert Bruno Gossen Katie & DeLloyd Guth Patricia Guy Dr. & Mrs. Don & Jerri Hall Gordon E. Hannon Mr. & Mrs. Allen Hattie Blair & Erica Henderson Mrs. Elsie Hignell Hilda & Elmer Hildebrand Bob & Biddy Hilton Carole Holke Mrs. Joan M. Hunter Dr. Lorne Hurst & Elly Hoogterp Drs. Keith & Gwyneth Jones Koren & Leonard Kaminski Marilynne Keil Ray Kohanik & Terri Ashcroft Mrs. Marion B. Korn Mr. Andre Kriening Kat Kupca Edith Landy, in memory of David Landy Yan Lau & Ming-Ka Chan Mr. Don Lawrence Ms. Francoise Lesage & Mr. Ken Mills James & Pat Ludwig Scott MacDonald & Tracey Novak Dr. Brendan MacDougall Douglas MacEwan Drs. Joshua Manusow & Kristen Creek Terri & Jim McKerchar Louise McLandress Amanda McLeod Mr. Neil Middleton Ron & Maureen Monson Margaret & Fred Mooibroek Conor Mulholland Profs. Robert O'Kell & Arlene Young Bonnie & Richard Olfert Ms. Lois Powne Tim Preston & Dave Ling Rosemary Prior Dr. Clare Ramsey Fred & Carolyn Redekop J. Reichert Levi & Tena Reimer Ricou-Manfreda Judge & Mrs. Charles & Naida Rubin Ms. Miriam Rudolph A. Schroeder Dr. L. Sekla Merrill & Shayna Shulman Deborah Spracklin Mr. & Mrs. Gary and Gwen Steiman

Dr. & Mrs. M.R. Steinbart Helen Sundstrom Paul Swart Dr. & Mrs. David Swatek Todd Tanchak Jennifer & Brian Thiessen Tom & Lori Thomas Edith A. Toews Dr. Helen A. Toews Carol & Neil Trembath Susan Twaddle Mr. Robert Vineberg Meeka Walsh Thuraya Weedon Diane Weselake Mr. Neil Wilcox Myra Wolch & Saul Cherniack Harry & Evelyn Wray Arlene Young and Robert O'Kell 11 Anonymous Serenade Edward Acuna Jean Altemeyer Kaeren Anderson Pat & Harvey Anton Doug Arrell & Dick Smith Betty & Ted Ash Brian & Janice Bailey Mr. John A. Bailey Ralph & Eileen Baxter Janet, Susan, Kathie Beach in memory of Garnet & Betty Beach In honour of Helene Beauchemin Dick & Minnie Bell Audrey Belyea Susan & Edwin Bethune Joan Blight Mr. Robert Briercliffe Sherrill Brown Sel & Chris Burrows Gary & Jane Caines Gerald Callow Mrs. Audrey Campbell Ms. Donna Carruthers Laura Chan & Herman Lam Mrs. Leona Christiansen Ron Clement Fred Coakes Ms. Julie Collings Helle Cosby Ms. Linda Daniels Mr. Tom Dercola Sandra & Robert Dewey Mr. & Mrs. Gordon Dingman Faye Dixon in memory of Graham Dixon Mr. & Mrs. Lawrence & Brenda Donald John and Ada Ducas R. Duddek Frances Edye Donna Ekerholm George B. Elias Mr. & Mrs. Richard A. Elsner Jr. John & Martha Enns Margaret E. Faber Nelma Fetterman Doug & Phyllis Flint Donalda Fridfinnson Arnold & Christa Froese Mrs. Margaret Funk George & Carol Gamby George Haidau Mr. & Mrs. Ben & Nadia Hanuschak

Patricia Harras Beth & Raymond Harris Catherine Harrison Ruediger & Lydia Hedrich L.G. Herd Marilyn & Helios Hernandez Debby and Brian Hirsch Mr. & Mrs. J.K. Holland Patti Holm Helmut & Dorothy Huebert Rudy & Gail Isaak David Jacobson Terry & Shirley James Margaret Jeffries Ross & Betty Jo Johnston Victoria Johnston Rick & Caroline Josephson Ms. Nadia Kamienski Ms. Marilyn Kapitany Henry Katz, in memory of Dena Mr. & Mrs. Burton J. Kennedy Marion & Bill Kinnear Ken Kinsley Heather Kirkham Erwin W. Kitsch Susan & Keith Knox Mona Koropatnick Sarah Kredentser & David Howen Ms. Janet Kuchma Elaine & Patrick Lamonica Lisa & Ted Mr. Norman Leathers Moira Swinton and Bernie Léveillé Tom Liewicki in memory of Lovie Liewicki Rose & Dick Lim Fraser & Joan Linklater Albert & Helen Litz Janice Lutz in memory of Andrew Lutz Janice Lutz in memory of Patricia Hoebig Al & Pat Mackling Lorraine MacLeod Angelos and Pauline Macrodimitris Allan Malbranck Linda Martin Ruth May Lynne McCarthy & Claude Davis J. Doreen McCormick Mrs. Maureen McIntosh C. & J. McIntyre Mr. & Mrs. Sheldon McLeod Glen Mead Shana Menkis Judith Meunier Mr. & Mrs. Walter & Gladys Mildren Dr. Kyle Millar Mrs. Mona Mills Brad & Donna Mitchell Nathan & Carolyn Mitchell Margaret Moroz in memory of her brother Andrew Lutz D.E. Morrison Mrs. Joan Ann Morton D. Munro Ms. Bonnie Neil Truus Oliver Patricia Mary Patterson Cameron Pauls David & Veronica Payne, in memory of Eleanor Annandale Ms. Eleanor Payne Mr. Rick Pinchin Sandra & Irvin Plosker

Ruth Carol & Len Podheiser Don & Carol Poulin Mrs. Edna Poulter Donna & Gordon Price Dr. David Punter Juta Rathke Esther and Reynold Redekopp Anne Reid and the McLarty Family in memory of Norman MacKay, 38 years as a member of the French Horn Section of WSO and Personal Manager for some time Pat and Bill Reid Mr. Daryl & Mrs. Sheila Reid M. Rennie Kevin Rollason & Gail MacAulay Steve Ruddy & Pauline Boisselle Matt Schaubroeck Ed & Susan Schmidt Hans & Gabriele Schneider Marie Schoffner Dr. & Mrs. Alvin and Ethel Schroeder Dr. Robert J. Schroth Dr. & Mrs. Morry Schwartz Mr. Ken Schykulski Olga & Myron Shatulsky Robert Shaw & Chris Krawchenko Mr. & Ms. Ed Shwedyk Brenda Sklar David & Lorraine Smith Ms. Kaye Snatenchuk Ms. Brenda Snider Margaret & Hartley Stinson Lorne Sunley Dr. & Mrs. Ian & Karen Sutton Jo Swartz & Richard Silverman Dr. & Mrs. Stephen Szirom Dr. & Mrs. John Taylor June & Lorne Thompson C. & R. Thomsen Dr. J.M. Trainor Paul Trapnell Fran & Estela Violago Ms. Edna Walpole Jim & Joan Warbeck Dr. Marnie Waters Jack Watts J. Whyte Debbie Wilson Ms. Joan Wise Donna Woods Karin Woods Mr. John Yarema 19 Anonymous Prelude Brian & Karen Abrams in honour of Harvey & Sandra Weisman's 60th Anniversary and Harvey's 90th Birthday Trish Allison-Simms Larissa Ashdown Allan & Rochelle Baker Alison Baldwin Mr. & Mrs. R. Bruce Ball Mr. Robert Baragar Ms. Margaret Barbour Robert Barton Byrnes Benoit Eric Bergen Helen Bergen, Music Director FGUC Choir Bruce & Joyce Berry Donald & Edith Besant

Rozin & Cathy Iwanicki Mrs. Jacquie James Bob Jansen in memory of Eleanor Annandale Alan Janzen & Leona Sookram Father Stan A. Jaworski Mrs. Karen Kaplen Ms. Bev Kawchuk Jo Kellendonk Randy & Kathleen Kemp Ms. Mary Klassen Ed & Helen Kolomaya Jacki & Sheldon Koven Kozub/Halldorson Family Elsa Krahn D. Kristjanson Miss Patricia Kuchma Helen & Len La Rue Ms. Betty Laing Ron Lambert Elizabeth Lansard Mrs. Ingrid Lee Mr. & Ms. Saul & Kathy Leibl Mr. R. Leroeye Jennifer Lidstone Barry & Patricia Lloyd Lorron Agencies Ltd. Roger Lowe Sarah Luby Margaret Mahon in honour of her Father, Thomas Hoey McGown Ms. Dorothy I. MacIntyre Mr. & Mrs. Cam & Joy MacLean Barbara Main James Manishen Anethea Marshall Harold S. Mawhinney & Judy Moon Dr. & Mrs. Ihor Mayba Paul A. McCulloch D. McKay Violet McKenzie Ted McLachlan Mrs. Jean McLennan S. McMillan Ms. Linda Meckling Estelle Meyers Ms. Sue Miclash Carolyn Garlich & Peter Miller Ms. Sheila Miller Ms. Marlene Milne John & Margaret Mundie Leesa Munroe Charlotte Murrell Mel & Sharon Myers Dr. Sidney & Gwen Nelko Mikaela Oldenkamp David & Hermine Olfert Allan & Hazel Osborn Mr. Douglas Page Ms. Georgine Palmquist Mrs. Henny Paritzky John & Agnieszka Payne in memory of Eleanor Anne Annandale In memory of Eleanor Annandale from Joan, Stuart and Helen Ellen Peel & Neil Bruneau Ms. Nettie Peters Ingrid Peters-Fransen Ian & Ann-Margret Plummer Ms. Danuta Podkomorska Blumie Portnoy Phyllis Portnoy & Rory Egan April Powell in memory of S. Devinder S. Bharaj Mrs. Nell Provinciano September – October 2017 I OVERTURE 43

Ms. Diane Bewell Eric & Clara Bohm Ruth & Kris Breckman Jackie Brignall Paul & Doreen Bromley Miss Dorothy Broomhall Chris Brown & Pat McCullough Leona Burdeniuk Kevin Burns Mr. John Burrows Ruth Calvert Mrs. Patti Cherney Lawrie and Bea Cherniack Shelley Chochinov Anne Cholakis & Howard Loewen In memory of Robert Coates Dennis Cooley Glynis Corkal Joyce & Lawrence Cormack Maxine Cristall Mr. & Mrs. Ted & Lacona Cunningham Judy & Werner Danchura Maureen Danzinger Mr. Ray Davis F. De Grazia Michele Del Rizzo Wade Derkson Anne Downey in memory of Pat Mutchmore Mr. & Mrs. Mervin & Ariela Drabinsky Herb & Norma Driver Linda Edel Lisa Edel Scott & Margaret Edmonds Mr. & Mrs. J.G. Ekins Siegfried Enns Don & Martha Epstein Ms. Karin Erhardt Mathilda Fijn Joanne Flynn Margo Foxford Mrs. Marguerite Fredette Mrs. Gitta Fricke Mrs. Donna Friesen Lise Laverdure & François Gauvin Dr. & Mrs. Andrew & Karen Gomori D. Gooch Dr. & Mrs. W. L. Gordon Mrs. Noreen Greenberg Marj Grevstad Irene Groot-Koerkamp & Greg Edmond Mr. & Mrs. Kenneth W. & Marjorie Grower Gertrude Hamilton Ms. Joanne Hampson Ms. Meghan Hansen Kelsey Hargreaves & Vojtech Balaban Ms. Erin Harley Linda A. Harlos Mrs. Phyllis Hatskin Ms. Helen Hawrysh Teresa A. Hay Larry & Evelyn Hecht Terry Heron Ms. Shirley Hicks Ms. Marilyn Hido Ms. Susan Hildebrandt Karen Hiscott Richard & Karen Howell Carl & Vi Hultin William J. Hutton Huynh Van Ho

Bryan & Diana Purdy M. Reguly Theresa Rempel Eleanor Riach Mr. & Mrs. Robert & Vera Ripley Brian & Iris Rountree Frances E. Rowlin Mr. Johnny Rule Salangad & Ms. Pearly Rule Salangad David & Helen Saude In memory of Jean Sauder Grant & Janet Saunders Nicola Schaefer Mr. M. Schnitzer David Schroeder R. Schroeder Charlene Scouten Ms. Noreen Sealy Carl & Margaret Shaykewich Heida & Skuli Sigfusson Louis & Shirley Ann Simkulak Wilma Sotas Geri & Peter Spencer Ms. Nata L. Spigelman Mr. & Mrs. Starodub Dan & Elsie Stasiuk Mrs. Pat Stefanchuk Bonnie Hoffer-Steiman & Lionel Steiman Ms. Helena Stelsovsky Ms. Sally Stephens Archie & Shirley Stone Muriel Sutherland Ross & Bette Jayne Taylor Tom Thiessen Mary and Robert Thomas Betsy F Thorsteinson in memory of Ruth Dowse Robert & Barb Tisdale Henry & Elizabeth Toews Ms. Andrea Towers Ms. Eleanor Urquhart Judith & Francisco Valenzuela Ira van den Berg & Greg Butterfield Dr. & Mrs. Jose & Ruth Vasconcelos Barry and Gail Veals Hugo and Anny Veldhuis Nils & Melissa Vik Waverley Tenant Association James & Claudia Weselake Dr. Gaynor Jane Williams Dorcas & Kirk Windsor Mr. Andrew Winkless Patrick Wright Libby Yager and Billy Brodovsky Mr. Edwin Yee Donn K.Yuen 14 Anonymous Sonatina James & Faye Alward in honour of Margot J. Alward Greg Anderson Jacqueline Anderson In memory of Eleanor Anne Annandale Dr. John Badertscher Mrs. Eva Berard Mrs. Lori Bettig Anna Bird Mr. Dick J. Bloemheuvel Shirley Book Monica Brechka Wendy & Ken Broadfoot Crowe & Brownlie Alfred Buelow Sheila Burland

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Lori Butler Divna Calic Ms. Linda Campbell Marianas Canadas Aline Caron Rheo Catt Eileen Chaban Ella Chenkie Melina Chow S.K. Clark Mr. Alfred Cornies Karen Couch Stephen Crane Ms. Judy Crawford Mr. Fred J. Cross Jean Cunningham Ms. Jean Curtis D. Cymbalist Carl Ar Darby Eric Davies Mrs. Wilna Dehls Beth Derraugh Ms. Terrylynn Desrosiers M. Jane Dick Mrs. Ethel Dil Paul Dueck Pam Eyland Vera & Peter Fast Ms. Helen Feniuk Barbara Filuk in honour of Alex Pitkethly Ms. Catherine Flower Mrs. Cindy Flynn Peter Flynn Hilda Franz Bonny Fraser Jim & Betty Gaynor Mrs. Barbara Gessner Ms. Jacqueline Godard Heather F. Graham Mrs. Inga Granovskaya Victoria Gretchen Ms. Marianne Gruber Ms. Marion Guinn B. & R. Hall Helen & Peter Hayward John Heath D&R Herntier Jean Highmoor Mrs. Margaret Hill Arlene Hintsa in memory of Marilyn Mrs. Diane Holding Stella Hryniuk Maryann Hudjik Mr. & Mrs. Peter & Rosalind Husband Ishbel Isaacs Bonnie Dee & Richard Jakubowski David & Heather Jenkins C Bohemier Ron & Barb Johnson Dr. Arnold & Mrs. Doreen Kapitz Mr. Gordon C. Keatch Ursula & Sandor Kelemen Katie Kirkpatrick Ms. Irene Kuhtey Anne La Tour Mr. & Mrs. David Levene Katrina Limberatos In memory of Andrew Lutz Christopher MacNutt Mr. Allan L. Mapes Mrs. Irene Marriott Marian Martin in memory of Eleanor Annandale Ms. Teresa Martin Hugh McCabe

OVERTURE I September – October 2017

Jim McLaren Ardythe McMaster Sen. Marilou McPhedran Iona McPhee Mr. Garfield McRae Ms. Kathleen Michener Mrs. Jocelyn Millard Harry & Annette Minuk Ms. Sharon Minuk Ms. Sandra Mitchell Jon Montes M Morawski Maureen Morin Kim Morton Jeffrey & Mary Morton Jackie Murphy Anne Martin Mr. Robert Nix Ms. Helen O'Neill Alice Oswald Mrs. Clarice Owen In memory of Diena Young Shirley & Graham Padgett Mrs. Kathy Parry in honour of "PINK" RCN 4760 Sonjia Pasiechnik Mr. Irwine Permut Gail Perry & David Firman in memory of Andrew Lutz Margaret Peters Ken & Geri Porath Mark Potash, Darena Snowe, Lily Snowe-Potash and Lev SnowePotash Janis Pregnall Ms. Joanne Prygrocki Valerie Raber Karen Rassmussen-Oke Mrs. Marieann Reeves Ms. Barbara Robertson Melissa Steele Gisela Roger Mrs. V. Rosolowich Marnie Ross Joan Sabourin Mrs. Claudia Sarbit Jessie Sawicz Kay Schalme William Scheidt Ivor & Lorna Schledewitz Mary Agnes Welch Betty & Sam Searle Adriana Sedlak Mr. & Mrs. Bill & Lynn Shead Izzy Shore Mrs. Elaine Silverberg Ms. Jean P. Smellie Evelyn R. Smith in memory of Mayer Rabkin Mr. & Mrs. Robert Smith Dr. Camelia Stefanovici Diane Stewart Robert Stewart & Leslie RossStewart, in memory of Eleanor Anne Annandale George Stolarskyj Mrs. Marilyn Stothers Mrs. Joan Swaffer Gladys Tarala Ross & Bette Jayne Taylor Ms. Vanessa Thiessen Ms. Linda Thomas Phyllis Thomson Ms. Melita Tonogai In memory of Mayer Rabkin Ms. Josette Toye Shelley Turnbull

Ward Tweet Carole Urias Ms. Stephanie M. van Nest Mrs. Arlene van Ruiten Mr. Steve van Vlaenderen Sophia Venter Denis Vincent Mrs. Nancy Vincent Miss A. H. Wagstaffe Dr. Jackie Walker Mr. Glen Angus Webster Gerri Weigeldt Jody White in honour of Doug and Loreen Buss' Marriage Ms. Barbara Wiebe Grace M. Wiebe Theresa Wiktorski In memory of my uncle Joe Jaworski who was a musician 39 Anonymous

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

Blumie & Iser Portnoy Endowment Fund Lorraine & Gerry Cairns Mr. Ray Davis Helene Dyck Greg & Linda Fearn Marilyn & Helios Hernandez Marilynne Keil, in memory of David H. Skinner Barbara Main Judith Meunier Ms. Iris Reimer Levi & Tena Reimer Barbara Scheuneman Ivor & Lorna Schledewitz Jim & Jan Tennant James & Claudia Weselake WSO Women's Committee in memory of Eleanor Gibson 1 Anonymous

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

Thank you!

Mrs. France Adams Jean Altemeyer Gorden Andrus & Adele Kory Aubrey & Dr. Linda Asper Alison Baldwin David & Gillian Bird Jackie Brignall Stephen Brodovsky Kevin Burns Dr. David Camoriano Marianas Canadas David Carr Anne Cholakis & Howard Loewen

Mr. Peter Czaplinski Eric Davies Sandra & Robert Dewey Dr. Rashmi Nigam Medical Corp Dr. R. Dookeran Medical Corporation Dr. Tenley Nicole Bower Medical Corporation Kathleen & David Estey Randy Ewanika Ms. Susan Feldman Dr. LeeAnn Fishback Ms. Catherine Flower Wayne Forbes Daniel Friedman & Rob Dalgliesh Guillermo Rocha Medical Corporation Dr. & Mrs. Don & Jerri Hall Kelsey Hargreaves & Vojtech Balaban Ms. Helen Hawrysh Marilyn & Helios Hernandez Hilda & Elmer Hildebrand Patti Holm Bonnie Dee & Richard Jakubowski Janet Ash & Associates Ltd. Drs. Keith & Gwyneth Jones Koren & Leonard Kaminski Jo Kellendonk Kelly Regula Dental Corp Mr. Sotirios Kotoulas Kozub/Halldorson Family T.G. Kucera Ron Lambert Lisa & Ted underpaid teacher Moira Swinton and Bernie Léveillé Drs. Eleanor & Grant MacDougall Mr. & Mrs. Cam & Joy MacLean Drs. Joshua Manusow & Kristen Creek Ms. Teresa Martin Brent Mazur & Nancy Quiring Paul A. McCulloch Ted McLachlan Shana Menkis Ron & Sandi Mielitz Ms. Sheila Miller Conor Mulholland Michael Nesbitt Bob and Cindy Newfield Dr. Rashmi Nigam Mikaela Oldenkamp Lesia Peet Mark Potash, Darena Snowe, Lily Snowe-Potash, Lev SnowePotash Beth M. Proven Dr. Clare Ramsey Pat and Bill Reid M. Rennie Steve Ruddy & Pauline Boisselle Olga & Bill Runnalls Mr. M. Schnitzer Robert Shaw & Chris Krawchenko Pam Simmons Muriel Smith Marlene Stern & Peter Rae Ms. Stephanie M. van Nest Nils & Melissa Vik VQ Salon Meeka Walsh Dr. Marnie Waters Mr. Neil Wilcox Karin Woods Dr. Jens J. Wrogemann 5 Anonymous

Mrs. Audrey Campbell Ms. Linda Campbell Fred Coakes In memory of Robert Coates Maestoso Winnipeg Jets True North Foundation Anna-Lisa Cohen Share the Music is a unique Mr. Victor Collomb RBC Foundation outreach initiative of the WSO Dennis Cooley Richardson Foundation that allows economically Carl Ar Darby disadvantaged children and Vivace Douglas Kuhl School of Music Inc. their families to attend WSO Boeing Canada Winnipeg R. Duddek performances. Thank you for Mr. & Mrs. Barry & Carol McArton ECCO Singers helping to Share the Music!

Telus - Manitoba Community Board Linda Edel Ms. Karin Erhardt Ms. Margaret Barbour Con Brio Ms. Ursula Erhardt Ralph & Eileen Baxter Dr. Ken Fowler Kathleen Estey in memory of Alan Lucienne Blouw in honour of Louise Garth Lee Strings Maxwell Nebbs and Paul Godard Souchay Gossen Family Foundation Pam Eyland Lucienne Blouw in memory of Manitoba Community Services Council Nelma Fetterman Hermi van den Berg Manitoba Liquor and Lotteries Mathilda Fijn Ms. Rheo Catt 1 Anonymous Ms. Catherine Flower Shelley Chochinov Mrs. Cindy Flynn Michele Del Rizzo Allegro Judith & Peter Flynn Dr.William Dutka Dr. David Barnard Judith & Peter Flynn in memory of Barbara Filuk Andy Burgess Diena Young George Haidau Timothy & Barbara Burt Judith & Peter Flynn in memory of Don & Jerri Hall in memory of Rev. Msgr. Michael Buyachok Andrew Wihelm-Boyles Aunt Lois Anderson Mr. David Christianson Margo Foxford Huynh Van Ho Gordon & Jeannine Cornell Bonny Fraser In memory of Mary Harrison Art & Leona Defehr In memory of James Joseph ("Jim") Mrs. Karen Kaplen Greg & Linda Fearn Gibbons Russell Kennedy Jocelyn and Mark Gabbert Mr. & Mrs. Ben & Nadia Hanuschak Tom Liewicki in memory of Mr. Gary B. Goossen Patricia Harras Lovie Liewicki Michael S Gray Fund C/O Private Catherine Harrison Claudette & Robert Lussier Giving Foundation Ruediger & Lydia Hedrich James Manishen Kevin & Els Kavanagh D&R Herntier Mr. & Mrs. Philippe Le Dorze Mr. & Mrs. Barry & Carol McArton Ms. Shirley Hicks Bill and Shirley Loewen Ms. Sharon Minuk Robin Hildebrand Dr. David Lyttle Margaret Moroz in memory of Arlene Hintsa in memory of Marilyn Manitoba Community Services Debby and Brian Hirsch Mrs. Pat Hoebig Council Karen Hiscott Anne Martin Jonathan E. Mitchell William J. Hutton Dr. Sidney & Gwen Nelko Mrs. Jacquie James Lesia Peet in memory of Andrew Lutz John Morriss Bob Jansen in memory of Eleanor Anne Reid and the MacLarty Family in Kevin Neiles & Tracy Koga Mr. Jean-Francois Phaneuf Annandale memory of Norman MacKay, Maurice (Moe) & Ethel Pierce Fund In memory of my uncle Joe Jaworski 38 Years As a Member of the Mrs. Shirley Richardson who was a musician French Horn Section of WSO and The Winnipeg Foundation - Chief Ron & Barb Johnson Personal Manager for some time Justice Richard J. Scott and Mary Victoria Johnston Mr. L. J. Roy Scott Fund Joseph and Judith Malko Family Barbara Scheuneman Mr. Walter Silicz Fund - the Strategic Charitable M Scheuneman Jim & Jan Tennant Giving Foundation Brenda Sklar E. Toews Rick & Caroline Josephson Deborah Spracklin Strang/van Ineveld Family Ms. Nadia Kamienski Mr. Robert B. Stinson Faye Warren Marilynne Keil Jim & Jan Tennant Elsie Williston Ed & Helen Kolomaya Ward Tweet 2 Anonymous Anne La Tour Ms. Gerardina Vanaert Albert & Helen Litz Conmoto Fran & Estela Violago Dr. Brendan MacDougall 10 Anonymous James & Faye Alward in honour of Lorraine MacLeod Margot J. Alward Allan Malbranck In memory of Eleanor Anne Manitoba Children's Museum Annandale Marian Martin in memory of Eleanor Betty & Ted Ash Annandale Mr. John A. Bailey Lynne McCarthy & Claude Davis Ralph & Eileen Baxter Mrs. Maureen McIntosh Sistema Winnipeg is a free daily Janet, Susan, Kathie Beach in Iona McPhee after-school program offered at memory of Garnet & Betty Beach Ms. Linda Meckling no cost to participants that Ms. Kathleen Beach-Nelson Mr. Neil Middleton enriches the lives of children and In honour of Helene Beauchemin Dr. Kyle Millar Audrey Belyea young people with the fewest Ms. Marlene Milne Byrnes Benoit resources and the greatest Vera Moroz Helen Bergen, Music Director FGUC Kim Morton need. The WSO gratefully Choir Jeffrey & Mary Morton acknowledges the following Ms. Diane Bewell Ms. Bonnie Neil patrons whose support makes a Paul & Doreen Bromley North Kildonan United Church difference in the everyday lives of Ms. Carol Budnick Alice Oswald these children. Thank you!

Alexis Kochan & Nestor Budyk In memory of Diena Young Lorraine & Gerry Cairns

Honourary Chair Daniel Scholz, Principal Viola

September – October 2017 I OVERTURE 45

Patricia Mary Patterson David & Veronica Payne, in memory of Eleanor Annandale John & Agnieszka Payne in memory of Eleanor Anne Annandale In memory of Eleanor Annandale From Joan, Stuart and Helen Lesia Peet Margaret Peters Mrs. Edna Poulter April Powell in memory of S. Devinder S. Bharaj Ms. Lois Powne Dr. David Punter Valerie Raber Mrs. Marieann Reeves M. Reguly Melissa Steele Ms. Miriam Rudolph Joan Sabourin Mrs. Claudia Sarbit Mr. Terry Sargeant In memory of Jean Sauder Nicola Schaefer Barbara Scheuneman Perce & Elizabeth Schirmer Foundation Ed & Susan Schmidt A. Schroeder Trudy Schroeder Betty & Sam Searle Olga & Myron Shatulsky Jim Skinner & Judy Nichol Wilma Sotas Mrs. Pat Stefanchuk Diane Stewart Robert Stewart & Leslie Ross-Stewart, in memory of Eleanor Anne Annandale Todd Tanchak

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Telpay Inc Jennifer & Brian Thiessen Mary and Robert Thomas Phyllis Thomson Betsy F Thorsteinson in memory of Ruth Dowse Edith A. Toews Carol & Neil Trembath Carole Urias Judith & Francisco Valenzuela Thuraya Weedon Gerri Weigeldt Diane Weselake Maryann Hudjik Jody White in honour of Doug and Loreen Buss' Marriage WhoDunit? Mystery Bookstore Ms. Barbara Wiebe Grace M. Wiebe Dr. Gaynor Jane Williams Myra Wolch & Saul Cherniack Donna Woods Libby Yager and Billy Brodovsky Arlene Young and Robert O'Kell 11 Anonymous

ANNUAL CAMPAIGN The WSO gratefully acknowledges the following patrons whose generosity helped to support orchestral music in our community. Thank you!

Greg Anderson Pat & Harvey Anton Mr. Robert Baragar Bernice Blakeman Joan Blight Helga & Gerhard Bock C Bohemier

OVERTURE I September – October 2017

Monica Brechka Crowe & Brownlie Lori Butler Carlyle Printers Service & Supplies Eileen Chaban Con-Pro Industries John and Ada Ducas Wayne Forbes Lise Laverdure & François Gauvin George Handyman Mrs. Audrey Harburn Carl & Vi Hultin Mr. & Mrs. Peter & Rosalind Husband Margaret Jeffries Dr. Arnold & Mrs. Doreen Kapitz Ursula & Sandor Kelemen Ken Kinsley Marion B Korn Sarah Kredentser & David Howen Kat Kupca Ms. Betty Laing Mr. Don Lawrence Al & Pat Mackling Cynthia Marx Sen. Marilou McPhedran Ms. Kathleen Michener M Morawski D.E. Morrison Youssef Mouzahem Ms. Eleanor Payne Ellen Peel & Neil Bruneau Mrs. Edna Poulter Carolynne Presser Beth M. Proven Jessie Sawicz Barbara Scheuneman Mary Agnes Welch Adriana Sedlak Robert Shaw

Louis & Shirley Ann Simkulak Pam Simmons Tom Thiessen Ms. Marilyn Thompson Ms. Melita Tonogai Ms. Andrea Towers Paul Trapnell Ira van den Berg & Greg Butterfield Hugo and Anny Veldhuis Rezutek Family 30 Anonymous

OTHER DONATIONS Brian & Karen Abrams in honour of Harvey & Sandra Weisman's 60th Anniversary and Harvey's 90th Birth Lucienne Blouw in honour of Peter and Jane Markesteyn Jackie Brignall in memory of Andrew Lutz Anne Downey in memory of Pat Mutchmore Barry & Susan Greenberg in memory of Mayer Rabkin Nessie & David Greenberg in memory of Mayer Rabkin Sharon Love in memory of Jeannine McCallum Gail Perry & David Firman in memory of Andrew Lutz In memory of Mayer Rabkin Charlene & Harry Schwartz in memory of Mayer Rabkin Evelyn R. Smith in memory of Mayer Rabkin 1 Anonymous Listing as of August 18, 2017

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, Q.C.

1984-86 1986-88 1988-90 1990-92 1992-94 1994-96 1996-97 1997-98 1998-99 Feb 1999-May 1999 Jun 1999-2000 2000-Feb 03 Mar 2003-Dec 2003 Dec 2003-Jan 2005 Jan 2005- Jul 2006 Jul 2006-Nov 2006 Dec 2006- Jun 2007 2007- 2012 2012- 2016 2016- present

Mr. Harold Buchwald, Q.C. 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

PRESIDENT’S ADVISORY COUNCIL Al Alexandruk Mal Anderson Carol Bellringer Marilyn Billinkoff Doneta Brotchie John and Bonnie Buhler James Carr Edmund Dawe, D.M.A. Dorothy Dobbie Greg Doyle Jamie Dolynchuk Julia De Fehr Susan Feldman Barbara Filuk Wally Fox-Decent Jack Fraser Evelyn Friesen Elba Haid

Helen Hayles Kaaren Hawkins Sherrill Hershberg Ian Kay Roger King Bill Knight Michel Lagacé Zina Lazareck Gail Leach Dr. Hermann Lee Naomi Levine Bill Loewen Jackie Lowe Dr. Brendan MacDougall Don MacKenzie Bill Marr Ed J. Martens Michael Nozick

Harvey I Pollock, QC Dr. William Pope John Rademaker Kathleen Richardson Tannis Richardson Leney Richardson Ed Richmond Lorne Sharfe William Shead Graeme Sifton Joanne Sigurdson Muriel Smith Bonnie Staples-Lyon Brenlee Carrington Trepel Dennis Wallace

September – October 2017 I OVERTURE 47

WSO BOARD & STAFF 2017-2018 SEASON BOARD OF DIRECTORS Terry Sargeant, President Curt Vossen, Vice President Rob Kowalchuk, Treasurer Michael Kay, Corporate Secretary Ida Albo Sandra Altner Lucienne Blouw Emily Burt, MBA, CFA James Cohen Arlene Dahl Marten Duhoux Steven Dyer Alan Freeman

Daniel Friedman Dr. Selena Friesen Micah Heilbrunn Robin Hildebrand Peter Jessiman Margaret Kellermann McCulloch Dr. Maureen Kilgour Silvester Komlodi Sotirios Kotoulas Dr. Eleanor MacDougall Sherratt Moffatt Richard Turner Trudy Schroeder, Executive Director Alexander Mickelthwate, Music Director

OUR DISTINGUISHED PATRONS Her Honour the Honourable Janice C. Filmon C.M., O.M. 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 Sherratt Moffatt, President Winnifred Warkentin, Vice-President Sylvia Cassie, Past President Nancy Weedon, Treasurer Agnes Bailey, Secretary Florence Bell, Asssistant

TRUDY SCHROEDER, EXECUTIVE DIRECTOR ALEXANDER MICKELTHWATE, MUSIC DIRECTOR Bramwell Tovey, Conductor Laureate EXECUTIVE OFFICE Julian Pellicano, Resident Conductor Harry Stafylakis, Composer-in-Residence,WNMF Festival Director Lori Marks, Confidential Executive Assistant ARTISTIC OPERATIONS & COMMUNITY ENGAGEMENT Jean-Francois Phaneuf, VP Artistic Operations & Community Engagement James Manishen, Artistic Operations Associate Evan Klassen, Director of Artistic Operations & Production Sheena Sanderson, Stage Manager Tatiana Carnevale, Operations Coordinator Chris Lee, Orchestra Personnel Manager Greg Hamilton, Principal Librarian Laura MacDougall, Assistant Librarian Lawrence Rentz, Stage Supervisor Brent Johnson, Education & Community Engagement Manager Shannon Darby, Sistema Winnipeg Manager FINANCE & ADMINISTRATION Lyn Stienstra, VP Finance & Administration Sandi Mitchell, Payroll & Accounting Administrator Oscar Pantaleon Jr., Finance & Administration Assistant Pat Foot, Administration Assistant

CONTACT US:

48

BOX OFFICE: ADMIN OFFICE:

OVERTURE I September – October 2017

204-949-3999 204-949-3950

SALES & AUDIENCE SERVICES Ryan Diduck, VP Sales & Audience Services Desiree La Vallee, Patron Services Supervisor Theresa Huscroft, Group Events Representative Rachel Himelblau, Patron Services Coordinator Aaron Lewis, Sales Specialist Patron Services Representatives (p/t): Phil Corrin Melissa Houston Meg Dolovich Laura Gow Kristie Enns Emma Milner Sandesh Fernandez Paul Longtin Shevaun Fortune Emma Milner Jason Hayes MARKETING & DEVELOPMENT Neil Middleton,VP Marketing & Sponsorship Beth Proven,VP Development Carol Cassels, Development Manager Shenna Song, Development Coordinator Desiree La Vallee, Campaign & Event Coordinator Sarah Panas, Marketing & Communications Officer Matt Brooks, Designer S.Thompson Designs Inc.

boxoffice@wso.mb.ca wso@wso.mb.ca

wso.ca

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