

Asthe days grow longer and the world bursts into color, we invite you to the final months of our season—a celebration of opera, ballet, and orchestral brilliance. This spring and summer, our stage will come alive with performances that capture the energy of renewal, passion, and the pure joy of live performing arts.
From the soaring voices of opera to the breathtaking precision of ballet and the sweeping power of the Philharmonic, each performance is a testament to the timeless magic of music and movement. Whether you are drawn to the drama of a great aria, the athleticism of a pirouette, or the delicate moments of a symphony, this season offers something to stir the soul.
We are grateful for your presence— your enthusiasm and support breathe life into every note and every step. Join us as we bring this season to a magnificent crescendo, where the beauty of live performance is yours to experience, again and again.
We’ll see you in the audience.
Warmly,
Patrick J. Nugent President and CEO
Joseph Zehenny DPAA Board Chair
Neal Gittleman
Artistic Director, Philharmonic
The 2024–2025 season is my 30th on the DPO podium, following founder Paul Katz, Charles Wendelken-Wilson, and Isaiah Jackson. Next year Keitaro Harada takes over. Until then, I’ll be surrounded by fabulous musicians and fabulous music. Favorite pieces by favorite composers. A world premiere and a U.S. premiere. A ballet I’ve conducted more than a hundred times (The Nutcracker) and one I’ve never conducted before (Cinderella). One of my favorite operas (Amahl and the Night Visitors). And my first-ever concert of country music! But what keeps popping into my head again and again as I think about this last year as your conductor? Song titles by my favorite band, The Beatles: “The Long and Winding Road,” “Come Together,” “We Can Work It Out.” And again and again, these lines: “And in the end, the love you take is equal to the love you make.” Except for me, it’s “… equal to the music you make.” And of course, “P.S. I Love You!”
Kathleen Clawson,
Artistic Director, Opera; Dr. Ron Anderson and Robb Sloan-Anderson Chair
Kathleen Clawson begins her fifth season as Dayton Opera Artistic Director and Dr. Ron Anderson and Robb Sloan-Anderson Chair. Clawson began directing for the Opera in 2009 and has directed 19 productions since, including serving as dramaturg and stage director for the world premiere of Finding Wright
An acclaimed opera director, she directed The Santa Fe Opera’s world premiere of Shoes for the Santo Niño (2011) and was stage director and dramaturg for their world premiere of UnShakeable (2016).
A mezzo-soprano, Clawson’s credits include soloist with the Dayton Philharmonic, productions with The Santa Fe Opera and Dallas Opera, recording de Falla’s “El Amor Brujo” for Maria Benitez’ Teatro Flamenco tour, and singing “Mother Abbess” in Debby Boone’s international tour of The Sound of Music.
Klein Perspectives
Choreography by Andrea Schermoly
Music by Johann Sebastian Bach, Antonio Vivaldi, & Ólafur Arnald
Original scenic design and lighting design by Trad A Burns
Costumes by Andrea Schermoly & Jennifer Carroll Costumes courtesy of Kansas City Ballet
Cast ......................................... Erin Blair, Nicolas Bierwagen, Harrison Broadbent, Alyssa Eyster, Hailey Flanagan, Jasmine Getz, Patrick Lennon, ...................... Lukas Pringle, Belle Urben, Jalen Williams
Spilt Mylk
Choreography by Qarrianne Blayr (World Premiere)
Music by Michael Wall, Nicholas Britell, & Armad Amar
Lighting design by Molly Tiede
Costumes by Qarrianne Blayr & Lyn Baudendistel
Cast Connor Barak, Nicolas Bierwagen, Erin Blair, ..................................Harrison Broadbent, Emma Duncan, Katy Gilliam, Jasmine Getz, Isaac Jones, Kyan Park, Lukas Pringle, Belle Urben, ................................... Catherine Voorhees, Jalen Williams
Choreographer
George Balanchine was the most influential choreographer of classical ballet in the United States in the 20th century. His works, characterized by a cool neoclassicism, include The Nutcracker (1954) and Don Quixote (1965), both pieces choreographed for the New York City Ballet, of which he was a founder (1948), the artistic director, and the chief choreographer. He was also a pioneer in choreography for film and musical theatre.
A prolific creator in various styles, Balanchine was responsible for most of the New York City Ballet’s extensive repertoire, having created more than 150 works for the company. He continued as artistic director and ballet master of the New York Ballet until late in 1982, when ill health forced him to relinquish his duties.
Although he worked mainly in the United States, Balanchine was an international choreographer, and almost every leading ballet company in the world has mounted at least one of his ballets. Best known abroad are his interpretations of musical compositions, either in a serious vein, such as Brahms’s Liebeslieder Walzer (1960), or broadly comic, such as Hershy Kay’s Western Symphony (1954), or richly Romantic, such as Robert Schumann’s Davidsbündlertänze (1980).
Source: Britannica
Dr. C. Daniel & Mrs. Kathy Raisch
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BRAVO ($1,000+)
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HARRY A. TOULMIN JR. AND VIRGINIA B. TOULMIN FUND OF THE DAYTON FOUNDATION
BILL AND JACKIE LOCKWOOD FUND TO SUPPORT OPERA
MARY H. KITTREDGE FUND OF THE DAYTON FOUNDATION