Verdi Requiem Digital Program Book

Verdi Requiem November 10 + 12 + 13, 2022 Morton H. Meyerson Symphony Center

Table of Contents 04 A Musical Gift 06 Women in Classical Music Symposium 10

What’s New at the DSO

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Concert Program: Verdi Requiem

35 Musical Glossary 36 Dallas Symphony Musicians 38 Dallas Symphony Board Leadership 39 Dallas Symphony Volunteer Leadership 40 Annual Fund Donors 46 Institutional Partners 47 Endowment Gifts 47 Capital Gifts 48 Kim Noltemy Young Musicians Program Donors 49 Your DSO—Excite, Inspire, Engage Campaign 51

Dallas Symphony Staff

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A Musical Gift

INSPIRING Russian-born cellist Yuri Anshelevich made his recital debut at the age of nine, and five years later earned acceptance at the famed Moscow State Conservatory, graduating with highest honors in 1960. The same year, he won First Prize in the Cello Division of the All-Russian Competition, which led to studies with world-famous cellist Mstislav Rostropovich.

In 1977, Yuri Anshelevich joined the Dallas Symphony Orchestra as Associate Principal Cello and performed for 38 years, retiring in 2015. Anshelevich was part of the DSO’s growth, performing with many musicians and three Music Directors from 1977 to 2015. He went on to serve on the faculty of Southern Methodist University and as artist-in-residence at the University of Dallas.

Now, still active as a soloist and chamber musician, he honors his decades in the orchestra with a generous gift, a number of cellos and bows straight from the cellist’s personal collection.

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The five cellos and eight bows, valued at $1.7 million in total, hail from London and Italy. These instruments were created from 1717 to 1975. These high-quality instruments can improve tonality and sound, revealing depth and resonance, and, thanks to skillful craftmanship, look beautiful on stage!

The cellist has continued to attend concerts at the DSO since his retirement, but Anshelevich returned to his home on the Meyerson stage for a special performance on one of his instruments on Saturday, November 5, 2022, in honor of this precious gift and his remarkable tenure at the DSO. World-renowned Music Director Fabio Luisi conducted Anshelevich and the DSO in a performance of Kol Nidrei (All Vows) by Max Bruch. The piece, Bruch’s second most frequently performed work, features a beautiful, harrowing cello solo accompanied by strong, sweeping orchestral melodies. This performance opened the November 5 Texas Instruments Classical concert. Longtime DSO patrons enjoyed seeing a familiar, and brilliant, face on stage when Anshelevich returned.

Fabio Luisi claimed, “The addition of this collection to the ensemble will enrich the sound of the cello section. We are thankful for his generosity and for his many years of performance and friendship.”

Along with his generous gift, the DSO named the Manager of Orchestra Personnel in his and his late wife Olga’s honor. Nishi Badhwar currently holds the Olga and Yuri Anshelevich Manager of Orchestra Personnel position.

The Dallas Symphony Orchestra is incredibly grateful to Yuri Anshelevich, for entrusting us with a gift that will have lasting effects. Soon enough, you can return to the symphony to see and hear Mr. Anshelevich’s gifts in action in their new permanent home!

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FOURTH ANNUAL

WOMEN in Classical Music Symposium NOVEMBER 6-9, 2022

THE DALLAS Symphony Orchestra’s fourth annual Women in Classical Music Symposium was held November 6-9, 2022, at the Morton H. Meyerson Symphony Center in Dallas, Texas. Administrators, educators, musicians and conductors from all over the world gathered in conversation, panels and discussions. Support for the symposium is provided by Texas Commission on the Arts, The Kaleta A. Doolin Foundation, the Texas Women’s Foundation, Nancy Bierman, Joanne Bober, Yon Jorden, Betty Regard, Wei Ling Wang and Martha Wells.

Details on programming and registration are available at womeninclassicalmusic.com.

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Central to the event is the Award of Excellence and the choosing of a Career Advancement Award by the honoree. This year, the DSO honored classical singer Julia Bullock with the annual Award of Excellence.

Combining versatile artistry with a probing intellect and commanding stage presence, she has headlined productions and concerts at preeminent arts institutions around the world. An innovative curator in high demand from a diverse group of arts presenters, museums and schools, her notable positions have included collaborative partner of Esa-Pekka Salonen with the San Francisco Symphony, 2020–22 Artist-inResidence of London’s Guildhall School of Music and Drama,

2019-20 Artist-in-Residence of the San Francisco Symphony and 2018-19 Artist-in-Residence at New York’s Metropolitan Museum of Art. Bullock is also a prominent voice of social consciousness and activism.

Julia chose vocalist Katherine Goforth to receive this year’s Career Advancement Award.

Katherine Goforth is a vocalist known for sharing her “noble, colorful and iridescent vocal sound” (Magazin Klassik) in strong and heartfelt performances.

“Goforth... does not hold back,” (The New York Times) offering vivid character portraits sung with the utmost commitment and skill. A transgender woman, Goforth excels in a wide-range of roles across the gender spectrum.

She is a proud representative of LGBTQ community and advocates for the inclusion of all voices in the performing arts. Her recent appearances have included Portland Opera, Seattle Opera’s Creation Lab, and Opera Theater Oregon.Katherine is an Instructor of Voice at Clark College in Vancouver, Washington, and teaches at Lydian Music Studios in Portland, Oregon. She has served on the board of Opera Theater Oregon and the Aquilon Music Festival, and consulted for a variety of new operatic projects and arts organizations. Her writing has been published in Opera Canada Magazine and she has been presented as a speaker by Renegade Opera.

This year’s panels focused on topics for all phases of careers as well as roles in the industry.

Performers, administrators and patrons took key points away from the discussion. In addition, historical and contemporary topics were included.

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SELECTED SESSIONS: The State of the Industry Martha Gilmer, CEO, San Diego Symphony; Fabio Luisi, Music Director, Dallas Symphony; Kim Noltemy, Ross Perot President & CEO, Dallas Symphony; and Matias Tarnopolsky, President & CEO, Philadelphia Orchestra & Kimmel Center spoke in a session looking at progress in terms of racial and gender equity, mid-career dropoff and retention, and progress on artistic appointments through the lens of equity and inclusion.

History and Leadership of Black Women in U.S. Orchestras Katie McGuinness, Wildenthal Families Vice President of Artistic Operations, Dallas Symphony, moderated a panel with Julia Bullock, Soprano; Nicole Jordan, Principal Librarian, Philadelphia Orchestra and Demarre McGill, Principal Flute, Seattle Symphony discussed the unseen work and deep impact of Black women in U.S. orchestras both on-stage and behind the scenes.

Putting it all Together: Work-Life Integration Work and life no longer exist as separate fields of play. Work-life “balance” has been replaced with “integration”, a way to fold activities of both into short days and achieve success in both areas.

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Camille Delaney-McNeil, Director, Beckmen YOLA Center, Los Angeles Philharmonic; Min Kwon, Professor, Rutgers University and Founder and Director, Center for Musical Excellence; Shana Mathur, Chief Strategy & External Relations Officer, Natural History Museums of Los Angeles County; Kit Sawers, President, Klyde Warren Park and Maia Jasper White, Executive and Co-Artistic Director of Salastina discussed ways to achieve this integration, advances we still need to make and how economics, race and status change the equation.

Rescuing Zohra, Afghanistan’s All-Women’s Orchestra, from the Taliban: A Case Study Lesley Rosenthal and Jessica Lustig, founding board members of “Friends of Afghanistan National Institute of Music (ANIM)”, spoke about how the worldwide musical community, including Yo-Yo Ma, Renée Fleming, Marin Alsop, Daniel Barenboim and Spotify, as well as US politicians from both sides of the aisle, came together to evacuate the imperiled Afghanistan National Institute of Music when the Taliban retook power in Afghanistan in August 2021. ANIM faculty and students were in mortal peril when the Haqqani Taliban moved into the ANIM campus and made it a center of operations. ANIM galvanized the support of the world musical

community 273 ANIM community members, eventually securing their safe passage to Portugal, where they were offered group asylum by the government.

The symposium also featured four chamber music performances.

Goforth presented a recital on Monday, November 7, 2022 at 6:00PM. The program included works by Respighi, Mahler and Schubert along with selections by Margaret Bonds, Florence Price and David Lang. Bullock was included virtually in the recital with prerecorded works for vocals and piano performed with her husband Christian Reif.

DSO Principal Second Violin Angela Fuller Heyde (Barbara K. & Seymour R. Thum Chair) and Principal Harp Emily Levin (Elsa von Seggern Chair) performed a recital on Sunday, November 6 at 7:30PM on the Meyerson Stage. The two principals programmed a concert of duets and solos by Amy Beach, Sebastian Currier, Florence Price, Henriette Renié, Camille Saint-Saëns and Nicolai von Wilm. The program was dedicated to Jorja Fleezanis, long-time Minnesota Orchestra concertmaster and a dedicated and devoted teacher.

During the lunchtime break on Tuesday, November 8, DSO musicians Giyeon Yoon, violin;

Hyorim Han, violin; Matthew Sinno, viola and Minji Kim, cello; performed works for string quartet: Jessie Montgomery’s Break Away and selections from Alexander Borodin’s String Quartet No. 2 in D Major and Beethoven’s String Quartet No. 9 in C Major.

DSO Composer-in-Residence Angélica Negrón curated a chamber program with a diverse selection of contemporary composers. Many of the composers she programmed are friends and colleagues in the field, and the ensembles featured orchestral instruments with additional elements such as toy piano, audio playback and electronics. Negron contributed a work of her own to the program, and it also featured pieces by inti figgisvizueta, Allison Loggins Hull, Sophia Jani, Mary Kouyoumdjian, Tania León, Shruthi Rajasekar and Julia Wolfe. This concert was performed in the Meyerson lobby at 7:30PM on Tuesday, November 8.

Complete schedule and panels are available at womeninclassicalmusic.com 9

What's New at the DSO Brahms Symphony 1 and 2 Recordings Now Available The DSO has released performance recordings of Brahms Symphonies No. 1 and 2 and they are available digitally via Amazon and Spotify, or in CD format at the Symphony Shop in the Morton H. Meyerson lobby.

These recordings are from performances last season and mark the start of Fabio Luisi’s complete Brahms Symphony Cycle with the DSO. Next Stage Digital Concert Series, Presented by PNC Bank This year marks the third season of the DSO’s Next Stage Digital Concert Series, Presented by PNC Bank. Video performances of concerts will be available at watch.dallassymphony.org. We hope you enjoy the first group of videos including performances of Holst’s The Planets conducted by Principal Guest Conductor Gemma New (Dolores G. & Lawrence S. Barzune, M.D. Chair), Rachmaninoff’s Symphonic Dances conducted by Stéphane Denève and Tchaikovsky Symphony No. 5 conducted by Music Director Fabio Luisi (Louise W. & Edmund J. Kahn Music Directorship).

Yoga at the Meyerson We began our weekly yoga practices at the Meyerson this summer.

We invite everyone to join us Tuesdays & Thursdays at 8 AM in the lower lobby.

North Texas Giving Day We had a record breaking North Texas Giving Day this year! The DSO raised over $180,000 with the help of our wonderful patrons and our friends from Pulse Supply Chain Solutions, who matched all NTxDG gifts dollar-for-dollar up to $15,000. Thank you to all that made this possible!

Chris Botti and the Dallas Symphony Orchestra on PBS The Chris Botti and DSO concert taped in October 2021 aired nationally on PBS stations in August. We were delighted to have the opportunity to share this incredible performance around the U.S. Wine & Food Festival (Save the Date) Thank you all for joining us for the second annual DSO Wine & Food Festival this past August. We saw terrific attendance at all the events – including the new BBQ, Beer and Bourbon and chocolate pairing events.

Save the date for August 2023 for the next Festival!

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Discover the magic at the DSO Th e Nutc rac ke r | N OV 25 - 27

C-Sui te C hri stma s 2022 | D EC 7

Ch r i st m as Po ps | D E C 2 - 11

Take 6 | DE C 13

Fa m i ly Ch r ist mas Pop s | DE C 3

Home Alone in Conce r t | D EC 16 - 18

Ca n adian Brass | DE C 5

New Year ’s E ve | D EC 31

Christmas Pops

Verdi Requiem NOV 10 + 12 + 13 THURS, SAT | 7:30PM & SUN | 3:00PM

In gratitude, these performances are dedicated to:

Robert E. and Jean Ann Titus Family Weekend of Concerts Saturday The Marcella Fund Sunday

Nancy A. Nasher and David J. Haemisegger

FABIO LUISI Conducts Music Director

Louise W. & Edmund J. Kahn Music Directorship

ADRIANA GONZÁLEZ Soprano TAMARA MUMFORD Mezzo-Soprano

PIERO PRETTI Tenor JOSHUA BLOOM Bass DALLAS SYMPHONY CHORUS FERDINANDO SULLA Guest Chorus Director

VERDI Messa da Requiem (Approximate duration 84 minutes) Requiem and Kyrie (chorus, soloists) Dies irae Dies irae (chorus) Tuba mirum (chorus) Mors stupebit (bass) Liber scriptus (mezzo-soprano, chorus) Quid sum miser (soprano, mezzo-soprano, tenor) Rex tremendae (soloists, chorus) Recordare (soprano, mezzo-soprano) Ingemisco (tenor) Confutatis (bass, chorus) Lacrymosa (soloists, chorus) Program continued on following page

PRESENTED BY

Available MON, NOV 28, 2022

Offertorio Domine Jesu Christe (soloists) Hostias (soloists)

Sanctus (double chorus) Agnus Dei (soprano, mezzo-soprano, chorus) Lux aeterna (mezzo-soprano, tenor, bass) Libera me (soprano, chorus) Libera me Dies irae Requiem aeternam Libera me Supertitle System courtesy of DIGITAL TECH SERVICE, LLC, Portsmouth, VA Supertitles translated & cued by Jason Smith

Performed without intermission. This concert will conclude at approximately 9:00PM; 4:30PM Sunday

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Fabio Luisi Music Director Louise W. & Edmund J. Kahn Music Directorship

GRAMMY® AWARD WINNER Fabio Luisi launched his tenure

as Louise W. & Edmund J. Kahn Music Director of the Dallas Symphony Orchestra (DSO) at the start of the 2020/21 season.

In January 2021, the DSO and Luisi announced an extension of the Music Director’s contract through the 2028/29 season. A maestro of major international standing, the Italian conductor is also set to embark on his sixth season as Principal Conductor of the Danish National Symphony Orchestra, and in September 2022 he assumed the role of Principal Conductor of the NHK Symphony Orchestra in Tokyo. He previously served for six seasons as Principal Conductor of the Metropolitan Opera and nine seasons as General Music Director of the Zurich Opera.

In September 2022, Luisi and the Dallas Symphony released their first recording project together. Brahms’s First and Second Symphonies will be available through the DSO’s in-house DSO Live label. Fabio Luisi’s 2022/23 programs in Dallas and for the DSO’s Next Stage Digital Concert Series will feature performances of the music of beloved classical composers, a continued examination of American music, and large-scale choral and orchestral works. A world-renowned interpreter of the music of Richard Strauss, Luisi will conduct the composer’s tone poem Don Quixote for his first concert weekend, along with Tchaikovsky’s Symphony No. 5. Hélène Grimaud will return to the DSO for Luisi’s second series of concerts, joining him in Brahms’s Piano Concerto No. 1. He will continue the program with César Franck’s Symphony in D minor, the composer’s best-known orchestral work.

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As a prelude to the fourth annual Women in Classical Music Symposium in November, Luisi will present music by three female composers – Julia Perry, Clara Schumann and Louise Farrenc. The following week, the full Dallas Symphony Chorus will make its season debut in Verdi’s monumental Requiem, featuring Adriana González (soprano), Tamara Mumford (mezzo-soprano), Piero Pretti (tenor) and Wenwei Zhang (bass) as soloists. Acclaimed violinist Nicola Benedetti will return to the DSO to join Luisi for the U.S. premiere of James MacMillan’s Violin Concerto No. 2, and Luisi will conduct Bruckner’s Symphony No. 4, the cinematic “Romantic.” This will mark the first time during his tenure that Luisi has presented Bruckner. In his three final concerts of the season, Luisi mixes the familiar with the unique. Continuing his recording project of the complete Brahms symphonies, Luisi will perform both Brahms’s Third and Fourth Symphonies with the DSO. He also welcomes composer-in-residence Angélica Negrón for the world premiere of her new work, Arquitecta. Luisi closes his season with the orchestra with two works by Carl Orff, the iconic Carmina Burana and the rarely heard Catulli Carmina.

Other highlights of the 2022/23 season include several concerts with the NHK Symphony Orchestra (Tokyo) in Luisi’s first season as Principal Conductor; a new production of Verdi’s I vespri siciliani at La Scala (Milan); and the continuation, with the Danish National Symphony Orchestra, of his recording series of Carl Nielsen’s symphonies for the renowned Deutsche Grammophon label.

The conductor received his first GRAMMY® Award in March 2013 for his leadership of the last two operas of Wagner’s Der Ring des Nibelungen, when Deutsche Grammophon’s DVD release of the full cycle, recorded live at the Met, was named Best Opera Recording of 2012. In February 2015, the Philharmonia

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Zurich launched its Philharmonia Records label with three Luisi recordings: Berlioz’s Symphonie fantastique, a double album surveying Wagner’s Preludes and Interludes, and a DVD of Verdi’s Rigoletto. Subsequent releases have included a survey of Rachmaninov’s Four Piano Concertos and Rhapsody on a Theme of Paganini with soloist Lise de la Salle, and a rare recording of the original version of Bruckner’s monumental Symphony No. 8. Luisi’s extensive discography also includes rare Verdi operas (Jérusalem, Alzira and Aroldo), Salieri’s La locandiera, Bellini’s I puritani and I Capuleti e i Montecchi with Anna Netrebko and Elīna Garanča for Deutsche Grammophon, and the symphonic repertoire of Honegger, Respighi and Liszt.

He has recorded all the symphonies and the oratorio Das Buch mit sieben Siegeln by neglected Austrian composer Franz Schmidt, several works by Richard Strauss for Sony Classical, and an award-winning account of Bruckner’s Ninth Symphony with the Staatskapelle Dresden.

Born in Genoa in 1959, Luisi began piano studies at the age of four and received his diploma from the Conservatorio Niccolò Paganini in 1978. He later studied conducting with Milan Horvat at the University for Music and Performing Arts in Graz. Named both Cavaliere della Repubblica Italiana and Commendatore della Stella d’Italia for his role in promoting Italian culture abroad, in 2014 he was awarded the Grifo d’Oro, the highest honor given by the city of Genoa, for his contributions to the city’s cultural legacy. Off the podium, Luisi is an accomplished composer whose Saint Bonaventure Mass received its world premiere at St. Bonaventure University, followed by its New York City premiere in the MetLiveArts series, with the Buffalo Philharmonic and Chorus. As reported by the New York Times, CBS Sunday Morning and elsewhere, he is also a passionate maker of perfumes, which he produces in a one-person operation, flparfums.com.

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Adriana González Soprano DSO Debut

GUATEMALAN SOPRANO, acclaimed for her beautiful lyric voice and outstanding musicality, was a member of the Atelier Lyrique de l’Opéra national de Paris from 2015-17 before joining the International Opera Studio (IOS) at Oper Zürich for one year.

Adriana has won: First Prize « Otto Edelmann Competition », Second Prize and Public Choice Prize « Francisco Viñas” competition, “Teatro Real Prize” in Madrid, First Prize and Zarzuela Prize of the Operalia Competition 2019.

She has sung Pamina (Die Zauberflöte) in Gars, Corinna (Il viaggio a Reims) in Barcelona, Diane and Première Prêtresse (Iphigénie en Tauride), Sapho and Iphise (Les fêtes d’Hébé) in Paris and London, Berta (Il Barbiere di Siviglia) in Zürich and Beaune, Alice (Le Comte Ory), Serpetta (La Finta Giardiniera), Annina (La Traviata) in Zürich, Lia (L’Enfant Prodigue) in Nancy, Micaela (Carmen) in Geneva, Liù (Turandot) in Toulon, Brigitta (Iolanta) in Paris, Countess (Le Nozze di Figaro) in Nancy, Mimi (La Bohème) in Barcelone, Countess in Frankfurt.

Her first recording devoted to Robert Dussaut & Hélène Covatti melodies released in the Spring 2020 by Audax Records, together with pianist Iñaki Oyon is warmly welcomed by the critics. A second album by the same label is released in autumn 2021, the complete melodies of Isaac Albéniz, also accompanied by Oyon.

Forthcoming projects : Countess in Luxembourg and Frankfurt, Juliette (Roméo et Juliette) in Houston, Mimi in Toulon, Micaela in Paris-Bastille, in Amsterdam and in Barcelona, Verdi’s Requiem in Lisbon (cond.

Lorenzo Viotti), Liù in Strasbourg and in Paris-Bastille.

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Tamara Mumford Mezzo-Soprano Last DSO Performance | October 9 - 11, 2020

AMERICAN MEZZO-SOPRANO Tamara Mumford has gained a reputation as an exciting and in -demand singer appearing with many of the finest orchestras and opera house in the US and Europe.

A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Mumford has appeared in over 150 performances with the company including productions of Kaija Saariaho’s L’Amour de loin, Anna Bolena, Rigoletto, Cavalleria Rusticana, Nixon in China, The Queen of Spades, and The Magic Flute. Other recent opera engagements have included the premiere of The Thirteenth Child at the Santa Fe Opera, Tancredi with Teatro Nuovo, Aureliano in Palmira and Lucrezia Borgia at the Caramoor Festival, Henze’s Phaedra, The Rape of Lucretia, and the world premiere of Daniel Schnyder’s Yardbird at Opera Philadelphia; and L’incoronazione di Poppea at the Glyndebourne Opera Festival and the BBC Proms.

Also an active concert performer and recitalist, Ms . Mumford appeared with Gustavo Dudamel and the Los Angeles Philharmonic Orchestra in multiple US and European tours. Other concert engagements have included appearances with the New York Philharmonic, Cleveland Orchestra, Chicago Symphony Orchestra, San Francisco Symphony, Berlin Philharmonic, Netherland Radio Philharmonic, and at the Hollywood Bowl and the Ravinia and Tanglewood festivals. Her recordings include Handel’s Messiah with the Mormon Tabernacle Choir (Momon Tabernacle Choir), Beethoven’s Cantata on the Death of Emperor Joseph II with Michael Tilson Thomas and the San Francisco Symphony (Avie), and both Mahler Symphony No 8 and John Adams’ The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic (Deutsche Grammophon).

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Piero Pretti Tenor DSO Debut

PIERO PRETTI had his first professional engagements as Rodolfo in La Bohème. In subsequent seasons, he appeared in Ifigenia in Aulide in Rome conducted by Riccardo Muti, he made his debut in I Vesprisiciliani at the Teatro Regio where he returned with Lucia di Lammermoor conducted by Gianandrea Noseda and appeared in a concert of arias

by Verdi conducted by Riccardo Muti at the Ravenna Festival.

Other engagements included Rigoletto and La Traviata at the Teatro Regio in Turin, Luisa Miller, Rigoletto, Un ballo in maschera and Lucia di Lammermoor at La Scala, I due Foscari at the Teatro Massimo in Palermo, Madama Butterfly in Auckland, Rigoletto and La Traviata at Wiener Staatsoper, Rigoletto at the Bayerische Staatsoper in Munchen, at Royal Opera House in London and at Teatro dell’Opera in Rome, Nabucco at Les Choregies d’Orange and again Lucia di Lammermoor at Teatro Filarmonico in Verona for Arena Foundation.

Among his recent engagements Madama Butterfly in Bilbao, at Opéra de Paris, Wiener Staatsoper, Berlin, Zurich and at the MET in New York, Lucia di Lammermoor at Hamburgische Staatsoper, Muscat, Turin, La Traviata at Teatro La Fenice in Venice and in Torino, Nabucco at Arena in Verona, Rigoletto at Teatro Real in Madrid and at Teatro alla Scala, La Bohème at Wiener Staatsoper, Il Trovatore in Macerata, Lucia di Lammermoor in Paris, Rigoletto in Rome and Naples, Anna Bolena and Il Pirata at Teatro alla Scala, Macbeth in Turin and Edinburgh, Il Trovatore in Frankfurt, Un ballo in maschera in Wien and Paris, La Bohème in Madrid, Il Trovatore in Florence and Seville, Rigoletto and Nabucco in Munich; Don Carlo in Venice.

Among future engagements Cavalleria rusticana with Chicago Symphony conducted by Riccardo Muti, Il Trovatore in Venice, Nabucco in Parma, Aida in Paris, Tosca in Moscow, La traviata in Naples, Il trovatore and La bohème in Rome, Cavalleria Rusticana in Arena di Verona, again Il trovatore in Palermo etc.

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Joshua Bloom Bass DSO Debut

AUSTRALIAN-AMERICAN BASS Joshua Bloom is frequently praised for his “resplendent bass” and “huge vocal capacity” alongside an “outstanding dramatic precision and power”, (New York Times, Independent) across a remarkable variety of repertoire from Mozart, to Wagner and Strauss, to world premiere works by Gerald Barry and Richard Ayres. He has sung principal roles with Oper Köln, English National Opera, Garsington Opera, the Royal Opera House, San Francisco Opera, Wiener Staatsoper, LA Opera, Opera Australia, New York’s Metropolitan Opera, Washington National Opera, Santa Fe Opera, Badisches Staatstheater, Irish National Opera, and New Israeli Opera, among others.

Bloom has also appeared on the concert stage with the Berlin Philharmonic, New York Philharmonic, all of the major London orchestras, the Los Angeles Philharmonic, the City of Birmingham Symphony Orchestra, Britten Sinfonia, the Auckland Philharmonia and the Birmingham Contemporary Music Group as well as the Melbourne, Queensland, Adelaide and Western Australian Symphonies.

In the 2022/23 season, Bloom will make multiple house debuts as Cadmus Semele for Opera de Lille, Bottom A Midsummer Night’s Dream for Opéra de Rouen Normandie and Kissinger Nixon in China for Opéra nationalde Paris. On the concert platform, he will perform Handel Messiah with the Philharmonia Baroque Orchestra and Rambo The Death of Klinghoffer at The Concertgebouw.

Bloom was born in Australia to musician parents and studied cello and double-bass as well as being a chorister at St Paul’s Cathedral, Melbourne. He went on to study History at the University of Melbourne and graduated with a Bachelor of Arts. His professional debut in opera was in an OzOpera touring production of The Barber of Seville, after which he joined the Young Artist Programme of Opera Australia in Sydney, and later the Merola and Adler Fellowship Programmes at the San Francisco Opera.

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Ferdinando Sulla Guest Chorus Conductor DSO Debut

FERDINANDO SULLA studied organ and composition at the Conservatorio di Musica “Stanislao Giacomantonio” Cosenza and continued his composition and orchestration studies in Milan with composer Giampaolo Testoni. He graduated with full marks and honors in choral music and choral conducting at the conservatory and in orchestral conducting at the Civica Scuola di Musica Claudio Abbado in Milan.

Afterwards, he expanded his conducting studies with Gilberto Serembe at the Italian Conducting Academy. As chorus director, he collaborated with Fabio Luisi and Diego Fasolis for important operatic and symphonic productions. In the operatic field, Sulla has conducted L’italiana in Algeri, Don Pasquale, La Cenerentola, Le donne vendicate, Paisiello’s Il barbiere di Siviglia and Nozze di Figaro.

Sulla conducted “Miserere” and Rossini’s Messa di Milano at the Rossini Opera Festival, and edited the critical version of Messa di Milano for the G. Rossini Foundation of Pesaro. Sulla has also conducted at the Festival della Valle d’Itria in Martina Franca, Festival Verdi in Parma, and Festival Ressurexit in Siauliai on special invitation from the Lithuanian National Philharmonic Society of Vilnius. He has also conducted at the Teatro del Maggio Musicale Fiorentino in Florence, Teatro Regio in Parma, Auditorium of Milan, Fondazione Rete Lirica delle Marche, Teatro Rossini in Pesaro, Teatro Verdi in Padua, Teatro della Fortuna in Fano, Teatro dell’Aquila in Fermo, Teatro Ventidio Basso in Ascoli Piceno, Teatro A. Rendano in Cosenza, and the Auditorium Maximum in Cluj.

Sulla has also conducted the Orchestra and Choir of the Teatro del Maggio Musical Fiorentino, Orchestra Sinfonica G. Verdi in Milan, Filarmonica Arturo Toscanini Orchestra in Parma, I Filarmonici Friulani Orchestra, Filarmonia Veneta Orchestra, Filarmonica Gioacchino Rossini Orchestra, Orchestra Sinfonica G. Rossini in Pesaro, Orchestra di Padova e del Veneto, Orchestra and Choir of the State Philharmonic Transilvanjia in Cluj, Orchestra I Pomeriggi musicali in Mulan, Orchestra Magna Græcia, Klaipeda Chamber Orchestra, Orchestra I Musici di Parma, Roma 3 Orchestra. He has also conducted world premieres of works

by Giampaolo Testoni and Paolo Furlani.

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DALLAS SYMPHONY CHORUS 2022/23 SEASON SOPRANO

Lauren Abee Alma Alvarez Chris Archbold Julie Barnett Diana Benoit Karvi Bhatnagar Ashly Blake Susan Burroughs Tricia Carroll Emma Chumchal Madeline Clothier Stephanie Collao Courtney Crosby Shannon Davidson Lavanda Davis Delilah Delgado Julie Duncan Amelita Facchiano Ashley Grether Jacqueline Hernandez Johyné Hill Nicolle Ho Julie Ihrig Amy Kelley Brionne Kelly Monica Koch Leslie Lenser Pauline Yue Man Leung Olivia Li JoNell Lindh Olivia Mancini Jane McKee Lucy Meyers-Lambert Anita Moore Laura Morgan Caye-An Muldowney Abigail Muñoz

Noel Nelms Janet Noonan Hilary O’Hara Arian Orlando Carol Ozlowski Sarah Pelosi Michaela Robinson Jennifer Rodney Laura Seale Alicia Shewmaker Dana Sosebee Julie Thompson Sarah Tichenor Anne Tracy Katherine Tribble Elizabeth Varhaug Rhea Yalamanchili Jessica Zeller ALTO

Rebecca Baker Meredith Ball Judith Becker Christin Brown Maria Brown Christi Burkle Francesca Cacal Martine Chambers Rebecca Cloud Mary Jane Cooper Sandi Dillon Susan Ellingburg Emily Fallis Pilar Fisher Sarah Frazier Liz Friend Brittney Fulgham Rebecca Germany

Melanie Gilmore Sarah Gothard Stephanie Hardin Taylor Havins Rosemary Hoogerwerf Jillian Hughes Megan Jackson Sierra Johnson Abigail Johnson Tracy Juarez Susan Lawson Rica Lelina Melania MacDonald Debbie Maxwell Kyra McGuirk Victoria Medrano Margo Moore Siena Morgan Julie Navar Rachel Oney Frances Ramirez Claire Redlaczyk Kimberly Ritchie Marie Rogers Callie Shaia Cynthia Smiley Sara Spock Beverly Storey Mayra Tejada Arriola Megan Tidwell Hannah Trippe Karen Trost Ruth Vera Jennifer Weaver Emily Williams Cecilia Yip Susanne Zoch Roster continued on following page

This roster is subject to change.

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TENOR

Silas Allen Michael Bentley Trey Bourland Piero Centurion Beau Dream Bradley Gaulden Christian Jensen Kenneth Lambert Scott Loudder Chris Martin Will McLean Daniel Norwood Kevin Patrick Carsten Pedersen John Rasbury Brad Rountree John Skinner Richard Snelling Chuck Tackett Mat Thekkil Terry Thompkins Clint Turner James Worley

This roster is subject to change.

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BASS

Miguel Amado Nick Badger Clint Bailey Mason Barlow Jonathan Cao Ken Carroll Adam Christa Zane Crownover Dennis Decker Joel Duarte Matt Garner Luis Gonzalez Glyne Griffith William Herndon Michael Kramer Elijah Lopez Michael Lysinger Jason Mahan Tim Mohel Zachary Myatt Jack Oros Garrett Reinhardt Scott Ruck Dave Senter Alex Stack Theodore Walker David Ward Paul Westgate Daniel Wohlberg Addison Yates

Program Notes

Verdi Requiem Program Notes by René Spencer Saller

GIUSEPPE VERDI (1813–1901) Messa da Requiem FIRST PERFORMANCE: May 22, 1874 – Milan; Teresa Stolz, soprano; Maria Waldmann, mezzo-soprano; Giuseppe Capponi, tenor; Ormondo Maini, bass; Giuseppe Verdi, conductor LAST DSO PERFORMANCE: February 23, 2014; Jaap van Zweden, conductor

I asked a friend, Patty Kofron, a versatile mezzo-soprano who has sung Giuseppe Verdi’s Requiem several times, to describe the experience from the performer’s perspective. “I don’t know if I can express how much more it is than the complexity of the double choruses, or the beauty and terror of the music,” she said.

“When I sing the ‘Libera me,’ I feel like I am personally begging God to spare me from eternal damnation... and I’m not even religious. It’s the most powerful thing I’ve ever sung or will ever sing. As much as I love the Brahms, Fauré, Mozart, and other requiems, the Verdi puts my own mortality and my maker right in my face.”

You don’t need to be singing to feel a similar rush. You don’t even need to believe in God. Despite its obvious Judeo-Christian framework, its churchy fugues, and its incense-steeped Latin trappings, this Requiem deals more with the secular than the sacred. For long, delectable stretches, if you tune out the Latin text and simply let the melodies wash over you unmediated, you might convince yourself that you’re listening to a love duet or an arietta, perhaps a quartet backed by large chorus or some showstopper from one of his recent operas. Indeed, Verdi finished Aida, a commission to honor the Suez Canal, in 1871, a few years before the first performance of the Requiem; the two scores share a similar intensity, a dark grandeur bleeding into raw emotion.

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Program Notes

No wonder the Requiem appeals to the nonreligious: Verdi himself was often accused of agnosticism. His second wife, Giuseppina Strepponi, described the composer’s spiritual outlook as a matter of temperament: “Everyone agrees that ...he’s the soul of honesty, he understands and feels every noble and delicate sentiment; yet for all that, [he] allows himself to be, I won’t say an atheist, but certainly not much of a believer, and all with a calm obstinance that makes you want to thrash him.”

Everyone who loves Verdi’s Requiem has a favorite part.

The concluding “Libera me” gets most of the attention, and deservedly so, but highlights abound. Sometimes it’s the glittering majesty of the “Sanctus” that satiates my brain’s pleasure centers; sometimes it’s the intimate, chamber-music bliss of the “Lux aeterna.” But the Requiem is more than the sum of its parts, and most of its power is cumulative.

When the unstoppable “Dies irae” theme returns, it hits us like a sucker punch: we can’t escape our certain deaths. All we can do, awaiting judgment, is express our all too human selves.

“ But the Requiem is more than the sum of its parts, and most of its power is cumulative. ”

Verdi does more than resurrect the Requiem form: he rehumanizes it, bringing the drama back to individual sinners with enormous needs: for grace, for redemption, for eternal peace, or at least an escape from hellish torment. The singers are relatable in the same way that opera heroes and heroines are relatable: larger than life but fatally flawed.

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Program Notes

Late-Life Superachiever Over a six-decade career, Verdi wrote 28 operas, easily half of them masterpieces. He produced many of his greatest works when he was in his 70s, at a time when 60 was considered old.

He was still at the peak of his powers when he died, on January 27, 1901, a few days after suffering a massive stroke. To this day his funeral ranks as the largest public assembly ever recorded in Italy.

Beyond his genius for indelible melodies, Verdi was a master dramatist. A devotee of Shakespeare, Schiller, Byron, and Voltaire, he read widely and deeply, always on the hunt for the next opera plot. He worked closely with his librettists to ensure minimal flab and maximal feeling. In the world according to Verdi, rage and terror rule, desire redeems and destroys, and the tenor loves bravely forever.

He was born in Le Roncole (now known as Roncole Verdi), in a rural area then under the control of France. Although he liked to call himself a peasant, his parents were innkeepers, with enough disposable income to pay for his private organ lessons at age four. During his adolescence he lived in Busseto with a patron’s family, growing close to the patron’s daughter, his music pupil. After he failed the entrance examination for the Milan Conservatory, his wealthy future father-in-law paid for three years of private composition lessons.

In 1836, two months after Verdi was appointed director of Busseto’s Philharmonic Society, he married Margherita Barezzi, his patron’s daughter. They had two children, both of whom died as babies. In 1840, a year after the successful premiere of his first opera, Oberto, Verdi’s 26-year-old wife suddenly died, probably from encephalitis. His next effort, a comedy, was a flop, and he considered giving up. But in 1842, Nabucco, his

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Program Notes

third opera, became the first in a long series of overlapping hits, launching the 29-year-old composer’s international career and securing his fame.

It was during rehearsals for Nabucco that Verdi met his second wife: the soprano Giuseppina Strepponi, who stepped into the role of Abigaille at the last minute and saved the production.

Verdi and Strepponi invited scandal by living together “in sin” (technically, in Paris, Busseto, and finally an estate in Sant’Agata, in his ancestral Parmesan countryside). They married in secret in 1859, and the union lasted until her death, in 1897; Verdi died a few years later.

At his funeral, thousands of mourners lined the streets while Arturo Toscanini conducted a 900-voice choir in the “Va, pensiero” chorus from Nabucco. Although Verdi was first buried in the Cimitero Monumentale, in Milan, his remains were relocated to the crypt of the Casa di Riposo per Musicisti, a retirement home for musicians that Verdi had founded.

Roots of the Requiem In 1868, soon after the death of Gioachino Rossini, whom he revered, Verdi pitched a kind of compilation Requiem in honor of the late composer to his publisher, Tito Ricordi, with the various parts supplied by himself and a dozen of Italy’s other leading composers. Verdi composed the final “Libera me.” The memorial mass was not performed in 1869, as originally scheduled, the first anniversary of Rossini’s death. The complete compilation version of the work wasn’t debuted until 1988.

In 1873, at Verdi’s request, Ricordi returned the “Libera me” score, around the same time that the Italian novelist and poet Allesandro Manzoni died. Verdi’s grief over the loss of Manzoni, a hero of the Risorgimento (the 19th-century Italian unification movement), likely compounded the grief he felt for Rossini.

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Program Notes

Whatever the source of these strong emotions, Verdi sought expression in the elegiac: he decided to complete the remaining movements of the Requiem—everything save “Libera me,” which he revised significantly. He spent the summer of 1873 composing, or reverse-engineering, a complete Requiem.

He believed in the project so strongly that he spent his own money printing the sheet music for the first performance, which he conducted, at the Church of San Marco, in Milan, on May 22, 1874.

Verdi’s Requiem translates the ancient Latin mass for the dead into the vernacular of Italian opera. Ferocious and crude as a gut punch, tender and transcendent as a kiss, Verdi’s Requiem revels in the dramatic, or at least doesn’t refute the charge lobbed by the conductor Hans von Bülow, who dismissed Verdi’s Requiem as “his latest opera, in ecclesiastical vestments.”

“ Ferocious and crude as a gut punch, tender and transcendent as a kiss ”

Johannes Brahms, Bülow’s close ally and associate, disagreed.

“Bülow has made an almighty fool of himself,” Brahms said after taking in Verdi’s Requiem. “Only a genius could have written such a work.”

Verdi, for his part, tried to distinguish his Requiem from his previous works for the stage. “One mustn’t sing this Mass in the way one sings an opera,” he explained, “and therefore phrasing and dynamics that may be fine in the theater won’t satisfy me at all, not at all.”

Theatricality aside, Verdi taps into the divine by way of the carnal.

All the best evangelists understand the link between the loins and the great hereafter. As for theological matters, he was an

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Program Notes

agnostic and loath to get too preachy. Maybe that’s why his lead quartet often sounds like pairs of lovers singing to other lovers.

He understood divine mercy through his art, those melodies that sear our souls like sudden truths.

In Memory of Two Great Men Verdi’s “Libera me” was originally written to honor Gioachino Rossini (1792–1868), the composer Verdi once called “a glory of Italy.” Verdi called Manzoni’s 1827 novel I promessi sposi (The Betrothed) “not only the greatest book of our epoch, but one of the greatest ever to emerge from a human brain.”

He called Manzoni himself a “saint.”

“ Verdi’s Libera me was originally written to honor Gioachino Rossini, the composer Verdi once called a glory of Italy ”

Later, when Manzoni died at age 88—coincidentally, the same age at which Verdi himself would die almost 30 years later—he remembered his contribution to the compilation Requiem and realized that he could build upon this promising foundation.

On June 3, 1873, Verdi wrote to Ricordi of his plans: “I too would like to demonstrate what affection and veneration I bore and bear to that Great Man who is no more, and whom Milan has so worthily honored. I would like to set to music a Mass for the Dead to be performed next year on the anniversary of his death. The Mass would have rather vast dimensions, and besides a large orchestra and a large chorus, it would also require... four or five principal singers... I would have the copying of the music done at my expense, and I myself would conduct the performance both at the rehearsals and in church.”

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Program Notes

Verdi asked Ricordi to obtain permission from the mayor of Milan.

After the project was approved, Verdi got to work. By using the music that he had written for the earlier compilation Requiem, he would need only about an hour’s worth of additional music to frame and complete it. He composed the settings for a multipart “Dies irae” and other sacred texts, and finished it on April 10, 1874. He printed the score at his own expense, as promised, and conducted the first performance in Milan on May 22, one year after Manzoni’s death. Verdi’s original title: “Requiem Mass for the anniversary of the death of Manzoni, 22 May 1874.”

Varieties of Requiem Technically speaking, a Requiem refers to a musical setting of the Latin Mass for the Dead. Sometime after 1450 and possibly as late as 1470, the Franco-Flemish composer-turned-priest Johannes Ockeghem wrote an early, incomplete polyphonic rendition, minus the Sanctus, Agnus Dei, and Communion.

Many significant Requiem settings followed, from the 15th century onward, including Mozart’s iconic unfinished composition from the months, indeed hours, leading up to his death in 1791.

Closer to Verdi’s time, Luigi Cherubini composed a stellar pair (1816 and 1836), and Hector Berlioz contributed another even more famous one, sometimes called the Grande Messe des morts (Great Mass of the Dead; 1837). Verdi would have been familiar with all those composers’ works, although his own Requiem was less rooted in the liturgical.

Verdi responded to the Latin text by locating its emotional core, the dramatic significance of each singer’s moral confession. He offers no comforting lies, no confident speculation. Let other composers traffic in the theological; Verdi’s heart is with the human: the soprano, pleading in terror for her salvation, sinful but shining, shining. The tenor, the mezzo, the bass-baritone: all kissed by the holy, implicated and yet innocent.

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Program Notes

A Closer Listen I. In the opening movement, an appeal on the behalf of the recently departed for a peaceful rest, the chorus sings from the perspective of the mourners. Prefaced by austere low strings, the singers begin with the standard lines “Requiem aeternam dona eis, Domine” (Grant them eternal rest, O Lord), which the chorus and orchestra intone with a hushed gravitas. Verdi translates the Lord’s promise of endless light into the luminous language of late Romanticism, turning a grief-laden hymn into an operatic anthem. The four solo singers join the chorus and orchestra for a jubilant “Kyrie eleison” (Lord have mercy).

II. The doomy and demonic second movement, the nine-part “Dies irae” (Day of Wrath), slashes and burns through a terrifying series of scenarios wherein the sinners individually confront their wretched souls. What awaits us after death? Eternal perdition or a joy so perfect that the most celestial fugue can only approximate it? The singers roar, wail, whisper, shriek, and hiss; the orchestra invests each scene with the appropriate mood and color.

The “Dies irae” is based on a poem about Judgment Day commonly attributed to Thomas of Celano, a 13th-century Franciscan monk. In his setting of the ancient text, Verdi squires us through all the stages of grief. Against punishing bass drum and shrieking piccolo, and preceded by apocalyptic brass fanfares, the choristers describe the day that fire consumes the world. Verdi’s melodies do 90 percent of the persuasion, and his Technicolor scoring does the rest. Only a robot could resist the “Recordare,” in which the soprano and the mezzo-soprano sing a lustrous Mozartian rhapsody. Other

“ In his setting of the ancient text, Verdi squires us through all the stages of grief. ”

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Program Notes

highlights include the godlike trumpet fanfare of the chorusdriven “Tuba mirum”; the sensuous grip of “Liber scriptus”; the delicate, wind-driven pastorale of “Quid sum miser”; and the pathos-drenched “Lacrymoso,” for solo quartet and chorus, the sinner’s tearful plea for salvation.

III. The solo quartet sings the “Offertorium,” a light-rinsed, lullaby-like testament to the creator’s tender mercies. Here the four singers describe the holy radiance that God promises to bestow on Abraham and his descendants.

IV. The “Sanctus,” a resplendent double fugue for two choruses, is sung from the angelic perspective: divinity casting a fond downward glance at the suffering humans. The angels’ joy seems almost explosive, in contrast to the anguish of the human characters: “Holy, holy, holy, Lord of Hosts! Heaven and earth are filled with your glory!”

V. Against spare orchestral accompaniment, the chorus, the soprano, and then the mezzo-soprano sing the “Agnus Dei”: “Lamb of God, who takes away the sins of the world, grant them rest.”

VI. Sometimes a cappella and sometimes accompanied by shimmering strings and delicate winds, the mezzo-soprano, tenor, and bass deliver the luminous prayer “Lux aeterna” (Light eternal). The violins are divided into six parts to enhance the celestial effect.

VII. The soprano returns, with chorus, for the transcendent “Libera me,” which redirects our attention to the singular terrified sinner. On one level, you can appreciate the final movement as an aria, a gracefully emotive outpouring of bel canto splendor.

At its climactic midpoint, the soprano’s high C rips through the chorus to remind us of her individual suffering. The chorus responds, a soothing balm made of light. A wild fugue develops, jagged with accidentals, propelled past terror into panic. Is the 33

sinner consoled or even redeemed by this onslaught of beauty, or simply distracted from the potential terrors of the afterlife? Did she do enough—will we have done enough?—to atone?

Verdi respects us too much to speak for a God he wasn’t entirely sure even existed. He puts his faith our collective capacity to figure it out for ourselves. The Requiem ends with the soprano and chorus crooning so softly that they might as well be whispering, “Libera me”: Deliver me.

Into what, who can say?

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Musical Glossary ADAGIO – At a slow tempo ALLEGRO – A fast and lively tempo ANDANTE – Moderately slow time ARPEGGIO – A musical chord played one note at a time in quick succession ARRANGEMENT – An adaptation of an original piece of music, many times for a unique configuration of players CADENCE – The end of a phrase CODA – (Italian: tail) The ending of a piece of music CONCERTMASTER – The leader of the string section; he or she sits to the conductor’s left, closest to the audience; you will see this person enter the stage to tune the orchestra at the beginning of the performance CONCERTO – A musical composition for one or more solo instruments and an orchestra CRESCENDO – A build in the volume or dynamic of the music CHROMATIC – Using notes not part of the home key or scale; a chromatic scale is made up of all half steps (using all the black and white keys on the piano) DECRESCENDO – Gradually playing music softer FORTE – To play strongly and loudly KEY – The main group of pitches, or notes, that form the harmonic foundation of a piece of

music; for example, A Major or C minor LARGO – To play in slow time and a dignified style LEITMOTIF – A recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation MINUET – An elegant dance in triple time; often the third movement of a work MOVEMENT – Distinct sections of a larger work; these often have contrasting moods and are indicated with different tempo markings OPUS – A musical composition numbered as one of a composer’s works (usually in order of publication); noted at “Op.” in a composition’s name ORCHESTRATION – The art of writing for the orchestra and deciding what instruments should play which parts of the music OSTINATO – A part that repeats the same rhythm or melodic element OVERTURE – An orchestral composition forming the beginning of an opera or ballet PHRASE – A small section of a composition comprising a musical thought; comparable to a sentence in language PIANO – To play softly PIZZICATO – (Italian: plucked) A direction to performers on string instruments to pluck the strings

POLYPHONIC – Two or more simultaneous lines of independent melody PRESTO – A very fast tempo PRINCIPAL – The leader of each instrumental group, such as Principal Oboe, is generally responsible for leading the group and playing orchestral solos RHYTHM – The arrangement of notes according to their relative length and relative emphasis (beat) RONDO – A musical form that involves the use of a recurrent theme between a series of varied episodes; the final movement of a Classical concerto or symphony is often in rondo form SCHERZO – A light-hearted movement found from the early 17th century in various forms but used

by Beethoven as an alternative to the minuet in symphonies, sonatas and other instrumental works SYNCOPATION – In rhythm, the shifting of the expected accent TEMPO – The speed of the music THEME – A short musical passage that states an idea TONE POEM – A piece of descriptive orchestral music, many times in one movement TUTTI – A section where “all” play together as one VIVACE – Spirited, bright, rapid, equaling or exceeding allegro 35

THE DALLAS SYMPHONY ORCHESTRA 2022/23 SEASON

Fabio Luisi

Music Director Louise W. & Edmund J. Kahn Music Directorship

Gemma New

Principal Guest Conductor Dolores G. & Lawrence S. Barzune, M.D. Chair

Jeff Tyzik

Principal Pops Conductor Dot & Paul Mason Podium

Maurice Cohn

Assistant Conductor Marena & Roger Gault Chair

Angélica Negrón

Composer-in-Residence

Vacant

Chorus Director Jean D. Wilson Chair

VIOLIN I

Alexander Kerr Concertmaster Michael L. Rosenberg Chair Nathan Olson Co-Concertmaster Fanchon & Howard Hallam Chair Gary Levinson ° Senior Principal Associate Concertmaster Enika Schulze Chair Emmanuelle Boisvert Associate Concertmaster Robert E. & Jean Ann Titus Family Chair Eunice Keem Associate Concertmaster Marcella Poppen Chair Diane Kitzman Principal Filip Fenrych W. Paul Radman, DDS Chair Maria Schleuning Norma & Don Stone Chair

Lucas Aleman Jenna Barghouti Mary Reynolds Andrew Schast Motoi Takeda Associate Concertmaster Emeritus Daphne Volle Bruce Wittrig Giyeon Yoon Kaori Yoshida *

VIOLIN II

Angela Fuller Heyde Principal Barbara K. & Seymour R. Thum Chair Alexandra Adkins Associate Principal Sho-mei Pelletier Associate Principal Bing Wang Bruce Patti * Rita Sue & Alan Gold Chair Mariana Cottier-Bucco Debra & Steve Leven Chair Lilit Danielyan * Hyorim Han Shu Lee Nora Scheller * Aleksandr Snytkin * Lydia Umlauf

VIOLA

Meredith Kufchak Principal Hortense & Lawrence S. Pollock Chair Matthew Sinno Associate Principal Sarah Kienle Acting Associate Principal Pamela Askew Thomas Demer Valerie Dimond Dr. James E. Skibo Chair Christine Hwang Keith Verges Chair Xiaohan Sun Maisie Heiken Chair David Sywak

*Performs in both Violin I and Violin II sections

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CELLO

Christopher Adkins Principal Fannie & Stephen S. Kahn Chair Theodore Harvey Associate Principal Holly & Tom Mayer Chair Jolyon Pegis Associate Principal Joe Hubach Chair Jeffrey Hood Greg & Kim Hext Chair Jennifer Yunyoung Choi Kari Kettering Donna & Herbert Weitzman Chair, in honor of Juanita & Henry S. Miller, Jr. Minji Kim Zexun (Jason) Shen Nan Zhang

BASS

Nicolas Tsolainos Principal Anonymously Endowed Chair Thomas Lederer Co-Principal Roger Fratena Associate Principal Paula Holmes Fleming Brian Perry Clifford Spohr Principal Emeritus

FLUTE

David Buck Principal Joy & Ronald Mankoff Chair Hayley Grainger Associate Principal Barbara Rabin Chair Kara Kirkendoll Welch Caroline Rose Hunt Chair James Romeo Piccolo

OBOE

Erin Hannigan Principal Nancy P. & John G. Penson Chair ° Leave of Absence

Willa Henigman Associate Principal Brent Ross David Matthews + English Horn Karen & Jim Wiley Chair

CLARINET

Gregory Raden Principal Mr. & Mrs. C. Thomas May, Jr. Chair Paul Garner ° Associate Principal + E-Flat Robert E. & Ruth Glaze Chair Stephen Ahearn Second Clarinet + Acting Associate Principal + E-flat Courtney & Andrew Nall Chair Stephanie Key Andrew Sandwick ° Bass Clarinet + Utility

BASSOON

Ted Soluri Principal Irene H. Wadel & Robert I. Atha, Jr. Chair Scott Walzel Associate Principal Barbara & Robert P. Sypult Chair Tom Fleming Peter Grenier + Contrabassoon

HORN

David Heyde Associate Principal + Acting Principal Linda VanSickle Chair Alexander Kienle Assistant Principal + Utility Haley Hoops Becky & Brad Todd Chair Yousef Assi ° Kevin Haseltine Vacant Principal Howard E. Rachofsky Chair

TRUMPET

Stuart Stephenson Principal Diane & Hal Brierley Chair L. Russell Campbell Associate Principal Yon Y. Jorden Chair Kevin Finamore Assistant Principal Elmer Churampi

TROMBONE

Barry Hearn Principal Cece & Ford Lacy Chair Christopher Oliver Associate Principal Brian Hecht Utility Trombone Darren McHenry Bass Trombone

TUBA

Matthew Good Principal Dot & Paul Mason Chair

TIMPANI

Brian Jones Principal Dr. Eugene & Charlotte Bonelli Chair

PERCUSSION

George Nickson Principal Margie & William H. Seay Chair Daniel Florio Associate Principal

HARP

Emily Levin Principal Elsa von Seggern Chair

ORGAN

Bradley Hunter Welch Resident Organist Lay Family Chair

KEYBOARD

Jeanne R. Johnson Chair Gabriel Sanchez Classical Anastasia Markina Classical

LIBRARY

Karen Schnackenberg Principal Jessie D. & E. B. Godsey Chair Mark Wilson Associate Principal Robert Greer Assistant Melanie Gilmore Choral

PERSONNEL MANAGEMENT

Nishi Badhwar Manager of Orchestra Personnel Olga & Yuri Anshelevich Scott Walzel Consultant for Community Development & Outreach Nicole Mendyka Assistant Personnel Manager Christopher Oliver Auditions Coordinator

STAGE

Shannon Gonzalez Stage Manager Alan Bell Assistant Stage Manager Kenneth Winston Lighting Board Operator Kevin Ealy Bill White

IN REMEMBRANCE

Ryan Anthony (1969-2020) Principal Trumpet Emeritus Dwight Shambley (1949-2020) Bass + Young Strings Founder and Artistic Director Emeritus Ronald Snider (1947-2020) Assistant Principal Percussion

As of 10/31/22

37

DALLAS SYMPHONY ASSOCIATION AND DALLAS SYMPHONY FOUNDATION DALLAS SYMPHONY ASSOCIATION EXECUTIVE BOARD Cece Smith, Chair Sanjiv Yajnik, Immediate Past Chair Kim Noltemy, Ross Perot President & CEO Nancy A. Nasher, Vice Chair Quincy Roberts, Vice Chair Yon Y. Jorden, Treasurer James E. Wiley, Jr., Secretary

Lucy Billingsley Hal Brierley John R. Cohn Ronald J. Gafford Roger C. Gault Joseph F. Hubach

Joleen Julis Holly Mayer Linda McFarland William McIntyre Stanley A. Rabin Brian Ratner

Sarah L. Titus Geoffroy van Raemdonck Donna Arp Weitzman

Tim McDonald Andrew Nall Doug Nelson Marc Nivet David Pahl Cherryl Peterman Betty Regard Jeffrey Rich Theodora Ross Ginger Sager Byron Sanders Myrna Schlegel Enika Schulze James C. Scott Robert E. Segert Arthur F. Selander Jessica Shepherd Enisha Shropshire Venise Stuart Linda VanSickle Smith Gloria McCall Snead Paul Stafford Melissa Ruman Stewart

Donald J. Stone Barbara Sypult Charmaine Tang Francisco de la Torre Galindo T. Peter Townsend Taylor Vaught Zannie Voss Wei Ling Wang Martha Wells Kern Wildenthal Susie Wilson Karina Woolley

LIFE GOVERNORS

BOARD OF GOVERNORS Nick Adamson Dee Baker Amos Jorge Baldor Gregg Ballew Nancy Bierman James Bildner Joanne Bober Keith Braley Vanessa Cain Amy Carenza Andrew Clugston Key Coker Grace Cook Roberta Corbett Barbara Daseke Greg Davis John Dayton Steve Do Zenetta Drew Cindy Feld Marion Flores Bonnie Floyd, M.D. Patti Flowers Gerardo Garcia Marena Gault

Marc Gineris Alan J. Gold Randall G. Goss Kizuwanda Grant Sheila Grant Doug Haloftis Davis Hamlin Maisie Heiken Kim Hext Laree Hulshoff Adriana Hutson T.D. Jakes Léandré Johns Julie Johnson Robert Kaplan Kristi Kennedy Caroline Kohl Jim LaFontaine Khalil Lalani Mark LaRoe Lea Anne Laughlin Craig Lentzsch Michael Lindsey Terry Loftis Ron Mankoff

GOVERNORS

BY VIRTUE OF POSITION

Cynthia Beaird Erin Hannigan George Nickson Eileen Rosenblum

EX-OFFICIO LIAISON

Jo Trizila Jennifer Weaver

Dolores Barzune Harold M. Brierley Howard Hallam Morton H. Meyerson Sam Self W. Bradford Todd

COUNCIL OF PAST CHAIRS

Dolores Barzune Harold M. Brierley Robert W. Decherd Ronald J. Gafford Howard Hallam Linda W. Hart Joseph F. Hubach James W. Keyes A.A. Meitz Blaine L. Nelson William L. Schilling Myrna Schlegel Donald J. Stone W. Bradford Todd Sanjiv Yajnik

DALLAS SYMPHONY FOUNDATION BOARD OF DIRECTORS Coley Clark, President Joseph F. Hubach, Vice President Yon Y. Jorden, Vice President Brian Ratner, Vice President Cherryl Peterman, Treasurer

Jeffrey M. Robinson, Secretary Harold M. Brierley John Dayton Maisie Heiken Linda McFarland

Andrew Nall Richard Schulze Robert E. Segert Melissa Ruman Stewart

EMERITUS DIRECTORS

EX-OFFICIO DIRECTORS

BY VIRTUE OF OFFICE

EX-OFFICIO DIRECTORS William L. Green, Assistant Treasurer David Rosenberg, Assistant Secretary

P. Mike McCullough

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Yon Y. Jorden Kim Noltemy Cece Smith

DALLAS SYMPHONY ASSOCIATION AND VOLUNTEER LEADERSHIP DALLAS SYMPHONY ORCHESTRA LEAGUE LEADERSHIP

DALLAS SYMPHONY ORCHESTRA GUILD OFFICERS

DALLAS SYMPHONY ORCHESTRA YOUNG PROFESSIONALS

Cynthia Beaird President Nancy Labadie President-Elect Claire Catrino Vice President Fundraising Carrie Denson Vice President Services Therese Rourk Vice President Arrangements Christine Drossos Vice President Arrangements Justine Sweeney Vice President Public Relations Lucinda Buford Vice President Membership Julie Jodie Vice President Membership Kaythrn Voreis Vice President Education and Outreach Kate McCoy Recording Secretary Jennifer Olson Corresponding Secretary Laurie Lippincott Treasurer René Edwards Assistant Treasurer Lizzy Weeks Bumpas Historian Venise Stuart Parliamentarian René Edwards Finance Committee Chair Sharon Lee Fashion Notes Co-Chair Kira Nasrat Fashion Notes Co-Chair Courtney Plumlee Junior Symphony Ball Co-Chair Karen Cox Presentation Ball Chair Caroline Downing Savor the Symphony Co-Chair Laura Downing Savor the Symphony Co-Chair

Susan Fleming President Eileen Roseblum Chairmen Martin Tobey Treasurer Gabrielle Rosenstock Secretary Sally Drayer Gala Vice Presidents Eileen Roseblum Gala Vice President Patti Craig Luncheon Program Vice President Judy Tobey Luncheon Program Vice President Nicole LeBlanc Evening Program Vice President Lori McCommons Evening Program Vice President Carolyn Barta Membership Vice President Blackie Blaquiere Membership Vice President Rebecca Bailey Director Robin Green Director Nicole LaBlanc Director Sue McAdams Director Lacy Naylor Director Pam Pendleton Director Dolores Rogers Director Linda Smith Director

Kyle Morrison President Lauren Hein Vice President Jesse Bultongez Treasurer Morgan Williams Secretary Justin Webb Parliamentarian Jordan Jardine Events Co-Chair Herb Ford Events Co-Chair Garrison Efird Corporate Relations Chair Kathleen Sams Marketing Chair Lauren Hein Membership Chair Ty Bishop Director Matt Copeland Director Stef Curtis Director Buxton Layton Director DeShan Mayfield Director Marley Mitchell Director Chelsea Sanchez Director Alex Sarntee Director Deepak Sobti Director Daphne Hiatt Sylvia Director David Wyche Director Nick Adamson Advisory Chair

As of 10/31/22

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The Dallas Symphony is honored to recognize the individuals and foundations whose extraordinary annual support contributes significantly to its artistic programs and community engagement initiatives.

MAESTRO SOCIETY $100,000 AND ABOVE Randy and Nancy Best ^

The Eugene McDermott Foundation ^

Diane and Hal Brierley *§º^

Shirley and Bill McIntyre ^

Fanchon and Howard Hallam *§º^

Nancy A. Nasher and David J. Haemisegger *§^

Linda W. Hart and Milledge A. Hart III §^

Margot Perot *§º^

Maisie L. Heiken ^

Michael L. Rosenberg Foundation ^

The Marcella Fund ^

Dr. and Mrs. Thomas H. Smith *^

^ Honoring Founding Members of the Maestro Society in support of Music Director Fabio Luisi

$50,000–99,999 Anonymous (2)

Cindy and Howard Rachofsky *§º

Dolores G. and Lawrence S. Barzune, M.D. *§

Jennifer and Peter Roberts

Henry and Lucy Billingsley

Ruth Robinson *

Joanne L. Bober

Jeffrey Robinson and Stefanie Schneidler

Marena and Roger Gault

Anita and Merlyn D. Sampels *§

The Cecil and Ida Green Foundation

Myrna and Bob Schlegel *§

Winnie and Davis Hamlin *§º

Enika and Richard Schulze *

Joseph F. Hubach and Colleen O’Connor

Elsa von Seggern Foundation *

Mrs. Lamar Hunt §

Norma and Don Stone *§º

Yon Yoon Jorden

Barbara C. and Robert P. Sypult *§

The Louise W. and Edmund J. Kahn Dallas Symphony Orchestra Foundation *

Mrs. Robert E. Titus *

Cece and Ford Lacy *§

Martha McCarty Wells

Joy and Ronald Mankoff * C. Thomas May, Jr. and Eleanor S. May * The Meadows Foundation * Sarah and Ross Perot, Jr. The Pollock Foundation * Stanley A. Rabin *

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Ms. Sarah Titus Karen and Jim Wiley *§ Jerry and Susie Wilson Mrs. Charles J. Wyly, Jr. *

STRADIVARIUS PATRONS PLATINUM STRADIVARIUS PATRONS

ANNUAL FUND $25,000-49,999 Mr. Justin Bailey and Mrs. Sara Crittenden

Susan and Mark Geyer

Kim Noltemy

Adenilda and Kevin Bryant

Kathryn H. Gilman in memory of Alfred G. Gilman *§

Stephen B. L. Penrose

James F. Carey

Jean M. and Marc A. Gineris

John and Barbara Cohn §

Doug Haloftis and Fernando Gonzalez

Jeff Rich and Jan Miller

Don and Barbara Daseke John W. Dayton * Peggy Dear * The Decherd Foundation Durham Family Foundation * Cindy and Charlie Feld * Ben Fischer and Laree Hulshoff Ron and Rebecca Gafford

Tim Headington § Mr. and Mrs. Joseph V. Hughes, Jr. Robert S. Kaplan Mr. and Mrs. Atlee Kohl/ Kohl Foundation *§ Holly and Tom Mayer

Betty S. Regard Adrienne and Tom Rosen Arthur F. Selander Joanna and Peter Townsend * Fred Tuomi and Erin Hannigan Mr. and Mrs. Herbert D. Weitzman Mr. and Mrs. Robert E. Woolley §

Courtney and Andrew Nall

GOLD STRADIVARIUS PATRONS ANNUAL FUND $12,500-24,999

Anonymous

Lucy and Richard Gussoni *

Marilyn Roark

Nicholas Adamson

Michael and Marsha Halloran

Quincy Roberts

Steve and Cindy Aughinbaugh

Mr. and Mrs. Scott Hancock

Bridget Silverthorne Russell §

Pamela Barrett

Mr. and Mrs. Robert Hewes

Stephen and Marcy Sands

Sherry S. Bartholow *

Mr. and Mrs. Gregory W. Hext

Diana and Sam Self

Dolores G. and Lawrence S. Barzune, M.D. *§

Mr. and Mrs. Laurence E. Hirsch

Peggy and Carl Sewell §

Frances Blatt *

Nancy Ann and Ray L. Hunt §

Nancy Shutt *

Jane and Pat Jenevein *§

Mr. and Mrs. Lawrence D. Stuart

Beverly and Ken Jinkerson

Barbara C. and Robert P. Sypult *§

Patricia and Paul Bonavia Brett and Allison Brodnax Carole Ann and Dick Brown Mrs. Thomas R. Corbett * Mr. and Mrs. William A. Custard § Denise and Steve Do Laura and Walter Elcock Bonnie Floyd, M.D. Angela Fontana and Andre Szuwalski Susan and Woodrow Gandy Rita Sue and Alan Gold * Kathleen A. Messina and Gary W. Goodwin Elisabeth W. Grant Dr. and Mrs. Joseph M. Grant

Joan and Jack Kickham * Debra and Steve Leven Sue L. Maclay * Linda and John McFarland Joyce and Harvey Mitchell *§ Nesha and George Morey William and Linda Nelson David and Michele Pahl Paulos Foundation * Mary Catherine and Trevor K. Person Charles H. Phipps

Becky and Brad Todd * Ms. Merle K. Turner and Mr. Bill Condon Mark and Ellen Ulrich Timothy R. Wallace David and Harianne Wallenstein Dr. and Mrs. Howard J. Weiner * Adele Wildenthal Marnie and Kern Wildenthal * Mr. and Mrs. Dan Wright Sanjiv and Mohua Yajnik

Mrs. Lev Prichard Vin and Caren Prothro Foundation *§

As of 10/31/22

41

SILVER STRADIVARIUS PATRONS ANNUAL FUND $7,500-12,499

Anonymous (2)

Susan and T. Hardie

Anne and David Allred

Mrs. Deborah Heaton

In Memory of Bob and Ginnie Payne §

Dr. and Mrs. James M. Atkins *

Elissa Sabel and Stan Hirschman

Nancy and Wilfred Roberts Deedie Rose

Sue and Phil John

Marion Rothstein *

Hon. Julie Johnson and Dr. Susan Moster

Ginger Sager

Mr. and Mrs. Rod Cain Jones *

Mr. and Mrs. Robert E. Segert

Mrs. Richard D. Bass * Mr. and Mrs. Spence Beal James Bildner Mr. Mark R. Blaquiere and Ms. CatheyAnn Fears Kalita and Ed Blessing § Linda Brookshire Susan Brown and William McCoy Mr. and Mrs. Andrew D. Clugston Mary McDermott Cook * Mr. and Mrs. William Cornog Mrs. Patricia M. Craig Mr. and Mrs. Robert P. Doffing Marion T. Flores § Dr. and Mrs. James Forman Katherine Freiberger and Lawrence Althouse Mr. and Mrs. James A. Gibbs * Rosann and Richard Gutman *

Kristi and Michael Kennedy Drs. Susan and Gregory Kozielec Drs. John and Deirdre LaNoue Kathleen and Frank Lauinger * Dr. and Mrs. Michael Lindsey Mr. and Mrs. Jay W. Lorch Morgan and Chad MacDonald Tom and Charlene Marsh Family Foundation * Richard and Bobbi Massman Navias Family Foundation * Kathy and Greg Nelson

William L. Schilling *§º Sandy and Mark Singer * Nancy and John Solana * Charlotte Test Sandra Tucker Jutta and Arie Van Selm Marcia Joy Varel * Joe and Ellen Walker Sharon and Bob Walker Don E. Welsh James C. Williams Mr. and Mrs. Ward W. Wueste Aaron Bertram Zeman and Dane Ruccio

Dr. Aharon and Shula Netzer Krunali Patel and Umesh Iyer

BRONZE STRADIVARIUS PATRONS

ANNUAL FUND $5,000-7,499 Anonymous (2)

Bonnie E. Cobb

Mr. and Mrs. Charles R. Gibbs

Susie and John Adams *

Gary and Alice Coder

Suzanne Azoulay

Donna and Dan Coletti

Mr. David Gibson and Mrs. Chikako Terada

Julie and Craig Beale §

Sandra Cook

Jill C. Bee and Loren Glasser

Mr. Matthew Copeland

Selly and Joyce Belofsky §

Carol Crowe

Mr. and Mrs. John K. Blake

Hannah Cutshall

Mr. and Mrs. Larry E. Boerder

Clifton and Sherry Daniel *§

Mr. Bill Bond

Sandra L. Carlson DeBusk *

Denise and Greg Boydston

Robert Miller Dickson and Carolyn Bacon Dickson *

Mel and Candi Brekhus Mr. and Mrs. Barry Buford Mrs. Alicia Burkman Jo Ann B. Caruth Kay and Elliot Cattarulla Mary Christian Mr. and Mrs. Harris W. Clark

42

Mr. and Mrs. Robert M. Dix Dede Duson Jason and Lucy Edling Marion P. Exall Billie and Mack Forrester * Stephen Geoffray and Cindy Walker

Jessie D. and E. B. Godsey Family Wade and Margaret Goodrich Dr. and Mrs. William L. Green * (Col. Rt.) Bill and.

Mrs Barbara Gross Tim Hanley Rob and Robin Haseltine John A. Henry III Kathy and Richard Holt Gerald L. and Frankie L. Horn * Ms. Nina C. Hutton Christopher and Allison Ireland Kathleen Irvin and Dennis Walo Jo Jagoda *§

BRONZE STRADIVARIUS PATRONS

ANNUAL FUND $5,000-7,499 Amy Jones

Ron and Jane Morrill

Dr. Marvin and Kathy Stone

Kim Jordan *

Dhruv Narayanan

Mrs. Rosalie E. Stone

Mr. and Mrs. Steven Keirstead

Jeannie and David Nethery

Dr. Laurie Sutor

Dr. Karen K. King

Mr. and Mrs. David Nurenberg *

Seymour R. Thum *

John and Gina Knight

Danna L. Orr

Inge and Sam Vastola *

Nancy and Mark Knudsen

Lucilo Peña and Lee Cobb

Charles and Barbara Vaughan

Mr. and Mrs. Rudolph C. Koch III *

Dr. and Mrs. Melvin R. Platt *

Ann Penson Vreeland, Ph.D. §

Dr. and Mrs. John R. Krause

Michelle and Al Rabalais

Larry and Marilyn Waisanen

Charles and Diana Lace

W. Paul Radman, DDS and Jane Vandecar *

Ralph O. Weber

Paula S. Lambert

Dr. Karen L. Rainville

Liza and Will Lee *

Patrick and Joy Ramsier

Craig and Joy Lentzsch

Katherine and Eric Reeves

Frank and Dianne Maio

Mrs. Janet K. Richter

March Family Foundation

Hon. and Mrs. Wm. F. Sanderson, Jr.

Nancy Cain Marcus and Sanford R. Robertson §

Jane Sandlin

Mrs. Clovis A. Mathews

Mr. and Mrs. Michael T. Scimo

Patricia and David May

Linda and Richard Shaffer

Erika and Mike McFadden

Mr. and Mrs. William T. Solomon

Victoria and Hunter McGrath Anne McNamara Libby Meyers § Dr. and Mrs. Robert E. Morgan *

Barbara and John Zrno

Jo and Andre Staffelbach Jim and Elaine Stedman Anthony and Itske Stern

STRADIVARIUS PATRONS ANNUAL FUND $3,000-4,999

Anonymous (17)

Nan-Elizabeth Byorum *

Mr. Jeremy Comstock

Kelsey and Matt Acosta

Mr. David Cain and Ms. Vanessa Burkman

Dr. Martin and Michelle Conroy

Amy Carenza and Nathan Offerdahl

Hannah Cope

Mr. Dustin Anthamatten Matamba and Regina Austin Mr. and Mrs. James L. Baldwin Jr. Lisa and Gregg Ballew Pete and Julie Bell Mr. and Mrs. Charles M. Best * Nancy Bierman Georgia Sue Black *

Mr. Arturo Carrillo Lucinda and Lyne Carter Dr. Angie Cayton Richard A. Chesney Mr. and Mrs. Sherman Chiu Laura and Lawrence Ciavola

Lynn and Bruce Cope Jess Corrigan and Lisa Hartman Thomas and Catherine Crandell Stan and Kelly Crow Christopher Crume Cullen and Judy Cullers Dr. Diana P. Cunningham

Elaine Bohlin

Mr. Frank Cinatl III

Dr. Arthur P. Bollon and Dr. Rhonda R. Porterfield *

Robert and Donna Clancy

Dallas Symphony Players Association

Bev Coben *§

Gretchen and Doug Davies

Tab Boyles

Mr. and Mrs. Robert M. Cohan

Lourdes and Tom Delimitros

Linda and Gilbert Brown

Mr. Joseph Colangelo

Mary and Bob Dilworth §

Lori H. Burk §

Richard H. Collins *

Dr. James Dixson

As of 10/31/22

43

STRADIVARIUS PATRONS ANNUAL FUND $3,000-4,999

Mr. and Mrs. Loften B. Dunlap

Dr. and Mrs. J. Kirkland Grant *

Cynthia Karm

Dr. and Mrs. Arlet R. Dunsworth

Craig A. and Pamela H. Green

Miss Nancy Kelley

Mr. and Mrs. Richard D. Eiseman, Jr.

Robin Green and Sandy Esserman

Kay and John Kelly

Andrew F. Ellis and Marie Corley

Mr. and Mrs. Charles V. Greene

Ms. Jerrie J. Kertz

Julie and Robert England

Dr. C. Fish Greenfield and Thom Maciula

Dr. Phyllis Engles *

Ralph E. and Beverly Gretzinger

Mr. Steven Engwall

Barbara Gunnin *

Pat and Al Enlow

Brian Hackfeld and Joey Miertschin

Paddy and Barry Epstein * Dr. Chip and Evey Fagadau Mr. and Mrs. Tad Fallows Anne and Alan Feld * Dr. Singyi Feng Kevin and Michelle Finamore Paul Firey in memory of Mary Lou Firey John L. Fish Mr. and Mrs. Hollye C. Fisk Curt and Susie FitzGerald Roy and Laura Fleischmann * Susan G. Fleming, Ph.D. Mary Shelton Florence Estate Antony Francis Dr. Rhoda Frenkel Catherine Fritz Mr. and Mrs. Graham A. Gardner

Paul Hale and Oscar Gomez Mr. and Mrs. Robert G. Hallam § Keith Hallock Hon. Deborah Hankinson Mr. Luke Hardin Allison and Steve Harding Steve and Alicia Harris Olivia and Charles Hasty Mr. Philip Henderson William L. Herrera James W. Hickey Lista and Rick Hightower Hines Heritage Foundation Revoc. Trust Ed Howard Mr. and Mrs. Carroll Hughes, Jr. Sharon and Robert Hulsey

Kathleen and Robert Gibson

Sandra and Rick Illes

Lee Gibson in memory of Annie-Laurie Cooper

Mark E. Jacobs Jean Jaffre

Jason and Charlene Gladden

Mary M. Jalonick

W. John Glancy

Jordan and John Jardine

Mrs. Caitlin T. Glass and Mr. Anthony Patterson

Emily Jefferson *

Mr. and Mrs. Paul L. Gleiser

Dr. and Mrs. Rohan Jeyarajah

Lilli Gober/GFT Ms. Haia Goldenberg Stephen and Bette Goldmann Mr. Jacob Goodstein and Mrs. Reanna Wilborn

Jann Scarlett Jerner

Ellen Lindsey Key Mr. Matti Kiik Scott and Elizabeth Kimple Michael and Barbara Kimps Janie and Holman King Dr. and Mrs. Jerold Lancourt Michael and Kathleen LaValle Bucky Layton George and Natalie Lee Dr. and Mrs. Moonhee Lee Ronna and Larry LeMaster Jane Saginaw Lerer and Stephen Lerer Marsha Lev Dr. S. David and Mrs. Jennifer Lloyd Philip and Janeva Longacre Julie and Michael Lowenberg * Mrs. Jole Luehrs Lloyd Lumpkins Ms. MaryAnn Lyons Nancy Wiener Marcus Ms. Tory Marpe David and Sara Martineau Gwyn and Wilson Mason * C. Thomas May, Jr. and Eleanor S. May * Sue Thompson McAdams Mr. and Mrs. Clyde S. McCall, Jr. Sherry McCray

Dr. and Mrs. Juan M. Jimenez

Dr. James and Becky McCulley *

Mrs. N. Page Johnson *

Kari and Tim McDonald

Dr. and Mrs. R. Ellwood Jones

Barbara and Rai Mehta

Dr. Ronald C. Jones M.D. *

Mr. and Mrs. Al Meitz *

Toby and Will Jordan

Carole and Michael Mendelson

* 25 or more consecutive years of Stradivarius Patron support § Stradivarius Patrons who are also Loge Box Seat Option holders º Charter Member

44

Mr. Kyle F. Kerr *

STRADIVARIUS PATRONS ANNUAL FUND $3,000-4,999

Judy and Tom Mercer Drs. Janet and Sonya Merrill Linda Wightman Meyer Don and Debbie Michel Harriet Miers Mr. and Mrs. Brian K. Miller Dr. Linus Miller Toni Miller and Jan Nealey In memory of Marie A. Moore Carroll S. Moriarty Kyle and Taylor Morrison Sally and James Nation § David and Jean Neisius Charlene and Tom Norris Mr. and Mrs. James Timothy Norwood Mr. and Mrs. Van Oliver Ms. Hester Parker Jeff and Annette Patterson Hank and Becky Pearson § Mrs. Mary Dean Perry * Dr. Sidney Perutz Stanley M. Peskind Anthony Peterson Danny Phillips The Rev. Patricia Phillips Mr. Mark D. Pitts Lucy Polter *§ Patsy and Bud Porter * Arlene and Bill Press Dr. James T. Pyron § Carolyn Raiser and Andy Streitfeld Dr. and Mrs. Claudio Ramaciotti Kara and Todd Ranta Mr. Dick Rawlings Ken and Mary Kay Reimer Helen and Frank Risch * Nicole Roberts John H. Rodgers * Mr. and Mrs. Richard Rogoff

Taras and Diana Lynn Romanchuk

Richard and Alice Stevenson

Mr. and Mrs. Allan D. Rosen

Gayle Stoffel *

Helen and Duke Rosenberg *§ Dr. Randall and Barbara Rosenblatt Eileen and Harvey Rosenblum Deirdre and Bob Ruckman Mr. Wayne Ruhter Raymond and Nina Russo Debbie and Gavin Ryan Mr. and Mrs. Samuel Sanchez Drs. Jean and Herb Schaake * Sophia G. Schmidt John and Page Schreck Mr. and Mrs. Martin A. Schuepbach Dr. and Mrs. James C. Scott John L. Shaw Dana and James Shay Nancy Shelton and Caryl M. Keys Joslyn and Greg Shirey Carole and Norm Silverman LKS Fund/Lisa K. Simmons Mrs. George Slover * Katherine and Steven Smethie Carol Leone and Regan Smith Martha M. Smither * Gloria and Juan Ernesto Snead Kim Snipes and Wayne Meyer Danny Snyder Karen and Martin Sosland Cindy and Stuart Spechler * William and Jacqueline Stavi-Raines

Hilda H. Stinchcomb Catherine Stone Dee Swope Dr. Paul B. Taylor Mr. Jack Terrillion H.F. and Cindy Tibbals Dr. Martin and Judy Tobey Jim and Deborah Turner Mr. and Mrs. Jack Tutterrow Dr. and Mrs. Albert Vaiser § Michael van Enter Dr. Richard and Tina Wasserman Dennis Waters and Lyn Tharp Carol and Jon Weinstein Carl Weisbrod Mr. and Mrs. John M. Weston Jane Wetzel *§ Jeanette and George Wharton *§ Mr. Paul Wharton and Ms. Silvia Tapia Dr. and Mrs. Martin G. White *§ In Memory of David Whiting Sarah and Bryce Whitling Katherine and Randall Wiele Mrs. Barbara Wiggins * Douglas and Donna Wolfe Terry and Judy Wolfe Linda and Michael Wolfson James Woodall Susan Yarad Z. and Shirley Zsohar

Mr. David Stecker Phillip W. and Ann Bridges Steely Miss Janie Stephens Mr. and Mrs. Thomas J. Stephens

For more information about becoming a Stradivarius Patron, please contact Tanner Garrett, Manager of Individual Giving, at 214.871.4080 or t.garrett@dalsym.com.

As of 10/31/22

45

The Dallas Symphony Orchestra gratefully recognizes the corporations and foundations whose annual investment in the DSO’s artistic, educational and community engagement initiatives enriches the North Texas community.

INSTITUTIONAL PARTNERS

The DSO is supported, in part, by funds from the Office of Arts and Culture, City of Dallas.

$100,000 AND ABOVE

Hillcrest Foundation The Jeanne R. Johnson Foundation The Eugene McDermott Foundation O’Donnell Foundation Michael L. Rosenberg Foundation

$50,000-99,999

Anonymous BDO USA, LLP David M. Crowley Foundation The Dallas Morning News Fichtenbaum Charitable Trust, Bank of America, N.A., Trustee Gittings Portraiture Holland & Knight Foundation PNC Bank Posey Family Foundation The Brian J. Ratner Foundation The Rea Charitable Trust Harold Simmons Foundation

$25,000-49,999

Anonymous AT&T* Bank of America* Harry W. Bass, Jr. Foundation Bloomberg Philanthropies Chadwick-Loher Foundation CIBC The Kaleta A. Doolin Foundation Dallas Tourism Public Improvement District First Horizon The Men and Women of Hunt Consolidated, Inc. Kohl Foundation

Ray H. Marr Foundation The Heart of Neiman Marcus Foundation / Neiman Marcus Stemmons Foundation* Summerlee Foundation TACA* Texas Capital Bank The VanSickle Family Foundation Wiley Property, Ltd.

$15,000-24,999

Theodore and Beulah Beasley Foundation Charles Schwab & Co., Inc. Frost Bank Haynes and Boone, LLP Central Market / H-E-B Tournament of Champions JPMorgan Chase* Locke Lord LLP Pulse Supply Chain Solutions, Inc. Quilling, Selander, Lownds, Winslett & Moser, P.C. The Rosewood Foundation / The Rosewood Corporation* Simmons Bank Sturgis Charitable Trust Texas Women’s Foundation West Monroe Partners Winstead PC Zerbina, Imports, LLC

$10,000-14,999

b1BANK Ben E. Keith Company* Capital Title Cariloop Communities Foundation of Texas

Crow Holdings Feldman Family Foundation Jones Day Fannie and Stephen Kahn Charitable Foundation Kirkland & Ellis LLP La Stella Cucina Verace Methodist Dallas Medical Center Northern Trust* Josephine Hughes Sterling Foundation Susser Bank UT Southwestern Medical Center / Southwestern Medical Foundation Veritex Community Bank

$5,000-9,999

ActivePure Alto Azimont Group Bell Nunnally Blue Cross and Blue Shield of Texas Diodes Inc. Louise W. Kahn Endowment Fund of The Dallas Foundation W. P. & Bulah Luse Foundation Marsh & McLennan Agency LLC Metroplex Civic and Business Association Musume Platt Cheema Richmond PLLC Roberts Group Steinway Hall - Dallas Ussery Printing Company World Affairs Council of Dallas / Fort Worth * Giving for 20 or more consecutive years

For more information about partnership opportunities and benefits, please contact Sarah Whitling, Director of Institutional Giving, at 214.871.4062 or s.whitling@dalsym.com.

46

The Dallas Symphony Orchestra is pleased to recognize the following individuals, foundations and companies for establishing special funds to perpetuate the artistic excellence of the DSO.

ENDOWMENT GIFTS ORCHESTRA ENDOWMENTS

Gina Bachauer Fund for Young Artists Lucile and Clarence Dragert Guest Artist Fund Rita Sue and Alan Gold Fund for the Lynn Harrell Young Artist Competition Cecil and Ida Green Guest Artist Fund The Linda and Mitch Hart Domestic Touring Fund The Linda and Mitch Hart International Touring Fund The Linda and Mitch Hart Musicians Retirement Fund Horchow Family Endowed Fund Jeanne R. Johnson Fund for Artistic Excellence Fannie and Stephen S. Kahn Orchestra Travel Fund The Herman W. and Amelia H. Lay Family Concert Organ Soloists Fund Eugene McDermott Orchestra Fund Eugene McDermott Touring Fund Meyerson Family Artistic Excellence Fund Nancy P. and John G. Penson Dallas Symphony Orchestra Recording Fund Pollock Family Fund for Music Library Contents Robinson Family Fund Anita and Merlyn D. Sampels Guest Artist Fund The Charlie and Sadie Seay Endowment Fund for Artistic Excellence Norma and Don Stone New Music Fund Martha Wells Women in Music Fund

EXTRAORDINARY NAMED FUNDS

Constantin Foundation Fund Gail B. and Dan W. Cook III Fund Corbett Fund for Artistic Excellence Leo F. and Clara R. Corrigan Foundation Fund for General Support Alta Ewalt Evans Fund Robert E. and Ruth Glaze Fund

Fanchon and Howard Hallam Fund Winborne and Davis Hamlin Family Fund Linda and Mitch Hart Young Adult Education Fund William Randolph Hearst Endowed Fund for Young Strings Carol and Jeff Heller Guest Artist Fund The Philip R. Jonsson Endowed Fund for Young Strings Ben E. Keith Foundation Fund Cece Smith Lacy and John Ford Lacy Fund Linda and Stanley Marcus Fund Juanita and Henry S. Miller, Jr. Fund for General Support The Pollock Foundation Endowment for Audience Development Frank K. Ribelin Young Strings Endowment George A. and Nancy P. Shutt Endowment Fund Barbara and Robert P. Sypult Family Artistic Fund Barbara and Robert P. Sypult International Guest Artist and Guest Conductor’s Fund Desmond A. Wilcox and Brents Davis Orchestra Fund Hazel Young Fund

SPECIAL NAMED FUNDS

African-American Festival Concert Fund Frances and J.D. Blatt Family Fund for Violinists Sherwood E. Blount, Jr. Family Fund Lawrence R. and Joy Lipshy Burk Memorial Fund Chautauqua Music Student Scholarship Fund Dallas Symphony Chorus Fund Jeanne and Sanford Fagadau Family Fund for Education Emme Sue and Jerome J. Frank Fund for HeartStrings Gertrude Munger Garrett and Melvin Miller Garrett Memorial Fund for Artistic Excellence Jessie D. and E. B. Godsey Family Fund Gould Family Fund in memory of Jim Gould and Katherine Warren Gould Elissa Sabel and Stan Hirschman Guest Artist Fund Hispanic Festival Concert Fund

Holland & Knight Foundation Fund Mrs. Lee Hudson Fund for General Support Luther King Capital Management Fund Adah Yale Marr Memorial Fund for the Classics Music and Merit Program Fund The Hitoshi Nikaidoh Memorial Fund for Education The S.C. Ratliff, Nannie V. Ratliff, W.C. Ratliff and Lucille N. Ratliff Endowment Fund Michael L. Rosenberg Foundation Gertrude Simon HeartStrings Fund Dr. James E. Skibo Fund Itske and Anthony Stern Fund Richard and Alice Stevenson Education Fund Annette G. Strauss Fund for Artistic Excellence Brenda J. Stubel Chorus Endowment Becky and Brad Todd Fund Worsham, Forsythe & Wooldridge, L.L.P. Fund

CONCERT ENDOWMENTS

Texas Instruments Classical Series Max, Celia and Jerry Abramson Family Concert American Airlines AT&T Bank of America Dallas Symphony Orchestra League ExxonMobil D. Gordon Rupe Foundation Opening Concert Sydney J. Steiner and David L. Florence Arkady Fomin Annual Endowed Concerts in memory of Irene H. and Ernest G. Wadel Pops Series Presented by Capital One Mary Martin The Meadows Foundation Liener Temerlin Cecil and Ida Green Youth Concerts Series Cecil and Ida Green Foundation The Meadows Foundation The Morton H. Meyerson Family Foundation Anne J. Stewart

The Dallas Symphony Orchestra gratefully acknowledges the following individuals, foundations and companies for their extraordinary capital contributions in support of the DSO.

CAPITAL GIFTS BUILDING RECOGNITION Bank of America Renaissance Foyer The Richard D. Bass Foundation Percussion Warm-up Room and Choral Music Library Diane and Hal Brierley Artists’ Dressing Rooms Diane and Hal Brierley B-flat Rotary Trumpets

Diane and Hal Brierley The Brierley Suite Capital One East Loge Mary C. Crowley Dress Circle Balcony East Dallas Bankers Association Isaac Stern Loge Foyer Dallas Symphony Orchestra Guild Furnishings of Music Director’s Suite and Musician’s Lounge Dallas Symphony Orchestra Guild in Memory of Stephen F. Black Harpsichord

Dallas Symphony Orchestra League, Junior Group and Innovators Musician’s Lounge Anne and Robert Dickson Wagner Tubas (Wagnertuben) Hila and Nat Ekelman Telephone Alcove ENSERCH Corporation Grand Tier Balcony East Ginny and John Eulich Driveway and Entrance Canopy Greer Garson Fogelson and E.E. “Buddy” Fogelson E.E. “Buddy” Fogelson Pavilion As of 10/31/22

47

Margaret and Robert Folsom Administrative Reception Area Emme Sue and Jerome J. Frank Celesta Emme Sue and Jerome J. Frank Restaurant Tree Ida and Cecil Green Grand Stairway Mr. and Mrs. Jack Greenberg Hamburg Steinway and Bosendorfer Paul Guerrero Dress Circle Stairway West The Richard Gussoni Family Symphony Suites The Haggar Foundation Concertmaster’s Dressing Room Howard Hallam Choral Rehearsal Room Hallam Family/Ben E. Keith Foundation Lobby Bars Ebby Halliday and Maurice Acers Development Office JoAnne and John Hamann Bosendorfer Grand Piano Nancy Hamon Light Sculptures Linda and Mitch Hart Hart Symphony Suites and Reception Atrium Linda and Mitch Hart Linda and Mitch Hart Lobby The Thomas O. Hicks Family Dress Circle Balcony West Hoblitzelle Foundation Symphony Suites The Horchow Family Horchow Hall ICH Companies Executive Director’s Office Jeanne R. Johnson Choral Rehearsal Room

Margaret and Erik Jonsson Grand Choral Terrace JPMorgan Chase West Loge Louise W. and Edmund J. Kahn Music Library / Archives Room Clarice and Richard Kearley Heralding Trumpets Dorothy and David Kennington Symphony Suites Eunha Kim Steinway & Sons Model D Grand Piano Jerry and Connie Klemow Symphony Suites KPMG LLP Finance Office Louis W. Kreditor Patron Service Center Extension The Kresge Foundation Symphony Suites Cece and Ford Lacy Guest Services Center Amelia Lay Hodges The Herman W. and Amelia H. Lay Family Concert Organ Maxus Energy Corporation Box Office The Eugene McDermott Family Eugene McDermott Concert Hall The Meadows Foundation Concert Hall, Administrative Offices and Elevators Juanita and Henry S. Miller, Jr. Board Room The Harvey and Joyce Mitchell Family Foundation Broadcast Control Facility Margot W. and Ben H. Mitchell Fund of the Communities Foundation of Texas C Rotary Trumpets and Electric Piano

Alexander H. Moore Dress Circle Stairway East On loan from Miss Laurel Ornish George Gershwin by Andy Warhol Oryx Energy Corporation Dress Circle The Elizabeth H. Penn Family East Pavilion Nancy and John G. Penson Green Room The Ross Perot Family Morton H. Meyerson Symphony Center Carol and George Poston Grand Tier Balcony West Carol and George Poston Grand Tier Stairway West Wendy Reves Emery Reves Arch of Peace The Rosewood Corporation Observation Rooms Anita and Merlyn D. Sampels Anita Sampels Suite Myrna and Bob Schlegel Schlegel Administrative Suites Mary Liz and George R. Schrader Water Fountains Margie and William H. Seay Boutique Ruth C. and Charles S. Sharp Marquee Barbara and Bob Sypult Volunteer Offices Verizon Grand Tier Stairway East On loan from Gwen Weiner Les Ondines by Henri Lauren Philip H. Weinkrantz Music Stands In Honor of Mr. and Mrs. Peter N. Wiggins, Jr. Dress Circle Box

Many opportunities are available to establish new funds and name building components.

For more information, please contact Toni Miller, CAP®, Director of Individual Giving, at 214.871.4078 or t.miller@dalsym.com.

The Dallas Symphony thanks the following donors who committed generous gifts in support of a $7.5 million fundraising Initiative to build the future of the DSO. Funds raised support the DSO’s ongoing pursuit of innovation and artistic excellence in music; and serves to name the Young Musicians program in honor of the DSO’s Ross Perot President & CEO, Kim Noltemy, who founded the program.

KIM NOLTEMY YOUNG MUSICIANS PROGRAM

LEADERSHIP GIFTS

Diane and Hal Brierley Fanchon and Howard Hallam The Jeanne R. Johnson Foundation Holly and Tom Mayer The Eugene McDermott Foundation Nancy A. Nasher and David J. Haemisegger O’Donnell Foundation Margot Perot Stan Rabin in Loving Memory of Barbara Rabin Martha McCarty Wells

PATRON GIFTS

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Henry and Lucy Billingsley Capital One Cece and Ford Lacy Robinson Family Norma and Don Stone

SUPPORTING GIFTS

Susan Garner Fleming Ron and Rebecca Gafford Marena and Roger Gault Linda and Mitch Hart Yon Yoon Jorden Fabio Luisi and Yulia Levin The Brian J. Ratner Foundation Jeff Rich and Jan Miller Diana and Sam Self Barbara and Bob Sypult Becky and Brad Todd Karen and Jim Wiley

The Dallas Symphony thanks the following patrons who have recently committed generous gifts to the DSO. Made in addition to ongoing annual support, these investments are part of a transformational effort to ensure a sustainable future for the Dallas Symphony.

YOUR DSO – EXCITE, INSPIRE, ENGAGE CAMPAIGN $10,000,000 AND ABOVE

Mrs. Eugene McDermott and The Eugene McDermott Foundation Margot and Ross* Perot

$2,500,000-$9,999,999 Anonymous Diane and Hal Brierley Linda and Mitch Hart Maisie Heiken Cece and Ford Lacy The Marcella Fund Nancy A. Nasher and David J. Haemisegger Family

$1,000,000-$2,499,999

Anonymous (3) Capital One Fanchon and Howard Hallam Estate of Jeanne R. Johnson The Jeanne R. Johnson Foundation O’Donnell Foundation Pollock Family Foundation Barbara* and Stan Rabin Robinson Family Elsa von Seggern Foundation Linda VanSickle Smith Norma and Don Stone In Memory of Irene H. and Ernest G. Wadel, Louis J. and Rose G. Hamel, and Beulah G. and Burnet Wadel

$250,000-$999,999

Estate of Arlene and James Booth Marena and Roger Gault Rita Sue and Alan Gold Gould Family Fund in memory of Jim Gould and Katherine Warren Gould The Caroline Rose Hunt Family Katherine Glaze Lyle Joy and Ronald Mankoff Shirley and William S. McIntyre Foundation Estate of Dr. William M. and Bettie Osborne Cindy and Howard Rachofsky Audrey and Albert Ratner, Michael and Deborah Ratner Salzberg and Brian J. Ratner Enika Schulze John R. Sewell Dr. James E. Skibo Fund Jean Ann Titus Sarah Titus Martha McCarty Wells Kern and Marnie Wildenthal Adele and Hobson* Wildenthal Karen and Jim Wiley

$100,000-$249,999

Anonymous Estate of Rosalie C. and James R. Alexander Joanne L. Bober Mrs. Thomas R. Corbett Ron and Rebecca Gafford Jessie D. and E.B. Godsey Family Kim and Greg Hext Yon Y. Jorden Debra and Steve Leven Holly and Tom Mayer Kim Noltemy Michael L. Rosenberg Foundation Myrna and Bob Schlegel Mrs. George A. Shutt Mr. and Mrs. William T. Solomon Estate of Brenda J. Stubel Symphony of Toys in Memory of Arkady Fomin Barbara and Bob Sypult Texas Instruments Foundation Becky and Brad Todd Donna and Herb Weitzman

OTHER GENEROUS GIFTS Anonymous Nicholas Adamson Mr. and Mrs. Peter A. Altabef Lisa and Gregg Ballew Jennifer and Coley Clark John and Barbara Cohn Barbara and Steve Durham

Ebby Halliday, REALTORS David and Melinda Emmons Ben Fischer and Laree Hulshoff W. Gary and Donna Fowler Estate of Robert and Ruth Glaze Samuel S. Holland Kathy and Richard Holt Estate of Louise K. Kane KPMG LLP Selena Loh LaCroix Mr. and Mrs. Mark H. LaRoe Craig and Joy Lentzsch Catherine Z. and George T. Manning Estate of Dorothy O. Matetich Scott and Jennifer McDaniel Linda B. and John S. McFarland Estate of Kathryn Amsler Priddy in Memory of Nancy and Jack Penson Nancy and John Solana Estate of William A. Solemene Barbara and Sheldon Stein Estate of Freda Gail Stern Melissa Ruman Stewart and Paul Stewart Estate of Anne-Marie Genevieve Thames *deceased

For more information, please contact James Leffler, Vice President of Development, at 214.871.4515 or j.leffler@dalsym.com.

As of 10/31/22

49

New Album Just Released

Get your copy now in the Symphony Shop in the lobby of the Meyerson. Stop by before, during, or after the concert.

DALLAS SYMPHONY ASSOCIATION ADMINISTRATIVE STAFF EXECUTIVE OFFICE

Kim Noltemy Ross Perot President & CEO Nishi Badhwar Olga and Yuri Anshelevich Manager of Orchestra Personnel Nicole Mendyka Assistant Personnel Manager Quin Phillips Executive Assistant to President & CEO

EQUITY, DIVERSITY, INCLUSION + SOCIAL IMPACT

Glyne A. Griffith II, DBA, CDP, CSR Vice President of Equity, Diversity, Inclusion + Social Impact

ARTISTIC OPERATIONS + EDUCATION Katie McGuinness Wildenthal Families Vice President of Artistic Operations Ashley Alarcon Young Musicians Manager Tom Brekhus Senior Production + Pops Concerts Manager Jen Guzmán Thomas & Roberta Corbett Director of Education Sarah Hatler Education Manager Stephanie Izaguirre Young Musicians Coordinator Carolyn Jabr Young Strings Manager Emma Jensen Dallas Symphony Children’s Chorus Site Coordinator Todd Joiner Senior Manager of Artistic Administration Nathan Lutz Director of Operations + Education Programs Michael Lysinger Chorus Administrator Paula Olsen Dallas Symphony Children’s Chorus Artistic Manager Micah Ringham Dallas Symphony Children’s Chorus Operations Manager Ben Spagnuolo Artistic Operations Coordinator Roberto Zambrano Artistic Director to the Young Musicians Program

COMMUNICATIONS + MEDIA Denise McGovern Vice President of Communications + Media Sidney Hopkins Communications + Media Manager Analiese White Communications + Media Coordinator

DEVELOPMENT

James Leffler Vice President of Development Tab Boyles Director of Event Planning Jon Ediger Corporate Relations Coordinator Tanner Garrett Manager of Individual Giving Lilian E. Godsey Manager of Donor Stewardship Kim Koenig Events Coordinator Whitney MacDonald Major Gifts Officer Toni Miller, CAP® Director of Individual Giving Alex Small Individual Giving Coordinator Alisa Stone Development Operations Coordinator Mark Valenzuela Development + Board Coordinator Alma Delia Vega, CAPM® Director of Development Operations + Analytics Sarah Whitling Director of Institutional Giving

VOLUNTEER SERVICES

Allison Brodnax Director of Volunteer Services Maliska Haba Manager of Volunteer Services FINANCE Drew Cameron Chief Financial Officer Cecilia Rauschuber Accounts Payable Coordinator Julie Ribeca Accounting Administrator Deanie Sewell Controller Danesha Voss Senior Staff Accountant Heather Yeager Senior Manager Budgeting + Financial Analysis

COMMUNITY RELATIONS, FACILITIES + HUMAN RESOURCES

Debi Peña Chief Administrative Officer Carl Baines Desktop + Systems Administrator Celia Barshop Director of Meyerson Sales + Operations Velyncia Caldwell Senior Lighting Technician Jaz Clayborne Security Supervisor Cameron Conyer Audio Video Specialist Amanda Cook Payroll + Human Resources Manager

Visit dallassymphony.org for employment opportunities.

Suré Eloff Human Resources + Community Liaison Kimberly Koniecki Senior Manager of Meyerson Sales + Operations David Lane Director of IT Lamar Livingston Director of Technical Operations Shawn Mahan Lead House Manager Kyra McGuirk Recruiting & HR Specialist Marissa Mediati Event Operations Manager Andrew Polansky Lighting Technician Judith Washington Data Quality Associate Roger Willis Assistant House Manager Adrian Zeigler Security Manager

MARKETING + GUEST SERVICES

Kim Burgan Vice President of Sales + Marketing Liz Akop Group Sales Representative Kathryn Barrett Shop Manager and Buyer Jenna Buckley Marketing Associate Eric Burleson Concert Associate Elisa Campos Ticketing Operations Manager Mallory Coulter Director of Digital Marketing Carla Ewing Guest Services Coordinator Leigh Hopkins Senior Manager of Digital Marketing Eric Landrum Senior Manager of Partner + Experiential Marketing Alex Moffitt Guest Services Coordinator Vanessa Nates Marketing Associate Danielle Reeves Graphic Designer Sabrina Siggers Group Sales Representative Corri Greene Graphic Designer Jena Tunnell Director of Ticketing + Guest Services Adam Wallman Manager of Marketing Research + Analytics Stephanie Watson Guest Services Coordinator

As of 10/31/22

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