Voices of the Earth Program

Voices of the Earth Saint Sebastian Catholic church Milwaukee, WI

Sunday October 20, 2024 3:00 PM

Jonathan Laabs, Artistic Director Presents

Voices of the Earth In the Beginning Rebecca Whitney, soprano

Aaron Copland (1900-1990)

Simone Gheller, piano

Jake Runestad (b. 1986)

Come to the Woods

INTERMISSION Earth Song

Frank Ticheli (b. 1958)

Mid-Winter Songs Simone Gheller, piano

Morten Lauridsen (b. 1943)

I. Lament for Pasiphaë II. Like Snow III. She Tells Her Love While Half Asleep IV. Mid-Winter Waking V. Intercession in Late October

The Music of Stillness Simone Gheller, piano

Thank You to Our Sponsors

Elaine Hagenberg (b. 1979)

Program Text In the Beginning Text from Genesis 1 and 2 (KJV)

Written for and premiered at the 1947 Harvard Symposium on Music Criticism, In the Beginning is anything but typical for the “Dean of American Composers.” One of only around a dozen choral works that Copland wrote, it is by far the most substantial in length, scope, and content, setting text from the book of Genesis 1:1 to 2:7. The Biblical book divides creation into six days, followed by a day of rest; each of the first six days is marked by the refrain, “And the evening and the morning…”. Copland sets this as a musical refrain as well: homorhythmic chanting on a repeated triad inflected with a dissonant chord on the identification of the appropriate day, before resolving to the major triad. The triad changes for each day, continually rising over the course of the work: Cb (first day), Db (second day), D (third day), Eb (fourth day), F# (fifth day), G (sixth day).

Copland uses other instances of repeated text, including “And it was so…” and “God saw that it was good…” to create identifiable motives and gestures that bring unity and structure to the through-composed work. The frequent text-painting, while sometimes subtle, is a delight.

The First Day Solo In the beginning God created the heaven and the earth.

And the earth was without form, and void; and darkness was upon the face of the deep.

Chorus And the spirit of God moved upon the face of the waters.

Solo And God said, Let there be light: and there was light.

Chorus And God saw the light, that it was good: and God divided the light from the darkness.

And God called the light Day, and the darkness he called Night.

And the evening and the morning were the first day.

The Second Day Solo And God said, Let there be a firmament in the midst of the waters, and let it divide the waters from the waters.

Chorus And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament: And it was so.

And God called the firmament Heaven.

And the evening and the morning were the second day.

The Third Day Solo And God said, Let the waters under the heaven be gathered together unto one place, and let the dry land appear: Chorus And it was so.

And God called the dry land Earth; and the gathering together of the waters called he Seas: And God saw that it was good.

Program Text (cont.)

Solo and Chorus And God said, Let the earth bring forth grass, Solo the herb yielding seed, and the fruit tree yielding fruit after its kind, whose seed is in itself, upon the earth: And it was so.

Chorus And the earth brought forth grass, and herb yielding seed after its kind, and the tree yielding fruit, whose seed was in itself, after its kind: And God saw that it was good.

And the evening and the morning were the third day.

The Fourth Day Solo And God said, Let there be lights in the firmament of the heaven to divide the day from the night; and let them be for signs and for seasons and for days and years And let there be lights in the firmament of the heaven to divide the day from the night and let them be for signs and for seasons and for days, and years: And let there be lights Chorus Let there be lights in the firmament of the heaven to divide the day from the night and let them be for signs and for seasons and for days and years And let there be lights in the firmament of the heaven to divide the day from the night and let them be for signs and for seasons and for days and years And let there be lights in the firmament of the heaven to give light upon the earth And it was so.

And God made two great lights; the greater light to rule the day, and the lesser light to rule the night: he made the stars also.

And God set them in the firmament of the heaven to give light upon the earth, and to rule over the day and over the night, and to divide the day from the darkness: And God saw that it was good.

And the evening and the morning were the fourth day.

The Fifth Day Chorus And God said Let the waters bring forth abundantly the moving creature that hath life,

Program Text (cont.) and fowl that may fly above the earth in the open firmament of heaven.

And God created great whales, and ev’ry living creature that moveth, which the waters brought forth abundantly, after their kind, and ev’ry winged fowl after his kind: And God saw that it was good. and God blessed them, saying, Be fruitful and multiply, and fill the waters in the seas, and let fowl multiply in the earth.

And the evening and the morning were the fifth day.

The Sixth Day Solo And God said, Let the earth bring forth the living creature after his kind, cattle, and creeping thing, and beast of the earth after his kind: and it was so.

Chorus And God said, Let the earth bring forth grass.

And God made the beast of the earth after his kind, and cattle after their kind, and ev’ry thing that creepeth upon the earth after his kind: Solo and Chorus And God saw that it was good.

Chorus And God said, Let us make man in our image, after our likeness: and let him have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over ev’ry creeping thing that creepeth upon the earth.

Solo and Chorus So God created man in his own image, Chorus in the image of God created he him; male and female created he them.

And God blessed them, and God said unto them, Be fruitful, and multiply, and replenish the earth, and subdue it: and have dominion over the fish of the sea, and over the fowl of the air, and over ev’ry living thing that moveth upon the earth.

Solo And God said, Behold, I have given you ev’ry herb bearing seed, which is upon the face of all the earth, and ev’ry tree,

Program Text (cont.) in which is the fruit of a tree yielding seed; To you it shall be for food.

And to ev’ry beast of the earth, and to ev’ry fowl of the air, and to ev’ry thing that creepeth upon the earth, wherein there is life, I have given ev’ry green herb for food: Chorus And it was so.

And God saw ev’ry thing that he had made, and, behold, it was very good.

And the evening and the morning were the sixth day.

The Seventh Day Chorus Thus the heavens and the earth were finished, and all the hosts of them.

And on the seventh day God ended his work which he had made; and he rested on the seventh day from all his work which he had made.

And God blessed the seventh day, and sanctified it: because that in it he had rested from all his work which God created and made.

Solo These are the generations of the heavens and of the earth when they were created, in the day that the Lord God made the earth and the heavens, and ev’ry plant of the field before it was in the earth, and ev’ry herb of the field before it grew: Solo and Chorus For the Lord God had not caused it to rain upon the earth, and there was not a man to till the ground.

Chorus But there went up a mist from the earth, and watered the whole face of the ground.

Solo and Chorus And the Lord God formed man of the dust of the ground, Chorus and breathed into his nostrils the breath of life; and man became a living soul.

Come to the Woods Text by John Muir, adapted by Jake Runestad Come to the Woods explores Muir's inspirations and the transporting peace found in the natural world. Using a collage of fragments from Muir’s writings, the work ventures from the boisterous joy of a "glorious day," to the quiet whispering of wind, to the rejuvenating power of a storm, to the calming "amber light" when the clouds begin to clear. I hope it captures the self-discovery and sustenance one encounters while exploring the outdoors and its vital importance in our lives. As Muir writes, "I only went out for a walk, and finally concluded to stay out ‘til sundown, for going out, I found, was really going in."

Program Text (cont.)

Another glorious day, the air as delicious to the lungs as nectar to the tongue.

The day was full of sparkling sunshine, and at the same time enlivened with one of the most bracing wind storms.

The mountain winds bless the forests with love.

They touch every tree, not one is forgotten.

When the storm began to sound, I pushed out into the woods to enjoy it.

I should climb one of the trees for a wider look.

The sounds of the storm were glorious with wild exuberance of light and motion.

Bending and swirling backward and forward, round and round, in this wild sea of pines.

The storm-tones died away, and turning toward the east, I beheld the trees, hushed and tranquil.

The setting sun filled them with amber light, and seemed to say, “Come to the woods, for here is rest.”

Earth Song Text by Frank Ticheli “Earth Song is one of only a few works that I have composed without a commission. Instead it sprang out of a personal need during a time when so many in this country, including myself, were growing disillusioned with the war in Iraq. I felt a strong impulse to create something that would express my own personal longing for peace. It was this longing which engendered the poem’s creation... in this case, I knew I had to write the poem myself, partly because it is not just a poem, but a prayer, a plea, a wish—a bid to find inner peace in a world that seems eternally bent on war and hatred. But also, the poem is a steadfast declaration of the power of music to heal. In the end, the speaker in the poem discovers that, through music, he is the embodiment of hope, peace, the song within the Song. Perhaps music has the power not only to nurture inner peace, but also to open hearts and ears in a world that desperately needs love and listening.”

—Frank Ticheli

Sing, Be, Live, See… This dark stormy hour, The wind, it stirs.

The scorched earth cries out in vain: O war and power, You blind and blur, The torn heart cries out in pain.

But music and singing Have been my refuge, And music and singing Shall be my light.

A light of song Shining Strong: Alleluia!

Through darkness, pain, and strife, I’ll Sing, Be, Live, See… Peace.

Mid-Winter Songs Text by Robert Graves The Mid-Winter Songs, setting poems by British poet Robert Graves, were commissioned by the University of Southern California to mark its Centennial in 1980. Those acquainted with Lauridsen’s rich choral textures and almost mystical style may find this earlier cycle both striking and unexpected when compared to his more recent compositions. In this relatively early piece, Lauridsen's style echoes that of Benjamin Britten, providing a captivating musical interpretation of Graves’ exquisite poetry.

Program Text (cont.)

The cycle is crafted in an arch form, embodying an internal structure that allows for both expressive lyricism and profound emotional depth, particularly evident in the opening movement, “Lament for Pasiphaë.” Following the intense emotion of this initial lament, the second movement, titled “Like Snow,” takes on a madrigal-like quality, evoking winter and referencing the poet Graves’ romantic muse, Laura Riding. The subsequent slow movement, “She Tells Her Love While Half Asleep,” which Lauridsen characterizes as imbued with ‘tenderness and warmth,’ serves as a tribute to the poet’s second wife, marking the emotional and structural high point of the piece. This is succeeded by another choral scherzo, “Mid-Winter Waking,” which features jazzy rhythms that reflect the poet’s renewed inspiration, likened to the first signs of spring melting the winter chill.

The work concludes with “Intercession in Late October,” a soft prayer that poignantly expresses a reluctance to face the return of both cold weather and emotional distance. An extended piano passage revisits the thematic elements, yet, like many of Lauridsen’s compositions, the MidWinter Songs finish on a note that is both touching and unresolved.

I. Lament for Pasiphaë Dying sun, shine warm a little longer!

My eye, dazzled with tears, shall dazzle yours, Conjuring you to shine and not to move.

You, sun, and I all afternoon have laboured Beneath the dewless and oppressive cloud– a fleece now gilded with our common grief That this must be a night without a moon.

Dying sun, shine warm a little longer!

Faithless she was not: she was very woman, Smiling with dire impartiality, Sovereign, with heart unmatched, adored by men, Until Spring’s cuckoo with bedraggled plumes Tempted her pity and her truth betrayed.

Then she who shone for all resigned her being, And this must be a night without a moon.

Dying sun, shine warm a little longer!

II. Like Snow She, then, like snow in a dark night, Fell secretly. And the world waked With dazzling of the drowsy eye, So that some muttered ‘Too much light,’ And drew the curtains close.

Like snow, warmer than fingers feared, And to soil friendly; Holding the histories of the night In yet unmelted tracks.

III. She Tells Her Love While Half Asleep She tells her love while half asleep, In the dark hours, With half-words whispered low: As Earth stirs in her winter sleep And puts out grass and flowers Despite the snow, Despite the falling snow.

IV. Mid-Winter Waking Stirring suddenly from long hibernation I knew myself once more a poet Guarded by timeless principalities Against the worm of death, this hillside haunting; And presently dared open both my eyes.

O gracious, lofty, shone against from under, Back-of-the-mind-far clouds like towers;

Program Text (cont.)

And you, sudden warm airs that blow Before the expected season of new blossom, While sheep still gnaw at roots and lambless go– Be witness that on waking, this mid-winter, I found her hand in mine laid closely Who shall watch out the Spring with me.

We stared in silence all around us But found no winter anywhere to see.

V. Intercession in Late October How hard the year dies: no frost yet.

On drifts of yellow sand Midas reclines, Fearless of moaning reed or sullen wave.

Firm and fragrant still the brambleberries.

On ivy-bloom butterflies wag.

Spare him a little longer, Crone, For his clean hands and love-submissive heart.

The Music of Stillness Text by Sara Teasdale “The inspiration for The Music of Stillness originated from the poem ‘There Will Be Rest’ by Sara Teasdale, where she describes her journey from loneliness to hope through the hushed beauty of evening. One autumn night, when the weather first turned cold, I was enjoying the midwestern countryside and the entire sky was filled with stars. As the cold air hit my lungs, the expanse of the heavens took my breath away, and this is the music I heard. The music of a dream world under the stars where we can leave our troubles and find this momentary “crystal of peace” and rest. A place where beauty and calm exist, and all else fades away.”

—Elaine Hagenberg

There will be rest, and sure stars shining Over the roof-tops crowned with snow, A reign of rest, serene forgetting, The music of stillness holy and low.

I will make this world of my devising Out of a dream in my lonely mind.

I shall find the crystal of peace, – above me Stars I shall find.

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Musicians Bel Canto Chorus Barbara Allbright Noel Ash Kelly Bartyczak Carol Bayne Chelsea Betz* Kate Braatz Susan Brown* Abby Armstrong Check Jason A. Clark* Heather Comiskey Elizabeth Conway Peter Craig Chelsey Daniels Martha Felton Dobbs Luella Dooley Molly Farley Thayer Fisher Emily Fox Karri L. Fritz-Klaus Ellen Fulton Ashlyn Galloway Albrecht Gaub Jaymes Gayhart* Amanda Jo Gonzalez Anthony Grant Joe Hatchell Mitch Haycock Keith Heidmann Dan Holzmiller Kathleen Hughes*

Brent M. Johnston* Ryan Kluba Morgan Knigge Emily Knutson* Kyle Kolberg* Erin Laabs* James LaBelle* Lindsay Lamm* Michael LaPlant Nichole Larson Angela Lee Judy Zoelzer Levine Noah Lindenberg Wendelin Lockett* Marilyn Mascitti* Colleen Miner Winfield Mitchell David Mohr* Sharon Morrow Jamie Murray Katie Panciera Alexandra Pieper Joshua Pope* Alison Rada-Bayne Stephen Ragatz Annalisa Ragatz Debbie Rakestraw Lisa Rao Jessica Rauh Kristin Raymond

Kerry Saver John Schilling Kate Schmitt Patrick Schneider Marcia Schwager Brian J. Schwanz Josh Sievert Dean Sievert Delbert Slowik Binette Solomon Erin Stamm Philip Starr Shannon Sweeney Timothy Szczepaniak Tom Thiele Nina Weid Mark W. Weller Kayla Wendlake Elaine K. Wessel Hazel Wheaton Rebecca Whitney* Andrew Widder* Natalie Wikstrom Annie Williams Josiah Winkel Evan Witz *Denotes Section Leader

Biographies Jonathan Laabs, Artistic Director Jonathan Laabs is thrilled to begin the next chapter of the Bel Canto Chorus musical journey as its new Artistic Director. He has been an active conductor, clinician, performer, and music educator throughout the Midwest and beyond. He most recently held the position of Professor of Music and Music Division Chairman at Martin Luther College in New Ulm, Minnesota, where he conducted the College Chorale and Women’s Choir and taught courses in conducting, choral literature, and aural theory.

Since 2011, he has served as Artistic Director and conductor of Canticum Novum, a Midwestbased chorus with performances centered around an annual intensive week-long retreat. In August of 2024, he was a guest conductor at the opening Festival Concert of the WELS National Conference on Worship, Music, and the Arts held at Carthage College in Kenosha, Wisconsin. He has twice conducted the National High School Honors Choir at past conferences (2014, 2017). In 2018, he was one of 12 international conductors selected as a fellow at the Chorus America Conducting Academy in Fullerton, California, where he studied and conducted choral-orchestral works by Bernstein, Mendelssohn, and Mozart.

He holds a bachelor’s degree from Martin Luther College and a master’s degree from the University of Wisconsin-Milwaukee.

Simone Gheller, Collaborative Pianist Dr. Simone Gheller was born in Padua, Italy in I978. He received master’s degrees in Piano (1999), Organ Performance & Organ Composition (1999), Music Education (2003), and Choral Music & Choral Conducting (2004). He also received a doctorate in Organ Performance and Organ Composition, magna cum laude (2006).

He studied at the University of Vienna, and he received two “Medaille d'Or en Superieur d'Interpretation” at the Conservatoire Superior des Music de Paris. Gheller also studied at Oberlin College, where he completed the Artist Diploma—a great distinction in music. Currently, he is Music Director and Organist at St. Jerome Church in Oconomowoc, Wisconsin. He is also the accompanist of the Waukesha Choral Union and the Milwaukee Ballet School & Academy.

Gheller has an extensive international performing history spanning the last 35 years, with concerts in prestigious locations. He has garnered many awards, including first prizes at several national and international organ competitions. He has recorded four CDs: Fiori Musicali by Girolamo Frescobaldi, The Complete Choral Works with Organ by Alessandro Scarlatti for the Tactus label, the Orgelbüchlein by J.S. Bach, and music by Liszt and Reubke for the Onclassical Label.

Rebecca Whitney, Soprano

Soprano Rebecca Whitney received her Bachelor of Music Degree in Vocal Performance and Vocal Music Education from the University of Wisconsin –Whitewater. She has performed as a soloist with numerous groups in Southeastern Wisconsin, singing Handel’s Messiah and Israel in Egypt, Haydn’s The Creation, Mozart’s Vesperae solennes de confessore, Coronation Mass, and Exultate, jubilate, Faure’s Requiem, Poulenc’s Gloria, and works

by Bach, Vivaldi, Vaughan Williams, and John Rutter among others. In 2011, she was featured as the soprano soloist in Mozart’s Requiem on the “United We Stand” concert—a Bel Canto event televised across Wisconsin commemorating the 10th anniversary of the events of September 11, 2001. A professional core member of Milwaukee’s Bel Canto Chorus since 2005, Whitney joined Bel Canto on its 2013 tour to France and 2015 tour to Ireland, appearing as the soprano soloist in Brahms’s Ein Deutches Requiem and Haydn’s Lord Nelson Mass respectively. She also soloed on the Bel Canto 2024 tour to Sicily and Rome. As an experienced liturgical singer, she is also a professional member of the Basilica of St. Josaphat choir in Milwaukee and the High Holy Day Choir of Congregation Sinai in Fox Point. By day, Whitney is proud to serve as the Director of Education for the Milwaukee Symphony Orchestra. She lives in Milwaukee with her husband Steve and their three children.

Biographies Kai Simone, Managing Director of Bel Canto Chorus

Kai Simone, with a career marked by excellence, is an accomplished director, producer, musician, performer, radio personality, and educator. She is the recipient of the 2016 Milwaukee Black Excellence Award in Music and Theater. She holds a Bachelor of Arts in Theater Directing and Design from the University of Illinois-Chicago, and her diverse training includes music theory, composition, and voice. Simone’s broad talents have seen her producing memorable plays like A Raisin in the Sun and The Wiz, and creating unique musical experiences through her original Kwanzaa musical, Imani and the Magic Drum, which she recreated and produced into a fully animated production.

In 2012, Simone co-founded the Skai Academy of the Performing Arts in Milwaukee alongside Emmanuel Turner. This institution has enriched thousands of students with dynamic workshops and performances, fostering young talent across diverse backgrounds. The Skai Stage Band, formed under their guidance, is celebrated for its vibrant fusion of styles, captivating audiences in Milwaukee and Madison.

Currently, as the Managing Director of the Bel Canto Chorus and through her Skai Music programs, Simone continues to influence the Milwaukee arts scene. She is actively involved in the Lullaby Project, a collaborative effort with Carnegie Hall’s Weill Music Institute through its Milwaukee partner, the Milwaukee Symphony Orchestra. She contributes to musical education through the Discover Music, Discover Life, Inc. curriculum, a program of the Chicago Jazz Philharmonic Orchestra. Additionally, she enhances the cultural landscape through partnerships with Milwaukee area community and educational entities including Milwaukee Public Schools, Milwaukee Arts Museum, and Boerner Botanical Gardens. Simone’s commitment extends to serving on local arts boards, further demonstrating her dedication to enriching the artistic community.

Danielle Bridges, Production Manager Danielle Bridges received a Bachelor of Music in Vocal Music Education from the University of Central Arkansas and a Master of Arts in Choral Conducting and Pedagogy from the University of Iowa. During her studies, Bridges discovered a particular interest in developing creative, communal textual analysis and nonverbal communication methods for use during choral rehearsals. She is a proponent of music by women composers and founded the Iowa Women’s Music Collective to advocate for the research and performance of music by women. Bridges has presented her research at a wide range of conferences including the International Voice Foundation Symposium and the inaugural Theorizing African-American Music conference.

Bridges has taught choral music in contexts ranging from middle school to retirement community choirs and has served as a choral consultant for public and private schools. In addition to her work at Bel Canto Chorus, she is the Artistic Director of the Waukesha Choral Union and the Director of Music at Community United Methodist Church in Elm Grove, where she conducts the Chancel Choir, Clarion Bells, and Festival Choir.

Bel Canto Senior Singers FREE Fall Concerts Bel Canto Senior Singers are open to choristers ages 55 and better of all abilities with a love of music. Their joy comes across in every note at their concerts!

BCSS Southwest Concert Sunday, November 17, 2024 at 2:00 PM St. Elizabeth Ann Seton 12700 West Howard Avenue, New Berlin BCSS Northeast Concert Sunday, November 24, 2024 at 2:00 PM Crossroads Presbyterian Church 6031 West Chapel Hill Road, Mequon

Learn more about BCSS:

About Bel Canto Chorus Values and Mission Statement We believe lifelong learning builds thriving communities. At Bel Canto Chorus, we build communities by connecting people through music. We offer world-class choral programs in the Milwaukee Area. Our mission is to connect singers, audiences, and the community through experiences with diverse choral music.

About Founded in 1931, Bel Canto Chorus is Southeastern Wisconsin’s oldest continually performing arts organization. The group includes an auditioned adult performance chorus of approximately 100 singers and a Senior Singers program for those 55 or better who want to sing in an organized performance chorus. Characterized by a heartfelt belief in the value of Bel Canto Chorus's mission and vision, and supported by devoted singers and audiences, talented artistic and administrative staff, and dedicated Board members, the group's passion for sharing the thrill of live choral music has remained steadfast throughout its long, proud history.

Board of Directors Officers Theodore Perlick Molinari – President Thayer Fisher – Treasurer Marcia Schwager – Secretary Directors Ellen Fulton, Nina Johnston, Michelle Klotz, Meredith Marine, Sarah Paul, Stephen Ragatz, Tom Thiele, Jacob Wolter Artistic Staff Artistic Director – Jonathan Laabs Collaborative Pianist – Simone Gheller Senior Singers Conductors – Rebecca Renee Winnie Senior Singers Accompanists – Elna Hickson, Sunkyung Lee Artistic Director Laureate – Richard Hynson Assistant Conductor Laureate – Michelle Hynson Administrative Staff Chief Executive Officer – Theodore Perlick Molinari Managing Director – Kai Simone Production Manager – Danielle Bridges Chorus Cabinet CarolAnne Bozosi, Joe Hatchell, Mitch Haycock, Jim LaBelle, Angela Lee, Alex Pieper, Annalisa Ragatz, Stephen Ragatz, Kristin Raymond, Kay Richardson, Kerry Saver, Philip Starr, Kayla Wendlake

Bel Canto Chorus Financial Supporters Bel Canto Legacy Society Members of the Bel Canto Legacy Society have agreed to include the Chorus as a part of their estate planning arrangements. You may join them by contacting the Bel Canto office at (414) 481-8801.

Margaret E. Haggerty Louise L. Hedrick Sally D. Hoyt & Vaughn Ausman Michelle & Richard Hynson Kerry Saver Corporate and Foundation Support $10,000+ United Performing Arts Fund $5,000-$9,999 State of Wisconsin Wisconsin Arts Board $1,000-$4,999 Sarah Margaret Hegarty Foundation Inc. Zurn Foundation

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Bel Canto Chorus Individual Supporters Standing Ovation (10,000+) Anonymous Sally D. Hoyt & Vaughn Ausman Bravissimo ($5,000-$9,999) Peter J. Storer Helen & Robert Vettori Bravo ($1,000-$4,999) Janet Gibeau Ed & Linda Mordy Jeff & Marcia Schwager Richard Wagner Mark Weller Fortissimo ($500-$999) Randy Casey Thayer Fisher & Hayley German Fisher Joan & Dave Henkel Gregg & Sheila Jozwik Alex & Rick Pieper Agustin Ramirez Jr. Michael & Mary Burke Ryan Julie Tolan & Mark Wiesman Elaine & Robert Wessel Rebecca Winnie Forte ($250-$499) Bob Balderson Jan & Bob Becker Susan J. Brown Brent & Nina Johnston Katie Kaminsky & Jeff Niehus Emily & Kyle Knutson Kathleen Muldowney & Jeff Kalenak Raka & Lisa Rao Kerry Saver Martin & Janet Tierney Elizabeth Wessel Mezzo Forte ($100-$249) Anonymous [2] Moki & Cindy Amini Janine Arseneau Tom & Carole Barnum Valerie Burbey-Lutzen Susan Cattey Sandra Christensen Robert & Elizabeth Conway Dixie Deines John & Terri Devine Don & Martha Dobbs Margaret Douglas Mary Alice Dunn Martin Emerson Stanley & Janet Fox Alex Freund Ellen Fulton & James Hegarty Carl Granberg Anthony Grant Eileen Griffiths Joe & Lisa Hatchell Louise L. Hedrick Randy Hoffman Tom & Katie Hofman Patrick Horne Katherine Hughes & David McDowell Kathleen & Tyrrell Hughes Richard & Michelle Hynson Ellen Osburn Johnson Jerome Kerkman

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Bel Canto Chorus Individual Supporters Sarah Gruetzmacher Erica Gumieny Mike Haas Rachel & Dennis Hafemann Rebecca Hammer Darlene Hancock Thomas Hanson Peter Havens Lloyd & Elna Hickson Stephanie Howe Dennis Jacobsen Kim Johnson Omar Kebir Vicki Keogh Andrew Klapperich & Debra Dunco-Klapperich Ryan Kramer John & Loretta Krenitsky Jonathan & Erin Laabs Paul LaBelle Cynthia Lange Peggy Langenfeld Gregg Langenfeld Robert Lawrence Sheila Leander Peter Leschke Donald Liebel Mack Lindsey Marjut Lohtari-Kuklin Barbara Lyons Mary Jo MacGregor Sue Martin-Steiner & Tony Steiner Susan McAllister Tom McGovern Amy McGowan Mary Pat McGurk Rachel McKinley Kathy McKinney Pat & Ray Mehler Rita Menet Patrick Metzker John Michel John Mooney Jeff & Mary Mrochinski Samuel Naegele Joan Namm Pat Nnadi Karen Owens Simon Painter James Pankratz Lori Ann Pannier Chris Paulsen Kate Petrosky Marjorie Piechowski

Give the gift of lifelong learning through music!

Bill & Mary Powell Paul M. Pruessing Jill Radcliff Tracy Rath Melanie Raymond Diane Reynolds Caroline Robertson Laure Ropson Jill Griffee Ross Megan & Sam Sarver Mary Schiro Frank & Nancy Schultz Sarah & Joe Schwab Judith Schwerm Alexandra Sielaff Dean & Amy Sievert Bob & Esther Simonson Michelle Smith Mark Spiess Philip Starr Sheila Strock Cynthia Stuckey Lora & Gregg Sunder Eileen Swierczek Veronica Thomas Pamela Thurston Ellen Tripler Dawn Vallee Barbara Wallner Christine Warsaw Susan Wells Lee Weyers Mary Beth Whalen Lisa White Jeffrey Williams Melissa Winnie Mike Wipper Pamela Wronski Joan Yuen Nina Zealy Marilyn & Doug Zwissler If you identify any errors, please notify us at info@belcanto.org or (414) 481-8801.

The generosity of the foundations, corporate donors, and individual contributors listed above makes our music possible. If you are in a position to introduce us to a potential new corporate sponsor, please email Kai Simone at ksimone@belcanto.org. If you would like to make an individual, tax-deductible contribution to Bel Canto Chorus, please visit www.belcanto.org/donate.html. Every dollar makes a difference. We thank you warmly.

Voices of Glad Tidings

Christmas at the Basilica of St. Josaphat December 13 | 7:30 PM December 14 | 12:00 PM December 14 | 7:30 PM December 15 | 4:00 PM

Tickets: