Fall / Winter 2024
September
Dvořák, Stravinsky, and Brahms
September 13 & 14
Rodgers and Hammerstein’s South Pacific
September 21 & 22
Chamber Music: Influences and Innovations
September 29
October
Dayton Ballet Studio Ensemble: Momentum
October 6
Coppélia
October 18, 19 & 20
Don’t Stop Believin’: The Music of Journey
October 26
Young People’s Concert: Pure Imagination
October 30
November
Broadway By Request
November 2
Beethoven, London, and a World Premiere
November 8 & 9
Elf in Concert
November 22 & 23
December
DPYO Winter Concert
December 1
Menotti’s Amahl and the Night Visitors
December 6
Hometown Holidays
December 7
The Nutcracker
December 13, 14, 15, 20, 21 & 22
Handel’s Messiah
December 18
December 20
To
our beloved Greater Miami
Valley community,
We are pleased to be back with another season of performances that will exhilarate your mind, lift your spirit, and electrify your imagination!
We have collected your feedback— whether via survey, through a standing ovation, or in casual conversation at Starbucks. We have listened: there were performances you wanted to see; works that, perhaps, you weren’t crazy about; new ideas; and old favorites. Our one-of-a-kind artistic team has taken this feedback and crafted a thrilling lineup specifically for you.
In addition to all the performances you see on stage, DPAA serves over 65,000 students and adults through our learning programs: the Dayton Ballet School, Dayton Philharmonic Youth Orchestra, concerts for students downtown and performances in their schools, and so much more. Stay tuned this season as we announce some groundbreaking partnerships that will expand our Learning and Community Engagement work with students of all ages!
And finally, to add to the buzz, we celebrate Neal Gittleman in his 30th year at the helm of the Dayton Philharmonic Orchestra. During Neal’s tenure, he’s led the orchestra to artistic heights and played an integral role in shepherding the Dayton Performing Arts Alliance into fruition. For his 30th and final season, we celebrate Neal through crowd-favorite artists, world premieres, and monumental classics. We hope that you will attend often this season!
Whether you’re with us for the first time or returning for the hundredth, welcome!
All Our Best,
Patrick J. Nugent President and CEO
Joseph Zehenny DPAA Board Chair
Audience Resources
Is this your first time at a DPAA event? If so, welcome! To ensure your visit is meaningful and enjoyable, we offer the following resources.
Box Office
The Dayton Performing Arts Alliance proudly partners with Dayton Live for its box office services. Contact the box office at (937) 228-3630 or visit the office in the Schuster Wintergarden.
Restrooms
Restrooms—and family restrooms—are available on each level of the Schuster Center and Victoria Theatre.
Accessibility
DPAA is committed to providing easy access to the arts. If you have accessibility needs or questions, please contact the box office.
Audio description is available upon request for patrons who have vision loss. Describers provide a live, objective, descriptive delivery of the visual elements of a performance in between the dialogue and/or music via a small receiver. Requests must be received two weeks prior to an event and are subject to the availability of the Describer. Please call the box office to make arrangements.
Assistive listening devices are available for all performances. Check out a device from the guest services kiosk or from a house manager in the lobby.
DPAA provides sign language interpretation upon request for performances at the Schuster Center and Victoria Theatre. Requests for sign language interpretation must be received two weeks prior to the event and are subject to the availability of the Interpreter. Please call the Box Office to make arrangements.
Age Recommendation
Our events are recommended for age 6 and up.
Military Appreciation and Discount Programs
In addition to our standard military discount, DPAA offers a Military Appreciation Program for active-duty military members, retired veterans with ID cards, and WPAFB government civilian employees in the region. Each household may
receive four free tickets annually. Contact the box office to redeem.
Group Sales
Bring a group of 10 or more; share a one-of-akind experience; and save up to 30% on tickets! Contact our Engagement & Patron Services Manager, Kate LaFollette, at (937) 535-5443.
Local Dining
Make it a night on the won! We recommend the following dining options: Blind Bob’s, Figlio Wood Fired Pizza, Jay’s Seafood, Joui, Lily’s, Manna Uptown, Meadowlark Restaurant, Mudlick Tap House, Salar Restaurant and Lounge, Spaghetti Warehouse, Table 33, The Caroline, and Troll Pub at the Wheelhouse.
Lost and Found / Security
In the event you lose an item at a performance or require assistance from the security team, call (937) 637-7366. For the safety of those in the audience, behind the scenes, and on stage, everyone who enters the performance space is required to pass through metal detectors.
Questions?
For additional ticket questions or information, contact our Engagement & Patron Services Manager, Kate LaFollette at (937) 535-5443.
Artistic Directors
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.
Brandon Ragland
Artistic Director, Ballet; Sponsored by Dr. Troy Tyner and Dr. Ingrid Brown
Brandon Ragland has more than a decade of professional experience as a dancer, choreographer, and educator. He trained in Birmingham, AL, and has a bachelor’s degree in Dance-Arts Administration from Butler University. After graduation, Ragland danced with Alabama Ballet, followed by Louisville Ballet in 2010, spending 13 years as a leading artist. A respected choreographer, Ragland choreographed works for Louisville Ballet, Alabama Ballet, Ballet Arkansas, AROVA Contemporary Ballet, Next Generation Ballet, Sedona Chamber Ballet, and The Perla Ballet. In 2017, Ragland was honored to perform with the Black Iris Project at the Kennedy Center in Washington, D.C., as part of the Kennedy Center’s Dance Across America Program. He has received numerous awards, including “Best Artist” in Louisville Magazine and The Lift a Life Foundation’s “Emerging Leader in the Arts Award” from The Fund for the Arts.
Keitaro Harada
Music and Artistic Director Designate, Philharmonic; Sponsored by Barbara O’Hara
Named Music and Artistic Director Designate for Dayton Philharmonic for the 2024–25 season, Keitaro Harada will begin a five-year tenure as Music and Artistic Director with the 2025–26 season. As Music and Artistic Director of the Savannah Philharmonic since the 2020–21 season, Harada has transformed the orchestra and energized its audiences throughout the community with his imaginative programs and charismatic presence.
Harada is a recipient of the 2023 Sir Georg Solti Conducting Award. In 2024, he was named Permanent Conductor of the Tokyo Symphony Orchestra and Principal Guest Conductor and Artistic Partner for the Aichi Chamber Orchestra. Harada was Associate Conductor for four years at the Cincinnati Symphony and Pops, where he regularly assisted Music Director Louis Langrée and collaborated with James Conlon and Juanjo Mena at the orchestra’s annual May Festival.
Company Dancers
Studio Company Dancers
Xochitl
Sara Beth Austin
Daniela Bennetti
Analiese Capponi
Ryan Norman
Elizabeth Sabol
Amber Huggett
Connor Barak Claire Bergman Nicolas Bierwagen Erin Blair Harrison Broadbent
Tomasin Corrente
Emma Duncan Alyssa Eyster
Hailey Flanagan Jasmine Getz
Katy Gilliam Isaac Jones Patrick Lennon
Tarique Logan Kyan Park
Lukas Pringle Francisco Rivera Belle Urben Catherine Voorhees Jalen Williams
Atienza
New Dancer Photo to come
New Dancer Photo to come
New Dancer Photo to come
New Dancer Photo to come
Dvořák, Stravinsky, and Brahms
September 13 & 14, 2024 • Schuster Center
ARTISTS
Neal Gittleman, conductor
Chad Hoopes, violin
Dayton Philharmonic Orchestra
PROGRAM
Antonín Dvořák Carnival Overture, Op. 92
Igor Stravinsky
Violin Concerto in D
1. Toccata
2. Aria I
3. Aria II
4. Capriccio
Chad Hoopes, violin
- INTERMISSION -
Johannes Brahms Symphony No. 4 in E minor, Op. 98
1. Allegro non troppo
2. Andante moderato
3. Allegro giocoso
4. Allegro energico e passionato
Chad Hoopes is the Benjamin and Marian Schuster Endowed Young Classical Artist.
The Media Sponsor of this performance is Discover Classical 88.1 WDPR/89.1 WUSO/89.9 WDPG.
Microphones on stage are for recording purposes only.
About the Artist
Chad Hoopes
Violin
Acclaimed by critics worldwide for his exceptional talent and magnificent tone, American violinist Chad Hoopes has remained a consistent and versatile performer with many of the world’s leading orchestras since winning First Prize at the Young Artists Division of the Yehudi Menuhin International Violin Competition.
Hoopes is a 2017 recipient of Lincoln Center’s Avery Fischer Career Grant. Former winners include Kirill Gerstein, Yuja Wang, Leila Josefowicz, Joshua Bell, and Hilary Hahn.
Highlights of past and present seasons include performances with The Philadelphia Orchestra, Orchestre de Paris, Konzerthausorchester Berlin, Vancouver Symphony Orchestra, Orchestre National du Capitole de Toulouse for the French premiere of Qigang Chen’s concerto La joie de la souffrance. He has performed with leading orchestras including
San Francisco, Pittsburgh, Houston and National Symphony, as well as Minnesota Orchestra, Frankfurt Radio Symphony Orchestra, and the National Arts Centre Orchestra. Hoopes frequently performs with the Chamber Music Society of Lincoln Center. He has additionally performed recitals at the Ravinia Festival, the Tonhalle Zürich, the Louvre, and at Lincoln Center’s Great Performers series in New York City.
His debut recording with the MDR Leipzig Radio Symphony Orchestra under Kristjan Järvi featured the Mendelssohn and Adams concertos and was enthusiastically received by both press and public. His recording of Bernstein’s Violin Sonata with pianist Wayne Marshall was released in 2019.
Hoopes is a frequent guest artist at the Menuhin Festival in Gstaad, Switzerland, the Rheingau Festival, and at Festspiele Mecklenburg-Vorpommern, where he was named the winner of the prestigious Audience Award.
Born in Florida, Hoopes began his violin studies at the age of three in Minneapolis, and continued his training at the Cleveland Institute of Music. He additionally studied at the Kronberg Academy under the guidance of Professor Ana Chumachenco, who remains his mentor. Hoopes is a professor of practice at the Southern Methodist University and serves as an artist faculty member for Music@Menlo. He is a sought-after masterclass teacher and has taught classes at the Cleveland Institute of Music, Heifetz International Music Institute, and the Menuhin School in England.
He plays the 1991 Samuel Zygmuntowicz violin, once owned by Isaac Stern.
Program Notes
Carnival Overture, Op. 92
Antonin Dvořák (1841–1904)
COMPOSED 1891
PREMIERE
April 28, 1892; Prague, Czech Republic
LAST DPO PERFORMANCE
November 2016
APPROXIMATE DURATION
9 minutes
In the late 1880’s, Dvořák’s international composing career was just beginning to take off when he discovered the “new” music of Franz Liszt and Richard Wagner (as opposed to Brahms’s more traditional style). Their music represented new directions in Classical music, and Dvořák was particularly interested in Liszt’s tone poems. Tone poems use an idea or an underlying story to direct their formal shape, and in 1891, Dvořák began to experiment. He wrote a trio of concert overtures based on the overarching theme of “Nature”—a divine force in Dvořák’s view that not only created and gave love and joy but could equally powerfully destroy. Each Overture represented one of Nature’s three elements, and Dvořák named them, respectively: In Nature’s Realm (“Nature”), Carnival Overture (“Life”), and Othello (“Love”). Of the three Overtures, the swashbuckling Carnival Overture became the most beloved and popular.
Dvořák wrote that the Carnival portrayed: The lonely, contemplative wanderer reaches the city at nightfall, where a carnival is in full swing. On every side is heard the clangor of instruments, mingled with shouts of joy and the unrestrained hilarity of people giving vent to their feelings in their songs and dance tunes.
Violin Concerto in D
Igor Stravinsky (1882–1971)
COMPOSED
1931
PREMIERE
October 23, 1931; Berlin, Germany
LAST DPO
PERFORMANCE
DPO Premiere
APPROXIMATE DURATION
22 minutes
Stravinsky’s Violin Concerto had its genesis around 1930 when his publisher suggested that he write a concerto for the Polish-born virtuoso violinist, Samuel Dushkin (1891–1976). Fashioned in the then-popular Neo-Classical style—which was modeled on the refined 18th-Century (and earlier) composing styles—the Concerto is lyrical, jaunty, even quirky, and has been rightly popular ever since. Though a large orchestra is present onstage, in Stravinsky’s Neo-Classical style, the full orchestra rarely plays all at the same time, and instead, the textures are more chamber-like. Also, Stravinsky’s intent for the soloist is more in the role of playing chamber-like duets, even as an accompanist, rather than basking in the bravura of the virtuosic limelight. As Stravinsky specified, “virtuosity for its own sake has only a small role in my Concerto.”
The first movement, Toccata (inspired by Bach-era toccatas), opens with a curious wide-open chord played by the soloist—one that Dushkin at first thought was
unplayable—comprised of three pitches played simultaneously and spanning a 19note interval. This chord will figure prominently in every movement, and Stravinsky came to refer to it as the “passport to the Concerto.”
The middle two movements are Aria I and Aria II (Aria meaning “song”). Each movement begins with the “passport chord” from the soloist, but from that chord each launches into wonderfully different directions. The first Aria is more frantic and fun than song-like, the second is lovely and meltingly lyrical in a modern way.
The final movement, Capriccio, is indeed capricious and delightfully lives up to its name. After the “passport chord” opening, the soloist at long last lets loose with some virtuosity, launching into devilish runs at high speed. An especially charming moment occurs at about four minutes into the movement, when the first orchestral violin challenges the soloist to a virtuosic duel. This Capriccio jukes, frolics, and merrily surprises us, all the way to the final chords.
Symphony No. 4 in E minor, Op. 98
Johannes Brahms (1833–1897)
During the two summers of 1884 and 1885, Brahms stole away from Vienna to the countryside of the Austrian Alps to write his Fourth Symphony. During those months, he began realizing that his time on Earth was growing short, and that this Fourth might well be his last word in his beloved symphonic genre, and so the Fourth then took on a tenor of deep loss and finality for Brahms. But Brahms achieved a masterpiece in this final Symphony and created one of the towering musical works in Western music.
COMPOSED 1884–1885
PREMIERE
October 25, 1885; Meiningen, Germany
LAST DPO PERFORMANCE
January 2011
APPROXIMATE DURATION
40 minutes
The opening to the first movement feels gentle and serene, yet tinged with a feeling of melancholy. Brahms then takes the movement through the standard architecture of a Beethoven-esque symphony as the music battles between the opening’s veiled gracefulness against a sense of mounting angst.
The second movement quietly unfolds with a sense of loss and loneliness, gradually working its way through several variations until building into one of the most lyrical moments in the entire Symphony. Then, the movement slowly retreats to its original quietude, as the clarinets ascend into the stratosphere.
The third movement, Allegro giocoso (quick and merry), balances the more tragic tone of the Symphony. And with the addition of the percussionist’s triangle, the mood becomes boisterous. Despite this merriment, the movement flirts with a feeling of wildness, and its final bars are hammered out with an almost primal aggression. In the final movement, Allegro energico e passionate (fast, energetic, and passionate) Brahms creates 32 exceptional variations which will travel through a universe of emotions ranging from trepidation and majesty to fragility. But this finale ultimately concludes with a series of intensifying phrases, like a fire beginning to rage white hot. And rather than morphing into a triumphant major key to rectify all that came before it (as Classical symphonies typically would), Brahms’s last Symphony remains in the minor key until its final, crushing blows.
Philharmonic Musicians
Greenlaw, Acting Concertmaster1
Philip Enzweiler* Janet George
Oprea Associate Concertmaster2
Na, Acting Assistant Concertmaster3
VIOLIN I
The Peter and Patricia Torvik 2nd Violin Section
Kara Camfield, Acting Principal4
Ann Linn Baer, Acting Assistant Principal
Kirstin
Aurelian
Youjin
Elizabeth Hofeldt
David Goist Mikhail Baranovsky Louis Proske Sean Klopfenstein John Lardinois
VIOLIN I
Scott Moore Gloria Fiore
Maggie Niekamp Nick Naegele* Lynn Rohr*
Yoshiko Kunimitsu Bill Slusser Yein Jin*
Sheridan Currie, Principal5
VIOLA
OBOE AND ENGLISH HORN
Colleen Braid, Assistant Principal Karen Johnson6
Scott Schilling Lori LaMattina Mark D. Reis
Molly Castrucci8 Lucas Song9
Mark Hofeldt Nadine Monchecourt Oleg Babkov
Stephen Ullery Christopher Roberts
James Faulkner Bleda Elibal
Rebecca Andres, Principal11 Jennifer Northcut
Janet van Graas
Eileen Whalen, Principal12
Leslie Dragan Belinda Burge
Jonathan Lee, Principal Christina Coletta, Assistant Principal7
CELLO
Zoë Moskalew
Deborah Taylor, Principal10
Jon Pascolini, Assistant Principal
Donald Compton FLUTE AND PICCOLO
BASS
CLARINET
TROMBONE
HARP
Robyn Dixon Costa
John Kurokawa, Principal13 Rachael Young, Principal14
Kristen Smith15
Aaron Brant, Principal16
Lotti Ropert
Todd Fitter
BASSOON
HORN
Amy Lassiter Sean Vore, Assistant Principal
Charles Pagnard, Principal17 Alan Siebert
TRUMPET
Eric Knorr
Tyler Bentley, Acting Principal18
Richard Begel
Chad Arnow19
Timothy Northcut, Principal20
Gerald Noble, Acting Principal21
Michael LaMattina, Principal22 Davi Martinelli de Lira23
Leslie Stratton, Principal24
New Musician Photo to come
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KEYBOARD
Joshua Nemith25
* Denotes leave of absence
1 J. Ralph Corbett Chair
2 Huffy Foundation Chair
3 Sherman Standard Register Foundation Chair
4 Jesse Philips Chair
5 F. Dean Schnacke Chair
6 Grace Counts Finch Chair
7 Edward L. Kohnle Chair in Memory of Andra Lunde Padrichelli, Principal Cellist 2003–2018
8 Gilbert and Patricia Templeton Chair
9 Paul and Susanne Weaver Chair
10 Dayton Philharmonic Volunteer Association/C. David Horine Memorial Chair
11 Dayton Philharmonic Volunteer Association Chair
12 Catharine French Bieser Chair
13 Rhea Beerman Peal Chair
14 Robert and Elaine Stein Chair
15 David and Lois Gribler Chair
16 Frank M. Tait Memorial Chair
17 John W. Berry Family Chair
18 John Reger Memorial Chair
19 Bill and Wanda Lukens Chair
20 Zachary, Rachel and Natalie Denka Chair
21 Rosenthal Family Chair in Memory of Miriam Rosenthal, In Honor of Donald Donnett, Principal Timpani 1966–2023
22 Miriam Rosenthal Chair
23 Richard A. and Mary T. Whitney Chair
24 Daisy Talbott Green Chair
25 Demirjian Family Chair
Our Members Make the Magic!
Special thanks to all our DPAA Members who keep the classical arts thriving in Dayton with their annual donation.
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Dr. Virginia C. Wood
Carol Jean Yegerlehner Give Today
Corporate and Foundation Partners
We thank our corporate and foundation partners for their support of DPAA’s mission, programs, and artists.
IMPRESARIO
AES Ohio Foundation
The Charles D. Berry Foundation
Virginia W. Kettering Foundation
Schiewetz Foundation
Harry A. Toulmin, Jr. and Virginia B. Toulmin Fund of The Dayton Foundation
MAESTRO
Kettering Health
VIRTUOSO
Dayton Freight
The Mary H. Kittredge Fund of The Dayton Foundation
Bill and Jackie Lockwood Fund to Support Opera
LEGATO
AES Ohio
The Berry Family Foundation
Cox First Media
Dayton Aerospace
Marriott University of Dayton
Miriam Rosenthal Foundation for the Arts
The Shubert Foundation
The Troy Foundation
The Nick and Edna Weller Charities, Inc.
CONCERTO
10 Wilmington Place
Arts Consulting Group
Bob Ross Auto Group
The Charles F. Kettering Foundation
Discover Classical 88.1 WDPR/89.1 WUSO/89.9 WDPG
The Kettering Family Foundation
iHeartMedia
Mathile Family Foundation
ARIA
The Iddings Foundation
Victory Wholesale Group
SONATA
The Dayton Hydraulic Co.
Enterprise Roofing
Harlamert Foundation
Heidelberg Distributing Company
Johnson Investment Counsel
The Kuntz Foundation
Levin Family Foundation
LION
Nova Creative
NPS Cares Foundation
PNC
INTERMEZZO
Coolidge Wall
Sam Levin Foundation
Omega Baptist Church
Pickrel, Schaeffer, and Ebeling
OVERTURE
Barnes Dennig
Houser Asphalt and Concrete
Requarth Lumber Company
Voss Auto Network
ADDITIONAL MAJOR SUPPORT BY:
Culture Works
Montgomery County Arts and Cultural District
National Endowment for the Arts
Ohio Arts Council
Board of Trustees and Staff
OFFICERS
Joseph Zehenny, Chair
Patricia McDonald, Vice Chair
Dr. Ed Tomme, Chair Emeritus
Tom Burkhardt, Treasurer
Timothy Riordan, Assistant Treasurer
Rev. Joshua Ward, Secretary
Rodney Veal, Assistant Secretary
BOARD OF TRUSTEES
Dr. Ron Anderson
Libby Ballengee
Dr. Zachary Beck
Ashley Bethard
Jim Butler
Christopher Coombs
Allyson Danis
Courtney Ditmer
Dr. Samuel Dorf
Deborah Gross
Col. Mary-Kathryn Haddad
Michael Howard
Xavier Johnson
Dr. G. Scott Jones
Robyn Lightcap
Patrick Martin
Peggie McQuiston
Shannon Joyce Neal
Barbara O’Hara
Todd Press
Burt Saidel
Dori Spaulding
John Tate
Rick Thie
Abbie Trittschuh
Katie Wahl
Dr. Daniel Zehringer
ARTISTIC DIRECTORS EMERITUS
Thomas Bankston, Opera
ADMINISTRATION
Patrick J. Nugent, President and CEO
Michael Sieveking, Managing Director
Teri Warwick, Chief Financial Officer
Sue Martin, Accounting Manager
ARTISTIC
Kathleen Clawson, Artistic Director, Opera
Neal Gittleman, Artistic Director and Conductor, Philharmonic
Brandon Ragland, Artistic Director, Ballet
Patrick Reynolds, Associate Conductor, Philharmonic; Conductor, Philharmonic Youth Orchestra
Steven Hankle, Director, Philharmonic Chorus
Carolyn Sweezy, Manager, Philharmonic Chorus
Maureen Hickey Haitch, Conductor, Philharmonic Youth Strings
Michelle Mastin, Conductor, Philharmonic Junior Strings
Jeffrey Powell, Chorus Master, Opera Chorus
Sharon Neumeister, Company Teacher and Rehearsal Assistant
Rachel Cahayla Wynne, Rehearsal Director and Dayton Ballet Studio Company Manager
DEVELOPMENT
Bill Perry, Vice President for Philanthropy
Lynnette Ivey, Director of Institutional Giving
Allie Haines, Membership Manager
Anne O’Hara, Development Operations Manager
LEARNING AND COMMUNITY ENGAGEMENT
Jeaunita Ìféwándé Château Olówè, Vice President for Learning and Community Engagement
Jacqueline Griffin, Learning Programs Manager
Melissa McCoy, Engagement Programs Manager
Megan Forney, Dayton Ballet School Education Manager; Co-Director of Dayton Ballet School Ensemble
Gabrielle Sharp, Co-Director of Dayton Ballet School Ensemble
Elizabeth Sabol, Ballet School Registrar
Vicky Archibald, Ballet School Receptionist
MARKETING
Brittany Laughlin, Vice President for Marketing and Audience Development
Olivia Budde, Marketing Coordinator
James Mikolajewski, Marketing and Patron Acquisition Manager
Kate LaFollette, Engagement and Patron Services Manager
OPERATIONS
Theodore Nelson, Vice President for Operations and Artistic Planning
Milena Treer, Director of Production
Tim Crommes, Company Manager
Patrick Keough, Technical Director
Sean Vore, Orchestra Personnel Manager
Lyn Baudendistel, Wardrobe Supervisor
Eric Knorr, Orchestra Librarian
Kelly DeLisle, Resident Stage Manager
Lloyd Bryant, Recording Engineer
The stagehands of IATSE Local 66
The wardrobe members of IATSE Local 886
BILL AND JACKIE LOCKWOOD FUND TO SUPPORT OPERA
THE MARY H. KITTREDGE FUND OF THE DAYTON FOUNDATION
HARRY A. TOULMIN JR. AND VIRGINIA B. TOULMIN FUND OF THE DAYTON FOUNDATION