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Joan of Arc’s spiritual journey gets the spotlight in a BSO season rich with offerings that raise universal questions that transcend the earthly boundaries of belief.


Your technique is impeccable. Your phrasing, sensational. Your talent, undeniable. But when noise-induced hearing loss damages your pitch


...that’s when the music stops.

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Submit your favorite sounds to The Baltimore Soundscape Project. Find out more at



8 Joan of Arc’s spiritual journey gets the spotlight in a BSO A HIGHER PLANE

season rich with offerings that raise universal questions that transcend the earthly boundaries of belief. BY MATT WARD

7 Behind the scenes with world-class aerialist ONE ON ONE

Alexander Streltsov, whose Cirque de la Symphonie will bring audiences to new heights of delight. INTERVIEW BY PAMELA TOUTANT

38 PROGRAM NOTES 11 NOV 10 & 13 Essentially American 15 NOV 12


Essentially American







News of note.

16 NOV 17-18

Joan of Arc at the Stake

22 NOV 25-27

Michael Feinstein Sings Sinatra

23 DEC 2

Handel’s Messiah

26 DEC 7, 9

Holiday Cirque de la Symphonie

Upcoming events you won’t want to miss!






BSO violinist Rebecca Nichols’ golden summer memories will help her sail through winter’s bleak months. IMPROMPTU

10 & 11

29 DEC 16 & 17 A Christmas Carol – In Concert



president • 410.783.8000

Baltimore Symphony Orchestra 2011-2012 Season Marin Alsop Music Director Kenneth W. DeFontes, Jr. Chairman Paul Meecham President and CEO Eileen Andrews Vice President of Marketing & Communications Claire Berlin PR & Publications Coordinator Janet E. Bedell Program Annotator

Alter Custom Media Sue De Pasquale Editor Cortney Geare Art Director Jamie Conway Designer Sarah Lewin, Pamela Toutant & Matt Ward Contributing Writers Michael Marlow Proofreader Kristen Cooper Director of Sales & Marketing

Dear Friends, In September, we kicked off the 2011-2012 season with a wonderful Season Preview and an exciting Gala concert! Having enthusiastic supporters means everything to us here at the BSO, and we are always thankful for your patronage and commitment to the Orchestra. We hope you will enjoy both our old and new holiday programming this year. The BSO continues our tradition of ushering in the Christmas season with Handel’s inspiring Messiah featuring the “Hallelujah Chorus” (Dec. 2).Then, Holiday Cirque de la Symphonie will take to the stage with amazing talent and acrobatic feats—sure to enhance your holiday cheer (Dec. 7, 9-11). And we are pleased to announce a new holiday show, A Christmas Carol – In Concert (Dec. 16-17). You may have noticed a few new things around the Meyerhoff recently. Over the summer we created an additional entertainment space on the grand level above the gift shop.The Second Space will be used for meetings, private gatherings, events and other entertainment purposes.We hope you will stop by and enjoy this area during future concerts. In addition, we’ve made needed improvements to the orchestra garage, including repair of the stairways. ’Tis the season for festive cheer and charity, and your donation to the BSO can make a difference in allowing us to continue music education for participants of our community outreach programs. Don’t forget that your donation of any amount to the BSO can be claimed as a charitable donation on your 2011 tax return. As always, we wish you and your family a happy and safe holiday season!

Karen R. Bark Jenifer Harrington Andrea Medved Jill Whitty Carri Wist Sales Consultants Jeni Mann Director of Custom Media Design and Advertising Sales Alter Custom Media 1040 Park Ave., Suite 200 Baltimore, MD 21201 443.451.0736

Paul Meecham President and CEO, Baltimore Symphony Orchestra

Be Green: Recycle Your Program! Please return your gently used program books to the Overture racks in the lobby. Want to keep reading at home? Please do! Just remember to recycle it when you’re through.

Baltimore Symphony Orchestra

Life is Better with Music

The BSO is committed to serving our community in relevant and meaningful ways, including high quality music education and life enrichment programs for more than 55,000 youths each year. Your support makes this important work possible, helping to secure the BSO as a key contributor to the culture and quality of life in Baltimore and throughout Maryland. For more information about supporting your world-class orchestra, please contact our membership office.

410.783.8124 | 4





Carol Bogash Joins the BSO in New Role In a practice room at the Symphony Hall, adult amateur violinists sit riveted as BSO Concertmaster Jonathan Carney patiently instructs in a master class given at the BSO Academy. Outside the Meyerhoff, busses are starting to line up and students begin to pour in for a Music for Youth concert. In a nearby elementary school, a classroom full of kindergarteners is knocking out rhythms in a “bucket band” rehearsal as part of the BSO’s OrchKids program. These programs represent just a few of the ways that the Baltimore Symphony Orchestra has transcended the traditional role of an orchestra in the community. BSO Music Director Marin Alsop is passionate about serving the community in meaningful ways and the BSO’s reach into the region continues to grow under her leadership. Prompted by the growing interest in and popularity of community engagement initiatives, the BSO is pleased to add a new senior-level position to its management team and welcome Carol Bogash as the

new Vice President of Education and Community Engagement. Ms. Bogash joined the staff in September 2011 and manages the BSO’s education and community engagement projects and enhances and develops the BSO artistic and education initiatives. These programs include the mid-week education concerts, family programs, the BSO Academy, Rusty Musicians and OrchKids. “Under the creative leadership of both Music Director Marin Alsop and President and CEO Paul Meecham, combined with the artistic excellence of the musicians of the orchestra, the BSO is poised to take an even greater role in enhancing the State of Maryland as a major cultural center,” said Bogash. “Building on the existing programs, and carefully adding innovative ones that support the mission, there is great opportunity for the BSO to engage and inspire more audiences of all ages, and to reach new communities.”

Ms. Bogash is enthusiastic about the addition of the new position at the BSO and has been working to enhance the community outreach of the BSO as well as becoming acquainted and involved with the education programs. In regard to her new position with the BSO, Ms. Bogash says, “I am delighted to be counted among the staff of the Baltimore Symphony Orchestra, one of the most capable and energetic teams of any place I have worked. One of my goals is to find ways to make our department’s processes more effective as we consider a strategic plan for education over the next several years.” Ms. Bogash is of one of the country’s most experienced and highly credentialed arts education administrators. She began her career as a music teacher in Baltimore City Public Schools, moving into arts, humanities and sciences education, most notably at Johns Hopkins University, the Smithsonian Institution and Washington Performing Arts Society.

College Nights Offer Unique Experiences for Students It’s not every day that students have the chance to attend a classical music concert, meet BSO musicians and enjoy free food and great prizes.The Baltimore Symphony Orchestra offers college students a unique and affordable way to experience a world-class orchestra on a student-sized budget. The BSO offers two great ways for college students to take advantage of the great culture and music that is available right in their own backyard. Students may purchase special $10 tickets for specific concerts throughout the year that include a post-concert party with free food, prizes, drink specials and the opportunity to mingle with BSO musicians. Students can also take advantage of the $10 student rush tickets, only available at noon on the day of select concerts. These tickets may be purchased at the window beginning at noon the day of the concert. Upcoming College Nights for the season are LIFE: A Journey Through Time on Friday, January 27 at 8 p.m. and Romeo & Juliet on Friday, April 13 at 8 p.m.. Visit for an updated list of eligible concerts or call the ticket office at 410.783.8000 for updates and details.

November 10, 2011 – December 17, 2011





Tchaikovsky’s First Piano Concerto

Bach’s Brandenburg

Thu, Jan 19, 2012, 8 p.m. Sun, Jan 22, 2012, 3 p.m.

Nicholas McGegan, conductor Andrew Balio, trumpet Soloists from the BSO

Sat, Feb 4, 2012, 8 p.m.


Pops Goes Gershwin Fri, Jan 6, 2012, 8 p.m. Sat, Jan 7, 2012, 8 p.m. Sun, Jan 8, 2012, 3 p.m. Jack Everly, conductor Stewart Goodyear, piano Judy McLane, vocals

“S’Wonderful” to contemplate the fascinating rhythms and rhapsodies that will fill the hall when piano man extraordinaire Stewart Goodyear performs Rhapsody in Blue. Broadway star Judy McLane also showcases the greatest hits from the George and Ira Gershwin Songbook, such as “They Can’t Take That Away From Me” and “Someone to Watch Over Me.”

Marin Alsop holds the reins for two orchestral tours de force—Ravel’s propulsive and unforgettable Boléro, and Richard Strauss’ epic symphonic tone poem, Also sprach Zarathustra, which gained mass popularity after its use in Stanley Kubrick’s 1968 movie, 2001:A Space Odyssey. Tchaikovsky’s masterful first piano concerto rounds out the program featuring the extraordinary talent of Olga Kern. OFF THE CUFF

LIFE: A Journey Through Time

Also Sprach Zarathustra!

For children ages 5 and up and their families

Sat, Jan 21, 2012, 7 p.m.

Sat, Feb 4, 2012, 11 a.m.

Marin Alsop, conductor

You know this music. Music that stops you in your tracks and tells you something momentous is under way.This Off the Cuff program explores Richard Strauss’ Also sprach Zarathustra, widely recognized by modern-day audiences thanks to Stanley Kubrick’s 1968 movie, 2001: A Space Odyssey. But, as Marin Alsop will divulge, there’s more than meets the ear.

LIFE: A Journey Through Time

Itzhak Perlman

Fri, Jan 27, 2012, 8 p.m. Sun, Jan 29, 2012, 3 p.m.

Thu, Jan 12, 2012, 8 p.m. Sun, Jan 15, 2012, 3 p.m.

Marin Alsop, conductor

Itzhak Perlman, conductor and violin

Back by popular demand, the legendary violinist and conductor Itzhak Perlman returns to lead an evening of audience favorites. Opening with two of Vivaldi’s famous Four Seasons, Maestro Perlman then explores Mozart’s 25th Symphony, familiar to modern ears as the opening music to the film Amadeus, and concludes this classic program with the warmth and humanity of Brahms’ final symphonic masterpiece, his Fourth Symphony.



Baroque and early classical music specialist Nicholas McGegan was all fun and exuberance at his 2010 BSO debut. He returns with another sparkling program, showcasing the unique talents of several BSO musicians, and culminating in the first of Mozart’s last three symphonies, all written in one incredible, nine-week burst of creativity.The perfect antidote to the mid-winter blues! FAMILY CONCERT

A multimedia extravaganza for the senses, LIFE: A Journey Through Time features breathtaking photographs from National Geographic photographer Frans Lanting. His six-year journey to discover new insights about life on Earth is musically choreographed with elegant composition from Baltimore native Philip Glass.This whimsically lyrical interpretation of Earth’s diversity is paired with another highly imaginative celebration of nature, Beethoven’s “Pastoral” Symphony.




Marin Alsop, conductor Olga Kern, piano

A multimedia extravaganza for the senses, LIFE: A Journey Through Time features breathtaking photographs from National Geographic photographer Frans Lanting. With photos so lifelike you can almost feel the dewdrops and the sandstorms, your family will experience his journey to discover new insights about life on Earth, musically choreographed with an elegant composition from Baltimore native Philip Glass. As a special gift, all patrons will receive a free field guide from the Arbor Day Foundation.


on ONE

Aerial Views For the aerial act, I try to rig it so that I can fly out over the first rows of the audience. My father also taught me that I can rig anywhere.Whenever I enter a new place, my mind immediately starts brainstorming about how to rig it. Although music halls are not usually made for aerial activity, my Russian ingenuity always kicks in. Q. What takes place in the wings

during the show to create the magic on stage?

Alexander Streltsov, world-class aerialist and co-director of Cirque de la Symphonie, is in the business of making magic. Originally trained in the Russian circus by his aerialist father, Streltsov eventually traded the arena for the stage and performs throughout the world with ballets, operas and symphonies. In concert with the Baltimore Symphony Orchestra this holiday season, conducted by a guest conductor, Streltsov and his troupe will spin, swoop and soar overhead in an artful melding of sight and sound. How does he make the magic? Overture goes behind the scenes with Streltsov to explore the mechanics behind the tricks: the setup, the special rigging and the production of the show. Interview by Pamela Toutant

Q. How do you prepare the stage

for your performance?

While it takes about four hours to set up the equipment for our performance, the planning actually takes place weeks before. We have a technical file with different options for rigging. I look at pictures of the venue, and in collaboration with each venue’s stage technicians try to figure out what will work before we even arrive. Because we’ve performed before at the Meyerhoff with the BSO, we are already familiar with the stage. The most important piece of equipment to set up and stabilize is the truss, the center beam that runs horizontally across the ceiling of the stage.The center of the truss is where we attach and exchange

props during the performance such as hoops, silks and ropes. For dramatic effect and range of movement, the higher the truss the better, which is often set as high as 30 feet above the stage. Q. What is your role in rigging

the stage for the tricks?

When I was growing up in Russia, my father taught me that as an aerialist I should always do my own rigging. It is a matter of being responsible for my own life. As the aerialist, not only do I oversee and plan the rigging, I do the rigging for everyone in the troupe. I work directly with the venue’s stagehands, which is often a new experience for them.

Most companies use electronic motors to raise and lower props.We always use manual pulls because it is quieter and allows for more flexibility.We have four to five stagehands in the wings manually releasing and withdrawing the silks, hoops and ropes.We try to be inconspicuous by presetting the props as much as possible. Q. What are the challenges of coordinating the troupe’s performance with that of the orchestra?

The primary attraction for the audience is the orchestra and the symphonic music. We are there to enhance the visual effect and work in close collaboration with the conductor, including making adjustments to the tempo of the music or our performance. The troupe feeds off of the beauty and excitement that the orchestral music brings, and the orchestra feeds off of the visual thrills. During the performance, I can feel the powerful music blowing through me and it charges me up. We get one practice with the orchestra, in part for the musicians to get used to us flying around. Q. How would you describe the

effect of bringing the production mechanics and artistry together?

We perform many dangerous, amazing tricks, all done without nets.The strong men, painted in gold, usually bring the house down because they do stunts that don’t seem physically possible. During the performance, jaws drop and people are riveted.You may pay for a full seat but you will need only the edge of it.

November 10, 2011 – December 17, 2011




By Matt Ward

Jeanne … Jeanne ... Jeanne … Heretic!

With this accusation, uttered by Friar Dominique, Arthur Honegger’s Jeanne d’Arc au Bûcher bursts into action. The brooding, intense oratorio—with its large orchestra, full chorus, children’s chorus and vocal soloists—is at its heart an exploration of spirituality.

Tried and convicted of heresy, Joan of Arc may be cruelly anchored to the stake in Honegger’s work, but her imagination ranges freely as she relives the highlights of her life and her faith—a faith that held she was sent directly by God to save 15th-century France from English occupation. “It’s an incredible work. It defies categorization,” says BSO Vice President of Artistic Operations Matthew Spivey.The BSO will perform the ambitious work at the Meyerhoff on November 17-18, and then on November 19 at Carnegie Hall. With 2012 marking the 600th anniversary of Joan of Arc’s birth, the iconic heroine again takes center stage later in the concert season when the BSO presents Richard Einhorn’s Voices of Light (March 2-4), which will be performed in tandem with a screening of Carl Dreyer’s silent film, The Passion of Joan of Arc. The theme of spirituality runs through a variety of the BSO’s offerings this season, from the Joan of Arc works in November and March to Mahler’s Second Symphony (“Resurrection”), which opened the BSO’s season in September, to Handel’s Messiah in December. Music Director Marin Alsop says the symphonic orchestra is an ideal vehicle for artistic expressions of the spiritual.“The wonderful thing about classical music is that it’s not proscriptive.You don’t have to listen with any particular perspective or belief system in place.” At its essence, spiritual experience is universal.“In my estimation,” says Alsop,“spirituality should be about connecting RICHARD EINHORN


Joan of Arc’s spiritual journey gets the spotlight in a BSO season rich with offerings that raise universal questions that transcend the earthly boundaries of belief.


The BSO’s performance of Jeanne d’arc du Bûcher will feature performers from (l to r): Concert Artists of Baltimore, Peabody Children’s Chorus and the Morgan State University Choir.


emotionally.” For example, when concert-goers listen to the choir break forth in the final climactic final movement of Mahler’s “Resurrection” symphony (“Rise again, rise again, Will you My dust, after a brief rest!”), that spiritual connection is hard to deny. Mahler, at the apex of his Second Symphony, is asking what happens when we die, whether there will be an afterlife.“I think those are questions everyone asks,”Alsop says. When the BSO performs Honegger’s Jeanne d’Arc au Bûcher in November, audience members might be surprised to see actors on stage.The piece includes several spoken parts, with most of the spoken lines going to Joan herself.“You really get a sense of who she was,”Alsop says, pointing out that Honegger tempered the heavy subject matter of his work with moments of humor (such as the Ass’s Chorus, with its trademark hee-haws), which are sprinkled throughout the piece. By the end of this transcendent work, the voices that Joan hears no longer accuse her of heresy—but instead call her the “Daughter of God.” On December 2, the BSO’s traditional performance of Handel’s Messiah reminds us that so much of Western music started in the church. Like that most famous of church organists J.S. Bach, Handel wrote music to celebrate Christian ideals. The BSO keeps to Handel’s original vision in December, staging a standard-sized chorus, which Alsop describes as a “pure approach to the Messiah that is not overburdened with a huge chorus.” The momentous oratorio, which has become one of the best-known choral works in Western music, is an extended reflection of Jesus Christ as Messiah—from the first prophetic words of Isaiah, through the Incarnation, Passion and Resurrection. Fittingly enough, Handel, who wrote the revered work in just 24 days, signed his manuscript with the letters SDG (for Soli Deo Gloria, or “To God alone be the glory”).

The BSO’s exploration of spirituality takes a much different tone in March with Richard Einhorn’s Voices of Light.The composer was inspired to write the 70-minute oratorio after happening upon Carl Dreyer’s 1928 silent film, The Passion of Joan of Arc, in the film archives of New York’s Museum of Modern Art.“I walked out of the screening room shattered, having unexpectedly seen one of the most extraordinary works of art that I know,” Einhorn recalls. His resulting musical work, which debuted in 1994, mixes modern minimalism with tones of religious chant that harken back to the Renaissance— a fitting nod to Western music’s spiritual origins. In ages past, notes Alsop,“everyone’s life revolved around the church.That’s where music really gets its life, its start.” Unlike the Honegger work, Voices of Light does not take breaks for comic relief. Rather, it remains in the present,

In ages past, notes Alsop, “everyone’s

life revolved around the

church. That’s where music really

gets its life, its start.”

dealing fully with Joan’s trial. It will be performed along with a screening of the silent film that so inspired Einhorn—a film full of tense close-ups and odd camera angles.“It’s sort of a cross between early film noir and Fellini,”Alsop says. Early in the film, Joan is on trial after refusing to recite the Lord’s Prayer, and a judge asks her,“You claim to be sent by God?” She replies,“To save France. It’s why I was born.” Whether you are with her or against her, the intensity of Joan’s belief is what makes her story continue to resonate across the centuries, and it raises a powerful question:What can one person, armed with a passionate belief, achieve? There are other big questions at play in this BSO’s concert season this year. Handel’s “Hallelujah Chorus” and the final movement of Mahler’s “Resurrection” strive to put us face to face with our very existence.We may ask ourselves in those musical moments, what does it all mean? For Alsop, that’s what spirituality in music is all about. “I think art always aspires to connect us to a higher level of humanity,” she says.

Above left: Joan of Arc is depicted praying in the 1928 silent film, The Passion of Joan of Arc, which will be shown in tandem with Richard Einhorn’s Voices of Light (left).

November 10, 2011 – December 17, 2011



2011-2012 Season

Marin Alsop Music Director, Harvey M. and Lyn P. Meyerhoff Chair / Jack Everly Principal Pops Conductor Yuri Temirkanov Music Director Emeritus / Lee Mills BSO-Peabody Conducting Fellow

First Violins Jonathan Carney Concertmaster, Ruth Blaustein Rosenberg Chair Madeline Adkins Associate Concertmaster, Wilhelmina Hahn Waidner Chair Igor Yuzefovich Assistant Concertmaster Yasuoki Tanaka James Boehm Kenneth Goldstein Wonju Kim Gregory Kuperstein Mari Matsumoto John Merrill Gregory Mulligan Rebecca Nichols Ellen Orner E. Craig Richmond Ellen Pendleton Troyer Andrew Wasyluszko

Second Violins Qing Li Principal, E. Kirkbride and Ann H. Miller Chair Ivan Stefanovic Assistant Principal Leonid Berkovich Leonid Briskin Julie Parcells

Christina Scroggins Wayne C. Taylor James Umber Charles Underwood Melissa Zaraya Rui Du**

Violas Richard Field Principal, Peggy Meyerhoff Pearlstone Chair Noah Chaves Associate Principal Karin Brown Acting Assistant Principal Peter Minkler Sharon Pineo Myer Delmar Stewart Jeffrey Stewart Mary Woehr



Steven Barta Principal, Anne Adalman Goodwin Chair Christopher Wolfe Assistant Principal William Jenken Edward Palanker

Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair Rene Hernandez Assistant Principal Ryan Darke**

Sidney M. and Miriam Friedberg Chair Jonathan Jensen Mary Woehr

Bass Clarinet

Christopher Dudley Principal, Alex. Brown & Sons Chair James Olin Co-Principal John Vance


Edward Palanker

E-flat Clarinet Christopher Wolfe





Laurie Sokoloff

David P. Coombs

David T. Fedderly Principal



Dariusz Skoraczewski Principal Chang Woo Lee Associate Principal Bo Li Acting Assistant Principal Susan Evans Seth Low Esther Mellon Kristin Ostling* Paula SkolnickChildress Pei Lu**


Katherine Needleman Principal, Robert H. and Ryda H. Levi Chair Michael Lisicky


Philip Munds Principal, USF&G Foundation Chair Gabrielle Finck Associate Principal Beth Graham* Assistant Principal Mary C. Bisson Bruce Moore

Dennis Kain Principal Christopher Williams Assistant Principal


Music Director

Hailed as one of the world’s leading conductors for her artistic vision and commitment to accessibility in classical music, Marin Alsop made history with her appointment as the 12th Music Director of the Baltimore Symphony Orchestra. With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra. She also holds the title of conductor emeritus at the Bournemouth Symphony in the United Kingdom, where she served as



Robert Barney Principal, Willard and Lillian Hackerman Chair Hampton Childress Associate Principal Owen Cummings Arnold Gregorian Mark Huang Jonathan Jensen David Sheets* Eric Stahl

Emily Skala Principal, Dr. Clyde Alvin Clapp Chair Marcia Kämper

Marin Alsop,



English Horn Jane Marvine Kenneth S. Battye and Legg Mason Chair

Julie Green Gregorian Acting Principal Fei Xie

the principal conductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California. In 2005, Ms. Alsop was named a MacArthur Fellow, the first conductor ever to receive this prestigious award. In 2007, she was honored with a European Women of Achievement Award, in 2008 she was inducted as a fellow into the American Academy of Arts and Sciences, and in 2009 Musical America named her “Conductor of the Year.” In November 2010, she was inducted into the Classical Music Hall of Fame. In February 2011, Ms. Alsop was named the Music Director of the Orquestra Sinfônica do Estado de São Paulo (OSESP), or the São Paulo State Symphony Orchestra, effective in the 2012-13 season. Ms. Alsop was named to The Guardian’s Top 100

Bass Trombone Randall S. Campora


Percussion Christopher Williams Principal, Lucille Schwilck Chair John Locke Brian Prechtl

Director of Orchestra Personnel Marilyn Rife

Assistant Personnel Manager Christopher Monte

Librarians Mary Carroll Plaine Principal, Constance A. and Ramon F. Getzov Chair Raymond Kreuger Associate

Stage Personnel Ennis Seibert Stage Manager Frank Serruto Stagehand Todd Price Electrician Larry Smith Sound *on leave **guest musician The musicians who perform for the Baltimore Symphony Orchestra do so under the terms of an agreement between the BSO and Local 40-543, AFM.

Women list in March 2011. Last spring, she was named an Artist-in-Residence at the Southbank Centre in London. A regular guest conductor with the New York Philharmonic, The Philadelphia Orchestra, London Symphony Orchestra and Los Angeles Philharmonic, Ms. Alsop appears frequently as a guest conductor with the most distinguished orchestras around the world. In addition to her performance activities, she is also an active recording artist with award-winning cycles of Brahms, Barber and Dvorˇák. Ms. Alsop attended Yale University and received her master’s degree from The Juilliard School. In 1989, her conducting career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein.



Marin Alsop For Marin Alsop’s bio, please see p. 10.

Thursday, November 10, 2011 8 p.m. Sunday, November 13, 2011 3 p.m.


Essentially American Marin Alsop Conductor William Sharp Baritone

Aaron Copland

Suite from Appalachian Spring

Aaron Copland

Old American Songs Simple Gifts The Dodger The Little Horses At the River I Bought Me a Cat Long Time Ago Ching a Ring Chaw WILLIAM SHARP


Edward Collins George Gershwin Revised by F. Campbell-Watson

Tragic Overture An American in Paris

The concert will end at approximately 9:45 p.m. on Thursday and 4:45 p.m. on Sunday.

Supporting Sponsor:

This program is dedicated to the memory of Charles A. Wunder in appreciation of his generous legacy gift to the BSO. The BSO wishes to acknowledge a grant from the Edward Collins Fund for American Music in support of Marin Alsop’s advocacy of 20th Century American Music, as well as her musical leadership of the orchestral works for the complete recorded anthology of American composer Edward Joseph Collins (1886-1951) to be released in 2011, the 125th anniversary of the composer’s birth year, on ten CDs (Albany Records).




William Sharp Baritone William Sharp is a consummate artist possessing the rare combination of vocal beauty, sensitivity and charisma. Praised by The New York Times as a “sensitive and subtle singer” who is able to evoke “the special character of every song that he sings,” Mr. Sharp has earned a reputation as a singer of great versatility and continues to garner critical acclaim for his work in concerts, recitals, operas and recordings. In the 2010-2011 season, he created the role of Cosimo in the world premiere of John Musto’s The Inspector with Wolf Trap Opera. In the previous season Mr. Sharp returned to the New York Festival of Song in “Where We Came From.” Recent highlights include “A Bernstein & Bolcom Celebration,” Bach Cantata 21, Mass in B Minor and Paulus’ A Dream of Time in a return to the Bethlehem Bach Festival; and an appearance with the Boston Early Music Festival in the modern world premiere of Graupner’s Antiochus und Stratonica. In Germany, with Deutsches Symphonie Orchester Berlin, he performed Scott Wheeler’s The Palace at Four A.M. Mr. Sharp was nominated for a 1989 Grammy Award for Best Classical Vocal Performance for his recording of the works of American composers such as Virgil Thomson and Lee Hoiby on the New World Records label. He can also be heard on the 1990 Grammy Award-winning, world-premiere recording of Leonard Bernstein’s Arias and Barcarolles on the Koch International label. Mr. Sharp is the winner of the 1987 Carnegie Hall International American Music Competition. William Sharp last appeared with the BSO on October 23, 1992 with Music Director David Zinman in George Crumb’s Songs, Drones and Refrains of Death.

Notes on the Program Appalachian Spring

Aaron Copland Born in Brooklyn, New York, November 14, 1900; died in North Tarrytown, New York, December 2, 1990

“I have been amused that people so often

November 10, 2011 – December 17, 2011




have come up to me to say,‘When I listen to that ballet of yours, I can just feel spring and see the Appalachians.’ But when I wrote the music, I had no idea what Martha was going to call it!” So wrote Aaron Copland of the beautiful ballet score he composed for Martha Graham, the high priestess of American modern dance. She named it Appalachian Spring after a line in Hart Crane’s poem The Bridge, from which she also drew the ballet’s scenario; he called it simply “Ballet for Martha.” The two great American artists, born in the same year, had been brought together through the philanthropic generosity of Elizabeth Sprague Coolidge, a visionary American patroness who commissioned many important works from the leading creative figures of the first half of the 20th century.Their joint creation was introduced to the world on October 30, 1944 at the Library of Congress in Washington, D.C. and immediately became an American classic. The following year, it was honored with the Pulitzer Prize for Music. In a time when American values were being challenged by totalitarian enemies, Graham fashioned an affirming scenario that drew on the pioneer spirit that built the country.As described in the score, the ballet concerns “a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the last century.The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. … A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate.At the end the couple are left quiet and strong in their new house.” Because the Library of Congress’s theatre was small, Copland originally had to restrict his orchestra to only 13 instruments, but we will hear the arrangement for large orchestra he made in 1945. Spareness and simplicity are at the heart of this eloquent music and its ability to conjure both the wide-open spaces of the American frontier and the down-to-earth values of the first settlers. Plain harmonies and open intervals of the fourth, fifth, and octave dominate the musical fabric, with complexity saved for the country-fiddling rhythms that propel several dance episodes. The score’s focal point is the song “Simple Gifts,” which Copland found in an anthology of Shaker dance tunes, a utopian sect that 12


flourished briefly in early 19th-century America. Introduced by the clarinet, it is treated to several variations, then sung very grandly by the full ensemble. The BSO most recently performed Copland’s Appalachian Spring Suite on January 31 – February 3, 2008 with Music Director Marin Alsop. Old American Songs

Aaron Copland When one first hears such works as Appalachian Spring or Rodeo, one has the feeling that Aaron Copland must have been born on a farm somewhere in the American heartlands. In fact, he was raised in the urban confines of Brooklyn, New York by RussianJewish immigrant parents just as was George Gershwin (who was born there two years before Copland), and he never lived in the Midwestern or Western states in his life.Yet by the 1930s, many of his most popular pieces were capturing the feeling of plainspoken rural America just as vividly as Gershwin’s were expressing the hustling world of the urban East Coast. Of course, this wasn’t the only flavor Copland’s music came in. He could be as dissonant as any 20th-century composer, and his music could also be sophisticated and complex. In fact, it was while he was in the midst of writing the very serious and subtle song cycle Twelve Poems of Emily Dickinson in 1950 that, feeling the need for some relaxation, he turned to some traditional American songs—old minstrel songs and folk ballads of the 19th century—and decided to arrange five of them for voice and piano. So attractive did these songs turn out to be, in 1952 he added a second set of five songs. The wonderful African-American baritone William Warfield gave the American premieres of both sets with the composer at the piano and became indelibly associated with them. Surprisingly, however, it was two Englishmen, Peter Pears and the composer Benjamin Britten, who gave the world premiere of the first set at England’s Aldeburgh Festival! By 1955, Copland had also produced arrangements for singer with small orchestra, being careful not to swamp the songs’ fresh, naive qualities with too much orchestral lushness. William Sharp will sing seven of these songs, selected from both sets.We’ve already heard the first of them in Appalachian Spring: “Simple Gifts,” a genuine song of the Shaker sect, which flourished in America in

the early 19th century. Copland found it in Edward D.Andrews’ book of Shaker rituals and songs, The Gift to Be Simple. “The Dodger” is a sassy, cynical song that originated in the 1884 Presidential campaign in which Grover Cleveland defeated James G. Blaine; it was originally published in John and Alan Lomax’s celebrated collection Our Singing Country. Much sweeter is the Southern children’s lullaby “All the Pretty Little Horses,” which was found in another Lomax folksong book. One of the grandest and most beloved of American spiritual songs is “At the River,” whose words and music were written by the Rev. Robert Lowry in 1865.The delightful “I Bought Me a Cat” is a children’s song that the American playwright Lynn Riggs, author of the play upon which the musical Oklahoma! was based, learned as a child in Oklahoma and sang to Copland many years later; Copland plays up its barnyard sounds in his orchestra. First published in 1837, “Long Time Ago” is a nostalgic minstrel-show melody by Charles Edward Horn. Finally, we hear a much livelier minstrel-show song, the vivacious and irresistible “Ching-aRing Chaw.” The BSO most recently performed Copland’s Old American Songs on July 3 and 4, 2000, at Oregon Ridge Park with conductor Andrew Constantine and bass-baritone Robert Cantrell, and on April 28-30, 2000, with conductor Alan Gilbert and baritone Jubilant Sykes. Tragic Overture

Edward J. Collins Born in Joliet, Illinois, November 10, 1886; died in Illinois, December 7, 1951

On this concert, Marin Alsop introduces us to a powerful work by an American composer who has been almost forgotten today: Chicago’s Edward Joseph Collins. His music is lushly late Romantic in style and somewhat influenced by his ties to Germany, where he traveled in 1906, age 19, to study piano and composition at Berlin’s prestigious Hochschule für Musik under such renowned masters as Max Bruch and Engelbert Humperdinck (composer of Hansel und Gretel). Returning to America in 1912, he began to make his name as a pianist and as assistant conductor with New York’s Century Opera Company. Collins was also engaged by Wagner’s Bayreuth Festival as an assistant conductor, but his time there was cut short by the start of World War I in 1914. Returning to the U.S., he eventually took up arms against the


country he’d briefly adopted, rose from private to lieutenant, served as an interpreter, entertained the troops as a pianist, and received a citation for bravery. His post-war career was spent in Chicago, where he became a prominent teacher and composer, whose music was strongly promoted by Frederick Stock, the music director of the Chicago Symphony. In 1922, Collins began working on a work for large orchestra he originally entitled “1914”: a hybrid of overture and tone poem in the key of C minor that, instead of being jingoistic, seems to reflect the complex feelings he must have had about a war in which two countries he loved were opponents. In 1926 after much retooling and being given the more generic name of Tragic Overture, it won Chicago’s North Shore Festival competition and was premiered in New York City under Maestro Stock’s direction. In a note written for a later performance by the Chicago Symphony, Collins explained: “No definite program should be attached to the thematic material; however, in one or two cases, it will be impossible to avoid this as the meaning is perfectly obvious. For instance, the battle scene with the pastoral interruption, which forms the development section, and the coda, which is a funeral march with a fragment of ‘taps’ in the distance, are two places where only one impression can be conveyed.” The violent opening, with trumpets blasting a savage theme over drums and the blow of a tamtam, immediately suggests a world at war.After this first section of struggle and turmoil, the strings introduce a warm contrasting theme of lyrical peace tinged with melancholy.A lively fugal section launches the development section, which alternates the war and peace thematic materials.The closing coda marks the end of the battle with a darkly majestic funeral march and the sound of taps faintly in the distance.


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Collins’s Tragic Overture – BSO premiere. An American in Paris

George Gershwin Born in Brooklyn, New York, September 26, 1898; died in Beverly Hills, California, July 11, 1937

Like Mozart, George Gershwin was a natural. His Russian-Jewish immigrant family didn’t acquire a piano until he was 12 years old, yet within a short time he was playing the songs he heard around him with intuitive harmonizations and the beginnings of the rhythmic

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flair that would become a trademark.At 15, he quit school to become a “song plugger” for the publishing firm Remick’s on West 28th Street, immortalized as “Tin Pan Alley.” While pounding out other people’s songs, he began writing his own and was soon contributing melodies for Broadway musicals. By his mid-20s, he was one of the leading composers on Broadway and already a wealthy and celebrated young man.

Paris first entranced Gershwin when he visited the French capital as a wide-eyed young tourist in 1923. Returning in 1926 with both the Rhapsody in Blue and the Concerto in F under his belt, he apparently was already casting his experiences into music.As a thank-you to his Parisian hosts, he inscribed a photograph with both a theme from the Rhapsody and the opening theme of what he already called An American in

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Paris. But busy with Broadway assignments, Gershwin didn’t take up the composition for another two years. By early 1928, conductor Walter Damrosch was pressuring him for a new concert work for the New York Philharmonic’s next season, and he began writing what he first called an “orchestral ballet,” then a “tone poem” about his Parisian impressions. He decided another research trip was needed and in March installed himself and a piano at Paris’ Hôtel Majestic. Here, despite a whirl of professional and social activities, he managed to compose most of An American in Paris’s marvelously atmospheric central blues section.Wanting to capture the characteristic sounds of Paris’ bustling streets, he went to an auto parts store to purchase four authentic Parisian taxi horns, whose off-key honks animate the score’s opening moments. An American in Paris received an enthusiastic reception at its premiere by the New York Philharmonic under Damrosch’s baton at Carnegie Hall on December 13, 1928. Deems Taylor contributed a colorful program note giving a detailed scenario for the work. But this was not Gershwin’s intention.“My purpose here is to portray the impressions of an American visitor in Paris as he strolls around the city, listens to the various street noises, and absorbs the French atmosphere,” he wrote.“The rhapsody is programmatic only in a general, impressionistic way, so that the listener can read into the music such episodes as his imagination pictures for him.” Gershwin’s own commentary provides the best guide: “The opening gay section is followed by a rich ‘blues’ with a strong rhythmic undercurrent. Our American friend, perhaps after strolling into a café and having a few drinks, has suddenly succumbed to a spasm of homesickness … “This ‘blues’ rises to a climax followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris.Apparently the homesick American, having left the café and reached the open air, has downed his spell of blues and once again is an alert spectator of Parisian life. “At the conclusion, the street noises and French atmosphere are triumphant.” The BSO most recently performed Gershwin’s An American in Paris on July 22, 2010, with Music Director Marin Alsop. Notes by Janet E. Bedell, copyright 2011

Saturday, November 12, 2011 7 p.m. JOSEPH MEYERHOFF SYMPHONY HALL



Essentially American Series Presenting Sponsor:

Marin Alsop Conductor William Sharp Baritone

Aaron Copland

Suite from Appalachian Spring

Aaron Copland

Old American Songs Selections from the following songs: Simple Gifts The Dodger The Little Horses At the River I Bought Me a Cat Long Time Ago Ching a Ring Chaw WILLIAM SHARP

The concert will end at approximately 8:15 p.m. on Saturday.

Marin Alsop For Marin Alsopâ&#x20AC;&#x2122;s bio, please see p. 10.

William Sharp For William Sharpâ&#x20AC;&#x2122;s bio, please see p. 11.

Notes on the Program Appalachian Spring

Aaron Copland For notes on this program please see p. 11.


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Aaron Copland For notes on this program please see p. 12.

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notes Marin Alsop For Marin Alsop’s bio, please see p. 10.

Thursday, November 17, 2011 8 p.m. Friday, November 18, 2011 8 p.m.

James Robinson Stage director James Robinson is regarded as one of America’s most inventive and sought-after directors and is considered the most widely performed director of opera in North America. In 2000, Mr. Robinson was named Artistic Director of Opera Colorado in Denver and oversaw its successful move into its new home, the Ellie Caulkins Opera House, in 2005.The company continues to gain wide recognition for its adventurous programming and artistic excellence. Since then he has taken up the post of Artistic Director of Opera Theatre of St. Louis. His first production there was a landmark version of John Corigliano’s The Ghosts of Versailles (a co-production with the Wexford Festival in Ireland). Past productions include Die Entführung aus dem Serail and La Bohème for the Houston Grand Opera, Káta Kabanová and Eugene Onegin for Opera Ireland, Handel’s Rinaldo for Opera Australia and a widely seen production of Nixon in China for Opera Colorado. Mr. Robinson has also directed numerous new productions for the New York City Opera.



Joan of Arc at the Stake Marin Alsop Conductor James Robinson Stage Director Caroline Dhavernas Actress (Joan of Arc) Ronald Guttman Actor (Brother Dominic) Tamara Wilson Soprano Hae Ji Chang Soprano Kelley O’Connor Mezzo-soprano Timothy Fallon Tenor Morris Robinson Bass Cynthia Millar Ondes Martenot Morgan State University Choir, Dr. Eric Conway Director Peabody-Hopkins Chorus, Edward Polochick Director Peabody Children’s Chorus, Doreen Falby Director Concert Artists of Baltimore, Edward Polochick Artistic Director

Jeanne d’Arc au Bûcher [Joan of Arc at the Stake]

By arrangement with Boosey & Hawkes, Inc. Sole Agent in the U.S., Canada and Mexico for Editions Salabert, a Universal Music Publishing Group company, publisher and copyright owner.

There will be no intermission at this performance. The concert will end at approximately 9:35 p.m.

Support for this program is generously provided by

Support of the appearance of guest artists is provided by the Willard and Lillian Heckerman Guest Artists Fund.



Caroline Dhavernas COURTESY OF THE BSO

Arthur Honegger

Actress Caroline Dhavernas is the recipient of two Genie Award nominations. Last year she starred in ABC’s television series, Off the Map, a medical drama. In Fall 2010, she appeared in the Universal Pictures supernatural thriller, Devil. Recently, Ms. Dhavernas appeared in Mandate Pictures’ romantic comedy film, The Switch with Jennifer Aniston and Jason Bateman. She also starred as Vera Keller in The Pacific, an epic 10-part miniseries event that debuted on HBO in March 2010.The program received eight Emmy Awards this year, including Outstanding Miniseries. In 2008, she starred in the widely acclaimed Canadian feature Passchendaele, which won the 2009 Genie Award for Best


Orchestra of Europe in Lisbon, as well as Mozart’s Requiem with Edo de Waart and the Milwaukee Symphony and Mendelssohn’s Symphony No. 2 (“Lobgesang”) with the Grant Park Symphony Orchestra.

Motion Picture. In 2007, she appeared in the film, Breach, with Chris Cooper and Ryan Phillippe. In 2006, she starred as Kit Holliday in the Focus Feature film, Hollywoodland, opposite Adrien Brody. Ms. Dhavernas made her American television debut in 2004 in the critically acclaimed FOX series, Wonderfalls.

Hae Ji Chang Soprano Hae Ji Chang is an artist diploma student at the New England Conservatory. She earned her master’s degree at Manhattan School of Music, where she has performed the roles of Lauretta in Gianni Schicchi, Lydie in Pénélope, and the title role in scenes from Maria Stuarda. Ms. Chang received her Bachelor of Music degree and Master of Music degree from Seoul National University where she performed Donna Anna in Don Giovanni. She recently performed Pamina in The Magic Flute at New England Conservatory. Ms. Chang also sang Susanna in Le nozze di Figaro at Aspen Music Festival where she performed Pamina in The Magic Flute and Zerlina in Don Giovanni in a scenes program. Ms. Chang has won numerous awards and honors, including a Schuyler Foundation for Career Bridges Grant Award; first prize in Dong-A Music Competition; first prize in E-Hwa Kyung-Hyang Music Competition; second prize in Shin,Young-Ok Music Competition; and second prize in Schubert Lieder Competition. She was also awarded a President’s Award from Manhattan School of Music. Ms. Chang sang Giannetta from L’elisir d’Amore at New York City Opera last March and Mélisande from Pelléas et Mélisande at Opera Theatre of Saint Louis in June.

Ronald Guttman Ronald Guttman has served as the narrator for Leonard Bernstein’s Kaddish with Karita Mattila at Salle Pleyel in Paris, for Arthur Honegger’s Le roi David in Brussels, and at the Music Festival of the Hamptons for the past six years. His theater credits include work at Second Stage, Classical Stage,The Mint, Long Wharf, National Theatre of Belgium, and Théâtre Antoine in Paris, among others. Mr. Guttman has appeared in many American films and TV series, most recently as the conductor Carlo Treviso in the HBO miniseries Mildred Pierce with Kate Winslet. Upcoming movies include 13 with Mickey Rourke and Michael Shannon and Imogene with Kristen Wiig and Annette Bening. For a more complete list of credits, visit

This season, Ms.Wilson sings the title role in Aida at Teatro Municipal de Santiago in Chile. “A bona fide Verdi soprano,” she will also sing Elisabeth de Valois in the five-act French version of Don Carlos at Houston Grand Opera and debut at Théâtre du Capitole in Toulouse as Leonora in a new production of Il trovatore. She was a featured soloist at the 2010 NEA Opera Honors and had the honor of being Washington National Opera’s 2011 Singer of the Year. On the concert stage, Ms.Wilson will make her Carnegie Hall debut this season with the BSO in Honegger’s Jeanne d’Arc au bûcher, singing the role of the Virgin Mary. Recently, she has been soprano soloist for performances of Beethoven’s Missa solemnis with John Nelson and the Chamber


Tamara Wilson

Kelley O’Connor The Grammy Award-winning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. During the 2011-12 season her impressive calendar includes the world premiere of a new oratorio by John Adams, The Gospel According to the Other Mary,


commissioned and performed by the Los Angeles Philharmonic under Gustavo Dudamel. Ms. O’Connor also sings Ursule in Berlioz’s Béatrice et Bénédict with Opera Boston, and Federico García Lorca in a Peter Sellars staging of Golijov’s Ainadamar at Teatro Real in Madrid. In June 2011 the Atlanta Symphony Orchestra released a recording of Peter Lieberson’s Neruda Songs, featuring Ms. O’Connor. Neruda Songs has highlighted her prominence as one of the world’s leading concert artists in two significant European debuts: performances with David Zinman and the Berliner Philharmoniker as well as with the Tonhalle-Orchester Zürich. Additionally, the work served her Carnegie Hall debut in a performance with the Chicago Symphony Orchestra conducted by Bernard Haitink.

Timothy Fallon Timothy Fallon is a native of Binghamton, N.Y., and holds a bachelor’s degree from Westminster Choir College, Princeton (New Jersey), and an artist diploma from the Juilliard Opera Center,The Juilliard School of Music, New York. Since 2007 he has been engaged at The Leipzig Opera (Germany), where he has sung roles such as Belmonte in Mozart’s Die Entführung aus dem Serail, Scaramuccio in Ariadne auf Naxos by Strauss, and Almaviva in Rossini’s Barber of Seville. In 2009, he made his debut in the leading tenor role in Rossini’s Turco in Italia in Leipzig. He is among the foremost lyric Bel canto tenors of the young generation. Other performances include the roles of Belfiore in Mozart’s La Finta Giardiniera with the Juilliard Opera Center,Tonio in Donizetti’s La Fille du Régiment, Alfredo in Verdi’s La Traviata with The Tri-cities Opera (New York), Ernesto in Donizetti’s Don Pasquale with the Newton Symphony Orchestra, and concert appearances at Carnegie’s Zankel Hall and Avery Fisher Hall. In July 2011 he was heard in Honegger’s Jeanne d’Arc au Bûcher at the Oregon Bach Festival. For I VIRTUOSI AMBULANTI he participated in the German premiere of Donizetti’s Teresa e Gianfaldoni in Ingolstadt.

November 10, 2011 – December 17, 2011





Morris Robinson Morris Robinson is quickly gaining a reputation as one of the most interesting and sought-after basses performing today. A graduate of the Metropolitan Opera Lindemann Young Artist Development Program, he made his debut at the Metropolitan Opera in its production of Fidelio. Also a prolific concert singer, Mr. Robinson has appeared with the Chicago Symphony Orchestra, National Symphony Orchestra, Baltimore Symphony Orchestra, Met Chamber Orchestra, São Paulo Symphony Orchestra and New England String Ensemble. He has also appeared at the Ravinia, Mostly Mozart, Tanglewood, Cincinnati May, Verbier and Aspen festivals. In recital he has been presented by Spivey Hall in Atlanta, the Savannah Music Festival, the National Academy of Sciences in Washington, D.C., the Philadelphia Chamber Music Society and the Metropolitan Museum of Art in New York City. Mr. Robinson’s first album, Going Home, was released on the Decca label.

Cynthia Millar Cynthia Millar studied the ondes Martenot first with John Morton and later with Jeanne Loriod and Olivier Messiaen. She has done much to bring the instrument to a wider public.The contemporary electronic French instrument, which produces great swooping glissandos, was invented by Maurice Martenot in 1928 and is controlled by a keyboard. She has performed with many of the world’s leading orchestras and has also performed in the premieres of Turangalila in Scotland, Singapore and Washington D.C. Ms. Millar has worked as a performer in more than 100 film and television scores. She gave the world premiere of Elmer Benstein’s Ondine at the Cinema in a special concert to celebrate the composer’s 80th birthday with the Royal Philharmonic Orchestra at the Royal Albert Hall. She has also written a number of film scores. For television she 18


composed the music for a major documentary series, Stephen Hawking’s Universe for BBC/WNET.

The Morgan State University Choir Dr. Eric Conway, Director The Morgan State University Choir is one of the nation’s most prestigious university choral ensembles.The choral forces of this critically acclaimed choir include The University Choir, which is more than 130 voices strong, and The Morgan Singers—approximately 40 voices.With a repertoire of classical, gospel, and contemporary popular music, the Morgan State University Choir is noted for its emphasis on preserving the heritage of the spiritual, especially in the historic practices of performance. The Morgan State University Choir has shared its musical gifts on many grand stages all over the world—with numerous dignitaries and celebrated performers— making the singers cultural ambassadors for Morgan State University, the City of Baltimore, the State of Maryland and the United States.

The Peabody-Hopkins Chorus Edward Polochick, Director The Peabody-Hopkins Chorus is a large choral ensemble consisting largely of, but not limited to, non-orchestral majors fulfilling their large ensemble requirements, but also utilizing those voice majors for whom there is not enough room in Peabody Singers. This choral group focuses mainly on large choral/orchestral repertoire with occasional exposure to choral/organ literature and choral/wind/brass/percussion.

three levels of training. Members of the Training Choir (ages 6-10), the Choristers (ages 10-14), and the Chamber Singers (ages 12-18) rehearse high-quality treble music of advancing challenge and sophistication, and perform in public concert at least twice a year. Doreen Falby and the Peabody Children’s Chorus last appeared with the BSO in 2008 in performances of Leonard Bernstein’s Mass.

Concert Artists of Baltimore Edward Polochick, Artistic Director Founded by Edward Polochick and now in its 25th season, Concert Artists of Baltimore (CAB) consists of a professional chamber orchestra and professional chamber chorus. The full ensembles are featured in the Classy Classics series, with performances at the Peabody Institute and the Patricia and Arthur Modell Performing Arts Center at the Lyric. CAB also offers a chamber music series, Music at the Mansion, with performances at The Engineers Club, Garrett-Jacobs Mansion in Baltimore. CAB is frequently hired for performances throughout the region by organizations including the Lyric Opera Baltimore, Johns Hopkins Medical Institutions,The Holocaust Museum in Washington, D.C. and the Baltimore Symphony Orchestra. When larger forces are needed, such as when the singers of Concert Artists perform Messiah with the Baltimore Symphony Orchestra each year, the chorus expands to become the Concert Artists Symphonic Chorale.

Notes on the Program Jeanne d’Arc au Bûcher (Joan of Arc at the Stake)

Peabody Children’s Chorus Arthur Honegger Doreen Falby, Director The Peabody Children’s Chorus, founded in 1989, is dedicated to providing ageappropriate vocal training for young people. The Chorus brings children together to rehearse and perform art and folk music of multiple cultures, languages, historical periods and styles. In six ensembles rehearsing at two campuses, young people gain invaluable experience making music in ensemble settings. Ear-training and music-reading skills are also featured as an integral part of all rehearsals. More than 350 children between the ages of six and 18 participate each year in

Born in Le Havre, France, March 10, 1892; died in Paris, November 27, 1955

January 2012 marks the 600th anniversary of the birth of one of the most extraordinary figures in European history: Joan of Arc, an illiterate French peasant girl from the obscure village of Domremy in Lorraine who only lived to the age of 19, yet transformed the fate of a nation. Military leader of genius and a spiritual figure of such purity and faith that in 1920 she would be proclaimed a saint by the Roman Catholic Church, she united and inspired a demoralized army to launch the eviction of the occupying English armies from France and enabled Charles VII to be


crowned at Rheims in 1429 as Franceâ&#x20AC;&#x2122;s rightful king. But the next year, she was captured by the soldiers of the Duke of Burgundy, who was in league with England and sold to the English forces.After a trial of shocking chicanery and injustice led by another English ally Pierre Cauchon, Bishop of Beauvais, she was condemned to death as a heretic and burned at the stake in Rouen on May 30, 1431.A few decades later, a legal review of her case overturned the conviction and declared her innocent. She is now revered as Franceâ&#x20AC;&#x2122;s patron saint and a heroine for the ages. At these concerts, we will experience the finest musical treatment of Joanâ&#x20AC;&#x2122;s story, Jeanne dâ&#x20AC;&#x2122;Arc au BĂťcher, the joint creation of the Swiss-French composer Arthur Honegger and the French poet/dramatist Paul Claudel. Early in his career, Honegger was a member of the trendy group of young, iconoclastic French composers known as â&#x20AC;&#x153;Les Six,â&#x20AC;? but he was a far more serious creator and ultimately became famous for his powerful theatrical works and oratorios including Jeanne dâ&#x20AC;&#x2122;Arc and Le Roi David (about ancient Israelâ&#x20AC;&#x2122;s legendary king). In 1934, Honegger was attending a supper party at the Parisian home of Ida Rubinstein, the aging star of the celebrated Ballets Russes and still a potent actress, for whom Honegger had already written several works. She told Honegger about her wish to commission a new work about Joan of Arc for her to perform. She also contacted Claudel to write the libretto, but was initially turned down. â&#x20AC;&#x153;Joan of Arc is an official heroine,â&#x20AC;? he wrote her.â&#x20AC;&#x153;It is difficult to accommodate a historical character inside a fictional framework. Does one gild gold or whiten lilies?â&#x20AC;? But the next day, while traveling on a train, Claudel had a vision that completely changed his mind:â&#x20AC;&#x153;Immediately, I had an unmistakable shock, the shock of conception. I saw two hands tied together, raised up and making the sign of the Cross.The work was completed, and I had only to write it down, a matter of a few days. I felt around me the presence of a desire to which I was not allowed to remain indifferent.â&#x20AC;? Honegger was overwhelmed by the brilliance of Claudelâ&#x20AC;&#x2122;s text, which included precise instructions about how the words should be fused with music.Wrote Honegger later:â&#x20AC;&#x153;Claudelâ&#x20AC;&#x2122;s input was so important, I donâ&#x20AC;&#x2122;t regard myself really as the composer, but simply as a collaborator. If performances of the work produce any emotional effect, then it is only right to give Claudel a large

part of the credit.All I did was follow his indications and put my technical know-how at his disposal, so as to try my best to realize the music he himself had imagined.â&#x20AC;?A few years later, the two collaborated again on another oratorio, La Danse de morts. Honegger spent a year creating the music and completed the score on Christmas Eve 1935. But the mercurial Rubinstein kept creating difficulties with the premiere, and Jeanne dâ&#x20AC;&#x2122;Arc was finally introduced in Basel


in Honeggerâ&#x20AC;&#x2122;s native Switzerland on May 12, 1938 under the baton of Swiss conductor Paul Sacher (who became an important proponent of Honeggerâ&#x20AC;&#x2122;s music) and with Rubinstein speaking the title role. This was a hugely successful concert performance, but the oratorio, originally intended for the Paris OpĂŠra, has also been frequently staged. In 1956, Roberto Rossellini made it into a film starring Ingrid Berman as Joan. During World War II, Jeanne



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d’Arc was toured to cities throughout unoccupied France to build French resistance to the Nazis. In fashioning his text, Claudel had the superb idea of telling Joan’s story as a cinematic flashback as she awaits her fate at the stake: an example of life flashing before one’s eyes in the moments before death.The highlights of her career in reverse order— her travesty of a trial, her leading Charles in triumph to Rheims, her communion with the voices of her saints Margaret and Catherine, her idyllic girlhood in rural Lorraine—are read to her from a book brought by her heavenly confessor Brother Dominic.Then the story returns to her terrible present and her winning her way to Heaven through the martyrdom of the flames. Claudel adds brutal social commentary in his satirical treatment of Joan’s trial as being conducted by a mob of animals and in the sixth scene’s “Game of Cards,” in which the kings and nobles of France and England play a cynical, mindless game for her life. Honegger responded to this with music of equally cinematic visual impact; he was an experienced film composer who ultimately wrote scores for some 42 films. His eclectic music combines sounds evoking Joan’s own era—including two genuine folktunes and two plainchants known in the 15th century —as well as the contemporary edge of 1930s classical music and even jazz.What French musicologist Harry Halbreich says of Claudel’s text applies equally well to Honegger’s music: It is “by turns grandiose and boisterous, mystical, and popular.” He devised an orchestra with a unique and highly colored sound: saxophones replacing horns, two pianos, and the first use of a brand-new French instrument, the ondes Martenot. Invented by Maurice Martenot in 1928, this is a windy-sounding electronic instrument, controlled by a keyboard, that specializes in great swooping glissandos; it would later be adopted by Olivier Messiaen. Since Joan was written for Ida Rubinstein, both the leading parts—Joan and Brother Dominic—are speaking parts for actors, while the more lyrical and visionary parts of the music are given to solo singers and adult and children’s choruses. Listening to the Music Jeanne d’Arc opens with a Prologue, added by Claudel and Honegger in 1944 as France was languishing under Nazi occupation. Claudel’s words are drawn from the opening chapter of Genesis and relate that state of chaos and 20


darkness to wartime France as well as to Joan’s parallel time under English occupation. An orchestra full of murky, deep colors illustrates the repeated Latin word “tenebrae”—“shadows.” The narrator invokes the name of Joan four times. Scene I: “The Voices of Heaven” and Scene II: “The Book.” We hear the eerie howling of a dog, which Claudel and Honegger intended to represent the fear of torture. In opposition, the flute sings a high, trilling theme, the song of the nightingale representing Joan’s innocence and purity, which will recur throughout the work.The next scene between Joan at the stake and her confessor Brother Dominic is entirely spoken; he supports her and begins reading the book of her life. Scene III: “The Voices of the Earth.” In fierce rhythmic chanting, the priests and the people hurl their accusations at Joan— “Heretic, Sorceress, Relapsed”—a motive that will pervade the score.The bass and tenor soloists are the corrupt priests who condemn her in dog Latin.The ondes Martenot whoops up and down describing her suffering. Scene IV: “Joan Given up to the Beasts.” Switching to a different musical world, clarinets lead a jazz orchestra for the scene in which the Pig (a high tenor representing Bishop Cauchon, whose name resembles “cochen,” the French word for pig), the Ass, and the Sheep judge Joan and condemn her in a rump court that has no interest in the truth.As the Ass is introduced, the choral basses sing the “Donkey’s Prose,” a parody chant devised by students of the 15th century in Beauvais. Scene V: “Joan at the Stake.” Again we hear the dog howling in the night, as Joan returns to her present ordeal. Scene VI: “The Kings, or the Invention of the Game of Cards.” In another parody scene, resembling Alice in Wonderland, the kings and nobles play three fatuous games of cards for possession of Joan; no matter how the game turns out, they will retain their power and their wealth.The three games are played to an intricately contrapuntal courtly theme, each time in a different arrangement. The outcome: Joan is awarded to the King of England. Scene VII: “Catherine and Margaret.” Now we return to the sounds of Heaven as Joan hears again the voices of her beloved saints, singing a bell theme that is another of the oratorio’s prominent ideas.Another

recurring theme is their summons to her to fight for France:“Fille de Dieu, va, va, va”— “Daughter of God, go, go, go.” Scene VIII: “The King Who Goes Forth to Rheims.” This resplendent panoramic scene of Charles’ coronation procession to Rheims, led by the victorious Joan, is one of Jeanne d’Arc’s musical highpoints. First, we hear the chorus singing a French folksong “Voulez-vous manger des cesses?” (“Do you want to eat pancakes?”), and then a joyous folksong of Honegger’s own invention greets the reunion of Heurtebise (a windmill figure representing the wheat fields of Northern France) and the “Mother of Barrels,” representing the wine groves of Southern France.The flute introduces the lovely, melismatic melody of the medieval plainchant “Aspiciens a longe,” and the chorus sings this song of the people of Israel longing for the coming of the messiah. A grand processional march, brilliantly scored, accompanies the King’s arrival in Rheims. Scene IX: “The Sword of Joan.” In this most beautiful scene, accompanied by the voices of her saints, Joan recalls her girlhood in the village of Domremy, where she was a shepherdess.The woodwinds and the children’s chorus introduce the traditional springtime folksong of Lorraine,“Trimazo.”As Joan speaks of the dark time of winter and the joy of the sudden coming of spring, we hear the lovely ascending theme of Hope, introduced by the bass soloist.As she cries that the name of her sword is not Hate, but Love, the strings soar ecstatically in the closely related theme of Love.These themes, joined by the saints’ “Fille de Dieu,” combine in an apotheosis of faith. Scene X: “Trimazo” and Scene XI: “Joan of Arc in the Flames.” The reading of the book has finished, and Brother Dominic has departed. Joan is left alone to suffer in the flames. Now the high soprano voice of the Virgin Mary has come to support her struggle.The basses sing a hymn to fire drawn from one of St. Francis of Assisi’s canticles.A great upward whoop of the ondes martenot heralds the release of her soul from her anguished body. She has broken her chains, both literally and spiritually, and ascended to God.The saints and chorus salute her sacrifice for the people of France in a noble chorale, and the flute’s nightingale song adds a quiet benediction. Honegger’s Joan of Arc at the Stake – BSO premiere Notes by Janet E. Bedell, copyright 2011








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FA S H I O N • H O M E • G A R D E N • F O O D • T R A V E L • P E O P L E • E N T E R TA I N I N G

Michael Feinstein Michael Feinstein, the multiplatinumselling, five-time Grammy-nominated entertainer dubbed “The Ambassador of the Great American Songbook,” is considered one of the premier interpreters of American standards. His shows have included performances at Carnegie Hall and the Hollywood Bowl, as well as at the White House and Buckingham Palace. More than a performer, Mr. Feinstein is nationally recognized for his commitment to celebrating America’s popular song and preserving its legacy for the next generation. He serves on the Library of Congress’ National Recording Preservation Board, which has been asked to ensure the survival,

conservation and increased public availability of America’s sound-recording heritage. His PBS series Michael Feinstein’s American Songbook is now available on DVD.The series, the recipient of the ASCAP Deems Taylor Television Broadcast Award, returns with six prime-time episodes in the fall of 2011. Recently, he released The Power Of Two— collaborating with Glee and 30 Rock star Cheyenne Jackson—and Cheek To Cheek, recorded with Barbara Cook. Mr. Feinstein serves as Artistic Director of the Palladium Center for the Performing Arts, in Carmel, Indiana. His is also the Director of the Jazz and Popular Song Series at New York’s Jazz at Lincoln Center. Mr. Feinstein has written the score for the new stage musical The Gold Room, and he is working with MGM to turn The Thomas Crown Affair into a Broadway musical.


Grammy Awards, are Handel’s Messiah and Monteverdi’s Vespers, 1610 with Boston Baroque on the Telarc Label.

Friday, December 2, 2011 7:30 p.m.

Karen Clift last appeared with the BSO on April 4-8, 2003 in J.S. Bach’s Ein feste Burg ist unser Gott (Cantata No. 80) with Bobby McFerrin, conductor.



Krisztina Szabó DAVID LEYES

Handel’s Messiah Edward Polochick Conductor and Harpsichord Karen Clift Soprano Krisztina Szabó Mezzo-Soprano Nicholas Phan Tenor Stephen Powell Baritone Concert Artists of Baltimore Symphonic Chorale, Edward Polochick Artistic Director

George Frideric Handel Messiah Part I Intermission Part II Part III The concert will end at approximately 9:30 p.m.

Edward Polochick is the Artistic Director of Concert Artists of Baltimore, now in its 25th season. This year marks his 13th season as music director of Lincoln’s Symphony Orchestra in Nebraska. From 1979 to 1999 he was director of the Baltimore Symphony Chorus, and since 1979 he has been at the Peabody Conservatory as an associate conductor of the orchestra, as director of choral ensembles and as an opera conductor. He has appeared as piano soloist with the Philadelphia Orchestra and the Los Angeles Chamber Orchestra. Since winning the Leopold Stokowski Conducting Award, he has attracted attention as an orchestral, operatic and choral conductor. Edward Polochick last appeared with the BSO on December 3 and 4, 2010 conducting the Concert Artists of Baltimore Symphonic Chorale in Handel’s Messiah.

Karen Clift American soprano Karen Clift is recognized for the beauty and clarity of her tone and the intimacy and power of her musical expression. She has sung in diverse venues—from Carnegie Hall to winery caves in Napa Valley. A devoted recitalist and chamber musician, Ms. Clift has performed American song, beloved lieder and song from many countries and eras. She has been a featured chamber soloist at Music in the Vineyards, Music in the Parks, The Grand Teton Music Festival and with Minnesota’s Blue Baroque Band. She performed in recital at New York City’s Ethical Cultural Society with cellist Andre Emelianoff, and her performance of American composer David Evan Thomas’ piece Come to the Waters was a Minnesota Public Radio spotlight performance in February 2010. Her recordings, both nominated for

Canadian mezzosoprano Krisztina Szabó has become highly sought after in both North America and Europe as an artist of supreme musicianship and stagecraft. In the 2010-11 season Ms. Szabó sang Sesto in La clemenza di Tito with the Vancouver Opera, Dido in Dido and Aeneas with Music of the Baroque Orchestra and Chorus and Cherubino in Le nozze di Figuro with Stadttheater Klagenfurt. She appeared as featured soloist in a concert of contemporary song at the Cervantino Festival (Mexico), in “C’est mon plaisir” (the life of Isabella Stewart Gardner) for the Aldeburgh Connection Concert Society and in concert at the Royal Conservatory of Music in Toronto. Audiences are able to see Ms. Szabó as Zerlina in the Rhombus Media film Don Giovanni: Leporello’s Revenge, appearing with renowned Russian baritone Dmitri Hvorostovsky, and hear her on the accompanying soundtrack released by CBC Records. In Summer 2009, she recorded Four Songs of Tagore by Ippolitov-Ivanov with the Talisker Players. Krisztina Szabó makes her BSO debut with this performance.


Edward Polochick


Nicholas Phan American tenor Nicholas Phan recently made his debut at the BBC Proms, and he returned to the San Francisco Symphony for both Bach’s Mass in B Minor and Carmina Burana, to Carnegie Hall for Mendelssohn’s Elijah with the Oratorio Society of New York, and to the Music of Baroque for performances of selections by Purcell. In 2010, he embarked on a U.S. recital tour that culminated in his recital debut at Carnegie Hall in its Great Singers III: Evenings of Song series in Weill Recital Hall. November 10, 2011 – December 17, 2011




Also considered one of the rising young opera stars, Mr. Phan made his debut last season with the Seattle Opera as Count Almaviva in Il barbiere di Siviglia. Mr. Phan’s Grammy-nominated recording of Stravinksy’s Pulcinella with Pierre Boulez and the Chicago Symphony Orchestra was recently released on the CSO Resound label. His world premiere recording of Evan Chambers’ orchestral song cycle The Old Burying Ground was released in July 2010. Nicholas Phan makes his BSO debut with this performance.


Stephen Powell The dynamic American baritone Stephen Powell brings his “rich, lyric baritone, commanding presence and thoughtful musicianship” (Wall Street Journal) to a wide range of music, from Monteverdi and Handel through Verdi and Puccini to Sondheim and John Adams. Mr. Powell’s 2010-11 season included several re-engagements with the San Francisco Opera as De Guiche in Cyrano de Bergerac, with the Atlanta Symphony Orchestra (Robert Spano) in Rachmaninoff ’s Spring Cantata and with the Cincinnati Symphony Orchestra (Paavo Järvi) in Fauré’s Requiem. In the 2011-12 season, he returns to the St. Louis Symphony Orchestra as soloist in Bach’s Mass in B Minor. He made his first recital appearance with New York Festival of Song with Steven Blier at the piano. He now performs frequently with his wife, soprano Barbara Shirvis, in three recital programs they created together. Stephen Powell last appeared with the BSO on June 10-13, 2010 in Brahms’ German Requiem with Music Director Marin Alsop.

Concert Artists of Baltimore Symphonic Chorale Edward Polochick, Artistic Director For the Concert Artists of Baltimore Syphonic Chorale’s bio, please see p. 18.

Notes on the Program Messiah

George Frideric Handel Born in Halle, Saxony (now Germany), February 23, 1685; died in London, April 4, 1759

Handel’s great oratorio Messiah has become such a beloved musical icon since its birth in 24


1741 that it is not at all surprising that many myths and legends have grown up around it. We have been told that Handel himself compiled its mostly Biblical text or, alternatively, that it was sent to him by a stranger; that its success transformed him overnight from a bankrupt operatic has-been to England’s most revered composer; that at its London premiere the king himself rose during the “Hallelujah Chorus” to express his approbation. But Messiah’s real story is much more complicated, though no less fascinating. In the early 1740s, Handel was indeed in considerable professional and financial trouble. After emigrating from Germany to England as a young man, he had enjoyed a career as the country’s leading composer of operas, mostly in Italian and enhanced by spectacular costumes and scenic effects. But by the end of the 1730s, Handel’s serious grand operas were falling out of fashion. The success of John Gay’s much simpler, Englishlanguage The Beggar’s Opera fueled a new enthusiasm for popular-style comic operas. Unable to fill London’s opera houses Handel retreated from the field and turned his genius to sacred dramas or oratorios. He was not a novice in this genre. Even while busy writing operas, Handel had composed a number of oratorios, notably Israel in Egypt and Saul. Typically, his oratorios were not so very different from his operas: they told a dramatic story—in this case drawn from the Bible or other sacred literature—and their soloists played actual characters. They were performed in theatres and concert halls, not churches. But Israel in Egypt took a new musical approach in that the chorus now became the central character. And Messiah, while giving the soloists more to do, still emphasized the chorus for its climatic moments. Moreover, it broke with Baroque oratorio tradition in that it was a meditation on the coming of the Messiah and his promise for humanity rather than a narrative of events in his life. Handel himself did not compile the group of texts drawn from the Bible’s Old and New Testaments for Messiah. Instead, this was the work of Charles Jennens, a wealthy landowner and literary figure who was a longtime friend of the composer’s and had created texts for several other Handel oratorios. But Handel responded with a burst of almost miraculous creative energy to the words Jennen’s had prepared for him. Beginning his work on August 22, 1741, he completed the two-and-a-half-hour oratorio

in just over three weeks. Besides inspiration from God, he also had a little practical assistance in his huge task. Like other Baroque composers (Bach included), he did not hesitate to borrow from earlier works if they were suitable for use here. Three of the choruses in Part I— “He Shall Purify,” “His Yoke is Easy,” and even the famous “For Unto Us a Child is Born” —are based on music he’s originally composed as Italian vocal duets. Messiah was introduced to the world in Dublin, Ireland on April 13, 1743, during Holy Week (the tradition of performing it during the Christmas season is fairly recent). At the invitation of the Duke of Devonshire, the Lord Lieutenant of Ireland, Handel had been presenting concerts of his works there since the previous November and winning the kind of warm response that had been eluding him in London. On that Tuesday, Neal’s Musick Hall was packed beyond its capacity; audience members had been specifically requested to leave their swords and hoop skirts at home in order to fit more people into the hall! The Dublin audience responded with enthusiasm to the new work, and another performance was quickly scheduled. But when Handel brought Messiah to London in March 1743, attendance was disappointing and the critics unkind. A subsequent Handel oratorio, Samson, was much preferred. Much of Messiah’s failure was caused by a heated controversy that broke out in the city as to whether such a serious sacred subject ought to be presented as an “entertainment” in secular concert halls. Receiving few subsequent performances, the oratorio went back on Handel’s shelf. By 1749 when Handel was 64, the trustees of London’s Foundling Hospital invited him to present Messiah there at a charitable fundraising concert. This time the oratorio aroused no controversy, more than 1,000 people attended, and for the first time Messiah enjoyed a London triumph. From then on, annual performances during the Lenten season became a London tradition, soon spreading throughout Europe. Now Handel was finally acknowledged as England’s leading musical citizen, and he lived long enough–until 1759–to be able to savor the success of the work he loved so dearly. Listening to Messiah Messiah’s heroic journey is divided into three parts. Part I revolves around the Old


Testament prophecies (emphasizing the Book of Isaiah) of the Messiahâ&#x20AC;&#x2122;s coming and culminates with his birth as told in the Gospel of Luke. Indeed more of Messiahâ&#x20AC;&#x2122;s text is drawn from the Old Testament than the New, and, apart from the Nativity story, the Gospel histories are seldom used. Thus, the emphasis falls on the broader meaning of Christâ&#x20AC;&#x2122;s redemption of the human race rather than on the details of Jesusâ&#x20AC;&#x2122; life. Part II meditates on human sinfulness, the Messiahâ&#x20AC;&#x2122;s rejection and suffering, and his sacrifice to redeem humankind; it concludes with that famous song of praise and triumph, the â&#x20AC;&#x153;Hallelujahâ&#x20AC;? Chorus. Finally moving into the New Testament, Part III tells of the Messiahâ&#x20AC;&#x2122;s vanquishing of death and the promise of everlasting joy for the believer. Handel did not leave behind a definitive version of Messiah; instead, he reworked numbers and re-assigned arias to different voice categories depending on the soloists available for each performance. Messiahâ&#x20AC;&#x2122;s solo sections are divided between recitatives, which place greater emphasis on delivery of the words, and arias, in which musical values and the showcasing of the singerâ&#x20AC;&#x2122;s technical prowess take precedence. The tenorâ&#x20AC;&#x2122;s two opening numbers are a good example: â&#x20AC;&#x153;Comfort Ye, My Peopleâ&#x20AC;? is an accompanied recitative and â&#x20AC;&#x153;Every Valleyâ&#x20AC;? is an aria. Perhaps the most stunning sequence in Part I is the juxtaposition of the bass soloistâ&#x20AC;&#x2122;s aria â&#x20AC;&#x153;The People That Walked in Darknessâ&#x20AC;? with the beloved chorus â&#x20AC;&#x153;For Unto Us a Child is Born.â&#x20AC;? In a marvelous example of musical text painting, the bass literally wanders in a chromatically confused maze in the dark key of B minor. The â&#x20AC;&#x153;great lightâ&#x20AC;? for which he yearns is then joyfully revealed in G major as the chorus salutes Jesusâ&#x20AC;&#x2122; birth. All the choruses, including the â&#x20AC;&#x153;Hallelujah,â&#x20AC;? demonstrate Handelâ&#x20AC;&#x2122;s exhilarating technique of mixing powerful homophonic or chordal utterances (â&#x20AC;&#x153;Mighty! Counselor!â&#x20AC;?) with a more intricate polyphonic style in which each voice part pursues its own elaborately decorated line (â&#x20AC;&#x153;For Unto Us a Child is Bornâ&#x20AC;?). The origins of the ritual of standing for the â&#x20AC;&#x153;Hallelujahâ&#x20AC;? Chorus are rather misty. Scholars believe that the Prince of Wales may have stood up when he attended that historic London performance in 1749. Certainly by 1780, everyone in the audience was following King George IIIâ&#x20AC;&#x2122;s lead. Perhaps even exceeding â&#x20AC;&#x153;Hallelujahâ&#x20AC;? in majesty and joy is the magnificent chorus â&#x20AC;&#x153;Worthy is the Lambâ&#x20AC;? that closes Part III, the shortest of the three sections but also the one

most densely packed with the oratorioâ&#x20AC;&#x2122;s greatest sequences (the sopranoâ&#x20AC;&#x2122;s serenely beautiful statement of faith â&#x20AC;&#x153;I Know that My Redeemer Livethâ&#x20AC;?; the bassâ&#x20AC;&#x2122;s hair-rising proclamation of the Final Judgment, based on First Corinthians, â&#x20AC;&#x153;The Trumpet Shall Sounds,â&#x20AC;? with its gloriously realized trumpet accompaniment). â&#x20AC;&#x153;Worthy is the Lambâ&#x20AC;? itself is capped with an â&#x20AC;&#x153;Amenâ&#x20AC;? Chorus on an epic scale worthy of the masterpiece it closesâ&#x20AC;&#x201D; unfurling in grand sweeps some of the finest,


most inspired choral counterpoint this Baroque master ever devised. The BSO most recently performed Handelâ&#x20AC;&#x2122;s Messiah on December 3 and 4, 2010, with conductor Edward Polochick and Kendra Colton, soprano; Mary Phillips, mezzo-soprano; Thomas Cooley, tenor; David Kravitz; bass; and the Concert Artists of Baltimore Symphonic Chorale. Notes by Janet E. Bedell, copyright 2011

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,QIRUPDWLRQ DQG UHJLVWUDWLRQ ZZZEU\QPDZUVFKRRORUJIYG  [ November 10, 2011 â&#x20AC;&#x201C; December 17, 2011




Wednesday, December 7, 2011 2 p.m. Friday, December 9, 2011 2 p.m. & 7:30 p.m. Saturday, December 10, 2011 2 p.m. & 7:30 p.m. Sunday, December 11, 2011 2 p.m. JOSEPH MEYERHOFF SYMPHONY HALL



Holiday Cirque de la Symphonie Presenting Sponsor:

Bob Bernhardt Conductor Cirque de la Symphonie

Anderson Adam Arr. Dragon Ellington Arr. Tyzik

A Christmas Festival O, Holy Night Sugar Rum Cherry & Toot Toot, Tootie Toot from The Nutcracker Suite

Sleigh Ride Vladimir Tsarkov – Juggling Rings


Skater’s Waltz Elena Tsarkova – Contortion


Farandole from L’Arlesienne Suite No. 2 Simon Chaban – Spinning Cube


Music from The Chanuka Suite Irina Burdetsky – Hula Hoops


Music from Capriccio Espagnol Aloysia Gavre – Aerial Hoop

INTERMISSION continued on next page



Principal Pops Conductor Bob Bernhardt continues to bring his unique combination of easy style, infectious enthusiasm and wonderful musicianship to the city and orchestra he loves. Now in his 29th season, he accepted the post of Assistant Conductor in 1981 and has worked with the Louisville Orchestra in every season since. His professional opera career began with the Birmingham Opera in 1979, two years before he joined the Louisville Orchestra. He worked with Kentucky Opera for 18 consecutive seasons including six as its Principal Guest Conductor. With his own opera company in Chattanooga, he has conducted dozens of fully staged productions in a genre he adores. He has been a frequent guest of the Nashville Opera. Born in Rochester, New York, he holds a master’s degree from the University of Southern California’s School of Music, where he studied with Daniel Lewis. He is also a Phi Beta Kappa, summa cum laude graduate of Union College in Schenectady, New York, where he was an Academic All-American baseball player.

Christine Van Loo – Aerial Silks

Aloysia Gavre & Sagiv Ben Binyamin – Tango Duo


Bob Bernhardt

Alexander Streltsov Alexander Streltsov is a Russian aerial artist who started working with future Cirque du Soleil choreographer Pavel Brun and famed producer Valentin Gneushev when he was only 12, performing on Broadway at the Gershwin Theater. The same year, he won the gold medal at the prestigious Festival Mondial du Cirque de l’Avenir in Paris. Also known as “Sasha,” he has performed for three Russian presidents and the Bolshoi Ballet, numerous symphonies in the United States and Europe and in elaborate theater and stage productions worldwide. He has appeared on many television shows, such as the star-studded ABC-TV special Christopher Reeve— A Celebration of Hope and the PBS nationwide broadcast of the Cincinnati Symphony Orchestra’s Fourth of July Celebration. He continues be a favorite at music halls, where he soars out over the audience in a spectacular display of aerial artistry.


Holiday Cirque de la Symphonie


performances. Mr. Tsarkov graduated from Russia’s prestigious State College of Circus and Theater Arts and won the gold medal at the Cirque de Demain International Festival in France.

continued from previous page

Arr. Dragon Abreu arr. Carmen Dragon Wagner

Aloysia Gavre

Deck the Halls Tico Tico No Fubá Vladimir & Elena – Quick Change

Ride Of The Valkyries from Die Walkure Sagiv Ben Binyamin – Aerial Rope


Trepak from The Nutcracker Vladimir Tsarkov – Electric Juggler

Ellington Arr. Tyzik

Peanut Brittle Brigade from The Nutcracker Suite Simon Chaban – Acrobatic Suite

Silvestri Arr. Brubaker Arr. Wendel

Music from The Polar Express

Little Bolero Boy Jarek & Darek – Strongmen


Waltz of the Flowers from The Nutcracker Alexander Streltsov & Christine Van Loo – Aerial Duo

Arr. Finnegan Arr. Rutter

Christmas Sing-along We Wish You a Merry Christmas Cirque de la Symphonie

The performance will run approximately two hours including intermission.

Jarek and Darek The strength and agility of Jarek and Darek of “Duo Design” is unmistakably one of the most powerful acts to be included in Cirque de la Symphonie’s program. This dynamic strength and hand-balancing act from Warsaw, features Jaroslaw Marciniak and Dariusz Wronski, former Polish national hand-balancing champions. They have competed and performed throughout Europe and the United States, winning championships in Evian, France, and Sarasota, Fla. These performers have thrilled

audiences at NBA halftimes, in Cirque du Soleil and Circus Circus, Busch Gardens and on the national tour of Cirque Ingenieux.

Vladimir Tsarkov Vladimir Tsarkov provides a spellbinding performance with combinations of mime and juggling feats. His Red Harlequin act features rings, balls and batons—and he’s even been known to teach the Maestro a trick or two! He is a veteran of Circus Circus, Cirque Ingenieux and various Cirque de la Symphonie

Aloysia Gavre is an incredible aerial performer from the Ecole National de Cirque, Montreal with early training from Master Lu-Yi and the Pickle Family Circus School. Her aerial acrobatics and graceful maneuvers on the aerial hoop, suspended high above the stage, add three-dimensional excitement to the symphony and the music hall. She was the Special Prize Winner at the International Circus Festival in Monte Carlo. A veteran of stage and theater performances worldwide, Ms. Gavre is best known as a veteran of Cirque du Soleil’s Quidam and O. Her five years with Quidam established her as one of the best aerial artists in the world, and today she shares that experience with others by offering instructional programs in Los Angeles.

Irina Burdetsky Irina Burdetsky lives in New York but travels worldwide as one of the most entertaining hoops performers in show business. She grew up in a circus family in Moscow, trained by some of the greatest names in acrobatics, gymnastics and hoops, and she has traveled as one of the youngest performers with the Moscow Circus. She was awarded the Grand Silver Medal by the Queen of Monaco at the Concours International des Ecoles de Cirque in Monte Carlo, and she has earned numerous other awards. Ms. Burdetsky starred in programs with Japan’s Circus-Mircus, Cirque Ingenieux, Cirque La Masque and Showboat in Atlantic City. Her exciting performance with Cirque de la Symphonie combines her talents with hoops, contortion and dance.

Vladimir Malachikhin Vladimir Malachikhin began his career before he was 5 years old, performing handstand acrobatics with his father in an act that traveled through Asia, Africa, Europe and the November 10, 2011 – December 17, 2011


Americas. Today, he lives in Las Vegas, and his combined performance of balance and smooth movements has been a major part of many award-winning shows. He is a veteran of Circus Circus, Cirque Productions, Ill Cirque and other major productions. Mr. Malachikhin is the winner of the Gold Clown award in Monte Carlo, the Gold Medal in Italy and the Bronze Lion Award in China.

Elena Tsarkova Elena Tsarkova, the “Lady in White,” is a graduate of the famed Moscow Circus School and first-place winner of the prestigious National Russian Circus Festival. From her “Master of Sports” in gymnastics, Elena developed into a unique and graceful performer with the Big Apple Circus, Switzerland’s Circus Knie and Germany’s Circus Roncalli. Her combination of contortion, balance and graceful dance moves has made her a major star with Cirque de la Mur in Florida and Circus Circus in Las Vegas.


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Christine Van Loo Christine Van Loo is a seven-time national champion, an Olympic female Athlete of the Year and an Athlete of the Decade in acrobatic gymnastics. She is a member of the USSA (acro-gymnastics) Hall of Fame and the World Acrobatics Society Gallery of Honor. As a professional aerialist and acrobat, she has performed at the 2002 Winter Olympics, at two Grammy Awards (with No Doubt and with Ricky Martin), at the American Music Awards (with Aerosmith), at the Miss Universe pageant and on Paul McCartney’s European tour. She choreographed the aerials for Britney Spears’ world tour and the Stars on Ice U.S. tour.



Amy Duran

Friday, December 16, 2011 8 p.m. Saturday, December 17, 2011 8 p.m. JOSEPH MEYERHOFF SYMPHONY HALL


A Christmas Carol – In Concert Amy Duran Conductor Bob Christianson Composer & Arranger Alisa Hauser Lyricist & Book Adaptation Merwin Foard Ebenezer Scrooge John McDonough Narrator Scott Coulter Actor 1/Fred/Bob Cratchit/Young Scrooge/Tiny Tim Kyle Scatliffe Actor 2/Marley/Ghost of Christmas Past and Present Baltimore City College Choir, Linda Hall General Manager


“Overture/Marley Was Dead” - Narrator “Scrooge’s Evil Eye” - Narrator, Fred, Chorus “You Can Keep Your Christmas” - Narrator, Scrooge, Fred, Choir “Marley’s Face” - Narrator, Scrooge, Cratchit, Marley, Choir “I Wear These Chains” - Narrator, Marley, Scrooge, Choir “Rise And Walk With Me” - Narrator, Ghost Of Christmas Past, Scrooge, Choir “Young Scrooge At School” - Young Scrooge “Better Off Alone” - Narrator,Young Scrooge, Scrooge, Ghost Of Christmas Past “Old Fezziwig” - Narrator, Scrooge “Dance Your Christmas” - Narrator, Scrooge, Ghost Of Christmas Past, Choir “I Won’t Keep You” - Narrator, Belle,Young Scrooge, Scrooge, Ghost Of Christmas Past “Feast Your Eyes” - Narrator, Ghost Of Christmas Present, Scrooge, Choir “The Promise Of The Day” - Narrator, Ghost Of Christmas Present, Scrooge, Choir “There Never Was Such A Christmas” - Narrator, Cratchit, Tiny Tim, Ghost Of Christmas Present, Scrooge, Choir. “Beware” - Narrator, Ghost Of Christmas Present, Scrooge, Choir continued on next page

Amy Duran is a graduate of Northwestern University. She served as musical assistant for the Glimmerglass Opera, the Brevard Music Festival, The Banff Centre in Alberta, Canada and The New York Grand Opera. This led to a two-year stay with the Zurich Opera, where she made her conducting debut with The Rape of Lucretia by Benjamin Britten. This was followed by a three-year engagement with the Osnabrueck Stadttheatre, in Germany, where she also served as accompanist to vocal recitals around Germany, France and Switzerland. Ms. Duran then became the associate conductor to the German premiere of Disney’s Beauty and the Beast and Cameron Mackintosh’s Miss Saigon in Stuttgart. Upon returning to New York, Ms. Duran joined the Broadway conducting team of Disney’s Beauty and the Beast to the show’s final bow in 2007. She is currently on the accompanying and conducting staff at Jersey City University’s Opera and Music Theatre Departments. She was Music Director for NJCU’s production of Into the Woods, and the recent production of Cy Coleman’s City of Angels. She also serves as accompanist for numerous vocal concerts and recitals. She has performed with many orchestras in New York City, such as the New York Pops, the New York City Opera, and various Broadway shows.

Bob Christianson Bob Christianson is a composer, arranger, keyboard player and conductor. He is honored to have the Baltimore Symphony premier his new piece, A Christmas Carol – In Concert. This is the second of his orchestral works that has been performed by the BSO, the first being Too Hot to Handel, which he co-arranged with Gary Anderson from an original concept by Marin Alsop. His new musical, Take Me America (book & lyrics by Bill Nable) has just opened for a two-month run at the prestigious Village Theatre in Seattle. November 10, 2011 – December 17, 2011



notes A Christmas Carol – In Concert continued from previous page


“Ent’racte” - Narrator, Scrooge, Ghost Of Christmas Yet To Come (Principal Cellist) “Death Duet Part 1” - Narrator, Scrooge, Ghost Of Christmas Yet To Come, Death Duet Soloists, Choir “The Cratchit Family” - Narrator, Cratchit

John McDonough

“No Trouble” - Cratchit “Death Duet Part 2” - Narrator, Scrooge, Ghost Of Christmas Yet To Come “Christmas Morning Montage” - Narrator, Scrooge, Fred, Choir “Back At tHe Counting House” - Narrator, Scrooge, Cratchit “God Bless Us Everyone” - Narrator, Cratchit, Ensemble, Choir The concert will end at approximately 9:15 p.m.

Mr. Christianson was the most called upon composer for the HBO series Sex and the City. He was nominated for an Emmy for his music for ABC Sports, and has scored many series for the Discovery family of networks, including Secrets of the National Parks. His television credits also include this season’s Mysteries Of The Museum and the “NCAA Basketball Theme.” He has written more than 25 award winning sports themes for CBS, ESPN and ABC. As a studio synthesist, he has recorded with such producers as the late, great Arif Mardin, and has recorded with Aretha Franklin, Chaka Khan, Jan Hammer, Judy Collins, Dianna Ross and Rupert Holmes. His orchestra works have been performed by the BSO, the Colorado Symphony, the Florida Orchestra and others.

Alisa Hauser Alisa Hauser is an alumnus of the BMI/Lehman Engel Musical Theatre Workshop where she met many of her fantastic collaborators, including Bob Christianson. For the theatre she has written the short musical The Weather Man with 30


Audiences can hear Mr. Foard’s voice in eight Disney animated films: Pocahontas, Beauty and the Beast, Aladdin and the King of Thieves, The Hunchback of Notre Dame, Mulan, Home on the Range, Enchanted and Tangled. He has been involved on the ground floor of the Broadway bound productions of Danny Elfman’s Houdini, Mel Brooks’ Young Frankenstein, Dolly Parton’s 9 to 5, Kristina, Disney’s High School Musical, Secondhand Lions, The First Wives Club, The Addams Family, Ever After and Big Fish.

composer Philip Palmer, which had its world premiere at the New Works Festival at Clear Space Productions in Delaware. For television she has written lyrics, with composer Stephen Sislen, for the Disney Channel’s Johnny and the Sprites. She is a graduate of the Cincinnati Conservatory of Music and worked for many years as an actress on Broadway.

Merwin Foard Merwin Foard is currently the standby for the role of Gomez Addams in the Broadway production of The Addams Family. Previous Broadway appearances include roles in Disney’s The Little Mermaid; Sweeney Todd; La Cage Aux Folles; the acclaimed revival of Stephen Sondheim’s Assassin; Trevor Nunn and Susan Stroman’s revival of Oklahoma!; plus Kiss Me, Kate; Jekyll And Hyde; the Broadway revival of 1776; Disney’s Beauty and the Beast; Mame; Show Boat and Les Miserables. He is one in a short list of artists who perform with symphony orchestras from Shreveport to Stockholm.

John McDonough is an actor who often enjoys the company of musicians. As a narrator, he has shared the stage with many ensembles, including Speculum Musicae, NorthShore Pro-Musica, L’Ensemble, the faculty of the Yale School of Music, and with musicians at the Norfolk Chamber Music Festival. He tours regularly with Grammy Awardwinning composer Paul Halley and his Chorus Angelicus in New England, Atlantic Canada, and each summer at Tanglewood, and has narrated A Chorister’s Christmas at the Cathedral Church of St. John the Divine in New York City for more than 20 years. He voiced the title role in Benjamin Britten’s Paul Bunyan, first for the Glimmerglass Opera in 1995, and then for the New York City Opera in 1998. He has recorded hundreds of selections for Recorded Books, and received an Audie Award in 2006. Audiofile Magazine named him a Golden Voice in 2002. He was named the first national ambassador for Reading is Fundamental in 1999. He was seen on the Fox Family Network for three seasons as The All-New Captain Kangaroo.

Scott Coulter For his work in cabaret, Mr. Coulter has received five MAC Awards (Manhattan Association of Cabarets & Clubs), five Bistro Awards and two Nightlife Awards for Outstanding Vocalist and has performed at most of New York City’s top rooms. His self-titled debut


CD won the 2003 MAC Award for Outstanding Recording and was chosen as the best recording of the year by Cabaret Scenes magazine and TheatreMania. Mr. Coulter toured the U.S. as Jinx in Forever Plaid and was in the world premiere of Floyd Collins. He has appeared at New York’s Town Hall in numerous editions of the popular Broadway by the Year series and can currently be heard on the Bayview recordings of those performances. Since 1997, Mr. Coulter has performed around the country with award-winning songwriting duo Marcy Heisler and Zina Goldrich and tours the world with Oscar- and Grammy-winning composer Stephen Schwartz, along with Liz Callaway and Debbie Gravitte, in the revue Stephen Schwartz & Friends. .

Full/Mixed Chorus has been divided into several groups and ensembles. The Concert Choir, an auditioned group of about 50 students, serves as the main performing group. The Baltimore City College Choir has delighted audiences on television, radio and stages in the Baltimore metropolitan area and along the eastern Seaboard. In 2008, the choir made its debut at The National High School Choral Festival at Carnegie Hall


performing Brahms’ A German Requiem with former conductor of the Mormon Tabernacle Choir, Craig Jessop. On the home front, the choir has performed Too Hot to Handel with Maestra Marin Alsop, the BSO and members of the Morgan State Choir at the Meyerhoff and Strathmore. This year, the choral program of Baltimore City College celebrates 25 years under the direction of Linda R. Hall.


Kyle Sactliffe Kyle Scatliffe, baritone, 25, was born in Washington, D.C., and now resides in Westwood, N.J. He studied theatre at The American Musical and Dramatic Academy in New York City, from which he graduated in March 2010. Under the guidance of his voice teacher, Jacklyn Schneider, he was entered in the Lotte Lenya Competition, winning a Lys Symonette Award. Recently, he has enjoyed success working for Disney Cruise Line, performing as Mereb in Aida, and Marty in Dreamgirls at the Arts Center of Coastal Carolina.

m o za rt ’s

Le Nozze Di Figaro


March 9 & 11m

April 20 & 22m

g o unod ’s

The Rake’s Progress

Baltimore City College Choir

November 18 & 20m

Linda Hall, General Manager

For the 172 years that Baltimore City College has stood as the “Castle on the Hill,” a legacy of musical excellence has been maintained. Initiated years ago with the male glee club, the legacy of singing has continued with the development of an choral program that has garnered a reputation as one of the finest ensembles in the region. The Baltimore City College High School Choral Program consists of more than 100 students who perform music ranging from the classics of Handel and Praetorius, to the spirituals and works of Dawson, Hogan, Ellington and Smallwood. In an effort to reach all members, The

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10/14/11 4:03:06 PM




















July 29, 2010 – September 29, 2011 WE ARE PROUD to recognize the BSO’s Symphony Fund Members whose generous gifts to the Annual Fund between July 29, 2010 – September 29, 2011 helped the Baltimore Symphony Orchestra further its mission: “To make music of the highest quality, to enhance Baltimore and Maryland as a cultural center of interest, vitality and importance and to become a model of institutional strength.”











Special Thanks to

for its generous support!

The Century Club The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and governmental donors whose cumulative annual giving of $100,000 or more plays a vital role in sustaining the Orchestra’s magnificent tradition of musical excellence.

Marin Alsop The Baltimore Orioles Georgia and Peter Angelos The Baltimore Symphony Associates Marge Penhallegon, President


Mayor and City Council of Baltimore City Baltimore County Executive & County Council Joseph and Jean Carando* CareFirst BlueCross BlueShield Adalman-Goodwin Foundation Hilda Perl and Douglas* Goodwin, Trustees Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Maryland Department of Business and Economic Development Maryland State Arts Council The Andrew W. Mellon Foundation

Joseph & Harvey Meyerhoff Family Charitable Funds Robert E. Meyerhoff and Rheda Becker Mr. and Mrs. Arthur B. Modell Montgomery County Arts and Humanities Council National Endowment for the Arts PNC Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder* Howard A. and Rena S. Sugar* The Whiting-Turner Contracting Company Mr. and Mrs. Willard Hackerman Charles* and Shirley Wunder

Caswell J. Caplan Charitable Income Trusts Constance R. Caplan The Cordish Family Fund Suzi and David Cordish Mr. Kenneth W. DeFontes, Jr. Dr. Perry A. Eagle,* Ryan M. Eagle, and Bradley S. Eagle Frances Goelet Charitable Trust Dr. and Mrs. Philip Goelet Mr. and Mrs. Kingdon Gould Mr. and Mrs. Benjamin H. Griswold, IV Mr. Joseph P. Hamper, Jr.* The Sandra and Fred Hittman Philanthropic Fund

Mr. and Mrs. H. Thomas Howell The Huether-McClelland Foundation George and Catherine McClelland David and Marla Oros Margaret Powell Payne* Dr. and Mrs. Thomas Pozefsky Bruce and Lori Laitman Rosenblum Mr. and Mrs. Richard Rudman The Honorable Steven R. Schuh Dorothy McIlvain Scott Mr. and Mrs. Stephen D. Shawe Jane and David Smith Ellen W.P. Wasserman

Mr. and Mrs. Douglas Hamilton Beth J. Kaplan and Bruce P. Sholk Sarellen and Marshall Levine Jon and Susan Levinson Susan and Jeffrey* Liss Mr. and Mrs. Michael P. Pinto Gar and Migsie Richlin Mr. George A. Roche Rona and Arthur Rosenbaum Lainy LeBow-Sachs and Leonard R. Sachs Joanne Gold and Andrew A. Stern Mr. and Mrs. William Wagner David and Chris Wallace The Zamoiski-Barber-Segal Family Foundation

$10,000 or more

Founder’s Circle $50,000 or more The Charles T. Bauer Foundation Jessica and Michael Bronfein Mr. and Mrs. George L. Bunting, Jr. Rifkin, Livingston, Levitan and Silver, LLC Mr. and Mrs. Alan M. Rifkin Esther and Ben Rosenbloom Foundation Michelle G. and Howard Rosenbloom Dr. and Mrs. Solomon H. Snyder Ms. Ellen Yankellow

$25,000 or more Herbert Bearman Foundation, Inc. Dr. Sheldon and Arlene Bearman

Maestra’s Circle $15,000 or more Anonymous (3) Donna and Paul Amico The Bozzuto Family Charitable Fund Mr. and Mrs. Robert Coutts The Dopkin-Singer-Dannenberg Foundation, Inc. Mrs. Margery Dannenberg George and Katherine Drastal Carol and Alan Edelman Ms. Susan Esserman and Mr. Andrew Marks Anne B. and Robert M. Evans Judi and Steven B. Fader Family Foundation



Liddy Manson “In memory of James Gavin Manson” A&R Development Corporation Kenneth S. Battye* The Legg & Co. Foundation Mr. and Mrs. Douglas Becker Eric and Jill Becker Mr. and Mrs. Ed Bernard Mr. and Mrs. A.G.W. Biddle, III Robert L. Bogomolny and Janice Toran Mr. Robert H. Boublitz Ms. Kathleen A. Chagnon and Mr. Larry Nathans Chesapeake Partners

Individuals Maestra’s Circle (continued) $10,000 or more Judith and Mark Coplin Mr. and Mrs. H. Chase Davis, Jr. Chapin Davis Investments Rosalee C. and Richard Davison Foundation Mr. and Mrs. Anthony Deering* Mr. L. Patrick Deering, Mr. and Mrs. Albert R. Counselman, The RCM&D Foundation and RCM&D, Inc. Mr. and Mrs. James L. Dunbar Mr. Mark Fetting Sara and Nelson Fishman

Individuals (continued) Governing Members Platinum $7,500 or more Deborah and Howard M. Berman Drs. Sonia and Myrna Estruch Mr. and Mrs. Neil Meyerhoff Mr. and Mrs. Bill Nerenberg Dr. and Mrs. Anthony Perlman Mr. and Mrs. W. Danforth Walker

Governing Members Gold $5,000 or more Mr. and Mrs. Arthur Chomas “In memory of Mrs. Gloria Chomas” Dr. and Mrs. Wilmot C. Ball, Jr. Jean and John Bartlett Mr. and Mrs. John W. Beckley Ms. Arlene S. Berkis Barry D. and Linda F. Berman John and Bonnie Boland Ellyn Brown and Carl J. Schramm Mrs. Frances H. Burman* Mr. and Mrs. Robert Butler Nathan and Suzanne Cohen Foundation Dr. and Mrs. Stephen P. Cohen Mr. and Mrs. William H. Cowie, Jr. Faith and Marvin Dean Ronald E. Dencker Ms. Margaret Ann Fallon Andrea and Samuel Fine John Gidwitz Sandra and Barry Glass Betty E. and Leonard H. Golombek Mr. and Mrs. Stewart Greenebaum Mrs. Anne Hahn Mrs. Catharine S. Hecht* Mr. and Mrs. J. Woodford Howard, Jr. Susan and Steven Immelt Miss Frances A. Kleeman* Kohn Foundation Mr. and Mrs. Stephen M. Lans Dr. David Leckrone and Marlene Berlin Diane and Jerome Markman Eileen A. and Joseph H. Mason Dan and Agnes Mazur Norfolk Southern Foundation McCarthy Family Foundation Mrs. Kenneth A. McCord Drs. William and Deborah McGuire Margot and Cleaveland Miller Jolie and John Mitchell Mr. and Mrs. Peter Muncie Drs. Virginia and Mark Myerson Dr. A. Harry Oleynick Dr. and Mrs. David Paige Linda and Stanley Panitz Mrs. Margaret Penhallegon Dr. Todd Phillips and Ms. Denise Hargrove The Ross & Grace Pierpont Charitable Trust Helene and Bill Pittler Jane S. Baum Rodbell and James R. Shapiro Mr. and Mrs. William Rogers Mike and Janet Rowan Ms. Tara Santmire and Mr. Ben Turner Mr. and Mrs. J. Mark Schapiro Mr. Greg Scudder Ronald and Cathi Shapiro

Sandra Levi Gerstung Mr. and Mrs. Richard E. Hug Riva and Marc Kahn Dr. and Mrs. Murray Kappelman Mrs. Barbara Kines Therese* and Richard Lansburgh Dr. and Mrs. Yuan C. Lee Mr. Richard E. Levine and Mrs. Lori Balter Mr. and Mrs. Samuel G. Macfarlane Mr. and Mrs. Howard R. Majev Hilary B. Miller and Dr. Katherine N. Bent Sally S. and Decatur H. Miller Mr. and Mrs. Charles O. Monk, II

Francesca Siciliano and Mark Green Mr. and Mrs. Harris J. Silverstone The Honorable and Mrs. James T. Smith, Jr. Ms. Patricia Stephens Ms. Loretta Taymans* Dr. and Mrs. Carvel Tiekert Mr. and Mrs. Peter Van Dyke Mr. and Mrs. Richard Vogt Mr. and Mrs. Loren Western Mr. and Mrs. LeRoy A. Wilbur, Jr. Wolman Family Foundation Laurie S. Zabin

Governing Members Silver $2,500 or more “In memory of Reverend Howard G. Norton and Charles O. Norton” Anonymous (8) Diane and Martin* Abeloff Dr. and Mrs. Robert J. Adams Mr. and Mrs. Edward J. Adkins Julianne and George Alderman Dr. and Mrs. Thomas E. Allen Mr.* and Mrs. Alexander Armstrong Jackie and Eugene Azzam Mr. and Mrs. Thomas H.G. Bailliere, Jr. Susan and David Balderson Donald L. Bartling Dr. and Mrs. Theodore M. Bayless Dr. Neil W. Beach and Mr. Michael Spillane Lynda and Kenneth Behnke Dr. and Mrs. Emile A. Bendit Max Berndorff and Annette Merz Alan and Bunny Bernstein Dr. and Mrs. Mordecai P. Blaustein Randy and Rochelle Blaustein Mr. Gilbert Bloom Dr. and Mrs. Paul Z. Bodnar Carolyn and John Boitnott Mr. and Mrs. John M. Bond, Jr. Mr. and Mrs. Charles R. Booth Dr. and Mrs. Stuart H. Brager Dr. Rudiger and Robin Breitenecker Mr. and Mrs. Leland Brendsel Dr. and Mrs. Donald D. Brown Mrs. Elizabeth A. Bryan Ms. Mary Catherine Bunting Dr. Robert P. Burchard Laura Burrons-Jackson Loretta Cain Mr. and Mrs. S. Winfield Cain James N. Campbell M.D. and Regina Anderson M.D. Cape Foundation Turner and Judy Smith Michael and Kathy Carducci Ms. Susan Chouinard Corckran Family Charitable Foundation Mr. and Mrs. John C. Corckran, Jr. Mr. and Mrs. David S. Cohen Mr. Harvey L. Cohen and Ms. Martha Krach Mrs. Miriam M. Cohen and Dr. Martin Taubenfeld Joan Piven-Cohen and Samuel T. Cohen Mr. and Mrs. Elbert Cole Mr. and Mrs. Kerby Confer Mr. and Mrs. John W. Conrad, Jr. Dr. and Mrs. David Cooper

Jane C. Corrigan Mrs. Rebecca M. Cowen-Hirsch Alan and Pamela Cressman Dr. and Mrs. George Curlin Mr. and Mrs. Edward A. Dahlka, Jr. Dr. and Mrs. Cornelius Darcy Mr. and Mrs. William F. Dausch Richard A. Davis and Edith Wolpoff-Davis James H. DeGraffenreidt and Mychelle Y. Farmer Kari Peterson, Benito R. and Ben DeLeon Arthur F. and Isadora Dellheim Foundation, Inc. Drs. Susan G. Dorsey and Cynthia L. Renn in honor of Doris A. and Paul J. Renn, III Mr. and Mrs. A. Eric Dott Dr. and Mrs. Daniel Drachman Mr. and Mrs. Larry D. Droppa Bill and Louise Duncan Dr. and Mrs. Donald O. Fedder Dr. and Mrs. Arnold S. Feldman Mr. and Mrs. Maurice R. Feldman Sherry and Bruce Feldman Mr. Stephen W. Fisher Winnie and Bill Flattery Dr. and Mrs. Jerome L. Fleg Ms. Lois Flowers Dr. and Mrs. Giraud Foster Mr. and Mrs. John C. Frederick Mr. and Mrs. Kenneth Freed Ms. Lois Fussell Mr. and Mrs. Denis C. Gagnon Mr. and Mrs. Frank Gallagher John Galleazzi and Elizabeth Hennessey Ms. Ethel W. Galvin Dr. Joel and Rhoda Ganz Mr. Ralph A. Gaston Mr. and Mrs. Ramon* F. Getzov Mrs. Ellen Bruce Gibbs Mr. and Mrs. Joseph S. Gillespie, Jr. Mr. Robert Gillison and Ms. Laura L. Gamble Ms. Jean Goldsmith Evee and Bertram Goldstein Mr. Mark Goldstein, Paley Rothman Brian and Gina Gracie Mrs. Ann Greif Dr. Diana Griffiths Ms. Mary Therese Gyi Ms. Louise A. Hager Carole Hamlin and C. Fraser Smith Melanie and Donald Heacock Dale C. Hedding Mr. and Mrs. Edward Heine Sandra and Thomas Hess Mr. Thomas Hicks Betty Jean and Martin* S. Himeles, Sr. Mr. and Mrs. Samuel Himmelrich Ms. Marilyn J. Hoffman Betsy and Len Homer Mr. and Mrs. Jack* Hook Mr. and Mrs. A.C. Hubbard, Jr. Mr. and Mrs. William Hughes Elayne and Benno Hurwitz Susan and David Hutton Dr. Richard Johns Dr. Richard T. Johnson Richard and Brenda Johnson Mr. and Mrs. Harry Kaplan Mary Ellen and Leon Kaplan

Mrs. Violet G. Raum Alison and Arnold Richman Dr. Scott and Frances Rifkin Dr. and Mrs. John H. Sadler M. Sigmund and Barbara K. Shapiro Philanthropic Fund Dr. and Mrs. Charles I. Shubin Mr. and Mrs. Gideon N. Stieff, Jr. The Louis B. Thalheimer and Juliet A. Eurich Philanthropic Fund Judy M. Witt * Deceased

Barbara Katz Gloria B. and Herbert M. Katzenberg Fund Susan B. Katzenberg Louise and Richard Kemper Mr. and Mrs. E. Robert Kent, Jr. Suzan Russell Kiepper Mr. and Mrs. Young Kim Dr. and Mrs. Richard A. Kline Paul and Susan Konka Mr. and Mrs. Steven S. Koren Barbara and David Kornblatt Ms. Patricia Krenzke and Mr. Michael Hall Miss Dorothy B. Krug Mr. William La Cholter Marc E. Lackritz and Mary B. DeOreo Sandy and Mark Laken Dr. and Mrs. Donald Langenberg Mr. and Mrs. Luigi Lavagnino Dr. George T. Lazar Mr. Kevin Lee Mr. and Mrs. Burt and Karen Leete Mr. and Mrs. Howard Lehrer Claus Leitherer and Irina Fedorova Ruth and Jay Lenrow Dr. and Mrs. Harry Letaw, Jr. C. Tilghman Levering Mr. and Mrs. Vernon L. Lidtke Dr. Frances and Mr. Edward Lieberman Darielle and Earl Linehan Mrs. June Linowitz and Dr. Howard Eisner Dr. James and Jill Lipton Dr. Diana Locke and Mr. Robert E. Toense Louise D. and Morton J. Macks Family Foundation, Inc. Genine Macks Fidler and Josh Fidler Steven and Susan Manekin Dr. Frank C. Marino Foundation Mr. and Mrs. Abbott Martin Donald and Lenore Martin Maryland Charity Campaign Mr. Thomas Mayer Dr. Marilyn Maze and Dr. Holland Ford Mrs. Marie McCormack Mr. and Mrs. Gerald V. McDonald Paul Meecham and Laura Leach Ellen and Tom Mendelsohn Dr. and Mrs. John O. Meyerhoff Sandra L. Michocki Mrs. Mildred S. Miller Judy and Martin Mintz Northern Pharmacy and Medical Equipment Jacqueline and Sidney W. Mintz Mr. and Mrs. Humayun Mirza Ms. Patricia J. Mitchell Drs. Dalia and Alan Mitnick Dr. and Mrs. C.L. Moravec Dr. Mellasenah Y. Morris Mrs. Joy Munster Mr. John and Dr. Lyn Murphy Louise* and Alvin Myerberg Mr. and Mrs. Rex E. Myers Drs. Roy A. and Gillian Myers Howard Needleman Phyllis Neuman, Ricka Neuman and Ted Niederman David Nickels and Gerri Hall Mr. and Mrs. Roger F. Nordquist Number Ten Foundation Mr. and Mrs. Kevin O’Connor Drs. Erol and Julianne Oktay

Mrs. Bodil Ottesen Olive L. Page Charitable Trust Dr. and Mrs. Lawrence C. Pakula Ellen and Stephen* Pattin Drs. Hans Pawlisch and Takayo Hatakeyama Michael Love Peace Beverly and Sam Penn Jan S. Peterson and Alison E. Cole Peter E. Quint Ms. Nancy Kohn Rabin Reverend and Mrs. Johnny Ramsey Nancy E. Randa and Michael G. Hansen Dr. Jonas Rappeport and Alma Smith Mr. and Mrs. Frederick Rheinhardt Mrs. Nancy Rice Nathan and Michelle Robertson Mr. and Mrs. Richard Roca Stephen L. Root and Nancy A. Greene Mr. and Mrs. John Rounsaville Mr. and Mrs. Charles Rowins Robert and Leila Russell T. Edgie Russell Neil J. and JoAnn N. Ruther Dr. John Rybock and Ms. Lee Kappelman Dr.* and Mrs. Marvin M. Sager Mr. Norm St. Landau Dr. Henry Sanborn Ms. Doris Sanders Dr. Jeannine L. Saunders Mr. and Mrs. David Scheffenacker Lois Schenck and Tod Myers Marilyn and Herb* Scher Dr. and Mrs. Horst K.A. Schirmer Mrs. Roy O. Scholz Alena and David M. Schwaber Mr. Jack Schwebel Carol and James Scott Cynthia Scott Ida & Joseph Shapiro Foundation and Diane and Albert* Shapiro Mr. Stephen Shepard Dr. and Mrs. Ronald F. Sher Mrs. Suzanne R. Sherwood Mr. Thom Shipley and Mr. Christopher Taylor Francine and Richard Shure Dr. and Mrs. Frederick Sieber The Sidney Silber Family Foundation Mr. and Mrs. Daniel Silver Drs. Ruth and John Singer Mr. and Mrs. David Punshon-Smith Ms. Leslie J. Smith Ms. Nancy E. Smith Ms. Patricia Smith Mr. and Mrs. Lee M. Snyder Diane L. Sondheimer and Peter E. Novick Dr. and Mrs. Charles S. Specht Joan and Thomas Spence Melissa and Philip Spevak Mr. George H. Steele* Anita and Mickey Steinberg Mr. Edward Steinhouse Mr. James Storey Mr. and Mrs. Dale Strait Mr. Alan Strasser and Ms. Patricia Hartge Susan and Brian Sullam Mrs. Janis Swan Mr. and Mrs. Robert Taubman Dr. Bruce T. Taylor and Dr. Ellen Taylor Dr. Ronald J. Taylor

November 10, 2011 – December 17, 2011


Baltimore Symphony Orchestra Membership Benefits 2011-2012 Season To learn more about becoming a member, please email or call 410.783.8124. A contribution to the Baltimore Symphony Orchestra entitles you to special events and exclusive opportunities to enhance your BSO experience throughout the season.

$75 BACH LEVEL MEMBERS • Two complimentary tickets to a Donor Appreciation Concert or event (R) • BSO Membership Card • Opportunity to purchase tickets prior to public sale* • 10% discount on music, books and gifts at the Symphony Store and An Die Musik • Invitation to one Open Rehearsal (R)

$150 BEETHOVEN LEVEL MEMBERS All benefits listed above, plus … • Invitation to an additional Open Rehearsal (R) • Two complimentary drink vouchers

$250 BRAHMS LEVEL MEMBERS All benefits listed above, plus … • 10% discount on tickets to BSO performances* • Two additional complimentary tickets to a Donor Appreciation Concert or event (R)

$500 BRITTEN LEVEL MEMBERS All benefits listed above, plus … • Invitation to the Premium Evening Open Rehearsal (R) • Donor recognition in one issue of Overture magazine • Two additional complimentary drink vouchers • Four complimentary dessert vouchers • Invitation to the Opening Night Celebration Cast Party

$1,000 SYMPHONY SOCIETY All benefits listed above, plus … • Invitations to additional Cast Parties, featuring BSO musicians and guest artists (R) • Year-long donor recognition in Overture magazine • Two complimentary passes to the Baltimore Symphony Associates’ Decorators’ Show House • Two one-time passes to the Georgia and Peter G. Angelos Governing Members Lounge • Invitation to Season Opening Gala (R/$) • Invitation for two to a Musicians’ Appreciation event • Opportunity to attend one Governing Members Candlelight Conversation per year • Reduced rates for select BSO events

$2,500 GOVERNING MEMBERS All benefits listed above, plus … • Invitation to exclusive On-Stage Rehearsals (R) • Governing Member Allegretto Dinners (R/$) • Complimentary parking upon request through the Ticket Office • Season-long access to the Georgia and Peter G. Angelos Governing Members Lounge • Invitation to the BSO’s Annual Electoral Meeting • VIP Ticket Concierge service including complimentary ticket exchange • Opportunity to participate in exclusive Governing Member trips and upcoming domestic tours (R/$) • Invitation to all Candlelight Conversations (R/$) • Priority Box Seating at the Annual Donor Appreciation Concert

$5,000 GOVERNING MEMBERS GOLD All benefits listed above, plus … • Complimentary copy of upcoming BSO recording signed by Music Director Marin Alsop (one per season) • Exclusive events including meet-and-greet opportunities with BSO musicians and guest artists

$10,000 MAESTRA’S CIRCLE All benefits listed above, plus … • Exclusive and intimate events catered to this special group including post-concert receptions with some of the top artists in the world who are performing with the BSO • One complimentary use of the Georgia and Peter G. Angelos Governing Members Lounge facilities for hosting personal or business hospitality events ($) (R) Reservation required and limited to a first-come basis. ($) Admission fee *Some seating and concerts excluded.

LEGATO CIRCLE Legato Circle recognizes those patrons who have included the BSO in their estate plans. If you have questions or wish to explore these arrangements, please call Kate Caldwell, 410.783.8087.

Support your BSO and make a donation today!



Indivduals (continued) Mr. and Mrs. Terence Taylor Sonia Tendler Ms. Susan B. Thomas Paul and Karen Tolzman Dr. Jean Townsend and Mr. Larry Townsend Donna Triptow and Michael Salsbury In Memory of Jeffrey F. Liss, Dr. and Mrs. Henry Tyrangiel John and Susan Warshawsky Martha and Stanley Weiman Peter Weinberg Mr. and Mrs. Christopher West Mr. Edward Wiese Dr. and Mrs. Donald E. Wilson Mrs. Phyllis Brill Wingrat and Dr. Seymour Wingrat* Mr. and Mrs. T. Winstead, Jr. Laura and Thomas Witt Mr. and Mrs. Richard Wolven Drs. Yaster and Zeitlin Chris and Carol Yoder Mr. and Mrs. Michael Young Paul A. and Peggy L.Young NOVA Research Company Dr. and Mrs. Robert E. Zadek

Symphony Society Gold $1,500 or more Anonymous (1) Monsignor Arthur W. Bastress The Becker Family Fund Mr. and Mrs. Stanley Ber Mr. Edward Bersbach Mr. and Mrs. Albert Biondo Mr. Joseph G. Block Venable Foundation, Inc. Steven Brooks and Ann Loar Brooks Mr. Charles Cahn, II Donna and Joseph Camp Mr. Mark Chambers Mr. Robert M. Cheston Mr. and Mrs. Howard Cohen Mr. and Mrs. Jonas M.L. Cohen Mr. and Mrs. Jonas M.L. Cohen Mr. Michael R. Crider Dr. and Mrs. Thomas DeKornfeld Mrs. Marcia K. Dorst Donna Z. Eden and Henry Goldberg Deborah and Philip English Mr. Kenneth R. Feinberg Mr. Ken French Jo Ann and Jack Fruchtman, Jr. Mr. and Mrs. Stanford Gann, Sr. Mr. Louis Gitomer Drs. Ronald and Barbara Gots Mr. Jonathan Gottlieb Mr. Ronald Griffin and Mr. Shaun Carrick Sandra and Edward J. Gutman Mrs. Ellen Halle Ms. Gloria Shaw Hamilton Dr. Mary Harbeitner Mr. Gary C. Harn Mr.* and Mrs. E. Phillips Hathaway Mr. and Mrs. George B. Hess, Jr. Nancy H. Hirsche Madeleine and Joseph Jacobs Betty W. Jensen Mr. and Mrs. James G. Jones Mr. Max Jordan Dr. Robert Lee Justice and Marie Fujimura-Justice Gail and Lenny Kaplan Ms. Margaret F. Keane Mr. Richard Kitson Harriet* and Philip Klein Andrew Lapayowker and Sarah McCafferty Mrs. Elaine Lebar Colonel William R. Lee Mr. and Mrs. Jeffrey Legum Ms. Susan Levine Dr. and Mrs. Michael O. Magan Mr. and Mrs. Luke Marbury Howard and Linda Martin Mr. Winton Matthews Mr. and Mrs. Jordan Max Carol and George McGowan Bebe McMeekin Alvin Meltzer Mr. Charles Miller Mr. and Mrs. M. Peter Moser Mr. and Mrs. Robert C. Neiman Ms. Patricia Normile Mrs. J. Stevenson Peck The Pennyghael Foundation, Inc. Mr. and Mrs. James Piper Mr. and Mrs. John Brentnall Powell Mr. Larry Prall Mr. Joseph L. Press Ms. Margaret K. Quigg Dr. and Mrs. Richard Radmer Dr. Tedine Ranich and Dr. Christian Pavlovich Mr. and Mrs. Michael Renbaum Margaret and Lee Rome Martha and Saul Roseman Ilene and Michael Salcman Mr. and Mrs. William Saxon, Jr. The Honorable William Donald Schaefer* Mrs. Barbara K. Scherlis Ms. Phyllis Seidelson Mr. Jeffrey Sharkey

Mrs. Barbara Skillman Marshall and Deborah Sluyter Mr. and Mrs. Edgar Smith Mr. and Mrs. Richard D. Spero Mrs. Ann Stein Dr. John F. Strahan Harriet Stulman Mr. and Mrs. Albert Sun Ms. Sandra Sundeen Mr. and Mrs. Richard Swerdlow Dr. Martin Taubenfeld Dr. Robert E. Trattner Dr. John K. Troyer and Ms. Ellen Pendleton-Troyer Mr. Robert Tung Ms. Elyse Vinitsky Ms. Joan Wah and Ms. Katherine Wah Ms. Beverly Wendland and Mr. Michael McCaffery Janna Wehrle Mr. and Mrs. Sean Wharry Dr. Edward Whitman Dr. Richard Worsham and Ms. Deborah Geisenkotter Ms. Anne Worthington Ms. Jean Wyman

Symphony Society Silver $1,000 or more Dr. John Boronow and Ms. Adrienne Kols “In memory of John R.H. and Charlotte Boronow” Mrs. Frank A. Bosworth Jr. “In honor of Marin Alsop” Mr. Kevin F. Reed “In honor of Steven R. Schuh” David and Ursula Unnewehr “In memory of Laurel Jean Unnewehr” Anonymous (18) Mr. Anthony Abell Mrs. Rachael Abraham Mr. and Mrs. Ronald Abrams Dr. and Mrs. Marshall Ackerman Virginia K. Adams and Neal M. Friedlander, M.D. Mr. and Mrs. Carter Adkinson Charles T. and Louise B. Albert Dr. Marilyn Albert George and Frances Alderson Mr. Owen Applequist Mr. Paul Araujo Dr. Juan I. Arvelo Mr. Thomas Atkins Leonard and Phyllis Attman Mr. William Baer and Ms. Nancy Hendry Mr. and Mrs. Robert R. Bair Mrs. Jean Baker Mr. George Ball Ms. Penny Bank Mr. and Mrs. L. John Barnes Dr. and Mrs. Bruce Barnett Mr. and Mrs. Edward Barta Eric* and Claire Beissinger Ms. Elaine Belman Mr. and Mrs. Charles Berry, Jr. David and Sherry Berz Mr. and Mrs. Edwin and Catherine Blacka Reverend James Blackburn Nancy Patz Blaustein Ms. Dorothy Bloomfield Mr. and Mrs. Bruce I. Blum Mr. James D. Blum Nina and Tony Borwick David E. and Alice R. Brainerd M. Susan Brand and John Brand Drs. Joanna and Harry Brandt Dr. Helene Breazeale Dr. and Mrs. Mark J. Brenner The Broadus Family Barbara and Ed Brody Dr. Galen Brooks Gordon F. Brown Ms. Jean B. Brown Ms. Elizabeth J. Bruen Ms. Jeanne Brush Mr. Walter Budko Ms. Ronnie Buerger Bohdan and Constance Bulawka Mrs. Edward D. Burger Ms. Jennifer Burgy Ms. Judy Campbell Mrs. Mary Jo Campbell Mr. and Mrs. John Carey Russ and Beverly Carlson Jonathan and Ruthie Carney Mr. and Mrs. Claiborn Carr Mr. James T. Cavanaugh, III Mr. Richard Cerpa Mr. David P. Chadwick and Ms. Rosalie Lijinsky Bradley Christmas and Tara Flynn Dr. Mark Cinnamon and Ms. Doreen Kelly Ms. Dawna Cobb and Mr. Paul Hulleberg Jane E. Cohen Mrs. Wandaleen Cole Mr. and Mrs. Alan Colegrove Ms. Patricia Collins Ms. Kathleen Costlow Mr. and Mrs. Charles C. Counselman, Jr. Mr. and Mrs. Jeffrey Crooks Mr. and Mrs. R. Gregory Cukor John and Kate D’Amore Mr. David O. Dardis Mr. and Mrs. Thomas Darr Mr. John Day and Mr. Peter Brehm Joan de Pontet

Mr. and Mrs. William C. Dee Mr. Duane Calvin DeVance Mr. and Mrs. Mathias J. DeVito Ms. Priscilla Diacont Jackson and Jean H. Diehl Marcia Diehl and Julie Kurland Ms. Maribeth Diemer Nicholas F. Diliello Mr. and Mrs. Robert Duchesne Ms. Lynne Durbin Mr. and Mrs. Laurence Dusold Mr. Terence Ellen and Ms. Amy Boscov Mr. and Mrs. Stuart Elsberg and the Elsberg Family Foundation Mrs. Nancy S. Elson Sharon and Jerry Farber Mr. and Mrs. Charles Fax Mr. Mark Felder Dr. and Mrs. Marvin J. Feldman Mrs. Sandra Ferriter Joe and Laura Fitzgibbon Mr. and Mrs. Anthony Fitzpatrick Wojciech and Alicja Fizyta Dr. Charles W. Flexner and Dr. Carol Trapnell Mr. and Mrs. John Ford Dr. and Mrs. Nicholas J. Fortuin Dr. and Mrs. William Fox Dr. Neal M. Friedlander Mr. and Mrs. R. Friedlander Mr. and Mrs. Roberto B. Friedman William and Carol Fuentevilla Mr. and Mrs. Leland Gallup Dr. and Mrs. Donald S. Gann Mr. Ron Gerstley and Ms. Amy Blank Dr. and Mrs. Frank A. Giargiana, Jr. Mr. and Mrs. William Gibb Mr. Price and Dr. Andrea Gielen Mr. Peter Gil Lori and Gene Gillespie Dr. and Mrs. Sanford Glazer Mr. Harvey Gold Mr. Jonathan Goldblith William R. and Alice Goodman Dr. and Mrs. Joseph Gootenberg Barry E. and Barbara Gordon Dr. and Mrs. Sheldon Gottlieb Mr. Alexander Graboski Larry D. Grant and Mary S. Grant Erwin and Stephanie Greenberg Mr. Robert Greenfield Dr. and Mrs. Geoffrey Greif Mr. Charles H. Griesacker Mark and Lynne Groban Mary and Joel Grossman Mr. and Mrs. Stuart Grossman Mrs. LaVerne Grove Mr. and Mrs. Donald Gundlach Mr. and Mrs. Norman M. Gurevich Mr. and Mrs. J.M. Dryden Hall, Jr. Dr. Jane Halpern and Mr. James B. Pettit Ms. Lana Halpern Ms. Carole Finn Halverstadt Mr. and Mrs. John Hanson Sara and James A. Harris, Jr. Dr. and Mrs. S. Elliott Harris Mr. Fred Hart and Ms. Elizabeth Knight Mr. John Healy Mr. David Heckman Mr. and Mrs. Robert Helm Mr. Lloyd Helt Ms. Doris T. Hendricks Mrs. Ellen Herscowitz David A. and Barbara L. Heywood Dr. Stephen L. Hibert Edward Hoffman Dr. R. Gary Hollenbeck Mr. William Holmes Mr. and Mrs. John Hornady, III Ms. Irene Hornick Mr. Herbert H. Hubbard Donald W. and Yvonne M. Hughes Mr. David Imre and Mr. Thomas Crusse Carol Jantsch and David Murray Mrs. Janet Jeffein Dr. Helmut Jenkner and Ms. Rhea I. Arnot Mrs. Kathy Johnson Mr. R. Tenney Johnson Mr. J. Lee Jones Mrs. Helen Jordahl Mrs. Amri Joyner Ann and Sam Kahan Dr. Henry Kahwaty Ms. Carolyn Kaplan Mrs. Harry E. Karr Richard M. Kastendieck and Sally J. Miles Mr. and Mrs. William E. Kavanaugh Dr. and Mrs. Haiq Kazazian, Jr. Mr. Frank Keegan Mr. Charles Kelber Mr. John P. Keyser Virginia and Dale Kiesewetter Mr. Andrew Klein George and Catherine Klein Mr. William Klemer Mr. and Mrs. Lawrence Koppelman Dr. and Mrs. Jeffrey Kremen Francine and Allan Krumholtz Mr. Charles Kuning Richard and Eileen Kwolek Mr. and Mrs. Charles Lamb Susan and Stephen Langley John and Diane Laughlin Ms. Rebecca Lawson Melvyn and Fluryanne Leach Mr. Peter Leffman Mr. and Mrs. Charles F. Legters

Mr. and Mrs. Jeffrey Lemieux Mr. Ronald P. Lesser Mr. and Mrs. Leonard M. Levering, III Sara and Elliot* Levi Dr. and Mrs. Bernard Levy Mr. Leon B. Levy Mr. Richard Ley Mrs. E.J. Libertini Ms. Joanne Linder Mr. Dennis Linnell George and Julie Littrell Mr. and Mrs. K. Wayne Lockard Carol Brody Luchs and Kenneth Luchs Dr. and Mrs. Peter C. Luchsinger Mr. and Mrs. Arthur Lynch Ms. Louise E. Lynch Michael and Judy Mael Ms. Gail G. and F. Landis Markley Ms. Joan Martin Jane Marvine Mr. Joseph S. Massey Dr. and Mrs. Robert D. Mathieson Dr. and Mrs. Donald E. McBrien Mrs. Linda M. McCabe Mr. Thomas B. McGee Mr. and Mrs. James McGill Ms. Kathleen McGuire Mr. George McKinney Mr. Richard C. McShane Mr. and Mrs. Scott A. McWilliams Mr. and Mrs. David Meese Mr. Timothy Meredith Mr. and Mrs. Abel Merrill Daniel and Anne Messina Ms. Shelia Meyers Drs. Alan and Marilyn Miller Mrs. Anne Miller Mr. and Mrs. Charles R. Miller Mr. and Mrs. Gary Miller Mr. and Mrs. J. Jefferson Miller, II Mr. and Mrs. James D. Miller Mr. Lee Miller Mr. Louis Mills Dr. and Mrs. Stanley R. Milstein Noah and Carol C. O’Connell Minkin Ms. Adrianne Mitchell Lloyd E. Mitchell Foundation Mr. Nathan Mook Mr. Edwyn Moot Lester and Sue Morss Dr. and Mrs. Hugo W. Moser Mr. Howard Moy Ms. Marguerite Mugge Dr. and Mrs. Donald Mullikin Mr. and Mrs. Gregory Murray Ms. Marita Murray Mr. Harish Neelakandan and Ms. Sunita Govind Mr. Irving Neuman Douglas and Barbara Norland Ms. Irene E. Norton and Dr. Heather T. Miller Anne M. O’Hare Mr. Garrick Ohlsson Mr. James O’Meara and Ms. Marianne O’Meara Ms. Margaret O’Rourke and Mr. Rudy Apodaca Mr. and Mrs. William Osborne Mrs. S. Kaufman Ottenheimer Mr. and Ms. Ralph Ottey Ms. Judith Pachino Mr. and Mrs. Frank Palulis Mr. and Mrs. Thomas Parr Mr. and Mrs. Richard Parsons Dr. and Mrs. Arnall Patz Mr. and Mrs. William Pence Jerry and Marie Perlet Mr. and Mrs. Stephen Petrucci Dr. and Mrs. Karl Pick Ms. Mary Carroll Plaine Mr. and Mrs. Morton B. Plant Thomas Powell Robert E. and Anne L. Prince Captain and Mrs. Carl Quanstrom Ted and Stephanie Ranft Mr. and Mrs. William E. Ray Mr. Charles B. Reeves, Jr. Mr. Arend Ried Mr. Thomas Rhodes Mr. and Mrs. Thomas P. Rice Mr. and Mrs. Carl Richards Mr. and Mrs. Herbert Ridder David and Mary Jane Roberts Drs. Helena and David Rodbard Dr. and Mrs. Gerald Rogell Joellen and Mark Roseman Ann and Frank Rosenberg Mr. and Mrs. Robert Rosenberg Joanne and Abraham Rosenthal Dr. Steven R. Rosenthal Dr. and Mrs. Saul D. Roskes Mr. and Mrs. Randolph* S. Rothschild Mr.* and Mrs. Nathan G. Rubin Mr. J. Kelly Russell Mr. and Mrs. John Sacci Beryl and Philip Sachs Mr. Lee Sachs Ms. Andi Sacks Peggy and David Salazar Ms. Carolyn Samuels Ms. Vera Sanacore Mr. and Mrs. Gilbert Sandler Mr. and Mrs. Nathaniel Sandler Mr. and Mrs. Ace J. Sarich Mr. Thomas Scalea Mr. and Mrs. Benjamin Schapiro Mr. and Mrs. Albert S. Schlachtmeyer

Mr. and Mrs. Eugene H. Schreiber Estelle D. Schwalb Ken and Nancy Schwartz Bernard and Rita Segerman Mr. and Mrs. Norman A. Sensinger, Jr. Mr. Sanford Shapiro Mr. and Mrs. Brian T. Sheffer Reverend Richard Wise Shreffler Mr. and Mrs. Daniel Shykind Mr. Richard Silbert Ronnie and Rachelle Silverstein Mr. Donald M. Simonds Ellwood and Thelma Sinsky Mr. Richard Sipes Mr. and Mrs. Robert Smelkinson Mr. and Mrs. Norman Smith Richard and Gayle Smith Mr. and Mrs. Scott Smith Mr. and Mrs. William J. Sneeringer, Jr. Laurie M. Sokoloff Dr. and Mrs. John Sorkin Mr. Don Spero and Ms. Nancy Chasen Jennifer Kosh Stern Dr. and Mrs. F. Dylan Stewart Ms. Barbara Stricklin Ms. Mary K. Sturtevant Ms. Jean M. Suda and Mr. Kim Z. Golden Ms. Dianne Summers Mr. Phil Sunshine Ms. Margaret Taliaferro Mr. Tim Teeter Mr. Harry Telegadas Mr. Marc J. Teller Patricia Thompson and Edward Sledge Mr. and Mrs. William Thompson Mr. Peter Threadgill Mr. and Mrs. David Traub Mr. and Mrs. Israel S. Ungar Mr. and Mrs. Robert Vogel Ms. Mary Frances Wagley Mr. Robert Walker Dr. Philip D. Walls Mr. and Mrs. Guy T. Warfield Mr. and Mrs. Jay Weinstein Dr. and Mrs. Matthew Weir Mr. and Mrs. David Weisenfreund Anne Weiss and Joseph Schwartz Drs. Susan and James Weiss Ms. Lisa Welchman David Wellman and Marjorie Coombs Wellman Ms. Camille B. Wheeler and Mr. William B. Marshall Mrs. Margaret Wheeler Dr. Barbara White Jill and Douglas White Mr. and Mrs. Stephen Wilcoxson Mr. Barry Williams Mrs. Gerald H. Williams Sylvia and Peter Winik Robert and Jean Wirth Mr. and Mrs. David K. Wise Mr. Orin Wise Marc and Amy Wish Dr. and Mrs. Frank R. Witter Mr. John W. Wood Mr. Alexander Yaffe Ms. Norma Yess H. Alan Young and Sharon Bob Young, Ph.D. Christine Zaharka Andrew Zaruba Dr. Mildred Zindler

Britten Level Members $500 or more Anonymous (1) Mr. Kent Ahrens Mr. and Mrs. Courtney D. Alvey Mr. and Mrs. W. Michael Andrew Dr. James Anthony Mr. and Mrs. Robert Armenti Mr. and Mrs. Maurice Arsenault Mr. and Mrs. Fred Askin Mr. Terrance R. Astle Mrs. Patricia Baker Balder Foundation Mr. Ellis Ballard Mr. Joel Balsham Mr. Burke Barrett Mr. and Mrs. Edward Barta Mr. and Mrs. C. Marshall Barton, Jr. Mr. and Mrs. Gerard Baxter Drs. Silvia and Stephen Busky Ms. Carole Bell Dr. and Mrs. Barry Berman Mr. and Mrs. William Bettridge Mr. and Mrs. William Biddle Mr. Roy Birk Dr. and Mrs. William Bishai Mr. Jason Blavatt Mr. James D. Blum Mr. and Mrs. Perry Bolton Stephen F. Bono Mr. and Mrs. Harry H. Boublitz Mr. Melville Bowers Ms. Betty Bowman Ms. Rebecca Bronfein Ms. Dorothy Brown Mr. Browning and Mrs. Larsen Mr. William Bruchey Mr. Charles Bryan David W. Buck Family Foundation Mr. Stephen Buckingham Ms. Lee Buhrman Mr. and Mrs. Charles Bullamore

Dr. Sandra Butchart Mr. and Mrs. Bradley Callahan Mr. and Mrs. David Callahan Mr. and Mrs. Ronald Carlson Mr. and Mrs. Eugene Cashour Mr. and Mrs. Robert W. Catzen Mr. David Chapman Mr. Mark Chartrand Mr. Robert Close Mrs. Mary D. Cohen Mr. Matthew S. Cole Mrs. Caroline A. Coleman Mr. and Mrs. John Cookson Ms. Rachel Green Mr. Barnet Corwin and Ms. Louise Corwin Ms. Loretta Coughlin Ms. Sylvia Creamer Ernie and Linda Czyryca Mr. James Daily Mr. Richard Dalby Ms. Beatrice D. Dane Mr. Richard Davis Mrs. Jane Davis Mr. and Mrs. Ronald Davis Ms. Deanna Dawson Ms. Barbara D’elia Mrs. Betty Dempster Joseph F. DePasquale Dr. Alfred J. DeRenzis Dr. Rosa I. Diaz Mr. John Dickie Mr. Walter B. Doggett Mr. James Doran Mr. Stanley Dorman Mr. and Mrs. William Dulany Mr. Stephen Dunham and Ms. Victoria Cass Mr. William Eddison, Jr. Mrs. Janet Eisenhauer Mr. Richard A. Eliasberg Mr. and Mrs. R. Clayton Emory Mr. Michael L. Falk Mr. and Mrs. Thomas Fallon Ms. Marianne Faulstich Dr. and Mrs. Marvin J. Feldman Pell and Peggy Fender “In honor of Paula and Hampton Childress” Mr. Roy Ferguson Mr. and Mrs. Joseph C. Flynn Footlick Family Foundation Ms. Carolyn A. Foulkes Ms. Glenyce Fowlkes Ms. Jaclyn Fox Mrs. Abigail O. Frederick Mr. and Mrs. Francis French Mr. John S. Gallagher Mr. George Garmer Mr. Charles Geiger Mr. and Mrs. Austin George Mr. Ron Gerstley Ms. Megan Gillick Dr. Rivalee Gitomer Mr. Sheldon and Mrs. Saralynn B. Glass Mr. and Mrs. Norman Glick Mr. and Mrs. Christopher Goelet Ms. Myrna Goldberg Dr. and Mrs. Lewis J. Goldfine Ms. Arlene Goodwich Ms. Edith Gorsuch Ms. Judith A. Gottlieb Larry D. Grant Ms. Mary Greczyn Elizabeth A. Green Mr. Charles E. Gross Mr. and Ms. William Gross Ms. Ramona Guth Mr. and Mrs. Henry L. Gutman Mr. David C. Guy Ms. Stephanie Hack Ms. Jane H. Hagner Ms. Susan L. Hahn Ms. Catherine Hallam Ms. Carole Finn Halverstadt Mrs. Merrell H. Hambleton Ms. Paulette Hammond Mr. George Harrison Dr. Jeffrey Hasday Mr. and Mrs. Michael Hauser Mr. Loring Hawes Mr. Ronald Heagy Anne K. Hebb H. Hedian Ms. Lee Hendler Ms. Karen Heppen Rabbi and Mr. Floyd L. Herman Mr. and Mrs. Michael Hettleman Mr. Carl L. Hikes Mr. and Mrs. J. Laurance Hill Mr. and Mrs. Richard Hirata Ms. Jeannette Hobbins Mr. and Mrs. Thomas Hobbs Mr. Philip Hodge Mr. Bruce Hoffberger Dr. and Mrs. Lee Horwitz Mr. and Mrs. Douglas Hough Mrs. Elizabeth Howard Mr. Walter M. Howard and Mr. Stephen Howard Mrs. Beverly Hunter Ms. Polly Huston Dr. Hutton and Mr. Wissow Mr. and Mrs. David A. Hutzler Mrs. Iredell W. Iglehart Mr. and Mrs. Richard A. Intner Mr. Joseph Jackins Mr. and Mrs. Scott Jacobs Jacobsohn Audio LLC


$100,000 or more

$50,000 or more

$25,000 or more

November 10, 2011 – December 17, 2011


BSO Board of Directors 2011-2012 Season OFFICERS

Richard E. Rudman

Kenneth W. DeFontes, Jr.* Chairman

Stephen D. Shawe, Esq.

Kathleen A. Chagnon, Esq.* Secretary

The Honorable James T. Smith, Jr. Solomon H. Snyder, M.D.*

Lainy LeBow-Sachs* Vice Chair

William R. Wagner

Paul Meecham* President & CEO


The Honorable Steven R. Schuh* Treasurer

Peter G. Angelos, Esq. Willard Hackerman H. Thomas Howell, Esq.


Yo-Yo Ma

Jimmy Berg

Harvey M. Meyerhoff

A.G.W. Biddle, III

Decatur H. Miller, Esq.

Robert L. Bogomolny

Patricia B. Modell

Barbara M. Bozzuto*

Linda Hambleton Panitz

Constance R. Caplan

Dorothy McIlvain Scott

Robert B. Coutts Susan Dorsey, Ph.D. ^ Governing Members Chair George A. Drastal* Alan S. Edelman*

DIRECTORS EMERITI Barry D. Berman, Esq. Richard E. Hug M. Sigmund Shapiro

Susan G. Esserman*


Michael Hansen

Calman J. Zamoiski, Jr.

Beth J. Kaplan Murray M. Kappelman, M.D. Sandra Levi Gerstung Jon H. Levinson Ava Lias-Booker, Esq.


Susan M. Liss, Esq.*

Terry Meyerhoff Rubenstein Secretary

Howard Majev, Esq.

Michael G. Bronfein

Liddy Manson

Kenneth W. DeFontes, Jr.

David Oros

Mark R. Fetting

Marge Penhallegon ^ President, Baltimore Symphony Associates

Paul Meecham

Michael P. Pinto

The Honorable Steven R. Schuh

Margery Pozefsky Scott Rifkin, M.D. Ann L. Rosenberg Bruce E. Rosenblum*

W. Gar Richlin

Calman J. Zamoiski, Jr. *Board Executive Committee ^ex-officio

Upcoming Member-Only Event! > Open Rehearsal Don’t miss this exclusive opportunity to experience a rehearsal of works by American composers Copland, Collins and Gershwin, led by Maestra Marin Alsop and featuring guest soloist William Sharp, Baritone. Wednesday, November 9, 2011. 12:45 p.m. Light refreshments 1:30 p.m .Rehearsal For Bach Level Members and higher ($75+) All Events subject to change. To enjoy these events or to receive more information, please call the BSO’s Events hotline for Members at 410.783.8074 or email



Indivduals (continued) Mr. Doug James and Kay Mollick Ms. Cecilia Januszkiewicz Mrs. Dean Jensen Ms. Mary Jeske Mrs. Honor Johnson Ms. Patricia Jonas Mr. Gareth R. Jones Ms. Claudette Jones Ms. Elizabeth Kameen Mrs. Shirley Kaufman Mr. William Kissinger Mr. Elmer Klein Dr. Morton D. Kramer Mr. and Mrs. Geoffrey Kroll Dr. and Mrs. Alfred Kronthal Ms. Deborah Kudner Mr. Norman La Cholter Mr. Fred Lang Elaine and Ludwig Lankford Dr. Pearl D. Laufer Mr. and Mrs. Robert Lawrence Mr. Harry P. Lebow Ms. Sandra Leichtman Dr. and Mrs. George Lentz Ms. Delores G. Leppard Mr. Christopher V. Lerbs Ms. Dana Lesemann Peter and Lina Leibhold Ms. Constance Lieder Mr. H.A. Lim Mr. Lasse Lindahl Ms. B. Joanne Lindberg Ms. Sandra Liotta Mr. and Mrs. Kennet Lobo Ms. Maria Loren Mr. and Mrs. A. Lee Lundy, Jr. Ms. Mary MacDonald Dr. Ellen MacKenzie Dr. Lee Maddox and Ms. Susan Marshall-Maddox Ms. Francine Manekin Dr. and Mrs. Steven Marks Mr. Elvis Marks Mr. and Mrs. Jacob Matz Mr. Gary Maynard Dr. Donald E. McBrien Mrs. Patricia McCall Mr. and Mrs. Russell McCally Mr. Chris McGeachy Mr. Bruce McPherson Ms. Sandra McWhirter Mr. and Mrs. Michael A. Meredith Mr. Abel Merrill Benjamin Michaelson, Jr. Ms. Linda L. Miller Mr. and Ms. Clare Milton Mr. and Mrs. Howard L. Miskimon Mr. and Mrs. F.O. Mitchell Dr. Basil S. Morgan Mr. Charles Morgan Mr. and Mrs. James Morrison Ms. Paula Murphy Dr. and Mrs. Joseph P. Napora Mr. and Mrs. Emil Newcastle Ms. Mary Njoku Mr. and Mrs. Richard North Dr. and Mrs. J. Crossan O’Donovan Dr. and Mrs. Charles O’Donovan Mr. and Mrs. Gene Oishi Dr. and Mrs. David Owen Mr. and Mrs. Thomas Page, Sr. Mr. and Mrs. Norman Paget Mr. Jeffrey C. Palkovitz Mr. and Mrs. William Pantle Ms. Diane Pappas Mr. and Mrs. Harry P. Pappas Mr. and Mrs. Richard Parsons Dr. Joseph Pattison John E. Pazdernik Dr. and Mrs. Frederick Pearson Ms. Laura Pennell Shawan Pettie Dr. and Mrs. C. Michael Pfeifer, Jr. Mr. Paul J. Plumer Mrs. Oveta Popjoy David A. and Kathleen Power Ms. Karen L. Prengaman Myrlon Pressly Mr. and Mrs. Arthur R. Ransom, Jr. Ms. Barbara Rawlins Mr. and Mrs. William E. Ray Ms. Kimberly Reeves Mr. Joseph Rehrmann Mr. and Mrs. Ronald Reifler Mr. Thomas Rhodes Mr. Jeff Rice Mr. William F. Rienhoff, IV Mrs. Randall S. Robinson Ms. Carla Rosenthal Dr. and Mrs. Maido Saarlas Mr. and Mrs. Jay Salkin Mr. Harry Sanford Ms. Mary Ellen Saterlie Ms. Kayleen Saucier and Mr. Richard Saucier Mr. and Mrs. Samuel Schnydman Mr. and Mrs. Howard Schoenfeld Mr. and Mrs. Eugene H. Schreiber Mr. Norman A. Sensinger, Jr. Mr. and Mrs. Robert W. Sharp Mrs. Elizabeth H. Shriver Mr. and Mrs. Bean Sibel Dr. and Mrs. Raymond A. Sjodin Ms. Elizabeth Skinner Ms. Patricia E. Smeton Mr. and Mrs. Richard Smith

Mr. and Mrs. Miles T. Smith Mr. and Mrs. Ronald Smullian Mrs. Catherine Soares Dr. and Mrs. Donald B. Spangler Mr. Raymond J. Spitznas Dr. Margaret Steinhagen Dr. Carolee Stewart Ms. Nell B. Strachan Ms. Joanne Strauss Mr. and Mrs. Bruce Stuart Paddy Sullivan Ms. Sandra Sundeen Ms. Brigette L. Swan Mrs. Lisa Tate Mr. Tim Teeter Mr. Harry Telegadas Mr. Charles Obrecht The Edward J. and Jeanne C. Trexler Foundation Mrs. Kathleen A. Thompson Reverend Lowell Thompson Mr. and Mrs. William Thompson Mr. Peter Threadgill Mr. and Mrs. Andrew Toth Ms. Mildred L. Tyssowski Mr. Bertram Van Engel Ms. Jane Vanko Mr. and Mrs. Donald VanOstrand Ms. Katherine Vaughns Mr. and Mrs. John Walden Mr. Charles E. Walker Dr. Robert F. Ward Mr. and Mrs. Weldon W. Ward, Jr. Mr. and Mrs. E. Nelson Wareheim, Jr. Mr. Edward Warren Dr. Peter Warschawski Ms. Susan G. Waxter Ms. Beth L. Wetzelberger Ms. Elspeth Banker Wheeler Mr. and Mrs. George White Kem and Susan White Alma and Dennis Wickenden Ms. Louise S. Widdup Dr. and Mrs. Shaw Wilgis Mr. and Mrs. Barry Williams Ms. Carol Williams Ms. Elizabeth Winstead Dr. and Mrs. Frank R. Witter Ms. Carla Witzel Dr. S. Lee Woods Mr. Raymond and Daryl Worley Mr. Benjamin Yeagle Drs. Paul and Deborah Young-Hyman Dr. and Mrs. Jeffrey S. Zaller Ms. Janice M. Zengel Dr. and Mrs. Jonathan Zenilman

Corporations $10,000 or more American Trading & Production Corporation Robert W. Baird & Company Beltway Fine Wines Hughes Network Systems, LLC IWIF McKesson Corporation McKesson Mid-Atlantic Federal Credit Union RBC Wealth Management Ritz-Carlton Residences, Inner Harbor, Baltimore Saul Ewing LLP Washington National Opera Robert W. Baird & Co. Foundation Washington National Opera Wells Fargo Foundation

$5,000 or more Arts Consulting Group, Inc. Classical Movements, Inc. Corporate Office Properties Trust D.F. Dent & Company Georgetown Paper Stock of Rockville Lockheed Martin MS2 P&G Fund of the Greater Cincinnati Foundation Venable LLP Zuckerman Spaeder LLP

$2,500 or more Downtown Piano Works Federal Parking, Inc. S. Kann Sons Company Foundation Target

$1,000 or more Ellin & Tucker, Chartered Eyre Bus, Tour & Travel Harford Mutual Insurance Companies Independent Can Company J.G. Martin Company, Inc. McGuireWoods LLP Mercer R&H Motor Cars Rosenberg Martin Greenberg, LLP Semmes, Bowen & Semmes Taco Bell Von Paris Moving & Storage

Foundations $50,000 or more William G. Baker, Jr. Memorial Fund Creator of the Baker Artist Award The Annie E. Casey Foundation The Hearst Foundation, Inc.

Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Ensign C. Markland Kelly, Jr. Memorial Foundation The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder* The Rouse Company Foundation

$25,000 or more Jacob and Hilda Blaustein Foundation The Buck Family Foundation Ann and Gordon Getty Foundation The Goldsmith Family Foundation, Inc. Peggy & Yale Gordon Trust Young Artist Sponsor Middendorf Foundation The Salmon Foundation Zanvyl & Isabelle Krieger Fund

$10,000 or more Anonymous (1) Baltimore Women’s Giving Circle Clayton Baker Trust Bunting Family Foundation The Morris and Gwendolyn Cafritz Foundation Degenstein Foundation Hoffberger Foundation Harley W. Howell Charitable Foundation Betty Huse MD Charitable Trust Foundation The Abraham and Ruth Krieger Family Foundation League of American Orchestras John J. Leidy Foundation, Inc. The Letaw Family Foundation Macht Philanthropic Fund of the AJC Bruno Walter Memorial Foundation Wright Family Foundation

$5,000 or more The Arts Federation Edward Collins Fund for American Music The Charles Delmar Foundation Helen P. Denit Charitable Trust Edith and Herbert Lehman Foundation, Inc. Ronald McDonald House The John Ben Snow Memorial Trust Cecilia Young Willard Helping Fund

$2,500 or more ALH Foundation, Inc. The Campbell Foundation, Inc. The Harry L. Gladding Foundation Israel and Mollie Myers Foundation Judith and Herschel Langenthal Jonathan and Beverly Myers The Jim and Patty Rouse Charitable Foundation, Inc. Sigma Alpha Iota

$1,000 or more Anonymous (1) Cameron and Jane Baird Foundation Balder Foundation Baltimore Community Foundation Margaret O. Cromwell Family Fund Robert Wood Johnson Foundation Ethel M. Looram Foundation, Inc. Mangione Family Enterprises Mercer Human Resource Consulting Rathmann Family Foundation

Government Grants Mayor and City Council of Baltimore and the Baltimore Office of Promotion and the Arts Baltimore County Executive, County Council, and the Commission for the Arts and Sciences Carroll County Government & the Carroll County Arts Council The Family League of Baltimore City, Inc. Howard County Government & the Howard County Arts Council The Maryland Emergency Management Agency Maryland State Arts Council Maryland State Department of Education Arts and Humanities Council of Montgomery County National Endowment for the Arts

Endowment The BSO gratefully acknowledges the generosity of the following donors who have given Endowment Gifts to the Sustaining Greatness and/or the Heart of the Community campaigns. * Deceased Anonymous (6) Diane and Martin* Abeloff AEGON USA Alex. Brown & Sons Charitable Foundation Dr. and Mrs. Thomas E. Allen Eva and Andy Anderson Anne Arundel County Recreation and Parks Department William G. Baker, Jr. Memorial Fund Mr. H. Furlong Baldwin Baltimore Community Foundation

Baltimore County Executive, County Council and the Commission on Arts and Baltimore Office of Promotion and the Arts The Baltimore Orioles Georgia and Peter Angelos The Baltimore Symphony Associates, Marge Penhallegon, President Patricia and Michael J. Batza, Jr. Henry and Ruth Blaustein Rosenberg Foundation The Jacob and Hilda Blaustein Foundation Mr. and Mrs. Bruce I. Blum Dr. and Mrs. John E. Bordley* Jessica and Michael Bronfein Mr. and Mrs. George L. Bunting, Jr. Dr. and Mrs. Oscar B. Camp Carefirst BlueCross BlueShield CitiFinancial Constellation Energy Mr. and Mrs. William H. Cowie, Jr. Richard A. Davis and Edith Wolpoff-Davis Rosalee C. and Richard Davison Foundation Mr. L. Patrick Deering*, Mr. and Mrs. Albert R. Counselman, The RCM&D Foundation and RCM&D, Inc. DLA Piper Rudnick Gray Cary US LLP Carol and Alan Edelman Dr. and Mrs. Robert Elkins Deborah and Philip English Esther and Ben Rosenbloom Foundation France-Merrick Foundation Ramon F.* and Constance A. Getzov John Gidwitz The Goldsmith Family Foundation, Inc. Joanne Gold and Andrew A. Stern Jody and Martin Grass Louise and Bert Grunwald H&S Bakery Mr. John Paterakis Harford County Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Betty Jean and Martin* S. Himeles, Sr. Hoffberger Foundation Howard County Arts Council Harley W. Howell Charitable Foundation The Huether-McClelland Foundation Mr. and Mrs. Richard E. Hug Independent Can Company Laura Burrows-Jackson

Beth J. Kaplan and Bruce P. Sholk Dr. and Mrs. Murray M. Kappelman Susan B. Katzenberg Marion I. and Henry J. Knott Scholarship Fund The Zanvyl and Isabelle Krieger Fund Anne and Paul Lambdin Therese* and Richard Lansburgh Sara and Elliot* Levi Bernice and Donald S. Levinson Darielle and Earl Linehan Susan and Jeffrey* Liss Lockheed Martin E. J. Logan Foundation M&T Bank Macht Philanthropic Fund of the AJC Mrs. Clyde T. Marshall Maryland Department of Business and Economic Development The Maryland State Arts Council MD State Department of Education McCarthy Family Foundation McCormick & Company, Inc. Mr. Wilbur McGill, Jr. MIE Properties, Inc. Mr. Edward St. John Mercantile-Safe Deposit & Trust Joseph & Harvey Meyerhoff Family Charitable Funds Sally and Decatur Miller Ms. Michelle Moga Louise* and Alvin Myerberg / Wendy and Howard Jachman National Endowment for the Arts Mr. and Mrs. Bill Nerenberg Mrs. Daniel M. O’Connell Mr. and Mrs. James P. O’Conor Stanley and Linda Hambleton Panitz Cecile Pickford and John MacColl Dr. Thomas and Mrs. Margery Pozefsky Mr. and Mrs. T. Michael Preston Alison and Arnold Richman The James G. Robinson Family Mr. and Mrs. Theo C. Rodgers Mr. and Mrs. Randolph* S. Rothschild The Rouse Company Foundation Nathan G.* and Edna J. Rubin The Rymland Foundation S. Kann Sons Company Foundation, Inc. B. Bernei Burgunder, Jr. Dr. Henry Sanborn Saul Ewing LLP Mrs. Alexander J. Schaffer Mr. and Mrs. J. Mark Schapiro Eugene Scheffres and Richard E. Hartt*

Mrs. Muriel Schiller Dorothy McIlvain Scott Mrs. Clair Zamoiski Segal and Mr. Thomas Segal Ida & Joseph Shapiro Foundation and Diane and Albert Shapiro Mr. and Mrs. Earle K. Shawe The Sheridan Foundation Richard H. Shindell and Family Dr. and Mrs. Solomon H. Snyder The St. Paul Companies Barbara and Julian Stanley T. Rowe Price Associates Foundation, Inc. The Alvin and Fanny Blaustein Thalheimer Guest Artist Fund Alvin and Fanny B. Thalheimer Foundation, Inc. TravelersGroup The Aber and Louise Unger Fund Venable LLP Wachovia Robert A. Waidner Foundation The Whiting-Turner Contracting Company Mr. and Mrs. Willard Hackerman Mr. and Mrs. Jay M. Wilson / Mr. and Mrs. Bruce P. Wilson The Zamoiski-Barber-Segal Family Foundation

Baltimore Symphony Associates Executive Committee Marge Penhallegon, President Jim Doran,Vice President, Communications Larry Townsend,Vice President, Education Estelle Harris, Co-Vice-President, Meetings and Programs Louise Higgins, Co-Vice-President, Meetings and Programs Sandy Feldman, Vice President, Recruitment & Membership Deborah Stetson,Vice President, Special Services & Events Larry Albrecht, Vice President, Symphony Store Vivian Kastendike, Corresponding Secretary Mary Ann Waldron, Recording Secretary Barbara Kelly, Treasurer Winnie Flattery, Past President LaVerne M. Grove, Parliamentarian

The Legato Circle

Baltimore Symphony Staff Paul Meecham President and CEO Beth Buck Vice President and CFO Carol Bogash Vice President of Education and Community Engagement Deborah Broder Vice President of BSO at Strathmore

Ivory Miller Maintenance Facilities

Matthew Spivey Vice President of Artistic Operations


ARTISTIC OPERATIONS Toby Blumenthal Manager of Facility Sales Tiffany Bryan Manager of Front of House Erik Finley Artistic Planning Manager and Assistant to the Music Director Anna Harris Operations Assistant Alicia Lin Director of Operations and Facilities

Chris Vallette, Database and Web Administrator Sophia Jacobs Senior Accountant Janice Johnson Senior Accountant Evinz Leigh Administration Associate Sandra Michocki Controller and Senior Director of Business Analytics Sybil Johnson Payroll and Benefits Administrator

Chris Monte Assistant Personnel Manager


Marilyn Rife Director of Orchestra Personnel and Human Resources

Claire Berlin PR and Publications Coordinator

Meg Sippey Artistic Coordinator

Cheryl Goodman OrchKids Director of Fundraising and Administration Sara Nichols Academy Coordinator Lisa A. Sheppley Associate Director of Education Nick Skinner OrchKids Site Manager Larry Townsend Education Assistant Dan Trahey OrchKids Director of Artistic Program Development DEVELOPMENT

Allison Burr-Livingstone Director of Institutional Giving Kate Caldwell Director Philanthropic Services Becky McMillen Donor Stewardship Coordinator Rebecca Potter Institutional Giving Specialist

What would you like your legacy to be? We welcome the opportunity to discuss your philanthropic goals in concert with your family needs and today’s financial challenges. For further information, or to let us know you have included the BSO in your plans, please contact Katharine H. Caldwell, Director of Philanthropic Services at 410.783.8087 or

Bertha Jones Senior Housekeeper

Eileen Andrews Vice President of Marketing and Communications

Margaret Blake Development Office Manager

Suzan Kiepper

Shirley Caudle Housekeeper

Curtis Jones Building Services Manager

Jennifer Barton Development Program Assistant

SUZAN KIEPPER, a pianist, clarinetist, and a member of the Baltimore Symphony Associates, Governing Members, Women’s Leadership Forum and dedicated volunteer, is enthusiastic about becoming a new member of The Legato Circle. “Growing up in Baltimore, I developed a deep love for the Baltimore Symphony Orchestra, as it changed my life through a local music competition. Today it gives me great joy to give back in both time and resources, so that one day other lives might be changed through music.”


Dale Hedding Vice President of Development


The Legato Circle honors those individuals who have included the Baltimore Symphony Orchestra in their long-term financial plans, including gifts by bequest, life income gift, IRA or retirement plan, trust, life insurance or real estate. As in a legato musical line, these special designations ensure the smooth transfer of musical values from this generation to the many following. Over the years, these legacy gifts, both large and small, have played a significant role in the financial stability of the BSO, supporting the BSO commitment to perform the highest quality symphonic music of all eras that nurtures the human spirit. Legacy gifts enable innovative programming, education and community outreach, and expanded partnerships. Legacy donors may honor a loved one or family member by establishing a named fund, and can also establish a permanent endowment.

DEVELOPMENT (CONTINUED) Emily Wise Donor Relations Manager, BSO at Strathmore

Joanne M. Rosenthal Director of Major Gifts, Planned Giving and Government Relations

Brendan Cooke Group Sales Manager Rika Dixon Director of Marketing and Sales Laura Farmer Public Relations Manager Derek A. Johnson Manager of Single Ticket Sales Theresa Kopasek Marketing and PR Associate Samanatha Manganaro Direct Marketing Coordinator Michael Smith Digital Marketing and E-Commerce Coordinator Elisa Watson Graphic Designer TICKET SERVICES Amy Bruce Manager of Special Events and VIP Ticketing Gabriel Garcia Ticket Services Agent Adrian Hilliard Senior Ticket Services Agent, Strathmore Timothy Lidard Assistant Ticket Services Manager Kathy Marciano Director of Ticket Services Peter Murphy Ticket Services Manager Michael Suit Ticket Services Agent

Rebecca Sach Director of Annual Fund


Elspeth Shaw Annual Fund Manager

Larry Albrecht Symphony Store Volunteer Manager

Richard Spero Community Liaison for BSO at Strathmore

Louise Reiner Office Manager

November 10, 2011 – December 17, 2011




FOR THE LAST 20 YEARS, on the Fourth of July, BSO violinist Rebecca Nichols could be found performing onstage in the BSO’s Star-Spangled Spectacular at Oregon Ridge. But this past summer, when she chose to play her violin she had an audience of one—and a whole lot of fish. “I felt like I was playing hooky,” says Nichols, who took the summer off to sail to Maine with her husband Rick Boothby. It was the sixth time he had made the four-week journey, but only the first time that Nichols had signed on as crew. The two had been planning the trip for a year, saving up to take the time off and going on an overnight sea-trial to test the extent of Nichols’ seasickness. Seasickness, in fact, was what Nichols had most worried about before they set out. But thanks to precautions like hugging the shoreline, avoiding overnight sailing, and, yes, medication, she was able to leave work behind and enjoy the vast ocean expanse for the whole month. Nichols brought her spare violin, and frequently enjoyed playing duets with Rick, an amateur violist, as they made their way up the coast.



The experience was utterly different from her usual approach to music making, she says. “I’ve been playing violin since I was 10, and I’ve always needed to focus on perfection,” she explains. “I’ve never enjoyed just pulling out the violin and fooling around without much practice. But playing a duet on a sailboat with your non-musician husband, you can’t be a perfectionist. You have to let go and have fun.” Every day on the boat brought new surprises, she says, from the blue of the big sky surrounding her and her husband to the accord they reached sharing the space of their small boat. “At first I wanted to go for the challenge of doing something new and different, and also to spend the summer with my husband,” recalls Nichols. “But it turns out that I really loved the whole experience of sailing. I would go again in a heartbeat!” —Sarah Lewin Read about Rebecca Nichols’ journey and see more pictures on her blog:












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