VERDI’S AIDA
CINDERELLA
NEAL GITTLEMAN’S 30TH SEASON
THREE ART FORMS. ONE FREQUENCY.
Winter 2024 / Spring 2025
December
The Nutcracker
December 13, 14, 15, 20, 21 & 22
Handel’s Messiah
December 18
The Nutcracker: Sensory Friendly
December 20
January
The Motortown All-Stars
January 4
Beethoven’s Emperor Concerto
January 10 & 11
Country Hits: Songs from Nashville
January 25
The Music of Tony Bennett
January 31 & February 1
February
Three Tenors, Encore!
February 2
Cinderella February 14, 15 & 16
Magic Carpet Concerts: BUGS!!
February 25, 26, 27
Hollywood Hits
February 22
March
Twist & Shout: The Music of the Beatles
March 8
Requiem March 14 & 15
Dayton Philharmonic Youth Orchestra: It’s a World of Dance
March 16
Dayton Philharmonic Junior Strings & Youth Strings Spring Concert
March 23
April
Verdi’s Aida April 4 & 6
Beethoven
April 13
Dear Friends From the Leadership
Asthe winter season unfolds, we’re reminded of how much the arts ground and uplift us. In times of uncertainty and change, music, dance, and storytelling performances offer us chances to reflect, to dream, to connect, and to feel deeply together.
At the Dayton Performing Arts Alliance, we believe the arts are not just entertainment; they’re a vital thread in the fabric of our community. They remind us of our shared humanity, spark joy in the everyday, and provide solace in moments of challenge.
Our upcoming winter performances celebrate the power of the arts to illuminate the human experience, with stories that resonate across time and melodies that linger long after the curtain falls. Whether you find
yourself moved by the grace of a ballet, the drama of an opera, or the soaring beauty of an orchestral piece, we hope you leave feeling enriched and renewed.
Now, more than ever, we need the arts— and DPAA needs you. Your presence, enthusiasm, and support fuel everything we do.
Thank you for being part of this journey. We look forward to sharing more magical moments with you this winter season.
With warmth and gratitude,
Patrick J. Nugent President and CEO
Joseph Zehenny DPAA Board Chair
Company Dancer Belle Urben wows in Coppélia
First Timers’ Guide
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 / Family Restrooms
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.
Dayton Ballet Company Dancers
Dayton
Artists-In-Residence
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
Opera
Gabrielle Flannery
Isabel Randall Carl Rosenthal
Randell McGee Clara Passmore
Dayton Ballet Studio Company
Xochitl Atienza Sara Beth Austin
Daniela Bennetti Analiese Capponi
Amber Huggett
Ryan Norman Elizabeth Sabol
Beethoven’s Emperor Concerto
January 10 & 11, 2025 • Schuster Center
ARTISTS
Neal Gittleman, conductor
Ian Parker, piano
Dayton Philharmonic Orchestra
PROGRAM
Arvo Pärt
Spiegel im Spiegel (Mirror in the Mirror)
In memory of Donald Compton, 1953–2024, DPO bassist 1977–2024
Elena Ruehr “Sky Above Clouds” from O’Keeffe Images
Ludwig van Beethoven
Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor”
1. Allegro
2. Adagio un poco moto
3. Rondo—Allegro, ma non troppo
Ian Parker, piano
- INTERMISSION -
Johannes Brahms
Symphony No. 3, Op. 90
1. Allegro con brio
2. Andante
3. Poco allegretto
4. Allegro
This program is the William S. Anderson Endowed Concert.
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
Ian Parker Piano
Magnetic, easygoing, and delightfully articulate, Canadian pianist/conductor
Ian Parker captivates audiences wherever he goes. As a pianist, he has appeared with virtually every Canadian orchestra, notably the symphonies of Toronto, Quebec, Vancouver, Montreal, Winnipeg, Edmonton, the Calgary Philharmonic and Orchestre Métropolitain. Other highlights include the San Francisco, Cincinnati, National/ Washington D.C., Santa Barbara, Richmond, and Honolulu symphonies, the Cleveland Orchestra at Blossom, Buffalo Philharmonic, and Hong Kong Sinfonietta, to name a few. Conductor collaborations include Andrey Boreyko, JoAnn Falletta, Michael Francis, Bernhard Gueller, Giancarlo Guerrero, Fabio Mechetti, Edwin Outwater, Yannick Nézet-Séguin, Bramwell Tovey, Joshua Weilerstein, and others.
Celebrated American conductor John Morris Russel, then Music Director of the Windsor Symphony, offered Parker his first professional opportunity to conduct a subscription concert in Windsor from both keyboard and podium. This successful concert was the birth of a new chapter in Parker’s career and eventually a position as Music Director and Principal Conductor of the VAM Symphony Orchestra at the Vancouver Academy of Music. Working with some of Canada’s most promising young musicians, he programs and conducts four concert cycles per season in Vancouver’s historic Orpheum Theatre.
An enthusiastic recitalist, Parker has performed across the United States, Europe, Israel, and throughout Canada on tours with Debut Atlantic, Jeunesses Musicales du Canada, and Piano Six. Recital highlights include the Walter Reade Theater at Lincoln Center, UCLA, the University of British Columbia, and collaborative performances at the Hawaii International Music Festival and the Morgan Library in New York City. Additionally, he is Artistic Director of Resonate at the Kay Meek Centre in North Vancouver, where he curates a series of forward-looking chamber music concerts utilizing his extensive international artist network, often collaborating with his colleagues in performance.
Piano recordings include a CD with the London Symphony featuring three piano concertos: Ravel’s Concerto in G, Stravinsky’s Capriccio, and the Gershwin Concerto in F, conducted by Michael Francis and released by ATMA Classique; and an all-fantasy solo disk including fantasies of Chopin, Schumann, and Beethoven for Azica Records; and three Mozart concertos: for one piano (K. 467), two pianos (K. 365), and three pianos (K. 242), featuring Parker and his two cousins, Jon Kimura Parker and Jamie Parker, produced by CBC Records with the Radio Orchestra and conductor Mario Bernardi.
Born in Vancouver to a family of pianists, Parker began his piano studies at age three with his father, Edward Parker. He holds Bachelor and Master of Music degrees from The Juilliard School, where he was a student of Yoheved Kaplinsky. While at Juilliard, he was awarded the Sylva Gelber Career Grant by the Canada Council for the Arts, presented annually to the “most talented Canadian artist.”
Program Notes
“Sky Above Clouds” from O’Keeffe Images
Elena Ruehr (b. 1963)
COMPOSED
“Sky Above Clouds” is based on one of a series of Georgia O’Keeffe paintings by that title. Among O’Keeffe’s most abstract works, the Sky Above Clouds series are grid paintings of massive scope, dating from the early 1960s. Ruehr was awed by the scope and impact attained in this remarkably minimalist painting, which gives the impression of a consistent pattern without resorting to genuine repetition of the shapes. Ruehr underlies her 1993 orchestral work with a mutable ostinato which runs throughout the piece, providing a flexible grid analogous to O’Keeffe’s. Over this eighth-note pulse, sustained melodies (motivically related to the ostinato) expand, contract and sustain in several layers at once. Said to have been inspired by O’Keeffe’s first airplane flight, the musical work has a sweeping scope that the composer describes as a representation of the “feeling of flying.” It is dedicated to Ruehr’s husband Seward Rutkove.
Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor”
Ludwig van Beethoven (1770–1827)
Beethoven wrote five exquisite piano concertos in his career, but his most beloved—his fifth and final one, nicknamed the “Emperor”—is one of his sunniest and most lyrical masterworks. The Concerto has been adored ever since its 1811 premiere and—although most likely untrue—it acquired its nickname at that premiere from an audience member who excitedly exclaimed “It’s an Emperor of a Concerto!”
1998; Rochester, NY
DPO Premiere
9 minutes
COMPOSED 1809–1810
PREMIERE
November 28, 1811; Leipzig, Germany
LAST DPO PERFORMANCE
April 2013
APPROXIMATE DURATION
37 minutes
From the Concerto’s very beginning, Beethoven conveys a sense of joyful regality. Three bold, introductory chords are played by the orchestra, and each chord is responded to by an expansive, cadenza-like flourish from the solo piano. Even though these cadenza-like flourishes occur throughout the movement, Beethoven never commits to a proper cadenza. Even so, plenty of virtuosity is required of the soloist in this happily effervescent movement.
After the glow of the first movement’s radiance, the expressly tender Adagio (slowly) shines as one of the loveliest movements in Beethoven’s oeuvre. Built as a short set of variations on a simple chorale theme, the piano here is primarily the soloist, left to its own gentle reverie, quietly singing above a chamber orchestra-like accompaniment.
Near the end of the Adagio’s meditations comes an afterthought. A lingering bassoon note drops down a half pitch and the piano begins a new thought—a few ascending notes. Here, Beethoven creates the illusion of a motive germinating into a full theme,
until, suddenly, it dances free with the start of the final movement. And it is as robust and joyous as just about anything Beethoven wrote. And at long last, the piano is finally given what promises to be a cadenza during the Rondo’s closing moments, but with an unexpected accompanist—the timpani. Here, the piano and kettledrums slowly wind down the movement’s exuberance, becoming quieter and slower, as the Rondo’s vitality becomes ever gentler. As tempo, time, and harmony finally come to a halt, one last joyful exclamation then erupts to end one of Beethoven’s most prized masterpieces.
Symphony No. 3, Op. 90
Johannes Brahms (1809–1897)
When Brahms completed his magnificent Third Symphony in 1883, he sent his manuscript to his close friend, Clara Schumann. She replied:
... I have spent many happy hours with your wonderful creation ... From start to finish one is wrapped about with the mysterious charm of the woods and forests ... I hear the babbling brook and the buzzing of insects ...
COMPOSED 1883
PREMIERE
December 2 1883; Vienna, Austria
LAST DPO PERFORMANCE
March 2021
APPROXIMATE DURATION
35 minutes
The first movement, Allegro con brio (fast and with spirit), does indeed open as a “wonderful creation,” as glorious surges of sound from the entire orchestra, simultaneously descending and ascending, then split into expansive chords. Yet lurking behind this radiance lies a sense of shadow and mystery. Through this introduction, Brahms sets the tone for the whole Symphony, by shifting harmonic modes (from major key to minor key). Most striking in this movement is its vast sweep of moods, from those opening awesome, beaming chords, through wonderment, past moments of unsettling darkness, and lastly, to a tender ending.
The second movement opens with the woodwinds led by the earthy tones of the clarinet. At about one-and-a-half minutes, a series of drifting chordal progressions seem to take us into a misty psychological landscape. After some rapturous developments of musical ideas, the movement ends with a gentle simplicity.
The third movement, Poco allegretto (moderately fast), opens with one of Brahms’s most beautiful melodies in the cellos, but he also exploits the major-minor mode shifts that he began in the first movement, and the effect is unsettling and brimming with ambiguity. It’s a remarkably crafty effect as well, because when that lovely cello melody is subsequently played by the French horn, then in the oboe, and lastly in the upper strings, it’s one of the most bittersweet passages in Romantic music and a perfect preamble to the magical final movement.
The last movement grows quietly but energetically from deep and somber rumblings into a quickly sparkling effervescence. But then, something rather unexpected unfolds. It’s as though all the disquiet of the previous movements breaks loose— as if it’s going to tumble into a free-for-all finale. But, in many ways this finale is delightfully backwards and front-end loaded, with all the fanfare and stridency exploding near the beginning, only to simmer, and then, at last, end softly. In a brilliant stroke, Brahms concludes this remarkable Symphony by recalling the tender ending bars of the first movement.
© Max Derrickson
Dayton Philharmonic Orchestra Musicians
Kirstin Greenlaw, Acting Concertmaster1
Aurelian Oprea Associate Concertmaster2
Youjin Na, Acting Assistant Concertmaster3
Elizabeth Hofeldt
David Goist Mikhail Baranovsky Louis Proske Sean Klopfenstein John Lardinois
Philip Enzweiler* Janet George
Kara Camfield, Acting Principal4
Ann Linn Baer, Acting Assistant Principal
VIOLIN I
Scott Moore Gloria Fiore Maggie Niekamp Nick Naegele* Lynn Rohr*
Yoshiko Kunimitsu Bill Slusser Yein Jin*
Sheridan Currie, Principal5
VIOLIN II
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 In Memoriam
FLUTE AND PICCOLO
BASS
CLARINET
TROMBONE
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
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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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
The Kettering Family Foundation
Virginia W. Kettering Foundation
Miriam Rosenthal Foundation for the Arts
Schiewetz Foundation
Harry A. Toulmin, Jr. and Virginia B. Toulmin Fund of the Dayton Foundation
VIRTUOSO
The Berry Family Foundation
Dayton Freight
The Mary H. Kittredge Fund of The Dayton Foundation
Bill and Jackie Lockwood Fund to Support Opera
LEGATO
AES Ohio
All The Best Delicatessen
Cox First Media
Dayton Aerospace
The Eleanor and John Kautz Fund of the Dayton Foundation
Kettering Health
Marriott University of Dayton
The Shubert Foundation
The Troy Foundation
The Nick and Edna Weller Charities, Inc.
CONCERTO
10 Wilmington Place
Arts Consulting Group
Bob Ross Auto Group
Discover Classical 88.1 WDPR/89.1 WUSO/ 89.9 WDPG
iHeart Radio
Mathile Family Foundation
ARIA
The Iddings Foundation
Lockwood Family Foundation
Victory Wholesale Group and the Kantor Family
SONATA
Centerville-Washington Foundation
The Dayton Hydraulic Co.
Enterprise Roofing
Heidelberg Distributing Company
Johnson Investment Counsel
The Charles F. Kettering Foundation
The Kuntz Foundation
Levin Family Foundation
LION
Nova Creative
NPS Cares Foundation
PNC
INTERMEZZO
Coolidge Wall
Harlamert Foundation
Sam Levin Foundation
Pickrel, Schaeffer, and Ebeling
OVERTURE
Barnes Dennig
Houser Asphalt and Concrete
Requarth Lumber Company
The Rubi Girls
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
Teri Warwick, Chief Financial Officer
Michael Sieveking, Vice President for Information and Analytics
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
Chris Brislin, Director of Theater Operations
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
GENEROUSLY SUPPORTED BY
HARRY A. TOULMIN JR. AND VIRGINIA B. TOULMIN FUND OF THE DAYTON FOUNDATION BILL AND JACKIE LOCKWOOD FUND TO SUPPORT OPERA THE MARY H. KITTREDGE FUND OF THE DAYTON FOUNDATION
ADDITIONAL MAJOR SUPPORT PROVIDED BY
