OC TOBER 2 018
the magazine of the
Jeffrey Kahane INSIDE Star Trek Beyond in Concert Gregory Alan Isakov Karen Gomyo Plays Sibelius Swing is the Thing Lila Downs Tchaikovskyâ&#x20AC;&#x2122;s Symphony No. 4
CONTENTS OCTOBER 2018 10
about us LETTER FROM THE PRESIDENT 5 CONDUCTORS 7 ORCHESTRA, STAFF & BOARD 8 RECOMMENDED RECORDINGS 32 OUR SUPPORTERS 34
Star Trek Beyond in Concert
DOUG FITCH 10 THE ARMORY 45 JIMMIE HERROD 46 WOMEN MAKING HISTORY IN PORTLAND 49 CARIN MILLER PACKWOOD 50
performances Gregory Alan Isakov
Karen Gomyo Plays Sibelius
STAR TREK BEYOND IN CONCERT 12
OCTOBER 6, 7:30 PM OCTOBER 7, 2 PM
GREGORY ALAN ISAKOV 14 OCTOBER 8, 7:30 PM
KAREN GOMYO PLAYS SIBELIUS 16 OCTOBER 13, 7:30 PM OCTOBER 14, 7:30 PM OCTOBER 15, 7:30 PM
SWING IS THE THING 22 Swing is the Thing Garry Trudeau
OCTOBER 20, 7:30 PM OCTOBER 21, 2 PM
LILA DOWNS 26 OCTOBER 22, 7:30 PM
TCHAIKOVSKY’S SYMPHONY NO. 4 28 OCTOBER 27, 7:30 PM OCTOBER 28, 2 PM OCTOBER 29, 7:30 PM
Tchaikovsky’s Symphony No. 4
Oregon Symphony programs are supported in part by grants from the Oregon Arts Commission and the National Endowment for the Arts, a federal agency, and by the Regional Arts & Culture Council and Work for Art, including support from the City of Portland, Clackamas, Multnomah, and Washington Counties, and Metro.
on the cover: Jeffrey Kahane
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LETTER FROM THE PRESIDENT Dear Friends, When you think of an Oregon Symphony concert, what do you imagine? Is it an epic sci-fi adventure, like Star Trek Beyond in Concert? Or an evening with indie-rock troubadour Gregory Alan Isakov? How about vintage swing music from the 1940s, ‘50s and ‘60s; or the eclectic, deep, and earthy vocals of Lila Downs? Your Oregon Symphony will perform all of these concerts in October, as well as classical programs featuring Sibelius’ Violin Concerto with acclaimed soloist Karen Gomyo and Tchaikovsky’s Symphony No. 4.
This month, we invite you to join us for something new. Come hear the songs of different eras and distinctive cultures, experience an unfamiliar composer or genre, and discover a fresh perspective on the human story that unites us all.” We are your Oregon Symphony, and we welcome you to the concert hall. Thank you for joining us.
Scott Showalter president & ceo
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Great concerts in November Petrushka NOVEMBER 3, 4 & 5, 2018 Carlos Kalmar, conductor • Doug Fitch, creative director Petrushka
The Capitol Steps
Haydn: Symphony No. 103, “Drumroll” Walton: Johannesburg Festival Overture Honegger: Pastorale d’été • Stravinsky: Petrushka (1947 version) The tale of Petrushka comes to life with exhilarating stage creations by Doug Fitch, weaving together themes of love, loneliness, and brutality, all set against the hustle and bustle of St. Petersburg’s Shrovetide Fair.
The Capitol Steps NOVEMBER 6, 2018
Tchaikovsky v. Drake
It’s election night, and no matter who is winning or what is in the fake news, you can bet The Capitol Steps will lampoon both sides of the political spectrum with equal parts wit and foolishness. What more would you expect from the group that puts the “mock” in Democracy?! The Oregon Symphony does not perform.
Tchaikovsky v. Drake NOVEMBER 8, 2018 Steve Hackman, conductor Ingrid Fliter
Disney in Concert
Classical music meets hip-hop in this symphonic mashup from visionary composer and conductor Steve Hackman. Three vocalists and a rap artist join the Oregon Symphony to meld Tchaikovsky’s triumphant Fifth Symphony with more than a dozen Drake hits, including “Hold On, We’re Going Home” and “Started from the Bottom,” creating a musical journey that seamlessly bridges two artists separated by more than a century.
2018/19 Pirates! NOVEMBER 11, 2018 Norman Huynh, conductor Pam Mahon, narrator Dance West Pacific Youth Choir Ahoy, matey! Pack your bags for another swashbuckling musical adventure with the Oregon Symphony’s merry band of pirates! Music from Hook, Peter Pan, Pirates of the Caribbean, and more – aargh!
Beethoven’s “Emperor” NOVEMBER 17, 18 & 19, 2018 Alexander Soddy, conductor • Ingrid Fliter, piano • Beethoven: Piano Concerto No. 5, “Emperor” Bruckner: Symphony No. 7 With some of the most magnificent and sublime themes in the repertoire, Beethoven’s forward-looking “Emperor” is perhaps the pinnacle of his creative output. Bruckner’s massive Seventh Symphony, from its profound metaphysical depths to its exultantly sensuous heights, is likewise nothing short of monumental.
Disney in Concert: Magical Music from the Movies NOVEMBER 24 & 25, 2018 Jeff Tyzik, conductor The magic of Disney comes to life in this multimedia showpiece featuring music from the scores of Frozen, Beauty and the Beast, The Little Mermaid, Mary Poppins, Aladdin, The Lion King, and more.
orsymphony.org 503-228-1353 your official source for symphony tickets MOVING MUSIC FORWARD
CONDUCTORS Carlos Kalmar Jean Vollum music director chair
Carlos Kalmar is in his 16th season as music director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago. In May 2011, he made his New York debut at Carnegie Hall with the Oregon Symphony as part of the inaugural Spring for Music festival. Both his imaginative program, Music for a Time of War, and the performance itself were hailed by critics in The New York Times, New Yorker magazine, and Musical America, and the concert was recorded and released on the PentaTone label, subsequently earning two Grammy nominations (Best Orchestral Performance and Best Engineered). Under Kalmar’s guidance the orchestra has recorded subsequent cds on the PentaTone label – This England, featuring works by Britten, Vaughan Williams, and Elgar; The Spirit of the American Range, with works by Copland, Piston, and Antheil, which received another Best Orchestral Performance Grammy nomination; and Haydn Symphonies. New Yorker magazine critic Alex Ross called the Oregon Symphony’s Carnegie Hall performance under Kalmar “the highlight of the festival and one of the most gripping events of the current season.” That verdict was echoed by Sedgwick Clark, writing for Musical America, who described the performance of Vaughan Williams’ Fourth Symphony as “positively searing… with fearless edge-of-seat tempos… breathtakingly negotiated by all…” A regular guest conductor with major orchestras in America, Europe, and Asia, Kalmar recently made his subscription series debuts with three of America’s most prestigious orchestras: those of Boston, Chicago, and San Francisco. Past engagements have seen him on the podium with the Philadelphia Orchestra, the Los Angeles Philharmonic, the Minnesota Orchestra, and the New World Symphony, as well as the orchestras of Baltimore, Cincinnati, Dallas, Houston, Milwaukee, Nashville, Seattle, and St. Louis. Carlos Kalmar, born in Uruguay to Austrian parents, showed an early interest in music and began violin studies at the age of 6. By the time he was 15, his musical promise was such that his family moved back to Austria in order for him to study conducting with Karl Osterreicher at the Vienna Academy of Music. He has previously served as the chief conductor and artistic director of the Spanish Radio/Television Orchestra and Choir in Madrid as well as the music director for the Hamburg Symphony, the Stuttgart Philharmonic, Vienna’s Tonnkunsterorchester, and the Anhaltisches Theater in Dessau, Germany. He lives in Portland with his wife, Raffaela, and sons, Luca and Claudio.
Norman Huynh Harold and Arlene Schnitzer associate conductor chair
Now in his third season as Oregon Symphony associate conductor, Norman Huynh was selected from a field of over 100 candidates from around the world for his exceptional conducting technique, his passion for a wide-ranging repertoire, and his unique ability to communicate with an audience. The recipient of the 2015 Felix Mendelssohn-Bartholdy Scholarship, he previously conducted the St. Louis, City of Birmingham (uk), Baltimore, Toledo, Charlotte, and Virginia symphonies, and the Peabody Symphony Orchestra. He made his international conducting debut with the Princess Galyani Vadhana Youth Orchestra in Bangkok, Thailand, and has also conducted the Leipzig Symphony. He previously served as assistant conductor for the Spoleto Festival usa, the Portland Symphony Orchestra in Maine, Opera Carolina, the Lyric Opera of Baltimore, the Peabody Opera Theatre, and The Peabody Singers. Norman co-founded the Occasional Symphony, an organization that presents innovative programs that resonate with eclectic venues throughout the city of Baltimore. He studied orchestral conducting at the Peabody Institute of the Johns Hopkins University, working with Gustav Meier, Markand Thakar, and Marin Alsop. For backstage stories, follow Norman on Instagram @normanconductor. Jeff Tyzik principal pops conductor
Jeff Tyzik has earned a reputation as one of America’s foremost pops conductors and is recognized for his brilliant arrangements, original programming, and rapport with audiences. Now in his 25th season as principal pops conductor of the Rochester Philharmonic, Tyzik is also in his 12th season as the Oregon Symphony’s principal pops conductor and continues to serve in the same role with the Seattle Symphony, Detroit Symphony, Florida Orchestra, and Canada’s Vancouver Symphony. Tyzik is also highly sought after as a guest conductor across North America. He holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. He lives in Rochester, ny, with his wife, Jill. orsymphony.org | 503-228-1353
O R C H E S T R A , S TA F F & B O A R D Orchestra MU S I C D IR E C TO R
H O RN
Carlos Kalmar Jean Vollum music director chair Norman Huynh Harold and Arlene Schnitzer associate conductor chair
Nancy Ives, Mr. & Mrs. Edmund Hayes, Jr. principal cello chair Marilyn de Oliveira, assistant principal Kenneth Finch Trevor Fitzpatrick Antoinette Gan Kevin Kunkel
John Cox, principal Joseph Berger, associate principal Graham Kingsbury, assistant principal Mary Grant Alicia Michele Waite
PR IN CIPAL P O P S COND U C TO R
Colin Corner, principal Braizahn Jones, assistant principal Nina DeCesare Donald Hermanns Jeffrey Johnson Jason Schooler
Jeffrey Work, principal David Bamonte, assistant principal, Musicians of the Oregon Symphony Richard Thornburg trumpet chair Doug Reneau
A S S O CIATE COND U C TO R
VI O LIN
Sarah Kwak, Janet & Richard Geary concertmaster chair Peter Frajola, Del M. Smith & Maria Stanley Smith associate FLU TE concertmaster chair Martha Long, Bruce & Judy Thesenga Erin Furbee, Harold & Jane Pollin assistant concertmaster chair principal flute chair Chien Tan, Truman Collins, Sr. principal Alicia DiDonato Paulsen, second violin chair assistant principal Inés Voglar Belgique, assistant principal Zachariah Galatis second violin P I CCO LO Fumino Ando Zachariah Galatis Keiko Araki Clarisse Atcherson OBOE Ron Blessinger Martin Hébert, Harold J. Schnitzer Lisbeth Carreno principal oboe chair Ruby Chen Karen Wagner, assistant principal Emily Cole Kyle Mustain Julie Coleman Eileen Deiss ENGLI S H H O RN Jonathan Dubay Kyle Mustain Gregory Ewer Daniel Ge Feng CL AR INE T Lynne Finch James Shields, principal Shin-young Kwon Todd Kuhns, assistant principal Ryan Lee Mark Dubac Samuel Park Searmi Park B A S S CL AR INE T Vali Phillips Todd Kuhns Deborah Singer B A S S O ON VIOLA Joël Belgique, Maybelle Clark Macdonald Fund principal viola chair** Charles Noble, principal* Brian Quincey, assistant principal* Jennifer Arnold Silu Fei Leah Ilem Ningning Jin Kim Mai Nguyen* Viorel Russo Martha Warrington
Carin Miller Packwood, principal Evan Kuhlmann, assistant principal Adam Trussell
TR UMPE T
TR OMB ONE Casey Jones, principal Robert Taylor, assistant principal Charles Reneau B A S S TR OMB ONE Charles Reneau TUBA JáTtik Clark, principal TIMPANI Jonathan Greeney, principal Sergio Carreno, assistant principal PE R CU S S I ON Niel DePonte, principal Michael Roberts, assistant principal Sergio Carreno HAR P Jennifer Craig, principal LIB R ARY Joy Fabos, principal Kathryn Thompson, associate Sara Pyne, assistant O R CHE S TR A PE R S ONNE L MANAGE R Leah Ilem S TAGE MANAGE R Lori Trephibio
CONTR A B A S S O ON Evan Kuhlmann
* Acting position ** Leave of absence
Administration MAR KE TING , COMMUNI C ATI ONS & S ALE S
Ella Rathman, patron services representative Natasha Kautsky, vice president for Adam Cifarelli, teleservices manager marketing and strategic engagement Frances Yu, teleservices team leader Rebekah Phillips, director of marketing, Rachel Allred, patron services AR TI S TI C O PE R ATI ONS communications, and sales representative Steve Wenig, vice president Ethan Allred, marketing and Karin Cravotta, patron services and general manager web content manager representative Charles Calmer, vice president Liz Brown, partnership marketing Johnah Garcia, patron services for artistic planning and group sales manager representative Jacob Blaser, director of operations Katherine Eulensen, audience Tori Miller, patron services Monica Hayes, education and development manager representative community programs director Lisa McGowen, patron communications Carol Minchin, patron services Susan Nielsen, director of popular manager representative programming and presentations Christy McGrew, ticket office manager Rebecca Van Halder, patron services Steve Stratman, orchestra manager John Kroninger, front of house manager representative Jacob Wade, manager, operations and Nils Knudsen, assistant ticket office B U S INE S S O PE R ATI ONS artistic administration manager Eric von Hulha, patron services Janet Plummer, chief financial D E VE LO PMENT and operations officer representative Ellen Bussing, vice president Emily Johnstone, patron Julie Haberman, finance and for development administration associate services representative Courtney Trezise, foundation Cleo Knickerbocker, patron Mike Bellinger, art director and corporate giving officer David Fuller, tessitura applications services representative Rene Contakos, gift officer administrator Linnea Oddie, patron services Nik Walton, membership manager Tom Fuller, database administrator representative Leslie Simmons, events coordinator Amanda Preston, patron services Randy Maurer, production manager Kristina Kindel, development associate Peter Rockwell, graphic designer representative Lynette Soares, finance and administration assistant Scott Showalter, president and ceo Diane M. Bush, executive assistant Susan Franklin, assistant to the music director
Board of Directors O FFI CE R S Robert Harrison, chair Walter E. Weyler, vice chair Nancy Hales, secretary Tige Harris, treasurer LIFE MEMB E R S William B. Early, community leader Gerald R. Hulsman, community leader Walter E. Weyler, community leader MEMB E R S Rich Baek Christopher M. Brooks Eve Callahan
Cliff Deveney Dan Drinkward Greg Ewer Robyn Gastineau Suzanne Geary Ralph C. Hamm III Jeff Heatherington J. Clayton Hering Rick Hinkes RenĂŠe Holzman Grady Jurrens Gerri Karetsky Kristen Kern Thomas M. Lauderdale
Martha Long Priscilla Wold Longfield Roscoe C. Nelson III Dan Rasay James Shields Larry Vollum Derald Walker Jack Wilborn E X- O FFI CI O MEMB E R S Scott Showalter, Oregon Symphony Association Jo Ann Young, Oregon Symphony Association in Salem
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F E AT U R E D A R T I C L E
DOUG FITCH Doug Fitch has forged an unusual career that includes creating sets, costumes, and puppets for theatrical productions. He is also an accomplished visual artist, architect, and interior designer. His website says simply, “Doug Fitch works in media ranging from architecture and opera to puppetry and food.”
This global approach to creation is a hallmark of Fitch’s work, particularly his theatrical productions. In keeping with his desire to tell compelling stories, Fitch has worked with an array of technologies, but he is wary of what he calls “technology for its own sake.” “I think people quickly become
Fitch began playing violin at age 4, and later took various types of dance and acrobatics classes. He sees a natural evolution from these early artistic explorations to his interest in puppets. “Violin turned into puppetry because my dad would use a puppet to encourage me to practice,” he remembers. “I started making puppets and then enrolled in puppetry classes at age 9.” Fortuitously, Fitch and his family moved to Connecticut, where the state university offers a puppetry arts degree. “My brothers and my parents and I created a puppet theater, The Little Brook Puppet Theatre. When you do a puppet show, you’re building the cast from scratch, along with creating lighting and sets. You don’t think about doing things separately.” 10 artslandia.com
One of Fitch’s intricate puppet performers.
In an era of hyperspecialization, Fitch is determined to remain a generalist. “Culturally, humans used to do everything: hunt, cook, build shelters, tell stories,” he explains. “With the advent of industrialism, we fell into the idea that specialization was essential.” For Fitch, storytelling is the fundamental ingredient that informs all his work, and he views his forays into different kinds of visual creation as “different limbs on one body.” On November 3, 4, and 5, Fitch brings his unique storytelling skills to the Oregon Symphony for the first of our SoundStories series, a staged performance of Igor Stravinsky’s ballet Petrushka, complete with puppets.
by Elizabeth Schwartz
infatuated by technology in the service of something,” he adds. “Everything is about a balance; if you get sucked into the tech and forget about the storytelling – and it’s easy to do that – there is much to be lost. You lose the human connection as to why the tech was interesting in the first place.”
was performed by the New York Philharmonic, with conductor Alan Gilbert. “They [the musicians] got on their feet and danced, put on beards, raised a glass, looked at a peepshow, everything you might see people doing at a carnival,” says Fitch, who also put the musicians in costumes with hats. Gilbert and the New York Philharmonic also took Petrushka to London, where it was well received.
Puppets allow Fitch to tell a wide range of stories because puppets, by definition, can do things human performers cannot. “Puppets are better used when they’re telling stories humans can’t tell by themselves,” says Fitch. “You can make a puppet out of the sun or a tree and that can inform and enhance the story of what goes on between the people. A puppet show is like a painting that comes to life – color schemes and lighting choices come to life, too.” “It’s on par with animated films; basically, it’s inanimate objects brought to life,” Fitch continues.
By default, all puppets are anthropomorphized objects made to act so we can see ourselves through them and sympathize with them. A puppet is free in a way a human being will never be, but a puppet has no will of its own. There is transference of the marionettist’s will and skill to the inanimate puppet. We respond to skill of the puppeteer.”
Fitch’s involvement with Petrushka began around ten years ago, as a commission from the University of Maryland’s puppetry department and the orchestral institute there. “The idea was to reinvent the concert experience,” says Fitch. “We had the musicians become the corps de ballet during the rests; for example, a cellist might get up and start juggling.” The original production called for three puppeteers to operate Petrushka, Columbine, and the Moor, plus a camera operator videoing the musicians’ live action movements. The three puppets are based on human beings, with photographic faces. “We built costumes for the characters and hired Sarah Burns, Anthony Roth Costanzo, and Eric Owens to play them doing non-singing pantomime roles,” Fitch explains. “We took photographs of them, disassembled the pictures, and made photo puppets. We also made bunraku – traditional Japanese puppets. In the video, we make the puppets into a metaphysical puppet – puppets of puppets.” Audience reaction to the initial performance was electric – “they were immediately on their feet,” Fitch remembers. In 2015, Fitch’s Petrushka
The Oregon Symphony’s production marks the debut of Fitch’s reconfigured Petrushka, which has been streamlined to make it easier to travel to different locations. Fitch removed the cameraman but retained the three puppeteers and the central role of the musicians. “The music is the basic narrative of emotion, and it’s on top of that layer that everything else rides,” says Fitch. “It’s the source material for the trajectory of the story. For example, in Petrushka there are no words, but the libretto tells the story through narrative ballet. The music does what it does, the puppeteers do what they do. There are magical things that happen and we don’t know why – when an action happens at precisely the same moment as a particular sound, something else occurs that’s beyond the combination of those two. If you add them up, something is created that goes beyond the original elements.” Fitch maintains a busy schedule but hopes to expand his theatrical work to new projects. “I’d love to do The Magic Flute,” he admits. Mozart’s final opera, full of magical and mystical elements, would make a great vehicle for Fitch’s puppets. “I’d also like to do a contemporary ballet called Alice, based on Alice in Wonderland. My favorite thing is to start with a few people I love to work with and go from there.”
Creative Director Doug Fitch brings Petrushka to life with the Oregon Symphony on November 3, 4, and 5 at the Arlene Schnitzer Concert Hall. Find tickets and more at orsymphony.org.
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STAR TREK BEYOND IN CONCERT SATURDAY, OCTOBER 6, 2018, 7:30 PM SUNDAY, OCTOBER 7, 2018, 2 PM Norman Huynh, conductor Star Trek Beyond in Concert is produced by Film Concerts Live!; a joint venture of img Artists, llc; and The Gorfaine/Schwartz Agency, Inc.; in association with the 21st Century Symphony Orchestra Maria Giacchino, Steven A. Linder, Jamie Richardson, producers Rob Stogsdill, production manager Sophie Greaves, production coordinator Maureen Taylor, representation for img Artists, llc Warren Brown, supervising technical director Luke Dennis, technical director Michael Giacchino, composer Jeff Kryka, orchestrations for concert performance BTW Productions, Inc., music preparation for concert performance Epilogue Media, technical preparation for concert performance The score for Star Trek Beyond has been adapted for live concert performance.
With special thanks to: CBS Consumer Products, Paramount Pictures, Bad Robot, and the musicians and staff of the Oregon Symphony.
ARLENE SCHNITZER CONCERT HALL
Biography Michael Giacchino
Composer Michael Giacchino’s credits feature some of the most popular and acclaimed film projects in recent history, including The Incredibles, War for the Planet of the Apes, Ratatouille, Star Trek, Jurassic World, Rogue One: A Star Wars Story, and Coco. His 2009 score for the Pixar hit Up earned him an Oscar®, a Golden Globe®, the bafta, the Broadcast Film Critics’ Choice Award, and two grammy® Awards. In June, Giacchino premiered his first work for symphony orchestra,
Voyage. Commissioned by the National Symphony Orchestra and the Cincinnati Pops Orchestra, the piece celebrates the 60th anniversary of the founding of nasa. This past summer, he had two highly anticipated sequels in theaters: The Incredibles 2 and Jurassic World: Fallen Kingdom. His upcoming project, Bad Times at the El Royale, brings him together with director Drew Goddard, with whom he worked on Lost.
Program Notes “What an honor it is for me to be a part of the Star Trek legacy. I was a huge fan of the series when I was a kid. For this opportunity, I must thank my friend and collaborator J.J. Abrams, who made these films incredibly fun to work on. J.J.’s inspired new vision of the Star Trek saga brought me immediately back to my childhood, as if I was watching Gene Roddenberry’s brilliant creation for the first time on television. J.J. and I are among the lucky few who get to hear the world’s most talented musicians bring a score like Star Trek to life in person. But now that’s all changed. For me, the most exciting aspect of the Star Trek film with orchestra concerts is that audiences now have an opportunity to experience the films in a way that can’t be replicated in their living rooms – with a full orchestra. Tonight, those musicians are members of the Oregon Symphony under the direction of Norman Huynh. You couldn’t be in better hands. Enjoy!” — Michael Giacchino “One of the highlights of my experience working on the Star Trek films has been the opportunity to collaborate with Michael Giacchino. His beautiful, powerful, inspired musical scores elevate, transform, and enrich every scene or sequence in these two films. While the music as heard on the original soundtracks is thrilling, experiencing these scores performed live, as I was lucky to during the recording sessions, is profound. The wonder of hearing – and watching – a full orchestra bring these scores to life is something I will never forget. I am so happy that you get to experience this, too. I could not be more grateful to Michael, to all the brilliant musicians who originally brought these scores to life, and to those equally astounding artists playing here, live, tonight.” — J.J. Abrams
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GREGORY ALAN ISAKOV MONDAY, OCTOBER 8, 2018, 7:30 PM Norman Huynh, conductor Program will be announced from the stage.
ARLENE SCHNITZER CONCERT HALL
Gregory Alan Isakov Many musicians have day jobs to make ends meet. However, few artists maintain the lifestyle kept by Gregory Alan Isakov. The Colorado-based indie-folk artist is a full-time farmer who sells vegetable seeds and grows various market crops on his three-acre farm, while also tending to a thriving musical career. “I switch gears a lot,” he says. “I wake up really early in the growing season, and then in the winters, I’m up all night. I’m constantly moving back and forth.” Isakov had an easier time balancing his two passions while making his fourth full-length studio album, Evening Machines. In between farm duties, the multi-instrumentalist wrote and recorded in a studio housed in a barn on his property. Like the farm, this studio has a communal atmosphere, filled with instruments and gear stored there by musician friends – gear Isakov always leaves on, just in case inspiration strikes. “Sometimes I couldn’t sleep, so I’d walk into the studio and work really hard into the night,” he says. “A lot of times I would
time of my life,” he says. “When I finished a six-month stretch in Europe, I had a lot of time to be alone and feel things that maybe I hadn’t in a long time, being on the road and with the lifestyle of touring. I experienced this new sensation of anxiety – this level of physical anxiety that I’ve been investigating ever since.” To cope, he As its name implies, the dark indie rock and turned to writing songs, “some of which folk populating Evening Machines possesses were ways for me to ground myself during a dusky hue. The album came together that time where it was really bad,” he says. via an organic process rooted mostly in solitude and alongside of engineer Andrew Isakov’s words especially have resonated deeply both at home – he recently sold out a Berlin (Descendents, Rise Against). Isakov sketched out 35 to 40 songs himself during Red Rocks Amphitheatre headlining show – marathon studio sessions that could stretch and around the world. His last studio album of new material, 2013’s The Weatherman, up to 14 hours for many months. He sold over 100,000 copies, and his entire recorded all the instruments and slowly catalog has sold well over 370,000 copies – intertwined the band: Steve Varney, Jeb Bows, John Paul Grigsby, Philip Parker, and an impressive amount for a musician who Max Barcelow. A bevy of other contributors releases records via his own independent label, Suitcase Town Music. added additional sonic flourishes.
find myself in the light of all these vu meters and the tape machine glow, so that’s where the title came from. I recorded mostly at night, when I wasn’t working in the gardens. It doesn’t matter if it’s summer or winter, morning or afternoon, this music always feels like evening to me.”
From there, Isakov whittled this large batch of music down to 12 songs and spent a month in Oregon mixing Evening Machines with Tucker Martine (Neko Case, The Decemberists) and completing some final mixing with Berlin. Isakov is no stranger to collaboration or traveling to hone his craft. In 2016, he released an album of his songs played in collaboration with the Colorado Symphony, and he tours regularly in the us and Europe, performing alongside acts such as Iron & Wine, Ani DiFranco, Brandi Carlile, and Nathaniel Rateliff. But when the time came to make Evening Machines, Isakov discovered that his time on the road had started to take a toll. “A lot of the music that was written for this record happened at a really difficult
With Evening Machines, Isakov is poised to reach an even larger audience, as it’s the first album he’s licensing to a larger record label, Dualtone. For the fiercely diy musician, linking up with Dualtone “wasn’t out of a place of need, but it was a place of curiosity,” he says. “I was like, ‘Well, I’ve never tried this. This could be really fun.’” But despite this label backing, Isakov isn’t changing up his approach to music. He’ll still be touring around his farming season – and striving for a cohesive musical vision that feeds his soul. “Music helped me get through some of the hardest times,” Isakov says. “I always write in regards to an entire record. Trying to find the music that fits together as a whole piece was the most important thing to me.”
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KAREN GOMYO PLAYS SIBELIUS SATURDAY, OCTOBER 13, 2018, 7:30 PM SUNDAY, OCTOBER 14, 2018, 7:30 PM MONDAY, OCTOBER 15, 2018, 7:30 PM Michał Nesterowicz, conductor Karen Gomyo, violin Witold Lutosławski Little Suite Fujarka (Fife) Hurra polka Piosenka (Song) Taniec (Dance)
Jean Sibelius Violin Concerto in D Minor Allegro moderato Adagio di molto Allegro, ma non tanto Karen Gomyo
INTERMISSION Wojciech Kilar Orawa Dmitri Shostakovich Symphony No. 9 in E-flat Major Allegro Moderato Presto Largo Allegretto
ARLENE SCHNITZER CONCERT HALL
CONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature guest conductor Michał Nesterowicz, and Christa Wessel, host for the stations of All Classical Portland. You can also enjoy the Concert Conversation in the comfort of your own home. Visit orsymphony.org to watch the video on demand.
K AR E N GO MYO P L AYS S IB E LI U S Biographies
Karen Gomyo Karen Gomyo last appeared with the Oregon Symphony on April 27, 2015, when she performed Mendelssohn’s Violin Concerto in E Minor with conductor Gilbert Varga. Praised by the Chicago Tribune as “a first-rate artist of real musical command, vitality, brilliance and intensity,” violinist Karen Gomyo continues to captivate audiences worldwide.
Strongly committed to contemporary works, Gomyo performed the North American premiere of Matthias Pintscher’s Concerto No. 2, “Mar’eh,” with the composer conducting the National Symphony Orchestra of Washington D.C. She has collaborated in chamber music compositions with Jörg Widmann, Olli Mustonen, and Sofia Gubaidulina. In recital and chamber music, Gomyo has performed in festivals throughout the us and Europe with collaborators including the late Heinrich Schiff, Alisa Weilerstein, Leif Ove Andsnes, Kathryn Stott, and Lawrence Power. In 2018, she appears at the Seattle Chamber Festival and the Australian Festival of Chamber Music. Karen Gomyo plays on the “Aurora, exFoulis” Stradivarius violin of 1703 that was bought for her exclusive use by a private sponsor.
In May 2018, she performed the world premiere of Samuel Adams’ new Chamber Concerto with the Chicago Symphony Orchestra and Esa-Pekka Salonen to great critical acclaim. The work was written for her and commissioned by the cso to celebrate the 20th anniversary of its MusicNow series. Other 2018/19 season highlights include debuts with the Philharmonia Orchestra in London conducted by Jakub Hrůša and the Royal Northern Sinfonia in England with Karina Canellakis, as well as returns to the San Francisco Symphony, Houston Symphony, Vancouver Symphony, Dallas Symphony, and the wdr Symphony Orchestra Cologne in Germany. Last season, she performed in recital at the Sydney Opera House and toured with Edo de Waart and the New Zealand Symphony. She also returned to the symphony orchestras of St. Louis, Montreal, Detroit, and Indianapolis, among others. Additionally, she performed in her annual chamber music project at the Louisiana Museum of Modern Art in Denmark.
Michał Nesterowicz With this concert, Michał Nesterowicz makes his debut with the Oregon Symphony.
Barcelona Symphonic Orchestra, Prague Radio Symphony Orchestra, Singapore Symphony Orchestra, and National Taiwan Symphony Orchestra, among others. In the 2016/17 season, he made his debut with the Royal Concertgebouw Orchestra as well as his first appearances in Berlin and Vienna (with the Konzerthaus Orchestra and Tonkünstler Orchestra respectively) and the Auckland Philharmonia and rté National Symphony Orchestra of Ireland. He also consolidated relationships with orchestras including the Arthur Rubinstein Philharmonic Orchestra of Łodz, North Netherlands Orchestra, Galicia Royal Philharmonic Orchestra, and Navarra Symphony Orchestra. Nesterowicz has appeared on multiple occasions with the ndr Elbphilharmonie Orchestra, Tonhalle Orchestra Zürich, Munich Philharmonic, Nice Phiharmonic Orchestra, and Royal Liverpool Philharmonic Orchestra, and he has worked with the likes of the wdr Symphony Orchestra Cologne, German Symphony Orchestra Berlin, Luxembourg Philharmonic Orchestra, Buffalo Philharmonic, bbc Symphony Orchestra, Copenhagen Phil, and Swiss-Italian Orchestra. Michał Nesterowicz was the winner of the Cadaqués Orchestra European Conducting Competition in 2008 and was among the prizewinners of the 6th Grzegorz Fitelborg International Conducting Competition in Katowice.
Principal guest conductor of the Basel Symphony Orchestra, Michał Nesterowicz is in demand worldwide for his dynamic performances and eloquent interpretations of the symphonic repertoire. Michał’s 2017/18 season included his debuts with the Gewandhaus Orchestra, Netherlands Philharmonic, Linz Bruckner Orchestra, Lahti Symphony Orchestra, and Malaysia Philharmonic Orchestra. Following hugely successful visits in past seasons, he returned to the Royal Philharmonic Orchestra, orsymphony.org | 503-228-1353 17
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K AR E N GO MYO P L AYS S IB E LI U S Program Notes WITOLD LUTOSŁAWSKI 1913–94
Little Suite composed: 1950–51 first oregon symphony performance instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, snare drum, and strings estimated duration: 11 minutes
at high speed, while the gentle Piosenka (Song), which borrows its melody from the folk song “Light the Ashes for Me,” meanders like a lazy stream on a hot summer afternoon. In the closing Taniec (Dance), playful brasses and winds present the lively opening melody of a lasowiak (forest dance), while strings and later full orchestra respond with a majestic counter-theme.
JEAN SIBELIUS 1865–1957
Violin Concerto in D Minor, Op. 47 composed: 1904, rev. 1905
“In 1945, the Polish music publishing company pwm – which had just been established – asked me to compose a series of easy pieces based on Polish folk song and dance themes,” Witold Lutosławski recalled in an interview from the 1950s. “I readily accepted this proposition and began, for the first time, to introduce elements of folk music into my work... The series of ‘functional’ pieces, which I wrote based on folk themes, gave me the possibility of developing a style which, though narrow and limited, was nevertheless characteristic enough.” The Little Suite is among Lutosławski’s works inspired by or otherwise highlighting Polish folk melodies. It was composed for the Warsaw Radio Symphony Orchestra, led by Grzegorz Fitelberg, which premiered it on Polish radio on April 20, 1951, and its four movements feature melodies from the village of Machów in southeastern Poland. To accompany the unadorned tunes, Lutosławski added distinctly modernist harmonies. This pairing of 20th-century and traditional music results in an interesting hybrid folkmodernist sound, similar to Benjamin Britten’s pairing of 20th-century harmonies with English folk songs. Fujarka (Fife) spotlights the piccolo sounding a cheerful lilting melody, to which the orchestra responds with a heavy pulsing rhythm. The Hurra (Hurrah!) polka whirls with merriment
most recent oregon symphony performance: May 19, 2014; Carlos Kalmar, conductor; Joshua Bell, violin instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings estimated duration: 31 minutes “The violin took me by storm,” Jean Sibelius wrote in his diary, “and for the next ten years it was my dearest wish, my overriding ambition, to become a great virtuoso.” Unfortunately, Sibelius never attained great facility on the violin, despite great effort. He began studying the instrument relatively late, at age 14; he was also limited by a lack of first-rate teachers in Finland. Sibelius’ Violin Concerto is a kind of melancholic farewell to that childhood dream and the bitterness of that failure spilled over into the writing of the concerto itself. Sibelius had promised it to violinist Willy Burmeister, concertmaster of the Helsinki Orchestra during the 1890s and a longtime fan of Sibelius’ music. However, Sibelius made it impossible for Burmeister to play the premiere because Sibelius insisted on a premiere concert date in November 1903, even though Burmeister was not available at that time. Although he refused to move the date of the premiere, Sibelius tried to placate Burmeister with the promise of future performances. “When you
come in March, you will launch it... I’m so grateful that you will do it in so many places.” Sibelius finished the first version of this concerto in the autumn of 1903 and sent the score to Burmeister, who loved the work: “I can only say one thing: wonderful! Masterly! Only once before have I spoken in such terms to a composer, and that was when Tchaikovsky showed me his concerto.” On February 8, 1904, Sibelius led the Helsinki Philharmonic in the premiere, with soloist Victor Nováček, a mediocre violinist completely unequal to the demands of the music. After this lackluster debut, Sibelius revised the work and Burmeister again offered to play it. “All of my twenty-five years’ stage experience, my artistry and insight will be at the service of this work,” he wrote to Sibelius. “I shall play the concerto in Helsinki in such a way that the city will be at your feet.” However, Sibelius’ German publisher wanted another violinist, Karl Halir, the concertmaster in Berlin, to undertake the solo part. Sibelius agreed, although with some twinges of conscience over his now twice-broken promise to Burmeister. Burmeister was understandably outraged and vowed never to play the work himself, a promise he kept. The 1905 revised version heard in these concerts was first conducted by Richard Strauss, who led the Berlin Philharmonic and Halir on October 19, 1905. The Violin Concerto is one of Sibelius’ more accessible and straightforward works, as compared with the complex unfolding structures of his symphonies. Its three movements showcase the violin’s lush rhapsodic qualities, particularly the intimate second movement. In the finale, the soloist plays much of the time in the violin’s highest range, as violin and orchestra pass the primary theme, a strong march-like tune, back and forth between them. The Deutsche Zeitung likened the concerto’s colors to those used by “the Nordic winter landscape painters who, through the distinctive interplay of
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K AR E N GO MYO P L AYS S IB E LI U S white on white, secure rare, sometimes hypnotic, and sometimes powerful effects.” American critic Olin Downes, an early admirer of Sibelius, described the work as “bardic songs heard against a background of torches or pagan fires in some wild Northern night.”
WOJCIECH KILAR 1932–2013
Orawa composed: 1986 first oregon symphony performance instrumentation: string orchestra estimated duration: 9 minutes “Orawa is the only piece in which I wouldn’t change a single note, though I have looked at it many times... What is achieved in it is what I strive for – to be the best possible Kilar.”
timbres, and/or changing dynamics over them. Polish folk music, particularly the music of the Tatra Mountains in southern Poland, which many Poles regard as a spiritual place, also features prominently in Kilar’s sound.
with Beethoven’s. Other composers, including Mahler, feared that a ninth symphony would foreshadow or even somehow cause death, as was the case for Beethoven, Anton Bruckner, and Antonín Dvořák, among others.
Orawa, Kilar’s best-known and mostperformed concert piece, combines both elements. The title, says Kilar scholar Andrzej Chtopecki, refers to “a slope in the Podhale region of the Tatra Mountains where the grass has been scythed. When the grazing season is over, the remaining grass is cut down, and the slope, thus prepared, becomes a place for celebrating the end of the shepherd’s work with music and dancing.” The simple open harmonies and pulsing modo perpetuo rhythmic patterns combine with slowly building dynamics and textures to create a wild, joyful celebration of the harvest.
To some extent, Dmitri Shostakovich also subscribed to this view. During the spring of 1945, he admitted to a friend that he was bothered by the number of his current symphony, which, in the words of biographer Laurel Fay, “was inducing in many the temptation to compare it with Beethoven’s Ninth.” When Shostakovich began working on his Ninth Symphony, he planned a large-scale, ambitious work – the epigraph of which would be “Victory,” for chorus, soloists, and orchestra – “if I can find suitable material... and if I were not afraid that I might be suspected of wanting to draw immodest analogies.” These concerns grew to the point that Shostakovich stopped work entirely on the symphony for several months; when he returned to it, in August 1945, it was an entirely different piece of music. Gone was the high-minded victory celebration, including the grand design and vocal elements. Instead, the Ninth Symphony, despite its five movements, became Shostakovich’s shortest, at approximately 27 minutes.
— Wojciech Kilar
The music of 20th-century Polish composer Wojciech Kilar straddles two worlds: the concert hall and the movie theater. Other composers have written music for both venues, but most are known better for one genre than the other. Kilar was the rare composer whose music has achieved renown in both arenas. Fans of Francis Ford Coppola’s 1992 film Bram Stoker’s Dracula, starring Gary Oldman in the title role, already know Kilar’s sound, and he also wrote music for several of Roman Polanski’s films, including The Pianist (2002), The Ninth Gate (1999), and Death and the Maiden (1994). Altogether, Kilar scored or contributed music to more than 150 films and tv shows. Kilar began writing film music in the late 1950s, just a few years after his earliest concert works. Over the next 50 years, along with his film and television work, Kilar also composed a number of orchestral, chamber, choral, solo, and concerted pieces.
Symphony No. 9 in E-flat Major, Op. 70
Kilar’s style tends toward minimalism; he repeats melodic and/or rhythmic patterns, while layering different textures,
composed: 1945 most recent oregon symphony performance: April 5, 2004; Alexander Lazarev, conductor instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, E-flat clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, side drum, snare drum, tambourine, tam-tam, triangle, celesta, harp, and strings estimated duration: 27 minutes “Musicians will love to play it and critics will delight in blasting it.” — Dmitri Shostakovich on his Ninth Symphony As a group, composers indulge in their share of superstitious or magical thinking. For example, since Beethoven’s death in 1827, many composers have avoided writing or naming a large orchestral work “Ninth Symphony,” for fear of comparison
The symphony’s brevity is just one aspect of its unexpectedness. Written just months after the end of World War II, everyone expected Shostakovich to compose what Fay calls “a monumental symphonic apotheosis,” which would celebrate the Red Army’s heroic victory over fascism. Instead, Shostakovich gave voice to his own personal feelings of joy upon the end of the war. The Ninth does celebrate victory but not in the bombastic public manner of a military parade; instead, it is an individual expression meant, as Roy Blokker notes, “to celebrate life and those things within the human spirit” that the war had taken away. Leonard Bernstein added, “He [Shostakovich] simply wrote the least predictable and most surprising Ninth that exists: short, hilarious, circus-ey,
an all-out fiesta gleefully proclaiming, ‘Hooray, the war’s over!’ In short, Shostakovich thumbed his nose at the great tradition of Ninths, although he was perfectly capable of writing colossal symphonies.” Fans of Shostakovich who expect to hear biting irony and bitter exclamations typical of his other symphonies may be surprised by the lighthearted Allegro. Like a child skipping down a path, this music, particularly the piccolo’s solos and the peremptory comments of the trombone, bubbles with mirth and unbridled fun. The Moderato features plaintive, simple solos, duets, and trios for clarinet and other winds, which begin in D minor and gradually shift to a sunnier D major. Strings hint at darker realms, but the winds’ music ultimately
prevails. The last three movements, played without pause, begin with a quicksilver scherzo. As before, the winds begin, but strings and brasses soon take over, and the moto perpetuo rhythm propels the off-kilter music forward. The Largo begins abruptly, with a heartstopping exclamation from the lower brasses. A bassoon solo, full of soulache, alternates with ominous brasses, which conjure up the grim fog of war. The closing Allegretto also begins with a bassoon solo, livelier than before. Soon the music emerges from the darkness, as strings and winds begin a game of chase, which grows into a rowdy march, which roars to a cheerful conclusion. When Evgeny Mravinsky led the Leningrad Philharmonic in the premiere on November 3, 1945, the audience
demanded an encore of the final three movements. Early reviews were largely favorable, but some, who had expected a more nationalistic expression of selfcongratulatory pride, condemned it as “grotesque” and “trifling.” Roy Blokker writes, “Musically, the Ninth is a delightful and much-needed interlude of frolic... [but] it is easy to understand why the Soviet political machine, preoccupied with its business of clearing up after the war and anxious to launch into a programme of rebuilding the state for the future, found little time to laugh and had little patience with those who did.” © 2018 Elizabeth Schwartz
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SWING IS THE THING SATURDAY, OCTOBER 20, 2018, 7:30 PM SUNDAY, OCTOBER 21, 2018, 2 PM Jeff Tyzik, conductor Dave Bennett, clarinet and vocals Julie Jo Hughes, vocals Stephen Sayer, Chandrae Roettig, Karine Hermes, and Hunter Krikac, dancers
Jack Pettis/Billy Meyers/ Bugle Call Rag Elmer Schoebel/Arr. Holman Don Raye/Hughie Prince Traditional/Arr. Finegan Jerry Gray/Carl Sigman Artie Shaw Melvin Oliver/James Young Duke Ellington Duke Ellington Matt Dennis/Earl Brent Erskine Hawkins Erskine Hawkins Jeff Tyzik
Boogie Woogie Bugle Boy Song of the Volga Boatman Pennsylvania 6-5000 Nightmare ’Tain’t What You Do I’m Beginning to See the Light Don’t Get Around Much Anymore Angel Eyes Swing Out Tuxedo Junction Harlem Street Scene INTERMISSION
Otis Blackwell/Jack Hammer Carl Perkins Jon Hendricks W.C. Handy Redd Evans/David Mann Robert Blackwell/John Marascalco Max C. Freedman/James E. Meyers Dave Williams Charles E. Calhoun
Great Balls Of Fire Blue Suede Shoes I Want You to Be My Baby St. Louis Blues There, I’ve Said It Again Rip It Up Rock Around The Clock Whole Lotta Shakin Goin’ On Shake Rattle and Roll All selections arranged by Jeff Tyzik unless otherwise noted.
ARLENE SCHNITZER CONCERT HALL
SWING IS THE THING Biographies
A Mack Avenue Records artist, Dave’s 2013 cd Don’t Be That Way met with critical acclaim. His second release, Blood Moon, which features five originals and six pop/jazz covers, hit number 24 on the Billboard Jazz chart in 2018.
Ohio, Steve began dancing in 1998 at the age of 16. In 2011, Steve and his partner Chandrae Roettig won first place at the National Jitterbug Championships and the us Open Strictly Lindy Hop divisions. In 2012, he was inducted into the California Swing Dance Hall of Fame. Today, Steve teaches in North Hollywood and has started the California Jubilee performance teams. His focus on connecting to partner and music are what makes his dancing and teaching unique.
Chandrae Roettig Dave Bennett Dave Bennett doesn’t fit the mold. For starters, you don’t find many jazz clarinet players who name Alice Cooper, Stevie Ray Vaughan, and Chris Isaak among their influences. You also won’t find many musicians who are equally conversant with the music of Benny Goodman (the “King of Swing”) and Roy Orbison (“The Soul of Rock and Roll”). Bennett is a clarinet virtuoso who plays electric guitar, piano, drums, and vocalizes. Leading his tribute to Benny Goodman, Dave has been a featured soloist at Carnegie Hall with the New York Pops (2013) and has played the show with 35 other us and Canadian orchestras, including Nashville, Detroit, Rochester, Omaha, Toronto, Vancouver, Orlando, San Antonio, Jacksonville, and Houston.
Julie Jo Hughes Julie Jo Hughes is a charismatic and fiery vocal powerhouse entertainer. Her voice, with adept versatility, has been heard across many genres, from musical theater to demo tracks, podcasts, theme park and revue shows, and major cruise line productions. A theater alum from the University of Iowa, she has appeared in numerous theatrical productions, as well as commercials and film. Julie Jo has sung for more than 300 private parties with the Arthur Stuart Band of Hank Lane Music in New York City. Her favorite role is mom to her son and daughter.
After an early career in advanced gymnastics, Chandrae “Chanzie” Roettig got her start in contemporary dancing at Dance Vision in Portland, Oregon. Chanzie has worked with some of la’s top choreographers in film, television, music, and stage. Recently, she and her dance partner Stephen Sayer completed work on a major motion picture entitled Gangster Squad. In 2007, Chanzie found her true love in the dance world: swing dancing. After winning many national swing dance titles, she and Stephen Sayer have turned their focus to teaching. Known for her cheerful and playful attitude, Chanzie is a joy to watch, dance with, and learn from.
An annual fixture at several American music festivals, Dave’s “Rockin the ’50s” show pays tribute to Jerry Lee Lewis, Johnny Cash, and Elvis Presley. Some of his annual “roots music” presenters include Elkhart Jazz Festival, Suncoast Classic Jazz Festival, Arizona Classic Jazz Festival, and Redwood Coast Music Festival. Dave has been featured on npr Radio’s “Jazz at Riverwalk.” He made his European debut in 2008 at the Bern Jazz Festival (Switzerland) in a combo with jazz legends Bucky Pizzarelli (guitar) and the late Peter Appleyard (vibraphone), both alumni of the Benny Goodman band.
Hunter Krikac Stephen Sayer Stephen Sayer is a dancer/instructor who is dedicated to preserving the great American partner jazz dances of the 1920s–1950s. Originally from Dayton,
Hunter has been professionally acting and dancing on stage since he was 13. Over the years, he has gained a wide range of professional experience through various performances around the world. His credits include, ”Art on orsymphony.org | 503-228-1353 23
SWING IS THE THING Ice” Switzerland, Bellagio nye Vegas, “Debbie Allen’s Freeze Frame” D.C. and “The Silhouettes” Germany, just to name a few. He is a graduate of the Edge Performing Arts Center as well as Larry-Moore Kelly and Lee Strasberg Acting School.
Luci is an accomplished singer AND Intel Science Fair 2nd place winner.
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Karine Hermes Karine Hermes is a Brazilian dancer, with a background in ballet, jazz, and belly dancing before rockabilly and swing dances, such as Lindy hop, collegiate shag, blues, and others. She started teaching in Brazil and now teaches in L.A. and internationally with world-renowned swing champion Stephen Sayer. Her dancing can also be seen in national competitions, events around the L.A. area, or film. With a passion for fitness and Pilates, Karine also focuses her work on feminine figure and movement. Elegantly, she brings the malleability and gracefulness from Brazilian dances like forró and samba to her style.
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LILA DOWNS MONDAY, OCTOBER 22, 2018, 7:30 PM Norman Huynh, conductor Program will be announced from the stage.
ARLENE SCHNITZER CONCERT HALL
Lila Downs Lila Downs has one of the world’s most singular voices and innovative approaches to music. Born in the state of Oaxaca, México, she is the daughter of a Mixtec Indian woman, Anastasia Sanchez, who ran away from her village at 15 to sing in Mexico City cantinas, and Allen Downs, a University of Minnesota professor. Lila grew up both in Minnesota and Oaxaca, and studied classical voice and cultural anthropology at the University of Minnesota. Her music and vocal artistry have many influences and are as varied as the ancient cultures that serve as her inspiration. Lila’s compositions are often striking commentaries on social conditions, reflecting migration and the search for roots as a core human need. She makes a deep connection with her fans, who are of all ages, races, and backgrounds. “I am very fortunate,” Downs says. “People who follow our music belong to all walks of life. Every day, we connect with them.”
For two decades, Lila Downs has traveled throughout the world reinterpreting the roots of music, from blues, jazz, and soul to cumbia, rock, even rap and klezmer music. She weaves various musical forms with traditional Mexican and native Mesoamerican music, singing in Spanish, English, and the languages of the Mixtec, Zapotec, Maya, and Nahuatl cultures. Her tremendous voice and the originality of her compositions create a musical concept that is highly innovative and unique. Lila is hard to put in a box. She is not simply a Mexican artist, a jazz, blues, or a worldmusic artist – there is no real way to categorize her music, except to say it is an exciting fusion of international sounds and musical genres. Her music has garnered a Grammy and five Latin Grammys, most recently in 2017 for Salón Lágrimas y Deseo, Best Traditional Vocal Album. She has also won numerous awards for live performances including the Lunas del Auditorio de Mexico, Prix Miroir – Festival d’été de Québec, and the Antonio Carlos Jobim Award – Montreal Jazz Festival. Her current album, Salón Lágrimas y Deseo, is as regal and defiant as ever, combining the staggering power of her instrument with interludes of spoken word, smoldering duets, and sensual boleros. Speaking of her current work, “I ended up making an album that is very much feminine in spirit,” she explains. “I’ve grown up in a field
dominated by males, many of whom are difficult to deal with. As a result, I learned to become strong and stubborn. I fought those men, but I also learned from the vast knowledge that they have. This album mirrors my point of view, my existence, the specific way in which I ended up experiencing life.” Lila Downs has performed at many of the world’s most prestigious festivals and venues, has been invited to sing at the White House, and performed on the Latin Grammys 2012 telecast as well as the 75th Academy Awards televised ceremony, where she performed the Oscar nominated song “Burn It Blue” from the movie Frida with Caetano Veloso. Her music has also been included in several other feature films such as The Counselor, Tortilla Soup, Real Women Have Curves, The Three Burials of Melquiades Estrada, Carlos Saura’s Fados, Mariachi Gringo, and Hecho en Mexico. Other artists with whom she has collaborated in recordings and live performances include the San Francisco Symphony, the Chicago Symphony Orchestra, Mercedes Sosa, Carlos Santana, Juanes, Bunbury, Cafe Tacuba, Los Tigres del Norte, 1 Giant Leap, Wynton Marsalis, La Niña Pastori, Angelique Kidjo, Kevin Johansen, and Juan Gabriel, among many others.
TCHAIKOVSKY’S SYMPHONY NO. 4 SATURDAY, OCTOBER 27, 2018, 7:30 PM SUNDAY, OCTOBER 28, 2018, 2 PM MONDAY, OCTOBER 29, 2018, 7:30 PM Carlos Kalmar, conductor Jeffrey Kahane, piano Leonard Bernstein On the Town: Three Dance Episodes The Great Lover Lonely Town (Pas de deux) Times Square Andrew Norman Split (Revised version) Jeffrey Kahane INTERMISSION Pyotr Ilyich Tchaikovsky Symphony No. 4 in F Minor Andante sostenuto—Moderato con anima (in movimento di Valse)—Molto più mosso Andantino in modo di canzone—Più mosso—Tempo I Scherzo (Pizzicato ostinato): Allegro—Meno mosso—Tempo I Finale: Allegro con fuoco—Andante—Tempo I
ARLENE SCHNITZER CONCERT HALL
CONCERT CONVERSATION Conducted one hour before each performance, the Concert Conversation will feature Carlos Kalmar, music director, and host Robert McBride. You can also enjoy the Concert Conversation in the comfort of your own home. Visit orsymphony.org to watch the video on demand.
TCHAIKOVSK Y’S SYMPHONY NO. 4 Biography
Jeffrey Kahane Jeffrey Kahane last appeared with the Oregon Symphony on February 27, 2017, when he performed Schumann’s Piano Concerto in A Minor with conductor Christoph König. Equally at home at the keyboard or on the podium, Jeffrey Kahane has established an international reputation as a truly versatile artist, recognized by audiences around the world for his mastery of a diverse repertoire ranging from Bach, Mozart, and Beethoven to Gershwin, Golijov, and John Adams. Kahane appears as soloist with major orchestras such as the New York Philharmonic, Los Angeles Philharmonic, and the San Francisco Symphony, and is also a popular artist at all of the major us summer festivals. In August 2016, he was appointed music director of the Sarasota Music Festival. Since making his Carnegie Hall debut in 1983, he has given recitals in many of the nation’s major music centers. Equally at home as a chamber musician, Kahane collaborates with many of today’s most important chamber ensembles and was the artistic director of the Green Music Center Chamberfest during the summers of 2015 and 2016. Kahane made his conducting debut at the Oregon Bach Festival in 1988. Since then, he has guest conducted many of the major us orchestras. In May 2017, he completed his 20th and final season as music director of the Los Angeles Chamber Orchestra.
Kahane has recorded for many record labels in collaboration with the New World, Cincinnati, Bournemouth, and Oregon Bach Festival symphonies. He has also recorded works by Gershwin and Bernstein with Yo-Yo Ma, the complete works for violin and piano by Schubert with Joseph Swensen, and Bach concertos with laco and Hilary Hahn. First Prize winner at the 1983 Rubinstein Competition and a finalist at the 1981 Van Cliburn Competition, he was also the recipient of a 1983 Avery Fisher Career Grant. Kahane resides in Los Angeles with his wife, Martha. They have two children – Gabriel, a composer, pianist, and singer/songwriter; and Annie, a dancer and poet.
Program Notes LEONARD BERNSTEIN 1918–90
On the Town: Three Dance Episodes composed: 1944 oregon symphony performance history: November 22, 2014; Marvin Laird, conductor instrumentation: piccolo, English horn, clarinet, alto saxophone, bass clarinet, 2 trumpets, 3 trombones, timpani, cymbals, side drum, bass drum, traps, triangle, wood block, xylophone, piano, and strings estimated duration: 11 minutes On the Town, a collaboration of composer Leonard Bernstein, director/ choreographer Jerome Robbins, and writers Betty Comden and Adolph Green, was the perfect anodyne for a nation weary of war. Written during the last year of World War II, it tells the simple story of three sailors and their adventures while on a 24-hour leave in New York City. “We wanted [the sailors] to possess the quality and attitudes of the servicemen we had seen coming into the city for the first time, and at least
touch on the frantic search for gaiety and love, and the terrific pressure of time that war brings,” said Comden. Dance is central to the show, both as a means of forwarding the narrative, and also as an end in itself. Bernstein explained, “It seems only natural that dance should play a leading role in the show On the Town, since the idea of writing it arose from the success of the ballet Fancy Free. I believe this is the first Broadway show ever to have as many as seven or eight dance episodes in the space of two acts… that these are, in their way, symphonic pieces rarely occurs to the audience actually attending the show, so well integrated are all the elements.” Not long after On the Town’s Broadway premiere on December 28, 1944, Bernstein arranged three of its dance interludes for concert band. In Dance of the Great Lover, Gabey, one of the sailors (played in the 1949 film by Gene Kelly), falls in love with Miss Turnstiles, whose poster he sees in the subway. In a dream, Gabey imagines meeting and wooing her. The music captures the hustle and bustle of New York traffic and Gabey’s hopeful optimism. The pas de deux features one of Bernstein’s indelible tunes, “Lonely Town.” Gabey watches a callous sailor entice a young high school girl into a romantic tryst in Central Park and then abandon her. The final episode, Times Square Ballet, captures the sailors’ frantic attempts to see everything in New York “in just one day,” to the tune of the show’s most recognizable number, “New York, New York, It’s a Helluva Town.” Andrew Norman’s music often explores the intersection of mechanical or computer-generated realms with human interfaces. He draws on an eclectic mix of instrumental sounds and notational practices, and his work has been cited in The New York Times for its “daring juxtapositions and dazzling colors” and in the L.A. Times for its “Chaplinesque” wit. Norman currently serves as composerin-residence with the Los Angeles Chamber Orchestra and as director of the Los Angeles Philharmonic’s Composer Fellowship program.
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TCHAIKOVSK Y’S SYMPHONY NO. 4 ANDREW NORMAN b. 1979
Split composed: 2015 first oregon symphony performance instrumentation: solo piano, piccolo, 2 flutes, 3 oboes, 3 clarinets (1 doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, kick drums, slapsticks, guiro, temple blocks, opera gongs, triangle, flower pot, washboard, wood blocks, brake drum, bongos, splash cymbal, vibraphone, ratchet, log drum, tin cans, spring coil, harp, and strings estimated duration: 25 minutes “Split is a hyperactive fantasy for piano and orchestra,” Norman explains in his program note. “The piece was written for Jeffrey Kahane, and I took much inspiration from the wit, vitality, and expressive character of his playing. I started with the idea of casting Jeffrey as a mercurial trickster, wreaking havoc in and among the various sections of the orchestra, but as the piece progressed, he became less the prankster and more the pranked, an unwitting protagonist trapped in a Rube Goldbergian labyrinth of causes and effects who tries, with ever greater desperation, to find his way out of the madness and on to some higher plane. “In one sense, the piece could be read as the spirited inner dialogue of a pianist with many conflicting personalities. Each of these personalities is associated with and amplified by a different group of instruments in the orchestra. “In another sense, the piece is an epic battle between the pianist, who has many different stories to tell, and the percussionists, who are constantly interrupting these stories and switching the music to different channels entirely. Each percussion instrument acts as a very specific trigger in this game of channel-changing jump-cuts: the pop
of a bongo drum starts a minimalist perpetual-motion machine, the metallic zing of a spring coil unleashes florid and effusive arpeggios, and the scrape of a washboard sends everyone down a relentless spiral of asymmetric suspensions (and the list of actions / reactions could go on and on…). This is a universe with a lot of rules, and for the most part, I abide by them all. “In yet another sense, the title references my thinking about the orchestra and its dual nature as both organism and machine. Talk to any player in a symphony orchestra, and they will describe their role as a cog in a well-oiled clockwork. Indeed, part of the thrill of watching an orchestra is to behold the mechanistic precision of its members. On the other hand, what makes the orchestra unique and indispensable (especially in this age when almost all the sounds in the music around us are made, in one way or another, by a computer) is the unmatched and unfiltered human energy and collective human expression of its constituent musicians. Split seeks to explore this clockwork versus organism dialectic, to celebrate the outer reaches of both precise synchronicity and complete freedom, and to chart and traverse the distance between people being machines and people being people.”
PYOTR ILYICH TCHAIKOVSKY 1840–93
Symphony No. 4 in F Major, Op. 36 composed: 1877–78 most recent oregon symphony performance: September 14, 2014; Carlos Kalmar, conductor instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, and strings estimated duration: 44 minutes
When a former student from the Moscow Conservatory challenged Pyotr Tchaikovsky about the “program” for his Fourth Symphony, the composer responded, “Of course my symphony is programmatic, but this program is such that it cannot be formulated in words. That would excite ridicule and appear comic… In essence, my symphony is an imitation of Beethoven’s Fifth; i.e., I imitated not the musical ideas but the fundamental concept.” In December 1876, Tchaikovsky began an epistolary relationship with Mrs. Nadezhda von Meck, a wealthy widow and ardent fan of Tchaikovsky’s music. Mme. von Meck offered to become Tchaikovsky’s patron on the condition that they never meet in person; Tchaikovsky agreed. Soon after von Meck first wrote to Tchaikovsky, he began work on the Fourth Symphony. As he wrote, Tchaikovsky kept von Meck informed of his progress. He dedicated the Fourth Symphony “to my best friend,” which simultaneously paid tribute to von Meck and insured her privacy. Six months later, Tchaikovsky encountered Antonina Ivanova Milyukova, a former Conservatory student obsessed with her one-time professor. She sent Tchaikovsky several impassioned letters, which alarmed the composer; eventually, Milyukova threatened to kill herself if Tchaikovsky did not return her affection. This untenable situation, combined with Tchaikovsky’s tortured feelings about his sexual orientation and his desire to silence gossip about it, led to a hasty, ill-advised union. Tchaikovsky fled from Milyukova a month after the wedding (their marriage officially ended after three months, although they were never divorced). Tchaikovsky subsequently suffered a nervous breakdown, and three years passed before he was able to compose again. Beginning with the Fourth Symphony, Tchaikovsky launched a musical exploration of the concept of Fate as an inescapable force. In a letter to
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TCHAIKOVSK Y’S SYMPHONY NO. 4 Meck, Tchaikovsky explained, “The introduction is the seed of the whole symphony, undoubtedly the central theme. This is Fate, i.e., that fateful force which prevents the impulse to happiness from entirely achieving its goal, forever on jealous guard lest peace and well-being should ever be attained in complete and unclouded form, hanging above us like the Sword of Damocles, constantly and unremittingly poisoning the soul. Its force is invisible and can never be overcome. Our only choice is to surrender to it and to languish fruitlessly.”
The Fate motive blasts open the symphony with a mighty proclamation from the brasses and bassoons. “One’s whole life is just a perpetual traffic between the grimness of reality and one’s fleeting dreams of happiness,” Tchaikovsky wrote of this movement. This theme returns later in the movement and at the end of the fourth, a reminder of destiny’s inescapability. The beauty of the solo oboe that begins the Andantino beckons, and the yearning countermelody of the strings surges with surprising energy before it subsides. In the Scherzo, Tchaikovsky
departs from the heaviness of the previous movements with pizzicato strings. Tchaikovsky described this playful movement as a series of “capricious arabesques.” Like the first movement, the Finale bursts forth with a blaze of sound. Marked Allegro con fuoco (with fire), the music races by in a raging inferno. Abruptly, Fate returns and the symphony concludes with barely controlled frenzy, accented by cymbal crashes. © 2018 Elizabeth Schwartz
RECOMMENDED RECORDINGS RECOMMENDED FROM KAREN GOMYO PLAYS SIBELIUS
RECOMMENDED FROM TCHAIKOVSKY’S SYMPHONY NO. 4
Lutosławski: Little Suite
Bernstein: On the Town: Three Dance Episodes Leonard Bernstein – Israel Philharmonic Orchestra Deutsche Grammophon 474426
Edward Gardner – bbc Symphony Orchestra Chandos 5106 (sacd) Sibelius: Violin Concerto Kyung-Wha Chung, violin André Previn – London Symphony Orchestra Decca Originals 000837402 Kilar: Orawa Wojciech Rajski – Polish Radio Symphony Orchestra Dux 708 Shostakovich: Symphony No. 9 Vasily Petrenko – Royal Liverpool Philharmonic Orchestra Naxos 8572167
Andrew Norman: Split No recording yet available Tchaikovsky: Symphony No. 4 Yevgeny Mravinsky – Leningrad Philharmonic Orchestra 2-Deutsche Grammophon 419745 Recordings selected by Michael Parsons, longtime manager of Classical Millennium and expert in classical recordings.
BRAVO Youth Orchestra wind students, recipients of Oregon Cultural Trust grants. Photo by Richard Kolbell.
TOGETHER, WE FUND 1,500+ CULTURAL NONPROFITS IN OREGON. INCLUDING THESE YOUNG MUSICIANS. Oregonians have a unique opportunity to fund cultural activities in the state and double their impact for free - with the cultural tax credit. Make sure you are claiming yours. Doing so takes three simple steps that do so much for Oregon. Talk to your CPA, or learn more at (503) 986-0088 or CulturalTrust.org.
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OUR SUPPORTERS The Oregon Symphony thanks these individuals for their generous contributions received from July 1, 2017, to July 31, 2018. We apologize for any omissions or misspellings. Please notify us of any adjustments. TR A NS F OR M AT IONA L : $ 100 ,0 0 0 – A B OV E Anonymous (4) Rich* & Rachel Baek Karen & Bill* Early Robert* & Janis Harrison Michael & Kristen* Kern Lynn & Jack Loacker Estate of Minerva T. Nolte, M.D.+ Arlene Schnitzer & Jordan Schnitzer
V I R TUOS O S O CIE T Y: $ 50,0 0 0 – $ 9 9 ,9 9 9 Anonymous (1) The William K. Blount Family Fund of the Oregon Community Foundation Drs. Cliff* & Karen Deveney Elizabeth N. Gray Fund of the Oregon Community Foundation Harriet Sterling Hayes Trust Jeff Heatherington* Hedinger Family Foundation The Mary Dooly and Thomas W. Holman Fund of the Oregon Community Foundation Holzman Foundation/Renée* & Irwin Holzman Beth & Jerry* Hulsman James and Shirley Rippey Family Foundation Carlos§ & Raffaela Kalmar Laura S. Meier The Leonard and Lois Schnitzer Family Fund of the Oregon Jewish Community Foundation Hank Swigert Nancy & Walter* Weyler Jack* & Ginny Wilborn The Jay & Diane Zidell Charitable Foundation Pat Zimmerman & Paul Dinu
O P US S O CIE T Y: $ 25,0 0 0 – $ 4 9 ,9 9 9 Anonymous (1) Ken Austin Judith M. Erickson Richard & Janet Geary Foundation Suzanne Geary* Dr. Thomas & Alix Goodman Tige* & Peggy Harris Rick* & Veronica Hinkes Keller Foundation Priscilla Wold Longfield* Ann Olsen Harold & Jane Pollin Eleanor & Georges St. Laurent Swigert Warren Foundation 34 artslandia.com
Estate of David Wedge+ Dan G. Wieden & Priscilla Bernard Wieden
M O Z A RT S O C I E T Y: $1 0 , 0 0 0 – $2 4 , 9 9 9 Anonymous (6) A&E Tax Service, Inc Peter & Missy Bechen Robert & Jean Bennett Susan & Larry Black Mr. & Mrs. Thomas Boklund Evona Brim Mr. & Mrs. Peter Brix William M. Brod Fund of the Oregon Community Foundation Richard Louis Brown & Thomas Mark Cascadia Foundation The Coit Family Foundation Truman Collins, Jr. Mark & Georgette Copeland Daniel* & Kathleen Drinkward Cecil & Sally Drinkward Fund of the Oregon Community Foundation Wayne & Julie Drinkward John S. Ettelson Fund of the Oregon Community Foundation Robyn* & John Gastineau Barbara & Jerry Giesy Frank & Mary Gill Dennis & Marie Gilliam Charles & Nancy* Hales Jim & Karen Halliday Hampton Family Foundation of the Oregon Community Foundation Mr. & Mrs. Stephen J. Harder Bonnie Haslett & Terry Strom Mr. & Mrs. J. Clayton* Hering Robert & Marilyn Hodson Hank & Judy Hummelt Gerri Karetsky* & Larry Naughton Chocosphere Richard & Delight Leonard Mr. and Mrs. Robert McCall John & Ginny McCormac Michael & Susan Mueller Roscoe* & Debra Nelson An Advised Fund of the Oregon Community Foundation Charles & Jennifer Putney Dan Rasay* & Katherine FitzGibbon Richard Rauch Rutherford Investment Management & William D. Rutherford
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SILVER BATO N: $6, 000–$9, 999 Anonymous (5) Anonymous Fund #16 of the Oregon Community Foundation Richard & Judith Audley The Breunsbach Family Kay Bristow Deanna Cochener Jane & Evan Dudik Bruce & Terri Fuller Robert L. Ladehoff Michele Mass & Jim Edwards Ronald & Phyllis Maynard Jill McDonald Gil & Peggy Miller Millicent Naito Janice Phillips Travers & Vasek Polak Bonnie & Peter Reagan Rod & Cheryl Rogers Rebecca Rooks John Runyan Carol+ & Frank Sampson Ann Ulum & Robert Nickerson Richard H. & Linda F. Ward Dean E. & Patricia A. Werth Cookie and Merritt Yoelin Fund of the Oregon Jewish Community Foundation Nancy & Herb Zachow Jason Zidell
BR O NZE BATO N: $4, 000–$5, 999 Anonymous (3) Kirby & Amy Allen John & Yvonne Branchflower Eve Callahan* & Scott Taylor Rick Caskey & Sue Horn-Caskey Margery Cohn & Marvin Richmond Dr. and Mrs. David Cutler J. M. Deeney, M.D.
Robert & Carol Dodge Mr. & Mrs. Dale Dvorak Ericksen Foundation Susan & Andrew Franklin Friends of the Oregon Symphony Jonathan‡ & Yoko Greeney Dr. Steve Grover Chuck & CreeAnn Henderson Hibler Franke Foundation Marsh Hieronimus Carrie Hooten & David Giramma William H. Hunt Oregon Symphony Association Fund Georgia & Doug Inglis Jeff & Krissy Johnson Lance & Carey Killian Fernando Leon, M.D. & Dolores Leon, M.D. Magaurn Video Media Terence McCarthy & Ed Valencia June McLean Violet & Robert Metzler Larry & Caron Ogg Michael & Janice Opton Barbara Page Jane Partridge Franklin and Dorothy Piacentini Charitable Trust Fedor G. Pikus Reynolds Potter Pat Reser John & Charlene Rogers Rosemarie Rosenfeld Janet C. Plummer§ & Donald S. Rushmer Holly & Don Schoenbeck John & June Schumann Diana & Hal Scoggins Bill Scott & Kate Thompson Jo Shapland & Douglas Browning Sue & Drew Snyder Richard Sorenson George & Molly Spencer R. Kent Squires N. Robert & Barre Stoll Patricia Struckman Kenneth & Carol Wiedemann Davida & Slate Wilson Paul M. Work & DeAnn Fairfield Work Jeffrey Yandle & Molly Moran-Yandle
CO NDU C TO R ’S CIRCL E: $2, 500–$3, 999 Anonymous (5) Julie E. Adams Ajitahrydaya Markus Albert
OUR SUPPORTERS Trudy Allen & Bob Varitz Meredith & Robert Amon Estate of Betty Amundson+ An Advised Fund of the Oregon Community Foundation Patti & Lloyd Babler David & Jacqueline Backman Anne M. Barbey Ed & Becky Bard Robert & Laurie Barrett David E. & Mary C. Becker Fund of the Oregon Community Foundation Tabitha & Patrick Becker Michael & Barbara Besand in Memory of Lillian (Lee) Besand Stan & Judy Blauer David Blumhagen Josh & Wendie Bratt Gregory & Susan Buhr Ellen E. Bussingยง Mrs. Robert G. Cameron Joan Childs & Jerry Zeret Nicholas & Jamie Denler Allen L. Dobbins Richard B. Dobrow, M.D. Leigh & Leslie Dolin Sterling Dorman David & Erin Drinkward
Stephen & Nancy Dudley Family Fund of the Oregon Community Foundation Dr. Pamela Edwards & Mr. Thomas Clark Donald & Katharine Epstein Frank & Mary Gill Foundation Kenneth & Carol Fransen Y. Fukuta Dr. & Mrs. Tony Furnary Richard Gallagher Daniel Gibbs & Lois Seed Don Hagge & Vicki Lewis Mr. & Mrs. W. Dennis Hall Drs. James & Linda Hamilton Kirk & Erin Hanawalt Sonja L. Haugen Dennis & Judy Hedberg Diane M. Herrmann Dan & Pat Holmquist Brad Houle Dennis Johnson & Steven Smith Andy Johnson-Laird & Kay Kitagawa Estate of David Karr+ Susan D. Keil David & Virginia Kingsbury Drs. Arnold & Elizabeth Klein Lakshman Krishnamurthy & Rasha Esmat
Mary Lago Dorothy Lemelson Cary & Dorothy Lewis Jerome Magill Dana & Susan Marble M. & L. Marks Family Fund of the Oregon Community Foundation Duane & Barbara McDougall Nancie S. McGraw Bonnie McLellan Chris & Betsy Meier Jean & Walter Meihoff Mia Hall Miller & Matthew Miller Anne K Millis Fund of the Oregon Community Foundation Dolores & Michael Moore John & Nancy Murakami Bill & Kathy Murray Hester H. Nau Susan Olson & Bill Nelson Ward & Pamela Nelson John & Ginger Niemeyer George & Deborah Olsen Thomas Pak Heidi & David Pasqualini George & Mary Lou Peters Charles & Ruth Poindexter Jeff & Kathleen Rubin Drs. Emilia & Jon Samuel Susan Schnitzer
John Sears & Cindy Powell Dr. & Mrs. G.E. Sebastian Mrs. & Mr. Francine Shetterly Peter Shinbach Jaymi & F. Sladen Ms. Barbara A. Sloop Kyle Smoot & Winthrop Hall Annetta & Ed St. Clair Jack & Crystal Steffen Mrs. James G. Stevens Mr. & Mrs. W. T. C. Stevens Cheryl & Harvey Storey Eustacia Su Scott Teitsworth & Deborah Buchanan Drs. John & Betty Thompson Robert Trotman & William Hetzelson Charles & Alice Valentino Erica Van Baalen & David Hicks David & Christine Vernier Drs. Bastian & Barbara Wagner Pat Wasp & Lou Ann Bennett Wells Family Foundation John & Traci Wheeler Elaine M. Whiteley Robert & Margaret Wiesenthal Zephyr Charitable Foundation Inc. Charlene Zidell
A 1925 SILENT FILM
with Live organ accompaniment by
SATURDAY OCTOBER 27, 6PM Come in costume! FOR TICKETS: trinity-episcopal.org/events
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OUR SUPPORTERS CO NCE R TO S O CIE T Y: $ 1, 0 0 0 – $ 2 ,4 9 9 Anonymous (11) Anonymous Fund #26 of the Oregon Community Foundation Carole Alexander Jonathan & Deanne Ater Arthur & Joann Bailey Steve & Mary Baker Alfred & Cara Jean Baker Charles G. Barany Karin & Brian Barber Keith & Sharon Barnes Arleen Barnett David Barrett & Michelle Lowry James & Kathryn Bash Steven Bass Alan & Sherry Bennett Dr. & Mrs. Robert Berselli Paul Black Lynne & Frank Bocarde Henry Bodzin Benjamin & Sandra Bole Fred & Diane Born Christopher Brooks* Barry & Barbara Caplan Rhett & Tiffanie Carlile Donald W. Carlson Melissa Carter & Nevada Jones Carlos Castro-Pareja Helen Chadsey Charles Clarkson Classical Up Close‡ Cynthia & Stanley Cohan Maurice Comeau, M.D. Jeffrey G. Condit James & E. Anne Crumpacker Estate of Joyle Dahl Nima & Nicole Darabi David & Alice Davies Mike & Becky DeCesaro Ginette DePreist Robert & Janet Deupree William Dolan & Suzanne Bromschwig Philip & Nancy Draper Gerard & Sandra Drummond Charlene Dunning & Donald Runnels Ronald E. & Ann H. Emmerson Nancy C. Everhart Lee & Robin Feidelson Mr. & Mrs. Paul Fellner Carol L. Forbes Liz Fuller Brian & Rhonda Gard Carolyn Gardner Michael & Gail Gombos Cyril Green & Judy Karush Harriet & Mitch Greenlick Dr. & Mrs. Price Gripekoven Hank & Margie Grootendorst Jeffrey & Sandy Grubb Susan Halton Louis & Judy Halvorsen James Hampton & Ashley Roland Kregg & Andrea Hanson
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Ronald & Lee Ragen Brian Ramsay William’s Trust Vicki Reitenauer & Carol Gabrielli Dr. Gerald & Alene B. Rich Rigby Family Fund of the Oregon Community Foundation Charles & Selene Robinowitz Dr. Lynne Diane Roe Charles & Katherine Rood Debora Roy Robert & Ann Sacks April Sanderson Brian & Sue Schebler Hubert & Ludmila Schlesinger Fund of the Oregon Community Foundation Steven & Karen Schoenbrun Anna Roe & Ken Schriver Cynthia Shaff Hadel John Shipley Jinny Shipman & Dick Kaiser Dr. Rick Simpson Al Solheim David Staehely Doug Stamm & Jackie Gordon Jack & Charlene Stephenson Anne Stevenson Zachary & Vasiliki Stoumbos Straub Collaborative, Inc. Barbara J. & Jon R. Stroud Sandra Suran Drs. Donald & Roslyn Elms Sutherland Erik Szeto & Anita Chan David Thompson Mike & PriscillaThompson Angelo Turner Tony & Bianca Urdes Ann Van Fleet Missy Vaux Hall Bill & Janet Wagner Charles & Cherie Walker Hans & Naomi Wandel Kevin & Sharon Wei Joan & David Weil David & Leigh Wilson Loring & Margaret Winthrop Bing Wong Jane Work Lawrence & Jo Ann Young
SO NATA SO CIETY: $600–$999 Anonymous (8) Carole Asbury Michael Axley & Kim Malek Gerald & Lori Bader Tom Bard Robert & Sharon Bennett Homer & La Donna Berry Robert & Gail Black Alice Pasel Blatt Markus & Gloria Bureker Craig & Karen Butler Mary Bywater Cross Martin & Truddy Cable
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Portland Columbia SymPhony Steven ByeSS, MuSic Director
Halloween Fantasia October 21, 2018 Activitities 1:00pm Concert 3:00pm
Harry Potter • The Prisoner of Azkaban • Witches of Eastwick The Pink Panther Infernal Dance from The Firebird Come enjoy music plus arts & crafts! Dress in your favorite Halloween costume for some phantasmic family-friendly fun & SAFARI through a real live orchestra as we play!! Music tells a story!!
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OUR SUPPORTERS Charles Calmer§ & Tom Lewis Jeffrey Carlson & Lori Makinen Karen Carnahan Dr. and Mrs. Walter & Carolyn Carr Janice E. Casey, M.D. Joe & Sandy Cecchini Deborah & George Chaltas Paula Chernoff Myles & Linda Clowers John & Kathryn Cochran Janie & Richard Cohen Alice Bergman & Ralph Cohen Susan Cooksey Dan Corcoran J. Neal Cox Neale E. & Marian Creamer Brian Cremeans James Crino Eloise Damrosch & Gary Hartnett Joseph & Carol Davids David & Courtney Davies Natasha Dayna Roland & Judy de Szoeke Anthony Defriez Dale & Constance Denham René Deras & Joshua V. Burns Al Didier & Sherry Holley Alfred Dowrie Edward Doyle M.D. Pat J. Doyle John & Anita Drew Allan & Margaret Dunn Lisa & Jerry Eckstein Barbara Edwards Douglas Egan & Susan Bach Jeffrey Eisen & Mark Bruns Bill & Elizabeth Eklund Pamela & Paul Elsner Kevin & Cinda Embree Lawrence R. Erickson Miriam and Gunther Erlebacher Philanthropic Fund Theresa & Robert Eubanks Rachel Fenton & Kris Martinez Virginia Finch Richard & Cindy Finlayson Ruth Fisher Nina & Al Fleckenstein Michael & Karen Foley Heather Folts Marsha & Randy Freed Margaret Freese Gerald & Olivia Froebe Barbara Zappas Erin Furbee‡ & Mitch Schain Betty Lee Fyan & Allison Howard Morris J. Galen William & Bev Galen Mary Ellen Gardner Hugh & Coleen Garrabrant Lee Ann Garrison & Tom Strini Paul Gehlar Kenneth Gengler Gary & Janet Goby Constance Gohlman Marvin & Barbara Gordon-Lickey David & Caroline Greger
Kerry Griffin & Dr. Eilis Boudreau Louise & Herbert Grose Paul Gunderson James Hall Rosemary Hamerton-Kelly David & Erika Hammond Ulrich H. Hardt & Karen Johnson Judith Hatton Grant Hay & Christine Placek Paula Heimberg Patsy Heinlein Tom & Holly Henderson Gina Henderson Rosemary Hendrickson Carol & Timothy Henry Deborah Henry Pamela Henry Shirley & Walter Hercher Gary L. Hewitt Lane Hickey Jimmy Hicks Ron & Suzanne Hockley Mike Ossar & Gretchen Holden Claire & Kendall Horn Robert & Jill Hrdlicka Robert & Cecelia Huntington Carolyn Hymes Darwin & Mary Isensee Nancy Ives‡ Jack & Sheila Jakobsen Saad & Grace Jazrawi Joanne Jene, M.D. Sharon Johnson & Bill Patten Alison Jones Becky & Jarrett Jones Wallace Jones Richard Josephson Helga P. Joyce Leslie E. Kahl Myrna M. Kane Gordon Kaplan Mark & Ethel Katz Judy C. Kelley William & Delores Kelly Joan Kingsley Todd & Michelle Kohlbush Eliana Kozin Teresa Kraemer & Margaret Carley Becky Kuhn & James Gorter Kathleen Kusudo Susan Lair & Douglas Trobough Carole Laity Paul Lambertsen Wayne & Carolyn Landsverk Frank Langfitt & Mary Steen Jim Lathrop Jenny Lauder Yvonne L. Laun Mary Lou Leahy Wilma M. Lee Phyllis J. Leonard Kathleen Lewis Richard Lewis & Margaret Larson Peter Lidskog Jane & Robert Lightell Susan Lindauer & Chris Maloney Craig & Anne Lindsay
Janice Linsky Lydia & Derek Lipman Judith K. Litt Leo & Sharon Little Christine Liu & Justin Smith Barbara Loehr Martha Long‡* Maureen S. Long Donna Loveland Gary & Jerrie Lovre May Lu Frederic & Carina Luyties Jackie MacGregor Roderic & Priscilla MacMillan Sydney Maehara A. & Neena Maldikar Linda L. Mann Ben & Cecile Manny Judith & Michael Marcus Sylvia Marks Carl & Linda Marschall Margaret Marshall Micah Martin Oscar Mayer Raymond Allen Mayer, Jr. Gregg McCarty & Karen Henell Pete McDowell Bryce & Cynthia McMurdo Bill McRae Ted Meece Debra Meisinger & Barry Buchanan Toinette & Victor Menashe David Menashe & Deborah Goldberg Mark & Brenda Merizan Lora & Jim Meyer Susan & Dennis Meyer Rick & Sharon Meyer Louis R. Miles Dr. Valdine & Jonathan Mishkin James Mitchell & Elise Legere James Mitchell Laveta Moles John & Shanna Molitor Robert & Dee Moore Diane & Greg Morgan Carol Morgan Pat Morris-Rader Juanita Muntz John Murphy & Evelyn Mareth Michael Nagel Steven C. Neighorn Debra Nippert Mari Nirschl Greg Nissl Matt Norman Elizabeth O’Callaghan Paul & Mary Oldshue Carillon Olmsted Dr. Barry Olson Erika & Jack Orchard Milo & Beverly Ormseth Marianne Ott Karen & Abby Oxendine Jeffrey & Suzanne Parker Rod & Mary Anne Parrott
Linda Schuld Paulson Norman Pearson Jennifer Pedersen Jim & Sally Petersen Dr. Ron & Patrice Petersen Rebekah Phillips & Lars Campbell Richard & Helen Phillips Robert L. & Leslie Phillips Walter & Susan Piepke Diane Pinney & Clifford Droke Carl & Cynthia Pixley Morgan & Constance Pope Karen E. Price Roberta Jean Pullen Willis & Anne Rader Richard & Susan Radke Meenakshi Rao Steven A. Rapf Carol & Walter Ratzlaf Richard & Mary Raub Randi Reeder Kangail Robert C. Reis Rod & Sheila Renwick Ruth & Phil Rhoads Forrest & Sharon Rae Richen Philip Riedel & Carolyn Bailey Lee A. Rodegerdts James & Elinore Rogers Crystal Rose Mary Rose & Maxwell Whipps Ellen Rosenblum & Richard Meeker Alan S. & Eve O. Rosenfeld LaRayne & Leo Rowland Alise Rubin & Wolfgang Dempke Scott & Joan Rustay Michael Sands & Jane Robinson Anne Savaria Elaine Savinar James & Julianne Sawyer Eric Schaefer Janet Schaefer Rod & Vicki Schmall Holly Schmidt Peter & Elaine Schmidt Fedor & Claudia Scholtz Jack & Barbara Schwartz Sheila & Gary Seitz Peter & Penny Serrurier Jon & Linda Sewell Barbara & Gilbert Shibley James Shields‡ Joan Shireman Brian & Kathy Shoemaker Barbara Short & Linda Wood Gwen & Alan Shusterman Joseph Sillay & Laila Raad-Sillay J. & C. Skuster Damon & Kristen Smedley Marjorie M. Smith V. L. Smith & J. E. Harman Pat Southard John Southgate Mary & Gordon Spezza Tom & Joan Stamper Nicholas & Carolyn Stanley Robert Staver
Paul Steger & Pat Ferguson-Steger Scott Stephens & Leslie Houston Dr. Rudolph & Elaine Stevens David & Deborah Stewart Marjorie Stewart Annette Swartz & Daniel Palka Bobbi & Aron Swerdlin Kunal Taravade Christopher & Emily Thomas Matt Thomas John Thompson & Mary Amdall-Thompson Grant & Sandra Thurston Dr. Elizabeth Tierney Laura Tomas Misty Tompoles Julie Lou Tripp Juliana Trivers & Matt Donahue Charlotte Tsai Jacques & Mary Vaillancourt Linda & Stephen VanHaverbeke Louise Varley Peter Vennewitz Mr. & Mrs. David Verburg Dan Volkmer & Frank Dixon Edward & Mary Vranizan+ Carol Walker David & Julie Wall W. Michael Warwick & Susan V. Bailey Claudia & Ken Weber Bruce Weber Carolyn & Gary Weinstein Judith Weintraub & Gregory Dubac Weiss Fund of the Oregon Community Foundation Robert & Frances Weyant Diana & James M. White Merlin White Margaret Wilson Alan Winders Lewis & Susan Van Winkle Ted & Sheila Winnowski Carol S. Witherell Susan E. Wohld Nancy Wolff & E. David Booth Richard & Leslie Wong Brian Young Jonathan & Pearl Yu Tamara Yunker John & Nancy Zernel David & Eliese Zonies Floyd Michael Zula
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OUR SUPPORTERS Corporate Partners The Oregon Symphony thanks these corporations for their generous contributions received from July 1, 2017, to July 31, 2018. TR ANS FO RMATI ONAL $10 0 , 0 0 0 A ND A B OV E
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2018-2019 Downtown Concert Series Symphony Orchestra | VIVA ITALIA!
7:30pm November 11, 2018
ARLENE SCHNITZER CONCERT HALL
PROGRAM Rossini: Barber of Seville Overture
Jake Safirstein: Tone Poem No. 1 “Orpheus and Eurydice” - In partnership with fEARnoMUSIC’s Young Composers Project
Ponchielli: Dance of the Hours (from La Gioconda) Berlioz: Roman Carnival Tchaikovsky: Capriccio Italien Tickets: $11-$40 playmys.org | 503-239-4566
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OUR SUPPORTERS Foundation and Government Support The Oregon Symphony thanks these organizations for their generous contributions received from July 1, 2017, to July 31, 2018. TR ANS FO RMATI ONAL $10 0 , 0 0 0 A ND A B OV E
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In Memory of Katherine Forrest Althea Jordan In Memory of Lynn Getz-Riley Julie & Wayne Anderson Catherine Bentley Fran & Fritz Bloemker Don Carson Tom & Maggie Churchill Chase & Lynne Curtis Julie Firestone David Grainger Robert Lynn Gregory Mast Andrew & Joan McKenna Joseph & Tracy Merrill
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Encore Society The Oregon Symphony Encore Society was established to thank and recognize those generous individuals who have remembered the Oregon Symphony in their estate plans. For more information, please contact the Development Office at 503-416-6325. Anonymous (10) Markus Albert Kirby & Amy Allen Margaret A. Apel Margaret & Scott Arighi Laurel Bardelson Lynda R. Bell Steve & Patt Bilow Leola J. Bowerman Dean Boyd & Susan Wickizer John & Yvonne Branchflower Steve & Kristine Brey Ellen E. Bussing§ Craig & Karen Butler Elaine Calder & William J. Bennett Carl & Connie Clark Helen Kirkpatrick+ Debi Coleman Terry & Peggy Crawford Dr. Jim Darke Niel B. DePonte‡ Ginette DePreist Jess Dishman Allen L. Dobbins William Dolan & Suzanne Bromschwig Clarke Donelson Kay Doyle Gerard & Sandra Drummond Bill* & Karen Early Herman Taylor & Leslye Epstein Judith M. Erickson Stephanie McDougal+ The John S. Ettelson Fund of the Oregon Community Foundation George Fabel Louise P. Feldman Beulah Felt+ Bill Findlay+ Ed Reeves & Bill Fish Harry & Gladys Flesher Mark Gardiner & Mary Nolan Robyn Gastineau* Jim & Karen Halliday Susan Halton Betsy & Gregory Hatton Diane M. Herrmann Carol Herron Henry M. Hieronimus Rick* & Veronica Hinkes Renée* & Irwin Holzman Donna Howard Beth & Jerry* Hulsman Judy & Hank Hummelt Anne & Charles Jochim Karen & Keith Johnson Dennis Johnson & Steven Smith Susie Kasper Richard & Ruth Keller Georgia A Koehler Sally & Tom Kuhns Kyle & Marcia Lambert Wayne & Carolyn Landsverk Barbara A. Lee Fernando & Dolores Leon Cary & Dorothy Lewis
Ardath E. Lilleland A. G. Lindstrand Lynn & Jack Loacker Linda & Ken Mantel Michele Mass & Jim Edwards Dr. Louis & Judy McCraw Roger & Pearl McDonald Stephanie McDougal+ Duane & Barbara McDougall Edward+ & June McLean Sheila McMahon Karen McNamee Ruben J. & Elizabeth Menashe Robert & Violet Metzler Bruce F. Miller Mia Hall Miller Hannelore Mitchell-Schicht Richard Patrick Mitchell Carol N. Morgan Christi R. Newton Ann H. Nicholas Minerva T. Nolte, M.D. + Ann Olsen Roger N. & Joyce M. Olson Marianne Ott Jane S. Partridge Janice E. Phillips Arnold S. Polk Harold & Jane Pollin David Rabin Tom & Norma Rankin Richard & Mary Raub Barbara Perron Reader William L. & Lucille Reagan+ Mary & Mike Riley Peter Rodda & Vincenza Scarpaci Betty Roren Walt Rose Janet Plummer§ & Don Rushmer Betsy Russell William C. Scott Sara Seitz Sherry Robinson & Steve Shanklin Richard Kaiser & Virginia Shipman Scott Showalter§ V. L. Smith & J. E. Harman George & Molly Spencer Anne Stevenson Mrs. John Stryker Henry Swigert Diane Syrcle & Susan Leo Bruce & Judy Thesenga Mike & Diana Thomas Leslie & Scott Tuomi Linda & Stephen VanHaverbeke Randall Vemer John & Frances von Schlegell Les Vuylsteke Joella B. Werlin Jack* & Ginny Wilborn Gary Nelson Wilkins Roger & Kathleen Wolcott Nancy Wolff & E. David Booth + in memorium
Festival Beethoven the complete string quartets featuring
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October 27 — November 4, 2018 FI VE PERFO RMANC ES + FREE C O MMU NITY EVEN TS An audience favorite, the Pacifica Quartet returns to Portland to perform Beethoven’s complete string quartets, widely regarded as his greatest works
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POETIC IMAGINATION IN JAPANESE ART Selections from the Collection of Mary and Cheney Cowles OCTOBER 13 â&#x20AC;&#x201C; JANUARY 13 portlandartmuseum.org Yamamoto Baiitsu (Japanese, 1783-1856), Lanting Pavilion in Blue and Green, 1855, ink and color on silk, Collection of Mary and Cheney Cowles
O U R S TA G E S , T H E N & N O W
Past & Present 1970
Photo from the Oregon Historical Society, Portland Armory Building, circa 1970. BA017254.
Photo by Max McDermott, Artslandia.
Built to house the Oregon National Guard, The First Regiment Armory included an Annex in which the soldiers trained. The building, one of the few community spaces available at the time for large crowds, also hosted movies, concerts, speeches, and even amateur boxing matches. In 1911, former president Theodore Roosevelt, current president William Howard Taft, and future president Woodrow Wilson held a rally there. In 1928, both buildings were deemed unsafe by the Fire Marshal, leaving the structures to fall into disrepair. Brewer BlitzWeinhard purchased the property in 1968 and demolished the main building. In 2006, after a $36.1 million renovation, the Annex reopened as Gerding Theater at The Armory, home to the largest theater company in the city: Portland Center Stage. Now named simply The Armory, the facility houses the 590-seat u.s. Bank Main Stage, the 190-seat Ellyn Bye Studio, administrative offices, a rehearsal hall, cafe, bar, and production facilities. The Armory was the first leed Platinum-certified building in the Pacific Northwest and is renowned for being one of the most environmentally friendly buildings in the nation.
Historic photographs for this series are provided by the Oregon Historical Society, a museum, research library, archive, and scholarly asset located in the heart of Portlandâ&#x20AC;&#x2122;s Cultural District. View more photos of historic Portland on the new ohs Digital Collections website at digitalcollections.ohs.org/ portland-cityscapes.
Have an anecdote or old school photograph of you posing in front of The Armory? Post it! Donâ&#x20AC;&#x2122;t forget to tag #Artslandia and #OurStagesThenAndNow
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IN THE SPOTLIGHT
J immie Herrod Vocalist Jimmie Herrod is wrapping up quite a year. Last October, he joined Grammy-nominated odesza for their national television debut on Jimmy Kimmel Live! and followed up by touring with locally beloved international superstars Pink Martini to great acclaim. He also managed to fit in an appearance as the Oregon Symphony’s featured soloist at their 2018 tedx Portland showcase this past April. These most recent career highlights should come as no surprise. After graduating Cornish with a degree in composition and performance, Herrod pursued a Master of Music in jazz studies from Portland State University and made a name for himself as a theater artist in Seattle. Authoritative Broadway World deemed his 2015, gender-bending performance as Tunny’s Extraordinary Girl in American Idiot by Seattle’s ArtsWest “a performance for the ages.” psu has currently engaged him as an adjunct professor of voice for their jazz program, which gave Grammy Award-winner Esperanza Spalding her start. Make no mistake: His star is on the rise, and you’d be well advised to catch a spine-tingling live performance as soon as possible.
What’s your first memory of a live music performance? I recall my first concert being the Christian singer Carman. I don’t recall a thing about the concert, except that so many people were there to hear what he had to offer [and realizing with amazement] what music means to so many people. What role do you think performing arts education plays for young people? What are your thoughts on the current state of performing arts instruction in our public education system? If I didn’t have teachers that nurtured the dimmest flames, I don’t know if I would be anywhere near where I am today [given that I’m] still someone who is riddled with self-doubt. It took years for my confidence to catch up to my natural talent, but I had great music teachers growing up that really inspired and supported me musically and in developing self-belief. My band and choir teachers were truly inspirational, each of them taking on a parental role that I saw guide many students away from unfortunate futures. In spite of budget cuts or a lack of school support, I think many are seeking out opportunities. For those who can’t afford things like summer camps and after-school programs, I can only hope schools choose to see the validity and impact of the arts. What is the best lesson or piece of advice you have received with regard to your profession? In undergrad, I had a wonderful composition instructor named Linda Waterfall, who is both an accomplished musician and artist. I learned from her example to defy templates made before one was even born. She studied visual art, a choice her parents never supported. Years later, as my teacher, she was following her heart [and] doing what made her (and not others) happy. The best advice was to trust one’s self and pursue authenticity, principles Linda nurtured. What’s been your favorite performance experience to date?
it took years for my confidence to catch up to my natural talent, but i had great music teachers growing up that really inspired and supported me musically and in developing self-belief.”
Recently, I performed in Paris with Pink Martini. Paris is so highly romanticized that, as much as I wanted to downplay the city’s charm, I found myself humming April in Paris. When we performed at Le Grand Rex, there was no denying how glorious it was and how thankful I was for such an experience. I sang my two songs, then listened to China Forbes sing U Plavu Zoru and just cried at the back of the stage. It was one of those “How did this even happen?” moments. How did you come to perform with Pink Martini? I met Thomas Lauderdale through a dear friend who insisted on us meeting. Months later, I found myself at Thomas’ loft, casually chatting and eventually playing through a number of songs. That day, Thomas asked me if I’d be interested in going on tour, and it’s been such an honor since.
>>> CONTINUED ON PAGE 48
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<<< CONTINUED FROM PAGE 47
What are the positives and negatives in your experience of acting in traditionally female roles? Do you approach female characters differently?
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Despite some discomforts with others’ perception, playing women are some of the only times I’ve been able to publicly sing as a gay male (playing a woman) about a man – the love of a man, the feelings of longing – in the vocal range where my voice naturally sits.”
BORIS GILTBURG NOV 10 & 11 / 4PM LINCOLN HALL SAT: Beethoven, Prokofiev SUN: Rachmaninov
RACHEL CHEUNG DEC 1 & 2 / 4PM LINCOLN HALL SAT: Mozart, Schumann SUN: Chopin, Schubert
Playing women in an art form where often women are tragically minimized to narratives surrounded by a woman’s bewildered fawning over a man can be quite an uncomfortable scenario, but I have played roles of women of strength and perseverance. Aside from the Queen of the Underworld [in the opera The Ballad of Ishtar] and Extraordinary Girl [in American Idiot], I played the Beggar Woman in Sweeney Todd – my favorite character to date. She isn’t one-dimensional; she’s survived much adversity and has more to sing about than longing for her banished husband. A negative aspect of these opportunities is knowing you are, as a male, taking an opportunity from a woman, which is especially hard when playing characters that defy the norm. For me, there are insecurities about not “passing” or not being believable for the audience, making the whole story unbelievable.
I’ve discovered I much prefer playing women to men [and] have been taking a break from theater because it is so hard for me to feel comfortable in my skin playing male roles. What do you find the most challenging about your profession? Inconsistent work is a frightening lifestyle for many, but for me, a life that feels stagnant stirs my anxiety. All the same, having a month with a sparse calendar still worries me – that I’m not elevating in my career.
Women Making History in Portland
Photo by Blanche Minoza, Artslandia.
obin corbo’s Women Making History in Portland is an aweinspiring mural of a diverse selection of women who’ve made significant contributions to our city. Nominated by their communities, the women depicted run the gamut from Native American artist Lillian Pitt, to local organic farmer Anne Berblinger, to the Director of Portland’s Office of Youth Violence Prevention, Antoinette Edwards. The acrylic on concrete painting was organized by the nowshuttered In Other Words bookstore to promote the ongoing mission of empowering women through art and education. Private donations and the city of Portland’s Public Art Murals Program, administered by the Regional Arts & Culture Council, funded the project.
Know where this mural is located? Email the address to email@example.com with ‘Subject: Ar t Dept’ for the chance to win an Artslandia Box.
orsymphony.org | 503-228-1353 49
ON A HIGH NOTE Carin Miller Packwood, principal bassoon for the Oregon Symphony, may not live forever, but you’ll want to remember her name. The Queens, New York, native studied at the famed Fiorello H. LaGuardia High School of the Performing Arts while principal bassoon for the New York Youth Symphony and was twice the recipient of the Lincoln Center Chamber Music Society Young Artist Award. Packwood studied at Juilliard, holds a master’s from Rice University, and currently teaches at Reed College. Packwood has also held principal positions with the Jacksonville and Shreveport symphonies and has a prolific chamber music and orchestral performance history.
How does playing with the Oregon Symphony differ from your other performance experiences? The Oregon Symphony is a vigorous and muscular orchestra that plays with real energy and passion. The musicians are incredibly flexible and warm with one another, so there is a very collaborative vibe. I feel lucky to be a part of this musical powerhouse. Is there any piece of music you haven’t yet performed with an orchestra that you would like to? Shostakovich’s Ninth Symphony features a very moving bassoon cadenza for an entire movement of the piece. The bassoon issues piercing cries against the political oppression of the time that shifts to very dark, sarcastic commentary. The music alludes to the horror of the Holocaust and ends with circus music mocking the pompous self-importance of Stalin, which seems oddly relevant to the climate of our country at this time. It is the ultimate musical act of defiance and an ode to the strength of the small individual and freedom of speech. This piece has been on my bucket list for my entire career, and I will finally get to perform it with the Symphony this October.
Oregon Symphony principal bassoon
Photo: Christine Dong, Artslandia.
Carin Miller Packwood
What drew you to choose the bassoon as your instrument?
Can you speak to music’s potential for social change?
When I was 8 years old, my teacher at Hebrew school brought her wind quintet to perform at our synagogue. I was fixated on the bassoon through the entire performance, like a laser beam of focus on the mellow-sounding, shiny red instrument that moved between playing a supportive role and plaintive solos. From that moment on, I knew I was hooked and asked my parents if I was big enough to play it every year until the age of 13 when I finally was!
This has been an inspiring year for music speaking to social change in Portland. The Oregon Symphony Sounds of Home series delved into this issue, commissioning works around immigration, the environment, and homelessness. The Gabriel Kahane commissioned work called emergency shelter intake form featuring a homeless chorus reached so many that we performed it again at a community benefit concert as well as recorded it. Inspired by the series, I worked with the Symphony to curate a program in conjunction with the Audubon Society of Portland and Friends of the Columbia Gorge to raise awareness of local environmental issues. It was an incredibly moving and cathartic experience to bring together and activate people with a shared desire for change. Sometimes, in a sea of needs, it is hard for individuals to act on individual issues, and they need a moment of inspiration and empowerment to connect in a way that leads to action. I was deeply moved to hear that the Friends of the Columbia Gorge had a jump in their subscriptions after the performance.
What’s your first memory of a live musical performance? My first memory of going out to see a live performance was at age 4 when we went to the Metropolitan Opera for a production of Hansel and Gretel by Engelbert Humperdinck. We were in a side balcony, and I remember a breeze crossing my face as I listened to the beautiful opening chorale. Last season, my whole family revisited the Metropolitan Opera to relive the experience with my 4-year-old son. I look forward to seeing what direction the Oregon Symphony’s production of the opera featuring shadow puppets takes later this season. What role do you think music education plays for youth? I think music education is essential for children. Music is at the core of the human experience, and to ignore its existence is to ignore the very essence of humanity. It is an art form that merges the right and left hemispheres of the brain, and has been shown to increase brain development dramatically. Children that have music education can focus for longer periods of time, and they perform better academically. Music also teaches children discipline and how applying oneself leads to growth. I’m very grateful for the Symphony’s education efforts; Between Kinderkonzerts, Symphony Storytimes, yc Elementary Concerts, and our Kids Concerts, there are many opportunities for parents to expose their children to music outside of the public school system.
How does your experience of playing contemporary music differ from playing more traditional fare? Instrumental music, throughout its progression in music history, has grown more technically challenging in each era as composers push the boundaries of what is possible in search of something new. In older art forms, there are traditions to observe and correct ways of executing certain phrases, whereas in contemporary music, you can have a conversation with a composer and be involved in the shaping of the final work. In many ways, performing a Mozart symphony is harder, as you are challenged to speak to an era that is not your own and find the elegance, propriety, and nuance of life in the 18th century. In contemporary music, the challenges are more virtuosity of technique and flexibility to create new sounds.
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#AR T SL ANDIAWA SHERE @osomusicians
osomusicians Gabe, a 10-year-old patient at the Providence Center for Medically Fragile Children, has a seizure disorder and is not able to speak. But he lights up whenever he hears music, especially classical music. Thanks to @makeawishoregon, Gabe is hosting “Gabeapalooza,” a special concert series for him and his friends in his treatment center. #makeawish #children #musicheals #music #community #musicforall #ArtslandiaWasHere #osomusicians
bonciolinibrushstrokes Leg day has a whole other meaning these days. After this Sunday sweat session, I’ll be back in the studio to work on some legs that won’t be sore tomorrow. #painting #wip #octopus #art #artist #gymtime #sauna #sweatsession #sundayfunday #entrepreneurmindset #grind #hustle #ink #inkpainting #portlandartist #artslandia #ArtslandiaWasHere #pdx #seacreatureart #marinelife #ocean #workinprogress #pnw #watercolor #create
lakewoodtheatre The #PippinLTC set, from concept to stage. The picture is of director Paul Angelo, producer Steve Knox, set designer Samie Pfeifer, and set constructor Demetri Pavlatos in one of the first set meetings for the show. #PippinLTC #wevegotmagictodo #ArtslandiaWasHere Use hashtag #ArtslandiaWasHere on your social media posts, and they could end up here!
O N A N U N R E L AT E D N O T E LINDSAY OHSE Soprano Lindsay Ohse, former Resident Artist for Portland Opera, recently returned to star as Euridice in the company’s first production of Orfeo ed Euridice. This season brings her inaugural appearance with the Metropolitan Opera in the u.s. premiere of Muhly’s Marnie and yet another Portland Opera performance in La Finta Giardiniera next July.
Susannah: Is there are villain in literature or art that you feel for? Lindsay: I’ve had the opportunity to play a couple of villians. There’s always gray area. I did Rossini opera called Semiramide. The Queen of Babylon and her former lover poisoned the king so she could become queen. She makes horrible choices and is not a good person, but she did what she thought she needed to do at the time to make the best life for her and her child. This podcast transcript has been edited and condensed for print.
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F a c e b o o k @ S k i n b y L o v e l y P DX
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SEEN ON THE SCENE
Armita Azizi, Bryce Duncan, Kate Daley, Gerrin Mitchell, Averyl Hartje, and Emma Fulmer.
Darcy White and Kemba Shannon.
Benjamin Iboshi, Jack Iboshi, and William Iboshi.
Attendees of the opening night of Pippin.
Andrew Edwards, executive director of Lakewood Theatre Company, and his companion.
Cast of Pippin.
Cast of The Color Purple.
Cynthia Fuhrman, managing director, and Marissa Wolf, artistic director of Portland Center Stage.
Chris Porras, media director of Artslandia, and Maiesha McQueen, Sofia in The Color Purple.
THE CHEESE BALL
THE COLOR PURPLE
f irst row of photos
This year, Oregon Children’s Theatre’s annual soiree to raise funds for free educational theater programs was especially cheesy! Guests enjoyed games, performances, and dancing in addition to a live auction.
second row of photos Lakewood Theatre opened their 66th season with Pippin, the extraordinarily timeless tale from composer and lyricist Stephen Schwartz (Wicked, Godspell). The production, directed by Paul Angelo with musical direction by Valery Saul and choreography by Erin Shannon, brought down the house!
Don’t forget to tag #Artslandia and #ArtslandiaWasHere on your event photos for the chance to be featured!
third row of photos
Artslandia’s Media Director Chris Porras so loved Portland Center Stage at The Armory’s production of The Color Purple that he broke his show attendance record! Timothy Douglas directed this powerful, Tony Award-winning musical with a fresh, joyous score of jazz, ragtime, gospel, and blues led by Music Director Darius Smith. PHOTO CREDITS: Max McDermott and Simone Fischer, Artslandia (Pippin and The Color Purple). Rebekah Johnson (The Cheese Ball).
CONDUCTED BY Photo by Cory Weaver / San Francisco Opera
Christopher Larkin DIRECTED BY
TRAVIATA NOVEMBER 2â&#x20AC;&#x201C;10 | KELLER AUDITORIUM
AS ONE MARCH 2019
A Special Concert
BIG NIGHT MAY 2019
IL BARBIERE DI SIVIGLIA JUNE 2019
LA FINTA GIARDINIERA JULY 2019
TICKETS START AT $35 | PORTLANDOPERA.ORG | 503. 241.1802
IN THE PENAL COLONY JULY / AUG 2019
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