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 town! 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
Beethoven, London, and a World Premiere
November 8 & 9, 2024 • Schuster Center
ARTISTS
Neal Gittleman, conductor
Emile Naoumoff, piano
Dayton Philharmonic Orchestra
PROGRAM
Malcolm Singer London Landscapes
Ludwig van Beethoven Piano Concerto No. 1 in C Major, Op. 15
1. Allegro con brio
2. Largo
3. Rondo (Allegro scherzando)
Emile Naoumoff, piano
- INTERMISSION -
Ralph Vaughan Williams A London Symphony (Symphony No. 2)
1. Lento—Allegro risoluto
2. Lento
3. Scherzo (Nocturne)
4. Finale: Andante con moto—Maestoso alla marcia— Lento—Epilogue
Emile Naoumoff is the Louis S. Cantor, Rose Sorokin Cantor, Samuel L. Cantor, and Lena Cantor Endowed Guest 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
Emile Naoumoff
Piano
Emile Naoumoff has been likened to both Vladimir Horowitz and Arthur Rubinstein as a pianist, displaying—as one critic remarked—the fire of the former and the poetry of the latter. He was also signed as a composer at age 18—the youngest on their roster—with the music publisher Schott, Mainz. Naoumoff revealed himself as a musical prodigy at age five, taking up the piano and adding composition to his studies a year later. At the age of seven, after a fateful meeting in Paris, he became the last disciple of Nadia Boulanger, who referred to him as "the gift of my old age." He studied with her until her death in late 1979. During this auspicious apprenticeship, Mlle. Boulanger gave him the opportunity to work with Clifford Curzon, Igor Markevitch, Robert and Gaby Casadesus, Nikita Magaloff, Jean Francaix, Leonard Bernstein, Soulima Stravinsky, Aram Khachaturian and Yehudi Menhuin. Lord Menhuin conducted the premiere of Naoumoff's first piano concerto, with the composer as a soloist when he was ten years old. At the same time, he pursued studies at the Paris Conservatory with Lelia Gousseau, Pierre Sancan, Genevieve Joy-Dutilleux, as well as at the Ecole Normale de Musique de Paris with Pierre Dervaux (conducting).
Upon the death of Mlle. Boulanger, Naoumoff took over her classes at the summer sessions of the Conservatoire d'Art Americain in Fontainebleau. He
was later appointed at the Conservatoire National Supérieur de Musique, Paris.
Naoumoff is regularly invited by the world's premier orchestras: the Los Angeles Philharmonic Orchestra, the Berlin Symphony, the Vienna Symphony, the San Francisco Symphony, National Symphony in Washington, Moscow Symphony, NHK Symphony, the Residentie Orkest of the Hague, Orchestre Philharmonique de RadioFrance, Camerata Bern, and has worked closely with conductors such as Leonard Bernstein, Igor Markevitch, Leonard Slatkin, Mstislav Rostropovich, and Eliahu Inbal. He has also collaborated with musicians including Jean-Pierre Rampal, Gerard Souzay, Yo-Yo Ma, Gary Hoffman, Olivier Charlier, Patrice Fontanarosa, Regis Pasquier, Philippe Graffin, Philippe Bernold, Gerard Caussé, Jean Ferrandis, Dominique de Williencourt, and the Fine Arts Quartet.
Some highlights of his performing career include a performance of the Grieg Concerto with the Los Angeles Philharmonic at the Hollywood Bowl, and his own piano concerto version of Moussorgsky's "Pictures at an Exhibition" with the National Symphony Orchestra at the Kennedy Center in Washington D.C., under the baton of Mstislav Rostropovich. In 1996, he opened his own summer academy at the Château de Rangiport in Gargenville, France, in the spirit of Nadia Boulanger. Since 1998, Naoumoff is a professor at Indiana University Jacobs School of Music. He is an avid composer of French mélodies, and is known for his mastery in transcribing music for the piano. Naoumoff maintains a video journal of daily improvisations on his YouTube channel.
Program Notes
London Landscapes
Malcolm Singer (b. 1954)
During the COVID-19 pandemic, Neal Gittleman got in touch with me. We had not had been in contact for many years, and it was wonderful to reconnect with him. Neal wanted to use my spoken Fugue in an online talk he was giving during lockdown. He had remembered my piece from our student days in 1975 with Nadia Boulanger at the American School in Fontainebleau.
COMPOSED 2024, commissioned by DPAA
PREMIERE
November 8, 2024; Dayton, Ohio
LAST DPO
PERFORMANCE
World Premiere
APPROXIMATE
DURATION
7 minutes
Not long after, Neal proposed commissioning a short piece from me to be performed alongside the ‘London’ Symphony (Symphony No. 2) by Ralph Vaughan Williams. I leapt at the chance to write music for the same forces—a large orchestra with triple woodwind and a big percussion section.
My work—London Landscapes—is not programmatic as such, but possibly captures the mood of London pre-COVID and pre-Brexit: a vibrant city that worked hard and played hard; an international centre bustling with optimism, excitement and creativity. In hindsight, I realise that my opening section might be thought to mirror the Vaughan Williams symphony—with quiet meditative music, perhaps hinting at the magnificent skyline at dawn visible from one of the London bridges across the River Thames. This leads to fast, jagged, dissonant repeated passages in the middle, full of energy, which might reflect the soaring skyline of the city. The music climaxes with alarm bells ringing and the distorted chimes of Big Ben being heard. This is followed by a short, quiet coda that returns to the pitches heard at the start, settling inconclusively with part of the opening chord left hanging in the air. — Malcolm Singer
Piano Concerto No. 1 in C Major, Op. 15
Ludwig van Beethoven (1770–1827)
Beethoven moved to Vienna in 1792 at the age of 22 to find fame and fortune as a piano virtuoso and a composer. Naturally, some of the first works Beethoven wrote were piano concertos to show off his extraordinary abilities at the keyboard. No. 1 is arguably his most beloved of his early concertos. This gem captures a youthful Beethoven at the brilliant moment when he was first conquering Vienna with his talents.
COMPOSED 1798–1800
PREMIERE
December 18, 1795; Vienna, Austria
LAST DPO
PERFORMANCE
September 2012 (with Sara Davis Buechner)
APPROXIMATE
DURATION
34 minutes
The first and last movements of his Concerto No. 1 are indebted to the concerto models of Mozart and Haydn, but Beethoven is very much making his own mark. Especially Beethoven-esque
is this first movement’s Allegro con brio (fast with vigor), with its extraordinary energy, its many loud moments, and its harmonic adventurousness. But above all is its overt display of virtuosity, which is particularly manifest in Beethoven’s own, jaw-dropping cadenza. This energetic opening movement is followed by the ethereal Largo (slow and dignified) middle movement—a lyrical love song tinged with a hint of touching nostalgia, and some beautiful duets between the soloist and clarinet. The finale, Rondo (Allegro scherzando) (fast and playful), opens with the soloist presenting the main theme that is truly playful in manner, especially as the phrases are a little uneven in length, creating an amusingly off-balance romping. The ending features a comical moment—at about nine minutes, the pianist has a brief cadenza that is conspicuously non-virtuosic, which is then followed by a quiet wind chorale at a slow tempo. It sounds as though these are to be the final, somber notes of this Concerto, until everything bursts open with an ending of exuberance and joy.
A London Symphony (Symphony No. 2)
Ralph Vaughan Williams
(1872–1958)
At 37, Vaughan Williams composed his first symphony, “A Sea Symphony,” which he disliked so much he vowed never to repeat the process. Yet, two years later, encouraged by his friend George Butterworth, he began “A London Symphony” (Symphony No. 2), ultimately dedicating it to Butterworth, who died in battle in 1916.
The symphony captures London’s spirit: it opens with a haunting dawn on the Thames, featuring Big Ben’s chimes, before bursting into the bustling energy of the city with a kaleidoscope of quickly changing themes.
COMPOSED 1913–1914, revised 1936 PREMIERE 1936; London, United Kingdom
LAST DPO PERFORMANCE DPO Premiere APPROXIMATE DURATION
45 minutes
The second movement, Lento, delves into London’s quieter side, opening with a beautiful English horn solo. About five minutes in, a solo viola introduces the “Lavender song,” a traditional street merchant’s tune, set against the faint jangle of sleigh-bells from horse-drawn hansom cabs.
In the third movement Scherzo (Nocturne), Vaughan Williams places us on the Westminster Embankment. London was one of the first modern cities “that never sleeps,” and the frenetic night-long activities of revelers are captured here with a fast-paced theme. About one-and-a-half minutes later, a delightful moment occurs when the strings mimic the wheezing sounds of a late-night busking accordion.
The finale begins with a stern march, but is lightened by a spirited theme from the first movement. The music then slows—Big Ben (the harp) strikes its chimes again in the distance—and we are back on the Thames, and the mighty city fades quietly into the distance. Vaughan Williams later explained that this impressionistic ending was inspired by words from H. G. Wells’ novel, Tono-Bungay (1909), which speaks metaphorically of London as a symphony in itself:
“The last great movement in the London Symphony in which the true scheme of the old order is altogether dwarfed and swallowed up … Light after light goes down … Britain and the Empire … sink down upon the horizon … The river passes—London passes, England passes.”
Philharmonic Musicians
Greenlaw, Acting Concertmaster1
Philip Enzweiler* Janet George
Oprea Associate Concertmaster2
Na, Acting Assistant Concertmaster3
VIOLIN II
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
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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
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Special thanks to all our DPAA Members who keep the classical arts thriving in Dayton with their annual donation.
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FELLOW ($750-$999)
Anonymous
Shirley Ark
Drs. Charles and Mary Bane
Mr. Charles W. Bradford
Carla Cameron
Mrs. Rebecca Dianis
Dr. Margaret M. Dunn and Dr. William A. Spohn
Lt. Col. Frank and Diane Gentner, USAF Ret.
Dr. and Mrs. Douglas N. Goetz
Mr. Anthony Haugrud
Jeremy Holtgrave
Charles and Karen Kronbach
Kenji and Misao Kurokawa
Larry Mullins
Les and Dianne Niemi
Ms. Ellen Noble
Jeaunita Ìfewándé Château Olówè
Greg and Michele Palmer
Mr. Harold Poppe and Mr. Dale Schmidt
Mr. William C. Quinn
Mary Yerina and Bob Redfield
Beverly and Bradley Smith
Rick and Tawnya Stover
Phyllis Strayer
Kevin and Micki Torres
Nancy and John Woeste
Dr. Roberts and Mrs. Lynn Wood
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