Performance Magazine - Fall Issue 1 - 2025–26 Season

2025–2026 SEASON

FALL

PROGRAM NOTES

MICHAEL ABELS

Storyteller in Sound

NEW FACES ON STAGE

LEARNING & ENGAGEMENT

Transforming Lives Through Music

STEPHEN & SUSAN MOLINA

The Sound of Giving

COMPOSER-IN-RESIDENCE

DETROIT SYMPHONY ORCHESTRA

MICHAEL ABELS

Hannah Engwall Elbialy, editor hengwall@dso.org

ECHO PUBLICATIONS, INC. Tom Putters, publisher echopublications.com

Cover design by Jay Holladay

To advertise in Performance: visit echodetroit.com, call 248.582.9690 or email tom@echodetroit.com

dso.org

Michael Abels

WELCOME

Dear Friends,

Welcome to a new season with your Detroit Symphony Orchestra! Whether you are discovering us for the first time or returning as a longtime supporter, we are thrilled to share with you the music and memories that await this year.

Our 2025–2026 season is built on a simple but powerful idea: Life. Amplified. From classical masterpieces and jazz icons to pops favorites and concerts for the whole family, each performance is an invitation to experience music’s power to magnify every emotion, every connection, every moment.

We begin this fall with our dazzling Opening Night Gala, followed by a season full of unforgettable highlights including the return of legendary conductor Herbert Blomstedt and a multi-week Northern Lights Festival that illuminates Nordic music and culture. Still buzzing from the March 2025 release of Wynton Marsalis’s Blues Symphony recorded live right here in Orchestra Hall with our outstanding Music Director, Jader Bignamini, and the DSO—we are proud to continue our close partnership with Wynton by presenting several of his works throughout the season.

Life. Amplified. isn’t just about music—it’s about people. Musicians, audiences, donors, leaders on stage and off, volunteers, staff, and partners create a connected community that makes the DSO thrive, where people across our region (and around the world thanks to our Live from Orchestra Hall concert livestreams) can find a home in music.

This season, we’re also pleased to welcome new faces: In addition to new musicians on stage, Michael Abels joins us as Composer-in-Residence, and Ingrid Martin as Assistant Conductor (Phillip and Lauren Fisher Community Ambassador ) and Music Director of the Detroit Symphony Youth Orchestra. Read on to learn more about Michael and our new musicians.

As always, the DSO’s impact extends beyond the stage. Each year, we transform the lives of thousands of students through music education and foster deep connections with partner organizations—like through our Detroit Harmony initiative—engaging with one another to build a vibrant cultural landscape and champion our great city of Detroit.

No matter where life takes you, we want to be a constant, where you can always turn to experience the transformative power of music and community. We invite you to join us often this season, and to let the DSO be part of life’s most meaningful moments.

Warm regards,

Erik Rönmark

Faye Alexander Nelson President & CEO Chair, Board of Directors

Erik and Faye at Classical Roots 2025

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

FIRST VIOLIN

Robyn Bollinger

CONCERTMASTER

Katherine Tuck Chair

Kimberly Kaloyanides Kennedy ASSOCIATE CONCERTMASTER

Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER

Walker L. Cisler/Detroit Edison Foundation Chair

OPEN

ASSISTANT CONCERTMASTER

Marguerite Deslippe*

Laurie Goldman*

Rachel Harding Klaus*

Eun Park Lee*

Nancy Schlichting and Pam Theisen Chair

Adrienne Rönmark*

William and Story John Chair

OPEN

Drs. Doris Tong and Teck Soo Chair

Laura Soto*

Greg Staples*

Jiamin Wang*

Mingzhao Zhou*

SECOND VIOLIN

Adam Stepniewski

ACTING PRINCIPAL

The Devereaux Family Chair

Connor Chaikowsky*

Will Haapaniemi*

David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

Sheryl Hwangbo Yu*

Sujin Lim*

Tianyu Liu*

Yu-Ming Ma*

Hong-Yi Mo *

Marian Tănău*

Alexander Volkov*

Jing Zhang*

VIOLA

Eric Nowlin

PRINCIPAL

Julie and Ed Levy, Jr. Chair

James VanValkenburg

ASSISTANT PRINCIPAL

Janet and Norm Ankers Chair

Caroline Coade

Henry and Patricia Nickol Chair

Mike Chen*

Hart Hollman*

Glenn Mellow*

Hang Su*

Han Zheng*

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

CELLO

Wei Yu

PRINCIPAL

OPEN

ASSISTANT PRINCIPAL

Dorothy and Herbert Graebner Chair

Robert Bergman*

Jeremy Crosmer*

Victor and Gale Girolami Chair

David LeDoux*

Peter McCaffrey*

Joanne Danto and Arnold Weingarden

Chair

Úna O’Riordan*

Mary Ann and Robert Gorlin Chair

Cole Randolph*

Mary Lee Gwizdala Chair

BASS

Kevin Brown

PRINCIPAL

Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL

Renato and Elizabeth Jamett Chair

Christopher Hamlen*

Peter Hatch*

Vincent Luciano*

Brandon Mason^

HARP

Alyssa Katahara  PRINCIPAL

Winifred E. Polk Chair

FLUTE

Hannah Hammel Maser

PRINCIPAL

Alan J. and Sue Kaufman and Family Chair

Emily Bieker

ACTING SECOND FLUTE

Morton and Brigitte Harris Chair

Amanda Blaikie

ACTING ASSISTANT PRINCIPAL

Bernard and Eleanor Robertson Chair

PICCOLO OPEN

OBOE

Alexander Kinmonth

PRINCIPAL

Jack A. and Aviva Robinson Chair

Erik Andrusyak

Sarah Lewis

ASSISTANT PRINCIPAL

Monica Fosnaugh

Donovan Bown§

ENGLISH HORN

Monica Fosnaugh

TABITA BERGLUND Principal Guest Conductor

CLARINET

Ralph Skiano

PRINCIPAL

Robert B. Semple Chair

Kamalia Freyling

ACTING SECOND CLARINET

Jack Walters

ASSISTANT PRINCIPAL

PVS Chemicals Inc./

Jim and Ann Nicholson Chair

Shannon Orme

Triniti Rives§

E-FLAT CLARINET

Jack Walters

BASS CLARINET

Shannon Orme

Barbara Frankel and Ronald Michalak Chair

BASSOON

Conrad Cornelison

PRINCIPAL

Byron and Dorothy Gerson Chair

Cornelia Sommer

Ryan Turano

CONTRABASSOON

Ryan Turano

HORN

Edmund Rollett

PRINCIPAL HORN

David and Christine Provost Chair

Scott Strong

Ric and Carola Huttenlocher Chair

Patrick Walle

Cara Kizer

ACTING ASSISTANT PRINCIPAL

Kristi Crago

ACTING HORN

Ben Wulfman

ACTING HORN

TRUMPET

Hunter Eberly

PRINCIPAL

Austin Williams

Justin Emerich

ACTING ASSISTANT PRINCIPAL

William Lucas

TROMBONE

Gracie Potter

PRINCIPAL

David Binder

Adam Rainey

Richard Sonenklar and Greg Haynes

Chair

BASS TROMBONE

Adam Rainey

TUBA

Dennis Nulty

PRINCIPAL

INGRID MARTIN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

TIMPANI

Jeremy Epp

PRINCIPAL

Richard and Mona Alonzo Chair

Jay Ritchie

ASSISTANT PRINCIPAL

PERCUSSION

Joseph Becker

PRINCIPAL

Ruth Roby and Alfred R. Glancy III Chair

Andrés Pichardo-Rosenthal

ASSISTANT PRINCIPAL

William Cody Knicely Chair

Jay Ritchie

LIBRARIANS

Robert Stiles

PRINCIPAL

Ethan Allen

LEGACY CHAIRS

Principal Flute

Women’s Association for the DSO

Principal Cello

James C. Gordon

PERSONNEL MANAGERS

Andrew Williams

DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman

MANAGER OF ORCHESTRA PERSONNEL

STAGE PERSONNEL

Dennis Rottell

STAGE MANAGER

Joe Corless

DEPARTMENT HEAD

William Dailing

DEPARTMENT HEAD

Zach Deater

DEPARTMENT HEAD

Isaac Eide

DEPARTMENT HEAD

Kurt Henry

DEPARTMENT HEAD

Matthew Pons

SENIOR AUDIO DEPARTMENT HEAD

Jason Tschantre

DEPARTMENT HEAD

PAST MUSIC DIRECTORS

Leonard Slatkin

MUSIC DIRECTOR LAUREATE

Neeme Järvi

MUSIC DIRECTOR EMERITUS

LEGEND

* These members may voluntarily revolve seating within the section on a regular basis

^ Leave of Absence

§ African American Orchestra

Fellow

BEHIND THE BATON

Jader Bignamini

MUSIC DIRECTORSHIP ENDOWED BY THE KRESGE FOUNDATION

Jader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020, commencing with the 2020–2021 season. His infectious passion and artistic excellence set the tone for the seasons ahead, creating extraordinary music and establishing a close relationship with the orchestra. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influences of American music.

A native of Crema, Italy, Bignamini studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica La Verdi in Milan, later serving as the group’s resident conductor. Captivated by the music of legends like Mahler and Tchaikovsky, Bignamini explored their complexity and power, puzzling out the role that each instrument played in creating a larger-than-life sound. When he conducted his first professional concert at the age of 28, it didn’t feel like a departure, but an arrival.

In the years since, Bignamini has conducted some of the world’s most acclaimed orchestras and opera companies in venues across the globe including working with Riccardo Chailly on concerts of Mahler’s Eighth Symphony in 2013 and his concert debut at La Scala in 2015 for the opening season of La Sinfonica di Milano. Recent highlights include debuts with Opera de Paris, Deutsche Opera Berlin, Accademia di Santa Cecilia Orchestra, Washington’s National Symphony Orchestra, and the Houston, Dallas, Atlanta, Milwaukee, and Minnesota symphonies; The Cleveland Orchestra at the Blossom Festival; and at the Grand Teton Festival. He has also appeared with the BBC Symphony Orchestra and London Philharmonic; with the Metropolitan Opera, Canadian Opera Company, Vienna State Opera, Dutch National Opera, and Bayerische Staatsoper; in Montpellier for the Festival de Radio France; and had return engagements with Oper Frankfurt and Santa Fe Opera. In Italy, Bignamini has conducted numerous operas at Arena of Verona, Rome’s Teatro dell’Opera, Teatro Massimo in Palermo, the Verdi Festival in Parma, Rossini Opera Festival in Pesaro, and La Fenice in Venice. In Asia, he has conducted the Osaka Philharmonic, Yomiuri Nippon Symphony Orchestra, and others. Bignamini enjoys working with the next generation of musicians and is a regular guest of Interlochen Center for the Arts with the DSO and of the Asian Youth Orchestra.

When Bignamini leads an orchestra in symphonic repertoire, he conducts without a score, preferring to make direct eye contact with the musicians. He conducts from the heart, forging a profound connection with musicians that shines through both onstage and off. He both embodies and exudes the excellence and enthusiasm that has long distinguished the DSO’s artistry.

Enrico Lopez-Yañez

PRINCIPAL POPS CONDUCTOR AND DEVEREAUX FAMILY CHAIR

Celebrated for his charismatic stage presence, genre-defining collaborations, and passion for making orchestral music accessible to all, Enrico LopezYañez is one of the most innovative and in-demand conductors in North America. He currently serves as Principal Pops Conductor of the Detroit Symphony Orchestra and Pacific Symphony, Principal Conductor of Dallas Symphony Presents, and Principal Guest Conductor of Pops at the Indianapolis Symphony Orchestra. He previously spent eight seasons conducting the Nashville Symphony, where he also served as their Principal Pops Conductor.

As a trailblazer in the symphonic world, Lopez-Yañez has premiered dozens of groundbreaking symphonic collaborations with artists including Dolly Parton, Kelsea Ballerini, and Tituss Burgess. His wide-ranging collaborations span genres and generations, featuring artists such as Nas, Itzhak Perlman, Gladys Knight, Ben Folds, The Beach Boys, and Kenny G.

As a composer and arranger, he has written for artists like Big Sean and Mariachi Los Camperos, and he has been commissioned by major orchestras across the U.S. A passionate advocate for Latin music, he has arranged and produced concerts featuring Latin Fire, Mariachi Los Camperos, and The Three Mexican Tenors, and collaborated with Aida Cuevas, Arturo Sandoval, Lila Downs, and Lupita Infante.

Lopez-Yañez is also Artistic Director and Co-Founder of Symphonica Productions, LLC, a creative production company developing innovative pops, family, and educational concerts for orchestras.

Terence Blanchard

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Trumpeter, bandleader, composer, and educator

Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012. He is recognized globally as one of jazz’s most esteemed trumpeters and a prolific composer for film, television, opera, Broadway, orchestras, and his own ensembles, including the E-Collective and Turtle Island Quartet. Blanchard’s second opera, Fire Shut Up in My Bones, opened The Metropolitan Opera’s 2021–22 season, making it the first opera by an African American composer to premiere at the Met, and earning a GRAMMY® for Best Opera Recording. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis, where it premiered in 2019. Fire returned to the Met for a second run in April 2024. Blanchard’s first opera, Champion, premiered in 2013 and starred Denyce Graves with a libretto from Michael Cristofer. Its April 2023 premiere at the Met received a GRAMMY® for Best Opera Recording. Blanchard has released 20 solo albums, garnered 15 GRAMMY® nominations and eight wins, composed for more than 60 films including more than 20 projects with frequent collaborator Spike Lee, and received 10 major commissions. He is a 2024 NEA Jazz Master and member of the 2024 class of awardees for the American Academy of Arts and Letters, and currently serves as the Executive Artistic Director for SF Jazz.

Visit terenceblanchard.com for more.

DETROIT SYMPHONY ORCHESTRA, INC.

LIFETIME DIRECTORS

Samuel Frankel◊

Stanley Frankel

David Handleman, Sr.◊

Dr. Arthur L. Johnson ◊

Chacona W. Baugh

Penny B. Blumenstein

Richard A. Brodie

Marianne Endicott

Sidney Forbes

Faye Alexander Nelson Chair

Erik Rönmark President & CEO

Shirley Stancato Vice Chair

James B. Nicholson

Barbara Van Dusen

Clyde Wu, M.D.◊

CHAIRS EMERITI

Peter D. Cummings

Mark A. Davidoff

Phillip Wm. Fisher

Stanley Frankel

DIRECTORS EMERITI

Herman H. Frankel

Dr. Gloria Heppner

Ronald Horwitz

Harold Kulish

Bonnie Larson

Arthur C. Liebler

David McCammon

Marilyn Pincus

OFFICERS OF THE BOARD OF DIRECTORS

Laura Trudeau Treasurer

Renato Jamett Secretary

Ric Huttenlocher Officer at Large

Daniel J. Kaufman Officer at Large

BOARD OF DIRECTORS

Robert S. Miller

James B. Nicholson

David T. Provost

Glenda Price

Marjorie S. Saulson

Jane Sherman

Arthur A. Weiss

David Nicholson Officer at Large

Dr. David M. Wu, M.D. Officer at Large

Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking. As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.

Michael Bickers

Elena Centeio

Rodney Cole

Dr. Marcus Collins

Jeremy Epp, Orchestra Representative

Aaron Frankel

Ralph J. Gerson

Laura Grannemann

Dr. Herman B. Gray, M.D.

Laura Hernandez-Romine

Rev. Nicholas Hood III

Richard Huttenlocher

Renato Jamett, Trustee Chair

Daniel J. Kaufman

H. Keith Mobley, Governing Members Chair

Xavier Mosquet

Faye Alexander Nelson, Board Chair

David Nicholson

Arthur T. O’Reilly

Bernard I. Robertson

BOARD OF TRUSTEES

Shirley Stancato

Scott Strong, Orchestra Representative

Laura J. Trudeau

James G. Vella

Dr. David M. Wu, M.D.

Ellen Hill Zeringue

Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.

Renato Jamett, Trustee Chair

Ismael Ahmed

Richard Alonzo

Hadas Bernard

Janice Bernick

Elizabeth Boone

Gwen Bowlby

Dr. Betty Chu, M.D.

Karen Cullen

Joanne Danto

Stephen D’Arcy

Maureen T. D’Avanzo

Jasmin DeForrest

Cara Dietz

Afa Sadykhly Dworkin

Emily Elmer

James C. Farber

Amanda Fisher

Linda D. Forte

Carolynn Frankel

Christa Funk

Robert Gillette

Jody Glancy

Mary Ann Gorlin

Darby Hadley

Michele Hodges

Julie Hollinshead

Laurel Kalkanis

Jay Kapadia

David Karp

Joel D. Kellman

John Kim

Jennette Smith Kotila

Leonard LaRocca

William Lentine

Linda Dresner Levy

Gene LoVasco

Anthony McCree

Kristen McLennan

Tito Melega

Lydia Michael

H. Keith Mobley, Governing Members Chair

Sandy Morrison

Frederick J. Morsches

Jennifer Muse

Geoffrey S. Nathan

Sean M. Neall

Eric Nemeth

Maury Okun

Jackie Paige

Priscilla Perkins

Vivian Pickard

Denise Fair Razo

Gerrit Reepmeyer

Rochelle Riley

Jim Rose, Jr.

Laurie DeMond-Rosen

Carlo Serraiocco

Lois L. Shaevsky

Elliot Shafer

Shiv Shivaraman

Dean P. Simmer

Richard Sonenklar

Dhivya Srinivasan

Rob Tanner

Yoni Torgow

Nate Wallace

Gwen Weiner

Donnell White

R. Jamison Williams

BY LATOYA CROSS

Stephen and Susan Molina: The Sound of Giving

Detroit in the 1970s was an interesting time socially and culturally. In the aftermath of the 1967 rebellion, the city struggled with economic mobility, racial tensions, and adverse headlines; but the rich tapestry of music prevailed—from Motown to classical.

Whether song lyrics reflect the times or a melody carries thoughts into an optimistic future, music has a way of providing solace amid socio-cultural shifts; of being a soothing balm in times of challenge and celebration.

In 1979, The Detroit Symphony Orchestra embarked on a European Tour that had potential to shape a new narrative for the city—one that swayed negative attention and turned focus toward the creativity and resilience of the people. This tour was the keystone that set the DSO on the national stage.

Stephen Molina—a bass player from Long Island, New York who won his DSO audition in 1976, just three years prior to the European Tour, describes the sendoff and welcome back home as among his top memorable moments with the orchestra. Molina, also a music educator, has served the DSO for nearly 50 years in capacities ranging from assistant personnel manager to his current seat as Assistant Principal Bass.

“The DSO is an organization that I have always believed to be at the center of all the arts organizations in Detroit and southeastern Michigan; I still feel strongly about this,” he expresses. “The importance back in 1979 was to highlight this great orchestra, this cultural gem to the rest of the world in a way never done before. Today, the DSO is still one of the great orchestras of our country. Moreover, it has evolved into one of the most inviting and innovative orchestras, with a mission to bring great music to the world and create opportunities for young people to learn and realize their own aspirations in music.”

It was at Orchestra Hall where Stephen and his wife, Susan, had their first date. And it is because of the organization’s work and dedication to evolving as an educational and musical asset to Detroit communities—along with its status as a world-class orchestra—that he and Susan commit to being DSO donors.

“Giving back is something I learned from my parents. Whether it is giving of your time, your skills, or your financial contributions... all are valuable.”

STEPHEN MOLINA,

DSO Assistant Principal Bass ( Renato and Elizabeth Jamett Chair) and Donor

“During our 19 years of marriage, Susan has attended, my guess, would be well over 500 concerts—nearly every subscription concert as well as many pops and special events,” Molina says. “Our dedication to the DSO as donors allows us to be a very small part of a group of people that want to see this great orchestra grow and thrive for decades to come.”

Join Stephen and Susan and other DSO donors in creating lasting impact. Give now at dso.org

Michael Abels: Storyteller in Sound

When audiences hear the music of Michael Abels, they are immediately drawn into a journey—sometimes haunting, sometimes joyful, always deeply human. The Pulitzer Prize-winning composer, best known for his opera Omar (co-composed with Rhiannon Giddens) and his groundbreaking film scores for Jordan Peele’s Get Out, Us, and Nope, has long balanced the worlds of concert music and cinema. In the 2025–26 season, the DSO is proud to welcome Abels as Composer-in-Residence, offering audiences the chance to experience the breadth of his work live in Orchestra Hall.

That’s a really nice feeling.”

The DSO has performed several of Abels’s works in past seasons, but the residency marks the most significant collaboration to date. Over the course of the season, audiences will hear five of his compositions, ranging from early milestones to fresh premieres. For Abels, the programming highlights the central theme of variety: “I’ve written in various genres and for various media, so you’re going to get a little bit of everything this season.”

“It’s a huge honor,” Abels says. “I feel like the Detroit Symphony has been one of the home ensembles for me through my career—an ensemble that really gets me.

Among the works to be performed is Unbound, a short but powerful tribute to Olympic champion Jesse Owens. Audiences will also hear Global Warming (1991), one of Abels’s earliest orchestral successes. Written in the hopeful years following the fall of the Berlin Wall, the piece celebrates shared cultural

Michael Abels

threads across global folk traditions while reflecting on a rapidly changing world. Abels calls it the first piece where he “understood who I am”—a work that, decades later, still resonates.

The DSO will also perform More Seasons, Abels’s playful deconstruction of Vivaldi’s famous concertos. He describes it as “Vivaldi in a Mixmaster,” subjecting familiar themes to minimalist twists and surprising turns. Family audiences can look forward to Frederick’s Fables, a delightful work for narrator and orchestra based on the award-winning children’s stories of Leo Lionni. “These were favorites of mine growing up,” Abels recalls. “Now I get to help introduce them to young audiences in a way that shows how well an orchestra can take a story and make it live, along with narration.”

Perhaps the most anticipated event of the residency will be the world premiere of a new orchestral suite from Omar, the opera that won Abels and Giddens the 2023 Pulitzer Prize in Music. The suite brings the opera’s powerful themes and melodies into the concert hall, where the orchestra will take center stage. “In opera, many of the most memorable melodies are given to the voice,” Abels explains. “In the orchestral suite, the orchestra takes on the leading role in all of those melodies that people remembered and fell in love with. I’m really looking forward to letting the orchestra completely shine through in this work that means so much to me.”

Abels’s versatility has allowed him to thrive in multiple spheres. His scores for Jordan Peele’s films brought him international recognition, winning the World Soundtrack Award, the Jerry Goldsmith Award, and numerous critics’ honors. Meanwhile, his concert works have been performed by major orchestras across the country, from Chicago and Cleveland to Philadelphia and Atlanta. He is also co-founder of the Composers Diversity Collective, advocating for greater representation of composers of color in film, gaming, and streaming media. Outside of music, he is an amateur triathlete.

Yet across this wide-ranging output, certain values remain constant. “I want to write music that musicians love playing,” Abels says. “People coming together to play is one of the most magnificent and inspiring things.”

For DSO Music Director Jader Bignamini, Abels is a natural fit. “Michael is a unique figure in the contemporary music scene thanks to his ability to blend different genres into cohesive and deeply expressive compositions,” Bignamini says. “His artistic identity is deeply rooted in his multicultural background and his commitment to diversity and inclusion. Michael is much more than a composer: he is a cultural mediator, a sound innovator, and a promoter of change.”

Born in Phoenix and raised in rural South Dakota, Abels studied at the University of Southern California and the California Institute of the Arts. His music reflects a wide-ranging curiosity: classical structures infused with elements of jazz, gospel, hip-hop, and world music. “When I was in school, I was afraid that my interest in different genres was a bad thing,” he admits. “But then I realized I use genre the way other people use orchestration—it’s a feature of how I approach music. That is my brand.”

Bignamini first collaborated with Abels several years ago and immediately sensed a creative kinship. “His artistic vision, human depth, and natural ability to connect with a wide range of audiences make him an ideal partner for an institution that values creativity, openness, and community impact,” he says.

For Abels, the residency is not only about performances, but also about connection—with musicians and audiences. “There is an implied trust between a composer and a listener,” he reflects. “A listener says, ‘I’m interested in you taking me on a journey,’ and I want to honor that trust. At the end of that journey, I want them to feel it was time well spent.”

LEARNING & ENGAGEMENT AT THE DSO

TRANSFORMING LIVES THROUGH MUSIC

The Detroit Symphony Orchestra is an inclusive and culturally relevant community where all people can experience their world through music. From classrooms and gathering spaces to care settings and concert halls, the DSO’s programs connect, inspire, and transform lives. Visit dso.org to learn more.

Learning Programs

DSO Civic Youth Ensembles (ages 7–19) and Detroit Community Ensembles (for adults) offer classical, jazz, orchestra, and band experiences that nurture musicianship at every stage. Nearly 800 people from 147 zip codes come together each week to make music in Orchestra Hall. Detroit Harmony has given out 2,164 instruments to aspiring young musicians.

Educational Concert Series

Designed for students in grades 3–8, these thematically-designed concerts explore topics like science, history, and art through orchestral music, both in Orchestra Hall and online. Last season, 81,000 students tuned in, and over 12,000 students experienced the music live in Orchestra Hall, most for the first time.

Programs in Schools

In-school programs and performances with DSO musicians and teaching artists lay groundwork for music education opportunities later in life, and longterm academic and social success. Last season, we made music with nearly 2,500 children in every Detroit Public School Pre-K classroom. We also launched our Detroit Harmony mobile lesson program, offering lessons in schools to support local music programs.

Accessibility, Health, and Wellness

Together with healthcare and wellness providers, the DSO offers music experiences that support patients and care partners. Through sensory friendly performances, open rehearsals, music therapy sessions, and hospital performances, hundreds of people have access to the healing power of the arts.

Music in our Communities

Each season, the DSO co-creates over 200 performances and workshops outside of Orchestra Hall. Detroit Neighborhood Initiative events celebrate local artistry and connect families with resources; DSO on the Go offers musical programs in shelters and community centers, DTE Community Concerts and the William Davidson Neighborhood Concert Series bring the orchestra to communities in and around our city.

Support our Detroit Harmony Instrument Drive!

We are now accepting instruments. Please consider donating new or used instruments through our instrument drive. We are committed to making sure that all children in Detroit have the opportunity to grow as young musicians.

ON STAGE NOW:

New Faces

CONNOR CHAIKOWSKY VIOLIN

Previous Roles: Concertmaster for several programs with the New World Symphony.

Appearances: The Cleveland Orchestra, Boston Symphony Orchestra, Grand Teton Music Festival, New York String Orchestra, YoungArts Miami, and Tanglewood Music Center.

Education: Peabody Preparatory, bachelor’s degree in violin performance from Rice University’s Shepherd School of Music.

TIANYU LIU VIOLIN

Awards: Winner of the Naftzger Young Artist Competition and Sigma Alpha Iota Competition at Chautauqua Institution; first prize in the Music Teachers National Association (MTNA) Young Artist Performance String Competition; and grand prize at the Ronald Sachs International Music Competition in North Carolina.

Appearances: Richmond Symphony Orchestra, Wuhan Conservatory Orchestra, The Juilliard School Chamber Festival, Taos School of Music, Bowdoin International Music Festival, and Cremona International Music Festival.

Awards: Verbier Festival, where he was awarded the Prix de APCAV for “embodying the spirit of the festival.”

Fun Facts: In 2021, he created and performed Le Boeuf en Concert, a multidisciplinary video concert inspired by the history and influences of Milhaud’s Le Bœuf sur le toit, which was featured in the Houston Chronicle. Outside of music, Connor enjoys running, cycling, and cooking.

Education: Master of Music from The Juilliard School (Kovner Fellowship); undergraduate studies at College of Charleston; and currently pursuing a Doctor of Musical Arts at the University of Michigan.

Fun Facts: A native of Wuhan, China, Tianyu made his American debut at Bruno Walter Auditorium (Lincoln Center for the Performing Arts) performing the Waxman Carmen Fantasie.

YU-MING MA VIOLIN

Previous Roles: Principal Second Violin of the New York String Orchestra Seminar; frequent concertmaster with the Shepherd School of Music’s symphony orchestra and chamber orchestra; and substitute violinist with the Houston Symphony.

Appearances: Encore Chamber Music Festival, Kneisel Hall, Taos Chamber Music Festival, Tongyeong International Music Festival, and the 2024 Music@Menlo International Program.

As Soloist: Chausson’s Poème with the Cleveland Institute of Music

Orchestra, and violin concertos by Dvořák and Tchaikovsky with the SiungSong Orchestra under the baton of Wen-Pin Chien in Taiwan.

Education: Bachelor of Music from the Cleveland Institute of Music; master’s degree from Rice University’s Shepherd School of Music; and currently pursuing a Doctor of Musical Arts at Rice University.

Fun Facts: Born in Taiwan, Yu-Ming began his musical journey at the age of five. His teachers have since included Todor Pelev, Ivan Zenaty, Jinjoo Cho, Jan Sloman, and Jaime Laredo.

ERIK ANDRUSYAK SECOND OBOE

Previous Roles : Co-Principal Oboe of the United States Coast Guard Band; Principal Oboe of the Hartford Symphony Orchestra, Eastern Connecticut Symphony Orchestra, and Elgin Symphony; and Civic Orchestra of Chicago.

Appearances : Pacific Music Festival, Music Academy of the West, Berkshire Opera Festival, Chicago Symphony Orchestra, National Symphony Orchestra, Grant Park Festival Orchestra, New World Symphony, Springfield Symphony, Albany Symphony, Illinois

Symphony, the Joffrey Ballet, and the Chicago Philharmonic.

As soloist: U.S. Coast Guard Band, Connecticut Symphony, Masterworks Festival Orchestra, Eastern Connecticut Symphony, and the Yellow River Music Festival.

Education: Bachelor of Music from DePaul University.

Fun Facts: Erik enjoys spending time with his wife, Jamie, and their two cats, Bocal and Lilly.

RYAN TURANO CONTRABASSOON, BASSOON

Previous Roles: Contrabassoonist for the Nashville Symphony Orchestra and Louisiana Philharmonic Orchestra.

Appearances: Sunflower Music Festival, Buzzards Bay Music Festival, Tanglewood Music Center, and Aspen Music Festival; prestigious concert halls in South America and Europe including the Konzerthaus Berlin, Dvořák Hall, the Mozarteum, the Zoltán Kodály Center, the Musikverein, and the Concertgebouw;

and with the Eureka Ensemble, Kendall Square Orchestra, and Du Bois Orchestra.

Education: Master of Music from the Colburn Conservatory of Music, where he studied with Richard Beene; Bachelor of Music from the New England Conservatory, studying with Richard Svoboda.

Fun Facts: Hailing from Hopkinton, Massachusetts, Ryan began playing the bassoon at the age of 12.

EDMUND ROLLETT PRINCIPAL HORN

Christine and David Provost Chair

Previous Roles: Associate Principal and Acting Principal of the Utah Symphony; Guest Principal of the San Francisco Symphony and Atlanta Symphony; and Principal Horn of the Orquesta Sinfónica Nacional de México and the Orquesta Filarmónica de la Ciudad de México.

Appearances: Pittsburgh Symphony Orchestra and Grand Teton Music Festival Orchestra.

Recordings: Edmund performed on Mahler’s Symphony No. 8 with the Utah Symphony and the Mormon Tabernacle Choir (Reference Recordings, 2017).

Fun Facts: Away from the horn, Edmund enjoys chasing his three children around, trail running, and reading books when time occasionally permits.

PATRICK WALLE UTILITY HORN

Patrick previously served as Acting Principal Horn with the DSO in the 2024–25 season and now joins the orchestra full time as Utility Horn.

Previous Roles: Third/Associate Principal Horn of the Nashville Symphony; Fourth/Associate Principal Horn of the Rochester Philharmonic Orchestra; various roles with the Buffalo Philharmonic Orchestra; and substitute with the Syracuse Symphony.

Education: Bachelor’s degree from the Eastman School of Music (Performer’s Certificate) and a master’s degree in performance.

Fun Facts: Away from his instrument, Michigan-native Patrick is a health enthusiast and enjoys competitive cycling and weight training. When his son was born in 2020, he took up yet another hobby of artisanal sourdough baking.

This season, the DSO is also pleased to welcome African American Orchestra Fellows Donovan Bown (oboe) and Triniti Rives (clarinet), and long-term replacement musicians Emily Bieker (Acting Second Flute, Morton and Brigitte Harris Chair), Kamalia Freyling (Acting Second Clarinet), Cara Kizer (Acting Assistant Principal Horn), Kristi Crago (Acting Horn), Benjamin Wulfman (Acting Horn), and Justin Emerich (Acting Assistant Principal Trumpet).

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND

Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

HÉLÈNE GRIMAUD PLAYS GERSHWIN

Thursday, October 9, 2025 at 7:30 p.m.

Friday, October 10, 2025 at 8 p.m.

Saturday, October 11, 2025 at 8 p.m.

JADER BIGNAMINI, conductor HÉLÈNE GRIMAUD, piano

Michael Abels (b.1962) Unbound

INGRID MARTIN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

George Gershwin Concerto for Piano and Orchestra in F major (1898–1937) I. Allegro II. Adagio - Andante con moto III. Allegro agitato

Hélène Grimaud, piano

Intermission

Sergei Prokofiev Suite from Romeo and Juliet (1891–1953) Montagues and Capulets

The Child Juliet Friar Lawrence

Madrigal

Minuet

Masks

Romeo and Juliet

Romeo at Juliet’s Grave Death of Tybalt

THE LARSON PIANO

With support from Bonnie Larson, the DSO is proud to feature The Larson Piano on this weekend’s program. Part of the DSO’s fine instrument collection, the Steinway Model D Concert Grand Piano is the standard by which other concert pianos are judged and compared. Handmade in the New York Steinway Factory, this majestic musical instrument is the pinnacle of concert grands.

BONNIE ANN AND ROBERT C. LARSON GUEST PIANIST FUND

The Bonnie Ann and Robert C. Larson Guest Pianist Fund helps the DSO deliver unsurpassed musical experiences by underwriting annually the performance of extraordinary pianists such as Hélène Grimaud. On behalf of the artists and audiences who benefit from this important endowed fund now and in the years to come, the DSO is grateful to Bonnie Larson for her generous support.

Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PROGRAM AT-A-GLANCE | HÉLÈNE GRIMAUD PLAYS GERSHWIN

Hitting Their Stride

Unbound by DSO Composer-in-Residence Michael Abels was written to commemorate track and field legend Jesse Owens, a four-time gold medal winner at the 1936 Berlin Olympics—celebrating his groundbreaking achievements in the face of adversity. Gershwin’s Piano Concerto follows, keeping the energy high. Gershwin gave himself big shoes to fill after the success of Rhapsody in Blue, so he took the best of American jazz, musical theater, and classical music from that hit and ran with it. Sergei Prokofiev’s Suite from Romeo and Juliet then brings a change of pace to take this program to the finish line.

PROGRAM NOTES

Unbound

Composed 2024 | Premiered 2024

MICHAEL ABELS

B. October 8, 1962, Phoenix, AZ

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets (one doubling bass clarinet), 2 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 4 minutes)

Unbound

is a powerful single-movement work for full orchestra that explores the push and pull between constraint and release, inspired by Bob Peak’s iconic painting of Jesse Owens at the 1936 Berlin Olympics. Driven by rhythmic energy, recurring motives, and shifting textures, the music navigates between tension and resolution in an expressive arc.

This performance marks the DSO premiere of Unbound by Michael Abels.

Learn more about Michael Abels in our feature story on page 10.

Concerto for Piano and Orchestra in F major

Composed 1925 | Premiered 1925

GEORGE GERSHWIN

B. September 26, 1898, Brooklyn, NY

D. July 11, 1937, Los Angeles, CA

Scored for solo piano, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets,

3 trombones, tuba, timpani, percussion, and strings. (Approx. 29 minutes)

Inthe beginning of the 20th century, classical composers were trying to find new ways to structure music, thinking that the possibilities of tonality had been exhausted.

Schoenberg had turned his back on tonality and had developed a radically new method of organizing the 12 notes of the musical scale, while Stravinsky in his neoclassical period went the other way by returning to the past for a new kind of inspiration. Between these two extremes was George Gershwin, who tread the middle ground by incorporating popular music into his compositions.

The piano concerto began its life under the title New York Concerto, on which Gershwin began work in 1924 after the breakout success of his Rhapsody in Blue While reactions to the concerto were more mixed than they were for Rhapsody, the piece slowly gained popularity and acceptance, and is now viewed as one of Gershwin’s masterpieces, as well as one of the most individual and unusual piano concertos of the 20th century.

As he was writing the concerto, Gershwin said, “Many people thought that the Rhapsody was a happy accident. I wanted to show that there was plenty more where that came from...” Prior to the piece’s premiere, he summarized it: “The first movement of the Concerto in F is quick and pulsating, representing the young, enthusiastic spirit of American life

with a Charleston motif. Later, a second theme is introduced by the piano. The second movement has a poetic and nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated. The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping the same pace throughout.”

In Gershwin’s view, the popular and classical musical worlds were not mutually exclusive, and he was happiest when he could write music which appealed to audiences in both areas. The piano concerto represents the zenith in the merging of European styles with the freedom, rhythmic flexibility, and improvisational style of jazz, along with the wide-ranging appeal of American musical theater.

The DSO most recently performed Gershwin’s Piano Concerto in F in March 2022, conducted by Peter Oundjian and featuring Aaron Diehl on piano. The DSO first performed the piece in January 1937, conducted by Victor Kolar and featuring Gershwin himself on the piano.

Suite from Romeo and Juliet

Composed 1935 | Premiered 1938

SERGEI PROKOFIEV

B. April 23, 1891, Sontzovka, Russia

D. March 7, 1953, Moscow, Soviet Union

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets (one doubling on cornet), 3 trombones, tuba, timpani, percussion, harp, piano, celeste, tenor saxophone, and strings. (Approx. 34 minutes)

Justas this composer’s masterful ballet based on Shakespeare’s Romeo and Juliet became an enduring classic, so have the orchestral suites he extracted from the full score. Prokofiev made a practice of

recycling music from his larger works, and the Second Suite from this ballet has become more familiar than the 1935 ballet itself.

The nine movements being presented take listeners from the story’s opening to its tragic conclusion. Gloomy intimations are evoked as a gradually layered brass chord opens “Montagues and Capulets,” followed by a crushing dissonance and soft string chords. The sequence, representing the conflict between Romeo’s family and Juliet’s, is repeated once. Swaggering dance rhythms then suggest the proud bearing of Veronese nobles.

Vivacious music starts the second movement to depict the young heroine, who seems to fall easily into reverie. A squirmy girl, not yet 14, is sketched with skittering scales, playful woodwinds, and tight percussion. A more tender clarinet represents innocence. After a brief reprise of the opening, the girl’s budding emotional maturity is depicted with broad, lyrical themes for woodwinds, cello, and eventually the other strings.

A slow, sensitive coda can be seen as an allusion to upcoming heartache.

“Masks,” which refers to disguises worn at the Capulet ball by Romeo, Mercutio, and Benvolio, is a briefly swaggering intermezzo featuring the clarinet—a favored instrument for Prokofiev. Next comes music suggesting the couple’s love, followed by humorous music for a street scene.

“Romeo and Juliet” distills some of the most powerful, passionate music Prokofiev wrote, including the famous love theme that remains eternally popular. Picture the famous balcony scene of the play or ballet. Next comes “A Scene,” a sparse, colorful interlude featuring a 90-second burst of jovial music with an air of nonchalance.

“The Death of Tybalt” presents some of the most suspenseful, exhilarating music in the suite as Juliet’s relatives furiously pursue the disdainful Mercutio, who kills

Tybalt in a duel. The victim is carried to his grave amid brassy, funereal music.

The closing two movements feature the memorable love theme heard earlier, now in a minor mode that’s been overtaken by a long, slow, anguished string theme as Romeo grieves her supposed death. Horns briefly pick up the theme, as do other brass instruments with slight variants. The mood is beautiful and profoundly sad as it seems to soar and then descend. A softly radiant chord in the closing

PROFILES

For Jader Bignamini biography, see page 6.

HÉLÈNE GRIMAUD

Renaissance woman

Hélène Grimaud is not just a deeply passionate and committed musical artist whose pianistic accomplishments play a central role in her life. Her multiple talents extend far beyond the instrument she plays with such poetic expression and technical control: Grimaud has established herself as a wildlife conservationist, a human rights activist, and a writer; her deep dedication to her musical career reflected in and amplified by the scope and depth of her environmental, literary, and artistic interests.

In addition to collaborating with the world’s leading orchestras, Grimaud delights her audiences with numerous recitals around the globe and performs chamber music at the highest level. Highlights of her 2024–25 season included performances with the San Francisco Symphony Orchestra with Kazuki Yamada, The Philadelphia Orchestra with Yannick Nézet-Séguin, and the Dallas Symphony Orchestra with Fabio Luisi, among others. She presented recitals at Carnegie Hall in New York, Bing

measures intimates the feuding families’ reconciliation, and a delicate reminiscence by the woodwinds of the love music eases the suite to a quiet, resigned end as fragments of the melody fade.

The DSO most recently performed the suite from Romeo & Juliet in November 2002, conducted by Yan Pascal Tortelier. The DSO first performed this suite in August 1980, conducted by Stanislaw Skrowaczewski.

Concert Hall in Stanford, and in Singapore, Taipei, and São Paulo. Joined by Camerata Salzburg, she toured extensively in Europe and Asia.

Since 2002, Grimaud has been an exclusive Deutsche Grammophon artist. Her recordings have been critically acclaimed and awarded numerous accolades, among them the Cannes Classical Recording of the Year, Choc du Monde de la musique, Diapason d’or, Grand Prix du disque, Record Academy Prize (Tokyo), Midem Classic Award, and ECHO Klassik.

The pianist’s latest project “For Clara” focuses on her long relationship with the German Romantics, and on the ties that bound both Robert Schumann and his protégé Brahms to pianist-composer Clara Schumann. Grimaud has revisited Robert Schumann’s Kreisleriana, and pairs it on her new album with Brahms’s Op. 117 Intermezzi and his Op. 32 set of songs, in which she is joined by Konstantin Krimmel.

Her prodigious contribution to the world of classical music was recognized by the French government, who appointed her “Chevalier de la Légion d’Honneur”.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

INGRID MARTIN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

MARSALIS’S VIOLIN CONCERTO AND SHOSTAKOVICH NINE

Friday, October 17, 2025 at 10:45 a.m.

Saturday, October 18, 2025 at 8 p.m.

Sunday, October 19, 2025 at 3 p.m.

JADER BIGNAMINI, conductor GIUSEPPE GIBBONI,

violin

Wynton Marsalis Violin Concerto in D (b. 1961) I. Rhapsody

II. Rondo Burlesque

III. Blues

IV. Hootenanny

Intermission

Dmitri Shostakovich Symphony No. 9 in E-flat major, Op. 70 (1906–1975) I. Allegro

II. Moderato

III. Presto

IV. Largo

V. Allegretto

Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PROGRAM

Unlikely Connections

Still buzzing from the March 2025 release of the Wynton Marsalis Blues Symphony recording, the DSO is excited to perform another work by the storied American composer. In his Violin Concerto, the soloist and orchestra lock in with unmatched precision, which requires extreme nuance and virtuosity as the music traverses classical, blues, folk, ragtime, and even circus music. Shostakovich’s Ninth Symphony surprisingly shares this circus-like feel. Unlike his previous symphonies, the Ninth is comic and playful. Feeling pressured to compose a work that would delight Stalin and his regime, Shostakovich presented this unexpected symphony as an act of defiance.

PROGRAM NOTES

Violin Concerto in D

Composed 2015 | Premiered 2015 WYNTON MARSALIS

B. October 18, 1961, New Orleans, Louisiana

Scored for solo violin, piccolo, 3 flutes, 3 oboes, English horn, 2 clarinets, Eb clarinet, bass clarinet, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 38 minutes)

Overthe years, Wynton Marsalis has written about his relationship to the violin: “I have always loved the violin and fiddle tunes; I like that tradition. I knew growing up that there were many Afro-American slaves who played fiddles, and I always felt that if you’re going to write American music and use strings, you have to learn about fiddlin’, especially if you look at the slave tradition of fiddlin’. A lot of slaves were fiddlers: a slave who could fiddle was worth as much as a buck, sometimes even more, so I learned how to play fiddle tunes and improvise on them on my horn. I needed to know that language.”

At the same time, violinist Nicola Benedetti said: “Working with Wynton on his violin concerto has been life changing. We engaged in endless discussions over form, notation, orchestration, and perhaps most of all, the limitations and capabilities of the violin. I never imagined I could be so deeply invited into the

creation of a piece of music, and my education throughout has been unparalleled. During this short time, I have learned to hear differently, to myself and to others, and I have found a new understanding of freedom in color, time, and expression.” Benedetti was 17 when she met Marsalis for the first time at a performance in Lincoln Center, and it was the first time he heard her play. Marsalis was immediately impressed by Benedetti’s sound and skill, and the two struck up a conversation that developed into a lasting personal and musical relationship. In conversations over the years, she encouraged Marsalis to liberate his passion for the fiddle through composition. She would say to him, “If you love the violin so much, why don’t you write something for it?” This concerto, written for Benedetti, is the most substantial product of this unique relationship. It took time, but Marsalis finally agreed, saying that his inspiration for the work was as much Benedetti as her instrument. Many emails and telephone calls were then exchanged during which she answered questions about string technique, and he made her acquainted with his musical world. The two were in constant contact for months on end, frequently through trans-Atlantic phone calls, and the work was extremely slow.

When Marsalis began to compose the concerto, he intentionally avoided classical idioms, saying, “I’m a jazz musician.

I’m very comfortable with classical music, but I’m not trying to prove anything [there]. I’m not interested in sounding like other people. When it comes to American music—New Orleans music, blues music, Afro-American music and music that is in the Anglo-Celtic tradition—that’s what I know, that’s what I love, that’s where I’m comfortable, and that’s what I’m about.” When Benedetti received early drafts of the concerto, her initial response was that the music was not difficult enough, so she asked him to rework the part so that it was more challenging. Marsalis remembers, “That was unusual. Most of the time when I write music, people say it’s too difficult!”

What evolved from their long-term collaboration is a four-movement concerto with a unique programmatic design. The first movement, “Dreamscape,” includes a lullaby, a nightmare, and feelings of serenity and recollection. The second, “Rondo Burlesque,” has elements of

ragtime and the circus in it. The slow movement, called “Blues,” needs no explanation, while the finale is a representation of a traditional Hootenanny, a Scottish term for a celebration or party, an informal gathering with folk singing and dancing.

Marsalis has commented, “I tried to get a lot of our music into the score because that’s who we are as a people and that is what our country is.” Before the concerto’s world premiere in London in November of 2015, the two artists gave it a test run at the famous Chautauqua Festival in western New York state. Following that, Marsalis made considerable changes to the score, including a shortening of the running time and rewriting the cadenza which leads into the bluesy third movement.

The DSO previously performed Wynton Marsalis’s Violin Concerto just once: in June 2017, conducted by James Gaffigan and featuring Nicola Benedetti on violin.

KERSON LEONG

SUNDAY, OCT. 19, 2025 2PM

“One

Symphony No. 9 in E-flat major, Op. 70

Composed 1945 | Premiered 1945

DMITRI SHOSTAKOVICH

B. September 25, 1906, St. Petersburg, Russia

D. August 9, 1975, Moscow, Russia

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, large and small suspended cymbals, snare drum, tambourine, triangle, and strings. (Approx. 27 minutes)

Shostakovich’s bold use of challenging, even personally risky subjects—propelled to deep social significance by irony—opens endless opportunities for fascinating debate and reinterpretation. Was the composer a loyal communist, a satirical critic, or perhaps both? His music supports competing answers to this question, responses that demonstrate the ability of culture to probe fundamental ideas of freedom and civic responsibility.

His impressive symphonic debut at age 19 immediately catapulted Shostakovich into a position of great importance in Russian music. He was later expected, as a composer working under Soviet rule, to compose works that served the state. The challenge being that the needs of this state and those empowered to decide such criteria kept changing. Although an initial success in 1934, the composer’s opera of love and deceit, Lady Macbeth of Mtsensk, was publicly censured by Stalin two years later as “chaos instead of music.” He was instructed that his music would enlighten the proletariat, and he would avoid the experimentation and so-called ‘decadence’ of modernists such as Schoenberg, Stravinsky, and Bartók. Reeling, Shostakovich withdrew his recently completed Fourth Symphony, fearing that its complexity would only bring further trouble.

Composed in 1937, his Fifth Symphony was met with great enthusiasm and was received as a glorification of the state. His subsequent wartime symphonies kept Shostakovich in good favor with the political powers, and it was with similar hopes that audiences anticipated his Ninth Symphony. The composer announced he was at work on a colossal Ninth, which, like Beethoven’s, would have chorus and soloists. In April 1945, with Russia celebrating victory, the composer dropped his victory symphony as it became clear that winning the war would do nothing to improve life for the Russian people. It came as a shock when the short, light, comic Ninth was first performed. Although the audience at the premiere demanded encores, critics at home and abroad responded with disappointment bordering on outrage. Shostakovich wrote that, “When my Ninth was performed, Stalin was incensed. He was deeply offended, because there was no chorus, no soloists, and no apotheosis. There wasn’t even a paltry dedication. It was just music.” In one of the few moments when the West agreed with Stalin, a reviewer in New York wrote that Shostakovich “should not have expressed his feelings about the defeat of Nazism in such a childish manner.”

The first movement, sometimes described as Haydn-esque because of its lightness and relative adherence to sonata form, has an almost circus-like feel. The trombone’s repeated calls to introduce a new key are comically defeated. In the spare second movement, the music grows more serious with a sense of poignant memory. It ends with an energetic piccolo line, an echo of the previous movement’s close. The final three movements are played without break, and a scherzo fades into threatening chords by the brass. A single forlorn solo bassoon responds, contrasting power with individual expression. When the bassoon shifts to a clownish, playful dance that launches the final movement, irony is

unleashed as acceleration. The symphony ends with what becomes a mere caricature of cheerfulness. Not straight comedy, Shostakovich’s Ninth embodies the bitter irony of so-called victory, which meant triumph for the State but not necessarily for its people. —Amy Kimura

PROFILES

For Jader Bignamini’s biography, see page 6.

GIUSEPPE GIBBONI

Giuseppe Gibboni, regarded as one of the most extraordinary talents of his generation, is renowned for his prodigious technique, expressive depth, and remarkable interpretative maturity. In October 2021, he captured international attention by winning First Prize at the 56th “Premio Paganini” International Violin Competition in Genoa—earning, in addition to the audience award, two special prizes for the best interpretations of Paganini’s Caprices and Concerto. He was the first Italian violinist in 24 years to win this prestigious competition.

His victory at the Paganini Competition launched a career that rapidly took on an international dimension. He has collaborated with some of the world’s most prestigious orchestras, including the Orchestra of the Accademia Nazionale di Santa Cecilia conducted by Lorenzo Viotti, the Detroit Symphony Orchestra with Jader Bignamini, the Maggio Musicale Fiorentino Orchestra with Zubin Mehta, and the RAI National Symphony Orchestra. With the latter, he gave the Italian premiere of Wynton Marsalis’s Violin Concerto, working closely with the

The DSO most recently performed Shostakovich’s Ninth Symphony in January 2006, conducted by Andrey Boreyko. The DSO first performed this piece in April 1966, conducted by Sixten Ehrling.

composer under the baton of John Axelrod. His repertoire spans the great Romantic concertos as well as contemporary works, showcasing both his exceptional versatility and deep artistic curiosity.

Recent and upcoming highlights include debuts under the baton of Riccardo Muti at the opening concert of the Ravenna Festival, and with the Atlanta Symphony Orchestra, the Filarmonica della Scala under Michele Mariotti, the Tokyo Philharmonic in Dubai, the Beijing Symphony Orchestra, and the Seoul Arts Center. He previously performed Busoni’s Violin Concerto in Trieste in celebration of the centenary of the composer’s death, and toured the United States with the Teatro Carlo Felice of Genoa, performing Paganini’s Violin Concerto No. 1 under the direction of Donato Renzetti, with whom he also performed Tchaikovsky’s Violin Concerto in Milan with the “Pomeriggi Musicali” Orchestra.

A featured artist supported by the Nippon Foundation, Gibboni performs on the 1722 Stradivari “Jupiter,” on loan from the foundation, the 1734 Stradivari “Lam – Ex Scotland University,” kindly provided by the CCI Foundation of New York, and a modern instrument by Luiz Amorim, a copy of the famed 1734 Guarneri del Gesù “Stauffer.”

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND

Principal Guest Conductor

PARADISE JAZZ SERIES

INGRID MARTIN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

JOSHUA REDMAN QUARTET WITH SPECIAL GUEST GABRIELLE CAVASSA QUARTET

Friday, October 17, 2025 at 8 p.m. in Orchestra Hall

THE JOSHUA REDMAN QUARTET

JOSHUA REDMAN, saxophone

PAUL CORNISH , piano

PHILIP NORRIS, bass

NAZIR EBO, drums

GABRIELLE CAVASSA QUARTET

GABRIELLE CAVASSA, vocals

DAVE MILLER, guitar

LEX WARSHAWSKY, bass

KYLE SWAN, drums

Program to be announced from the stage, artists subject to change.

MADE POSSIBLE WITH SUPPORT FROM

PROGRAM AT-A-GLANCE | JOSHUA REDMAN QUARTET

Back

to

the Swing of Things

The 2025–2026 Paradise Jazz Series kicks off with legendary jazz saxophonist and composer Joshua Redman and his quartet. Redman is applauded for his diversity and innovation, while also taking inspiration from the jazz pioneers that came before him. Along with his quartet, Redman recently released a collection of original tunes titled Words Fall Short. The album features the deeply rich yet ethereal and agile voice of Gabrielle Cavassa, who opens tonight’s concert with her own quartet.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

JOSHUA REDMAN

Joshua Redman’s name resonates deeply in the jazz world as both a gifted improvisor and a profound thinker on the nature and meaning of music. Born into a rich artistic lineage, (his father the legendary saxophonist Dewey Redman, and his mother Renee Shedroff, a professional dancer and librarian) Redman’s childhood was steeped in both music and the written word. After graduating summa cum laude from Harvard University and deferring his acceptance to Yale Law School, Redman moved to New York City, immersing himself once again in the world of the arts. In 1991, encouraged by friends, Redman entered and won the prestigious Thelonious Monk Institute of Jazz International Competition. Soon after, he signed with Warner Bros. Records and, within two years, released his debut album, earning him a GRAMMY® nomination—the first of ten across his distinguished career. His collaborations read like a who’s who of musical legends: Stevie Wonder, The Rolling Stones, Herbie Hancock, Quincy Jones, and Pat Metheny, among many others. A true testament to his versatility and wide respect among peers. Redman’s creative reach extends beyond the stage and studio. His music has been featured in film and television, broadening his impact on the cultural landscape. As a founding member and artistic director of the SFJazz Collective (2000–2007), Redman helped shape the group’s mission: to honor the roots of jazz in African American history and the African diaspora, while inspiring new audiences worldwide, though its unique emphasis on composition. In 2019, he joined Stanford University as an educator, where he introduced students to jazz not just as a style of music, but as a way of thinking. With a career spanning over

three decades, Redman remains a vital force in contemporary jazz. His music continues to invite listeners into a world where every note tells a story, and every performance becomes a shared moment of human connection.

GABRIELLE CAVASSA

ABlue

Note Records artist, the award-winning vocalist Gabrielle Cavassa was ushered into the spotlight through her inspired collaboration with renowned saxophonist Joshua Redman on his acclaimed 2023 Blue Note debut where are we, an album that featured Cavassa’s alluring vocals on a set of unique interpretations of jazz standards and songs by Bruce Springsteen, Jimmy Webb, Sufjan Stevens, and more.

Born in Escondido, California, Cavassa began obsessively listening to records from a young age. Largely self-taught, she developed a unique approach to singing that would characterize her later success. Cavassa received a Bachelor of Arts in Music from San Francisco State University but says that her “real education” came from playing Bay Area jazz clubs throughout her college years. In 2017, Cavassa moved to New Orleans, which shaped and deepened her relationship to storytelling and the blues. Cavassa won the Sarah Vaughan International Jazz Vocal Competition in 2021 after the independent release of her eponymous debut album in 2020. Following the release of where are we, Cavassa began touring with the Joshua Redman Group, a collection of several of today’s most exciting young players that has performed extensively across the United States, Europe, and Asia. She was featured alongside Redman on NPR’s Tiny Desk Concert series in 2024.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND

Principal Guest Conductor

INGRID MARTIN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Devereaux Family Chair Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited. TITLE SPONSOR:

THE THREE MEXICAN TENORS

Friday, October 24, 2025 at 10:45 a.m.

Saturday, October 25, 2025 at 8 p.m. Sunday, October 26, 2025 at 3 p.m. in Orchestra Hall

ENRICO

LOPEZ-YAÑEZ, conductor

THE THREE MEXICAN TENORS

BERNARDO BERMUDEZ ALFREDO CARRILLO JORGE LOPEZ-YAÑEZ

Program to be announced from the stage, artists subject to change.

PROGRAM AT-A-GLANCE | THE THREE MEXICAN TENORS

¡Bienvenidos a Orchestra Hall!

Under the baton of Principal Pops Conductor Enrico Lopez-Yañez, The Three Mexican Tenors unite for a passionate performance celebrating the rich tradition of Mexican music. Celebrated professional operatic tenors Jorge Lopez-Yañez (yes, Enrico’s father!), Alfredo Carrillo, and Bernardo Bermudez come together to put their unique spin on songs spanning the genres of opera, Broadway, pop, and Mexican classical music.

PROFILES

For Enrico Lopez-Yañez’s biography, see page 7.

THE THREE MEXICAN TENORS

Bursting with charm and charisma, The Three Mexican Tenors take audiences on riveting musical journeys. MexicanVenezuelan tenor Bernardo Bermudez has been praised for his exceptional vocal range and has performed with opera companies throughout North America. Jorge Lopez-Yañez has distinguished himself as a leading tenor on operatic stages including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, and all the biggest international

opera houses. Internationally acclaimed tenor Alfredo Carrillo has captivated audiences worldwide with his powerful voice, emotional depth, and commanding stage presence. Now with the DSO under the baton of Enrico Lopez-Yañez, The Three Mexican Tenors present a program from operatic masterpieces like Libiamo and O Sole Mio to beloved pop hits such as You Raise Me Up and Time to Say Goodbye. The evening culminates in a heartfelt tribute to Mexico’s legendary voices—Luis Miguel, Juan Gabriel, Vicente Fernández, and more—celebrating the rich soul and passion of Mexican music.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director

Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND

Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

MOZART & BRAHMS

Thursday, October 30, 2025 at 7:30 p.m.

Friday, October 31, 2025 at 10:45 a.m.

Saturday, November 1, 2025 at 8 p.m. in Orchestra Hall

TABITA BERGLUND, conductor KIRILL GERSTEIN, piano

INGRID MARTIN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

Wolfgang Amadeus Mozart Overture to Le nozze di Figaro, K. 492 (1756–1791) (The Marriage of Figaro)

Arnold Schoenberg Verklärte Nacht, Op. 4 (1874–1951)

Intermission

Johannes Brahms Piano Concerto No. 1 in D minor, Op. 15 (1833–1897) I. Maestoso

II. Adagio

III. Rondo: Allegro non troppo Kirill Gerstein, piano

THE LARSON PIANO

With support from Bonnie Larson, the DSO is proud to feature The Larson Piano on this weekend’s program. Part of the DSO’s fine instrument collection, the Steinway Model D Concert Grand Piano is the standard by which other concert pianos are judged and compared. Handmade in the New York Steinway Factory, this majestic musical instrument is the pinnacle of concert grands.

BONNIE ANN AND ROBERT C. LARSON GUEST PIANIST FUND

The Bonnie Ann and Robert C. Larson Guest Pianist Fund helps the DSO deliver unsurpassed musical experiences by underwriting annually the performance of extraordinary pianists such as Kirill Gerstein. On behalf of the artists and audiences who benefit from this important endowed fund now and in the years to come, the DSO is grateful to Bonnie Larson for her generous support.

Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PROGRAM AT-A-GLANCE | MOZART & BRAHMS

Something for Everyone

Mozart’s lively Overture to Le nozze di Figaro is the perfect program opener. A short, quiet introduction quickly erupts into a soaring fortissimo melody. In stark contrast, Schoenberg’s Verklärte Nacht follows. While pushing the limits of tonality, Schoenberg sonically depicts Richard Dehmel’s poem of the same name wherein a couple takes an intimate, emotional walk through a moonlit trail in the forest. Brahms’s First Piano Concerto rounds out the program, bringing more variety to this concert with his signature lush style. The dynamic program is led by Principal Guest Conductor Tabita Berglund in her first appearance of the season.

PROGRAM NOTES

Overture to Le nozze di Figaro, K. 492 (The Marriage of Figaro)

Composed 1786 | Premiered May 1, 1786

WOLFGANG AMADEUS MOZART

B. January 27, 1756, Salzburg, Austria

D. December 5, 1791, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, percussion, and strings. (Approx. 4 minutes)

Thesource of this comic opera is Le mariage de Figaro, a play by remarkable French dramatist, pamphleteer, arms smuggler, diplomat, and publisher Pierre-Augustin Caron de Beaumarchais. The play premiered in Paris in 1784 and enjoyed a succès de scandale, thanks to its politically charged and risqué content. Mozart’s librettist, Lorenzo da Ponte, toned down the parts of Beaumarchais’s work that had caused it to be banned in Austria. He also tightened and simplified the play’s dramatic structure, keeping the action moving at a brisk pace. Mozart’s music, composed mostly during the winter of 1785–86, proved equally unflagging, and at no point during its four acts does The Marriage of Figaro lose momentum. That momentum, one of the opera’s chief virtues, is established even before

the curtain rises by Mozart’s overture. Its opening subject, which begins as a running theme in the bassoons and strings, suggests not only the rapidity with which the opera’s plot develops but also something of the work’s madcap humor. A cadential flourish leads to the second subject and, presently, a genial closing idea. Normally, there would follow some imaginative development of these themes. But Mozart is not out to write too involved a work. After 16 brief measures of interlude, he returns to the opening subject and begins a straightforward recapitulation of the overture’s melodies. The exuberant coda passage that closes the score is the only notable difference between its first and second halves. The music is no less satisfying for this lack of complexity, and it conveys precisely what Mozart intended: high spirits and a delight in the eternal human comedy.

The DSO most recently performed the Overture to Le nozze di Figaro in October 2023, conducted by Na’Zir McFadden. The DSO first performed this work in February 1916, conducted by Weston Gales.

Verklärte Nacht, Op. 4 (1943 revision)

Composed 1899 | Premiered March 18, 1902

ARNOLD SCHOENBERG

B. September 13, 1874, Vienna, Austria

D. July 13, 1951, Los Angeles, California (Approx. 32 minutes)

Following his death, Schoenberg’s music was generally unappreciated, and it seems cruel to point out that his most frequently played work, Verklärte Nacht, is often accepted for the wrong reasons. To the listener who regards Schoenberg’s 12-tone system as codified cacophony, Verklärte Nacht is proof that he could write real music when he had a mind to.

Schoenberg himself, however, never ceased to insist that his oeuvre was all of a piece, that later developments were foreshadowed in the early works. “I may say that for the present it matters more to me if people understand my older works,” he wrote in 1923. “They are the natural forerunners of my later works, and only those who understand and comprehend them will be able to hear the latter with any understanding beyond the fashionable minimum. And only such people will realize that the melodic character of these later works is the natural consequence of my earlier experiments... I do not attach so much importance to being a musical bogeyman as to being a natural continuer of properly understood good old tradition!”

Two opposing strains of “good old tradition” are represented in Verklärte Nacht, written in three weeks in September 1899. On the one hand is the principle of developing variation, as seen in Brahms; on the other, the emotional power of the Leitmotif, as used by Wagner. Verklärte Nacht is, however, unabashed program music, following closely a poem from the collection Weib und Welt by Richard

Dehmel, who had attracted a following of young Viennese intellectuals.

Verklärte Nacht is by no means a “setting” of the poem, but it does follow the text closely, both in formal outline and in the point-by-point pictorialism. On a purely formal level, Schoenberg has found a neat solution to unifying a long span of music—a problem to which he would return repeatedly. Michael Fleming

This performance marks the DSO premiere of the 1943 revision of Arnold Schoenberg’s Verklärte Nacht.

Piano Concerto No. 1 in D minor, Op. 15

Composed 1858 | Premiered January 22, 1859

JOHANNES BRAHMS

B. May 7, 1833, Hamburg, Germany

D. April 3, 1897, Vienna, Austria

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 42 minutes)

LikeBrahms’s C minor Symphony, the D minor Concerto had an extended gestation period that involved a considerable metamorphosis. Brahms conceived the work as a symphony in 1854 but set himself the exercise of writing a preliminary draft for two pianos. (He followed the same procedure with the Haydn Variations nearly 20 years later.) However, he could not easily adapt the piano texture of the work to an orchestral style, so he decided to turn it into a concerto. In doing so, he set aside the funeral march he had composed for the work, using it later in the German Requiem, and wrote a vigorous new rondo as the concerto’s closing movement.

The concerto opens with a chilling timpani roll, introducing a strident, trill laden theme in the strings. Two subsidiary themes relieve some of the tension, but a

more insistent return of the trill theme announces the second and more complete thematic exposition, this one featuring the piano in an even-flowing Bach-like theme set against the cutting orchestral trills. Once this thematic material has been worked out, the key changes to a sunnier F major and the piano blooms forth in a broad, expressive, and quite Romantic second theme.

The piano leads off the stormy development, thundering down the keyboard in leaping octaves. When this section has run its course, a series of loudly hammered chords announces the recapitulation. With the thorough craftsmanship and unfailing invention that is a Brahmsian trait, all six themes presented in the two expositions are again heard, but in different relationships between the piano and orchestra.

The serene slow movement originally bore the inscription (in Latin): “Blessed is he who cometh in the name of the Lord.” Brahms first met Robert and Clara Schumann in 1853, the year before he commenced work on the concerto, and some early writers associated the Latin inscription with Schumann, who was called “Dominus” (“Lord”) by his circle of

PROFILES

TABITA BERGLUND

Tabita

Berglund has established herself as one of the most in-demand conductors of her generation. With a charismatic style that combines elegance, verve, and precision—eliciting “exceptional music-making” (The Arts Desk)—she collaborates with leading orchestras worldwide. Berglund is Principal Guest Conductor of both Detroit Symphony Orchestra and Dresdner Philharmonie, having been appointed to each position following her respective debut.

admirers. However, modern scholars see it as a reference to the composer’s semi-suppressed love for Clara Schumann, citing Brahms’s statement in a letter to her: “I am also painting a lovely portrait of you; it is to be the Adagio.” Indeed, this movement is a very personal, intimate outpouring of beautiful music: reverent, song-like and interrupted only once by a passionate outburst.

Three themes—in D minor, F major, and B-flat major, respectively—alternate throughout the spirited closing rondo, whose rough humor shines through Brahms’s frowning visage. The second theme sounds like a variation of the first, while the third turns into a short fugato at the center of the movement. Following a lengthy solo cadenza (the first of two), the first theme is transformed into a jolly D-major march.

The DSO most recently performed Brahms’s First Piano Concerto in February 2023, conducted by Leonard Slatkin and featuring Garrick Ohlsson on piano. The DSO first performed this work in January 1922, conducted by Ossip Gabrilowitsch and featuring Richard Buhlig on piano.

Berglund commences the 2025–26 season with Dresdner Philharmonie’s season-opening concerts—her inaugural engagement as the orchestra’s new Principal Guest Conductor. Notable debut appearances across the season include Deutsches Symphonie-Orchester Berlin, Staatskapelle Berlin, Cincinnati Symphony Orchestra, St. Louis Symphony, hr-Sinfonieorchester Frankfurt, NDR Elbphilharmonie Orchester, and Sydney and Melbourne symphony orchestras, while return engagements include Dallas Symphony Orchestra, Gothenburg Symphony, Bergen Philharmonic Orchestra, Lahti Symphony Orchestra, Düsseldorfer Symphoniker,

Tonkünstler-Orchester

Niederösterreich, and Trondheim Symphony Orchestra. Among the highlights of Berglund’s second season in Detroit is a specially curated two-week Northern Lights Festival.

Berglund regularly collaborates with leading international soloists; recent and forthcoming partnerships include JeanYves Thibaudet, Hélène Grimaud, Pekka Kuusisto, Leila Josefowicz, Augustin Hadelich, Truls Mørk, Kirill Gerstein, Nicolas Altstaedt, Håkan Hardenberger, Alexander Malofeev, and Camilla Tilling, to name a few. Her 2025–26 programming reflects her breadth of repertoire interests, from Mozart and Schubert to Tchaikovsky, Scriabin, Mahler, Schoenberg, Bartók, and Lutosławski, among others, and continues her championing of Nordic compatriots such as Thorvaldsdottir, Sibelius, and Irgens-Jensen.

Recent engagements include the Los Angeles Philharmonic, Minnesota Orchestra, Houston Symphony, Tokyo Metropolitan Symphony Orchestra, Bamberger Symphoniker, GürzenichOrchester Köln, Royal Stockholm Philharmonic Orchestra, Philharmonia Orchestra, Orchestre de chambre de Paris, Polish National Radio Symphony Orchestra, and Iceland Symphony Orchestra, among others. Among Berglund’s past festival appearances are Festival Internacional de Música y Danza de Granada and Grafenegg, while recent opera and ballet productions include Mozart’s Le nozze di Figaro (Garsington Opera, 2024) and Tchaikovsky’s The Nutcracker (Norwegian National Opera and Ballet, 2024). In summer 2024, Berglund chaired the jury for the grand finale of the Eurovision Young Musicians competition, broadcast live on television throughout Europe via the major networks.

Berglund studied at the Norwegian Academy of Music, first as a cellist with Truls Mørk and later orchestral

conducting with Ole Kristian Ruud. She played regularly with the Oslo and Bergen Philharmonic orchestras, as well as the Trondheim Soloists, before conducting became her main focus. Her first titled position was as Principal Guest Conductor of Kristiansand Symphony Orchestra (2021–2024). Her debut CD, with Oslo Philharmonic and violinist Sonoko Miriam Welde, was released in 2021 (LAWO) and nominated for a Norwegian Grammy (Spellemann) in the 2022 Classical Music category.

HarrisonParrott represents Tabita Berglund for worldwide general management.

KIRILL GERSTEIN

Fascination

for musical discovery combined with boundless curiosity, imagination, and virtuosity have established Kirill Gerstein as one of today’s most prolific and compelling performers. As a pianist, curator, educator, musical leader, and artistic collaborator, his exploration of resonant themes across a vast spectrum of repertoire—from Baroque suites and Classical concerti to contemporary creations, jazz, and cabaret—has nourished relationships with many of the world’s leading orchestras, conductors, instrumentalists, singers, composers, festivals, recording labels, and media platforms.

Highlights of the past season include Gerstein’s Carnegie Hall/Stern Auditorium solo recital debut, marking Ferruccio Busoni’s centenary with performances of his Piano Concerto with the Berliner Philharmoniker, the Orchestre National de France, the BBC Symphony Orchestra, and the Gulbenkian Orchestra in Lisbon; Gershwin with the Staatskapelle Dresden on ZDF German national television’s traditional New Year’s Eve gala broadcast; the closing concert of the Musikfest Berlin performing Messiaen’s From the Canyons

to the Stars with Sir Simon Rattle; the Berg Kammerkonzert with Ilya Gringolts, Heinz Holliger, and Chamber Orchestra of Europe; Rachmaninoff’s Third Piano Concerto with Santtu-Matias Rouvali and the Royal Concertgebouw Orchestra; returns to Japan and Korea performing Brahms Second Piano Concerto; engagements with the orchestras of St. Louis, San Francisco, Pittsburgh, and Atlanta; a release on the ECM label of Chick Corea’s The Visitors with legendary vibraphonist, Gary Burton; a poignantly timely program with the Wiener Symphoniker pairing Schoenberg’s Ode to Napoleon with Beethoven’s “Emperor” Concerto followed by a satirical encore by Hanns Eisler; and an interdisciplinary project with the Ruhr Piano Festival uniting school children, renowned choreographers, scholars, and world music authorities around the music of Armenian priest, musicologist, and

composer, Vardapet Komitas.

Gerstein’s world premiere recording of Thomas Adès’ Concerto for Piano and Orchestra with the Boston Symphony Orchestra conducted by the composer was nominated for three GRAMMY Awards® and received the 2020 Gramophone Award. His recording of Adès’ The Tempest Suite, with violinist Christian Tetzlaff, was released on the Platoon label in 2025. A true champion of music of our time, Gerstein has commissioned and premièred new works by Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau, among others.

Gerstein currently serves as Professor of Piano at Berlin’s Hanns Eisler Hochschule and on the faculty of Kronberg Academy, and coaches at the Verbier Festival Academy and at IMS Prussia Cove.

ENRICO LOPEZ-YAÑEZ

Principal Pops Conductor

Devereaux Family Chair

DETROIT SYMPHONY ORCHESTRA

JADER BIGNAMINI , Music Director Music Directorship endowed by the Kresge Foundation

TERENCE BLANCHARD

Fred A. Erb Jazz Creative Director Chair

TABITA BERGLUND

Principal Guest Conductor

PVS CLASSICAL SERIES

Title Sponsor:

CARMINA BURANA

Friday, November 7, 2025 at 8 p.m.

Saturday, November 8, 2025 at 8 p.m.

Sunday, November 9, 2025 at 3 p.m. in Orchestra Hall

JADER BIGNAMINI, conductor

CHEN REISS, soprano

REGINALD MOBLEY, counter tenor ANDRZEJ FILOŃCZYK, baritone

AUDIVI, choir

INGRID MARTIN

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

DETROIT OPERA YOUTH CHORUS, children’s choir

Michael Abels Global Warming for Orchestra (b. 1962)

More Seasons

Intermission

Carl Orff Carmina Burana (1895–1982) Chen Reiss, soprano Reginald Mobley, countertenor Andrzej Filonczyk, baritone

Please note: This program will be recorded. Please help us create a positive recording experience by ensuring all devices are on silent.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

PROGRAM AT-A-GLANCE | CARMINA BURANA

Fortune Favors the Bold

The concert begins with a Michael Abels double feature: Global Warming and More Seasons. Written in response to increasing global tension in 1990, Global Warming has come to represent much more as our world has changed around us. More Seasons is “Vivaldi in a Mixmaster” as Abels reimagines the sensational Four Seasons with a modern take on Baroque themes. After intermission, the DSO is joined by a chorus to perform Carl Orff’s legendary Carmina Burana. Based on a medieval manuscript of the same name, Orff staged these fatefully found stories into an undeniably bold masterwork. O Fortuna!

PROGRAM NOTES

Global Warming for Orchestra

Composed 1990–91 | Premiered 1991

MICHAEL ABELS

B. October 8, 1962, Phoenix, AZ

Scored for 2 flutes, piccolo, 2 oboes (one doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 8 minutes)

Global Warming is a rhythmically vibrant work that weaves together African, Middle Eastern, and Western classical traditions. With driving ostinati, modal melodies, and colorful orchestration, the composition (written in 1990) is reflective of the warming of global cultural borders rather than ecological crisis. This work has had hundreds of performances in the last 30 years by orchestras ranging from high school and community orchestras to professional ensembles.

The DSO most recently performed Global Warming in November 2007, conducted by Laura Jackson. The DSO first performed this piece in February 1992, conducted by Leslie B. Dunner.

More Seasons

Composed 1999

MICHAEL ABELS

B. October 8, 1962, Phoenix, AZ

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, keyboard, and strings. (Approx. 12 minutes)

MoreSeasons is a witty and stylistically diverse homage to Vivaldi, blending Baroque conventions with jazz, blues, and funk idioms. Written for string orchestra, Michael Abels’s single-movement fantasia invites players to explore genre fusion with rhythmic precision and expressive variety. Early Baroque themes served in a late 20th-century puree.

The DSO previously performed More Seasons just once: in May 2024, conducted by Jader Bignamini.

Learn

more about Michael Abels in our feature story on page 10.

Carmina Burana

Composed 1936 | Premiered June 8, 1937

CARL ORFF

B. July 10, 1895, Munich, Germany

D. March 29, 1982, Munich, Germany

Scored for 3 solo voices (soprano, counter tenor, and baritone), a mixed choir, a children’s chorus, 3 flutes (two doubling piccolo) 3 oboes (one doubling English horn) 3 clarinets (one doubling bass clarinet, one doubling E-flat clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 pianos, celeste, and strings. (Approx. 1 hour)

In1803, a remarkable manuscript was discovered in a medieval Benedictine monastery at Beuren in southern Germany. The document was not a religious text, but rather a collection of secular songs and poems written by wandering students and minstrels during the 12th and 13th centuries. The verses, in Latin, Old French, and Middle-High-German, touched a broad range of topics. They satirized the clergy and nobility, celebrated the passing seasons, complained of poverty, greed and corruption, praised the pleasures of wine and song, and above all sang the joys and sorrows of love while expressing a fatalistic view of human destiny controlled by a “wheel of fortune.” By turns blatant and refined, the language of these poems reflected the varied backgrounds and social stations of their authors, and the verses revealed a freshness that is striking even today. They were published in 1847 under the title Carmina Burana (“Songs of the Beuren”). In 1935, they came to the attention of an obscure German composer named Carl Orff.

Orff is one of the more curious figures of 20th-century music. He received a solid if unremarkable musical training and, like

so many composers of his generation, absorbed the influence first of the German post-Romantics—particularly Strauss, the young Schoenberg and, later, Stravinsky. But his interests soon spread beyond the concerns of modern composition. During his 20s, he became involved with the theater and soon became fascinated with the idea, analogous to Wagner’s concept of the Gesamtkunstwerk (the “complete art work”), of combining the various arts to produce a spectacle whose total effect was greater than the sum of its parts. At about the same time, he developed a strong interest in early music, particularly that of the medieval and Renaissance periods. Finally, in 1924, he began an association with the dancer Dorothee Gunther and with her established an educational method aimed at “reviving the natural unity of music and movement.” Orff’s work in this area, and in early music education generally, continued for decades, resulting in the famous OrffSchulwerk, a teaching program using simple percussion instruments and rhythmic movement now widely used throughout the world.

Far from remaining isolated, these interests came together in a fascinating synthesis in Orff’s creative work. He sought new ways to dramatize concert music, presenting staged versions of oratorios and other pieces. His own compositions relied increasingly on modal melodies derived from medieval plainchant, and on the percussion instruments and simplicity of utterance that characterize Orff-Schulwerk. Orff plainly was searching for a vehicle by which to bring these disparate elements together in a telling and original way. He found it in Carmina Burana

Orff composed his setting of the Beuren monastery verses in 1935–36. Upon completing it, he wrote to his publisher: “Everything I have written to date . . . can be destroyed. With Carmina Burana, my collected works begin.”

The sound of Carmina Burana was virtually unprecedented. Its pounding, repetitive rhythms, simple motives, elemental harmonies, and huge orchestral sound blocks convey a pagan and orgiastic energy. In an audacious gambit, Orff deliberately abandoned Western music’s traditional techniques of counterpoint and thematic development in favor of deliberately primitive rhetoric.

Framing Carmina Burana is a massive chorus, “O Fortuna,” whose allusions to both happiness and woe, “power and poverty alike,” sets out a broad canvass of human experience to be filled by the intervening numbers. These are divided into three large sections. The first, “In Springtime,” is a hymn to reawakening nature and love. “In the Tavern” treats the pains and pleasures of hedonistic

PROFILES

For Jader Bignamini’s biography, see page 6.

CHEN REISS

Soprano Chen

Reiss has established an acclaimed career, enchanting audiences with “one of the most perfect Strauss voices one could wish for” (Classical Source). Recent highlights include the title role in Cavalli’s La Calisto at Teatro alla Scala, Ginevra ( Ariodante) at the Royal Opera House, and Liu (Turandot) with the Israel Philharmonic Orchestra. She gave performances of Mahler’s second and fourth symphonies with the Munich Philharmonic and Gustavo Dudamel, the Los Angeles Philharmonic and Zubin Mehta, the Royal Concertgebouw Orchestra and Daniele Gatti, and the Vienna Symphony Orchestra under Lahav Shani. She debuted with the Berlin Radio Symphony under Vladimir Jurowski, the Accademia Nazionale di Santa Cecilia under Antonio Pappano, the

abandon. “The Court of Love,” the work’s final section, celebrates love and sensuality.

Orff gained international attention with Carmina Burana. It has since become one of the most frequently performed modern choral works. — Paul Schiavo

The DSO most recently performed Carmina Burana in February 2014, conducted by Leonard Slatkin and featuring members of the Ann Arbor Youth Chorale and UMS Choral Union, Hugh Russell (baritone), Kiera Duffy (soprano), and Robert Baker (tenor). The DSO first performed this work in December 1960, conducted by Paul Paray and featuring members of the Rackham Symphony Choir, John Alexander (tenor), McHenry Boatwright (bass), and Virginia Babikian (soprano).

Berlin Philharmonic under Semyon Bychkovand, and the Filarmonica della Scala. Highlights of this season include concerts with the Israel Philharmonic, the SWR Symphonieorchester Stuttgart, the Tonhalle-Orchester Zurich, and Munich Philharmonic, as well as her debut with the National Symphony Orchestra of Washington, DC. Recent CD releases include Mahler’s Fourth Symphony (Pentatone), orchestral lieder and scenas by Fanny Hensel and Felix Mendelssohn, and a recording of Beethoven arias with the Academy of Ancient Music. Forthcoming releases include Schreker’s Vom ewigen Leben for Deutsche Grammophon with Christoph Eschenbach and the Konzerthausorchester Berlin. Accompanied by the Berlin Philharmonic and Sir Simon Rattle, she sang the soundtrack to Tom Tykwer’s film Perfume: The Story of a Murderer

REGINALD MOBLEY

GRAMMY®-nominated

American countertenor Reginald Mobley is globally renowned for his interpretation of baroque, classical, and modern repertoire, and leads a prolific career on both sides of the Atlantic. An advocate for diversity in music and its programming, Mobley became the first ever Programming Consultant for the Handel & Haydn Society. He also holds the position of Visiting Artist for Diversity Outreach with Apollo’s Fire and has recently been appointed as Artistic Advisor at the Portland Baroque Orchestra. In the United States, Mobley is a regular guest of the Philharmonia Baroque Orchestra, Early Music Vancouver, Bach Collegium San Diego, Agave, Seraphic Fire, and Washington Bach Consort, to name but a few. He has been invited to sing with the major US orchestras including Pittsburgh Symphony, New York Philharmonic, Washington National Symphony, Philadelphia (both chamber and symphony), Chicago Symphony, Los Angeles Chamber Orchestra, Minnesota Orchestra, Montreal Symphony, Houston Symphony, Jacksonville Symphony, and Orchestra of St. Luke’s (at Carnegie Hall). His first solo CD with ALPHA Classics was released in June 2023 to coincide with a major series of concerts at the Aix-en-Provence and BBC Proms festivals. The CD was since awarded the Opus Klassik Awards in the ‘Classics without limits’ category and the Edison Klassiek (Remarkable Classical category). His second recording, Solitude, a tribute to English baroque music and American melodies with theorbo/guitar and violone/doublebass will come out in the autumn of 2025.

ANDRZEJ FILOŃCZYK

Baritone Andrzej Filończyk completed studies at the Academy of Music in Wrocław under Bogdan Makal. He was a member of Polish National Opera’s Young Talents Program (under Eytan Pessen) and the International Opera Studio in Zürich. His many awards include First Prize at the Ninth International Stanisław Moniuszko Vocal Competition. Other appearances include Rossini’s Figaro in Il Barbiere di Siviglia (Zürich Opernhaus and The Bolshoi Theater Moscow) and Guglielmo Cecil in Maria Stuarda (Zürich Opernhaus), Silvio in Pagliacci (Teatro Regio di Turin and Royal Operahouse Covent Garden in London), Marcello in La bohème (Canadian Opera Company in Toronto), and Enrico Ashton in Lucia di Lammermoor (Teatro San Carlo). He recently sang Pagliacci in semi-staged form for NDR; Die tote Stadt (Bayerische Staatsoper) and La bohème at Royal Opera House; I puritani at Oper Frankfurt; Don Giovanni at Teatro San Carlo di Napoli and at Deutsche Oper Berlin; Il barbiere di Siviglia at Teatro dell’Opera di Roma, Opéra de Paris, Teatro Regio di Parma, and Rossini Opera Festival; La bohème at Teatro San Carlo and Teatro Real de Madrid; Don Pasquale at Royal Opera House and at Gran Teatre del Liceu; and L’Elisir d’amore at Bayerische Staatsoper. Other recent and upcoming highlights include his debut at the Wiener Staatsoper with Don Giovanni, Maria Stuarda at Teatro Real Madrid, and Don Carlo and Manon at Opéra Bastille.

THE ANNUAL FUND

received between September 1, 2024 and August 31, 2025.

The DSO is a proud, community-supported orchestra. Whether enjoying world-class performances in Orchestra Hall, picking up an instrument for the first time, or experiencing unforgettable music experiences in their own neighborhoods, your gift can transform lives and ignite imaginations across Detroit, Southeast Michigan, and beyond. From our leadership donors of the Gabrilowitsch Society, to our vital Governing Members, to the thousands of Friends who support the DSO each year, all donations are essential in ensuring that unforgettable music experiences thrive in our community for years to come. We extend special recognition to the following donors who contributed $1,500 or more to the Detroit Symphony Orchestra’s Annual Fund between September 1, 2024, and August 31, 2025. If you have questions about this roster, or would like to make a donation, please contact 313.576.5114 or visit dso.org/donate.

GIVING OF $250,000 & MORE

Penny & Harold Blumenstein

Julie & Peter Cummings

Ms. Leslie C. Devereaux◊

Mr. & Mrs. Stanley Frankel

Mary Lee Gwizdala

GIVING OF $100,000 & MORE

Mr. & Mrs.◊ Richard L. Alonzo

James & Patricia Anderson

Mr.◊ & Mrs. Raymond M. Cracchiolo

Joanne Danto & Arnold Weingarden

Mr. & Mrs. Phillip Wm. Fisher

GIVING OF $50,000 & MORE

Mr. & Mrs. Aaron Frankel

Mr. & Mrs. Ralph J. Gerson

Ric & Carola Huttenlocher

Mrs. Bonnie Larson

GIVING OF $25,000 & MORE

Mrs. Cecilia Benner

Mr. & Mrs.◊ Brian C. Campbell

Mrs. Marjory Epstein

Mr. Michael J. Fisher

Madeline & Sidney Forbes

Mrs. Martha Ford

Dale & Bruce Frankel

Ronald M. & Carol◊ Horwitz

William & Story John

Mr.◊ & Mrs. Norman D. Katz

Mr. Alan J. & Mrs. Sue Kaufman

Morgan & Danny Kaufman

LeFevre Family

Bud & Nancy Liebler

Linda Dresner & Ed Levy, Jr.

Mr. & Mrs. James B. Nicholson

Mr. & Mrs. David Provost

Barbara C. Van Dusen

Mary Ann & Robert Gorlin

The Polk Family

Bernard & Eleanor Robertson

Drs. David & Bernadine Wu

Paul & Terese Zlotoff

Nicole & Matt Lester

David & Valerie McCammon

Richard Sonenklar & Gregory Haynes Philanthropic Fund

Mr. & Mrs. Eugene A. Miller

Xavier & Maeva Mosquet

Sammy & David Nicholson

Ms. Ruth Rattner ◊

Mr. Jerome Salesin

Laura & Jimmy Sherman

Mr. & Mrs. Larry Sherman

Mr. & Mrs. Gary Torgow

Peter & Carol Walters

Mr.◊ & Mrs. Jonathan T. Walton

S. Evan & Gwen Weiner

Wolverine Packing Company

And one who wishes to remain anonymous

Dr. Lourdes V. Andaya

Janet & Norman Ankers

Pamela Applebaum

Drs. Brian & Elizabeth Bachynski

Ms. Therese Bellaimey

Drs. John ◊ & Janice Bernick

Dr. George & Joyce Blum

Elena Bogliani & Pietro Gorlie

Ms. Debra Bonde

Gwen & Richard Bowlby

Robert N.◊ & Claire P. Brown

Mr. & Mrs. Stephen Brownell

Michael & Geraldine Buckles

Sandra & Paul Butler

Ms. Elena Centeio & Tony R. Smith

Thomas W. Cook & Marie L. Masters

Ms. Elizabeth Correa

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer

Mr. & Mrs. Richard L. DeVore

Adel & Walter Dissett

Mr. Charles L. Dunlap & Mr. Lee V. Hart

Margie Dunn & Mark Davidoff

Dr. & Mrs. A. Bradley Eisenbrey

Margo & Jim Farber

Sally & Michael Feder

Amanda Fisher & Ben Hubert

Dr. Saul & Mrs. Helen Forman

Barbara Frankel◊ & Ronald Michalak

GIVING OF $5,000 & MORE

Mrs. Denise Abrash

Richard & Jiehan Alonzo

Dr. & Mrs. Joel Appel

Drs. Kwabena & Jacqueline Appiah

Pauline Averbach & Charles Peacock

Mrs. Jean Azar

Ms. Elizabeth Baergen

Ms. Ruth Baidas

Dr. David S. Balle

James A. Bannan

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Joseph Addison Bartush

W. Harold & Chacona W. Baugh

Mr. & Mrs. Martin S. Baum

Mr. & Mrs. Richard Beaubien

Mr. William Beluzo

Hadas & Dennis Bernard

Mr. & Mrs. Jeffrey A. Berner

Bill & Caitlin Beuche

Mr. Michael G. Bickers

Nancy & Lawrence Bluth

Timothy J. Bogan

Ms. Nadia Boreiko

The Honorable Susan D. Borman & Mr.

Stuart Michaelson

Mr. Anthony F. Brinkman

Ms. Kathy Burkhart

Lynn & Bharat Gandhi

Girolami Family Charitable Trust

Mr.◊ & Mrs. James A. Green

Mr. & Mrs. Darby Hadley

Mr. & Mrs. Robert Hage

Judy ◊ & Kenneth Hale

Mr. Sanford Hansell & Dr. Raina Ernstoff

Ms. Lori Harbour

Michael E. Hinsky & Tyrus N. Curtis

Mr.◊ & Mrs. Norman H. Hofley

Mr. & Mrs. Peter Hollinshead

Renato & Elizabeth Jamett

Mr. & Mrs. Richard J. Jessup

Lenard & Connie Johnston

Paul & Marietta Joliat

Betsy & Joel Kellman

Dr. David & Mrs. Elizabeth Kessel

Mr. & Mrs. Kosch

Mr. & Mrs. Joseph Lile ◊

Mrs. Sandra MacLeod

Dr. Stephen & Paulette Mancuso

Ms. Deborah Miesel

Dr. Robert & Dr. Mary Mobley

Cyril Moscow ◊

Geoffrey S. Nathan & Margaret E. Winters ◊

Mr. & Mrs. Albert T. Nelson, Jr.

Eric & Paula Nemeth

Jim & Mary Beth Nicholson

Dr. & Mrs. Roger C. Byrd

Richard Caldarazzo & Eileen Weiser

Philip & Carol Campbell◊

Steve & Geri Carlson

Mrs. Carolyn Carr

Mr.◊ & Mrs. François Castaing

Dr. Carol S. Chadwick & Mr. H. Taylor

Burleson

Ronald ◊ & Lynda Charfoos

The Cheresko Family Foundation

Dr. Betty Chu & Mr. Navot Shoresh

Mr. Fred J. Chynchuk

Dr. & Mrs. Bryan & Phyllis Cornwall

Patricia & William ◊ Cosgrove, Sr.

Mr.◊ & Mrs. Gary L. Cowger

Mr. & Mrs. Matthew P. Cullen

Dr. Edward & Mrs. Jamie Dabrowski

Deborah & Stephen D’Arcy Fund

Maureen T. D’Avanzo

Lillian & Walter Dean

Ms. Jane Deng

Dr. Anibal & Vilma Drelichman

Elaine C. Driker

Ms. Ruby Duffield

Mrs. Connie Dugger

Edwin & Rosemarie ◊ Dyer

Randall & Jill* Elder

Patricia & Henry Nickol◊

Gloria & Stanley Nycek

George & Jo Elyn Nyman

Debra & Richard Partrich

Kathryn & Roger Penske

Dr. Glenda D. Price

Dr. & Mrs. John Roberts

Dr. Erik Rönmark* & Mrs. Adrienne Rönmark*

Mr. Ronald Ross & Ms. Alice Brody

Martie & Bob Sachs

Peggy & Dr. Mark B. Saffer

Sandy Schreier

Elaine & Michael Serling

Lois & Mark Shaevsky

Mr. Steven Smith

Mr. Norman Silk & Mr. Dale Morgan

Dean P. & D. Giles Simmer

Dr. Doris Tong & Dr. Teck M. Soo

Mrs. Kathleen Straus & Mr. Walter Shapero

Mr. & Mrs. John Stroh III

Emily & Paul Tobias

Mr. James G. Vella

Ms. Mary Wilson

Lucia Zamorano, M.D.

And two who wish to remain anonymous

Mr. Lawrence Ellenbogen

Ms. Laurie Ellias & Mr. James Murphy

Ms. Emily Elmer & Mr. Andrew Lerma

Mr. & Mrs. John M. Erb

Fieldman Family Foundation

John & Karen Fischer

Ms. Joanne Fisher

Dorothy A. & Larry L. Fobes

Ms. Linda Forte & Mr. Tyrone Davenport

Dr. & Mrs. Franchi

Mr. & Mrs. Andrew Frick

Kit & Dan Frohardt-Lane

Mr.◊ & Mrs. Richard M. Gabrys

Myndi & Alan Gallatin

Mrs. Janet M. Garrett

Mr. Max Gates

Ambassador Yousif B. Ghafari & Mrs. Mara Kalnins-Ghafari

Mr. & Mrs. James Gietzen

Keith & Eileen Gifford

Dr. & Mrs. Theodore Golden

Ms. Jacqueline Graham

Dr. Herman & Mrs. Shirley Mann Gray

Ms. Chris Gropp

Leslie Groves & Joseph Kochanek

Ms. Gail Haines

Robert & Elizabeth Hamel

Thomas & Kathleen Harmon

Cheryl A. Harvey

Ms. Barbara Heller

Eric Hespenheide & Judith Hicks

Mr. Donald & Marcia Hiruo

Mr. Matthew Howell & Mrs. Julie Wagner

William Hulsker & Aris Urbanes

Larry & Connie Hutchinson

Jane Iacobelli

Mr. & Mrs. A. E. Igleheart

Dr. Raymond E. Jackson & Dr. Kathleen

Murphy

Mr. John S. Johns

Mr. George G. Johnson

Paul & Karen Johnson

Carol & Rick Johnston

Connie & Bill Jordan

Mr. & Mrs. Steven Kalkanis

Diane ◊ & John Kaplan

Judy & David Karp

Mike & Katy Keegan

Mrs. Frances King

Mrs. Janice King

Dr. & Mrs. Edward L. Klarman

Mr. & Mrs. Ludvik F. Koci

Dr. Sandy Koltonow & Dr. Mary Schlaff

Ms. Susan Deutch Konop

Douglas Korney & Marieta Bautista

James Kors & Victoria King

Robert & Laurie Kunz

Mrs. Maria E. Kuznia

Dr. & Mrs. Gerald Laker

Mr. David Lalain & Ms. Deniella

Ortiz-Lalain

Dr. Raymond Landes & Dr. Melissa McBrien-Landes

Drs. Lisa & Scott Langenburg

Bill & Kathleen Langhorst

Ms. Sandra Lapadot

Nina Dodge Abrams

Mr. & Mrs. Joel Adelman

William Aerni & Janet Frazis

Mr. Juan Alvarez

Mr. & Mrs. Robert L. Anthony

Mr. Thomas Basile

Robyn Bollinger* & Dane Lighthart*

Rud ◊ & Mary Ellen Boucher

Don & Marilyn Bowerman

Mr. & Mrs. Mark R. Buchanan

Jason Bucholz & Lee Kirtley

Dr. Robert Burgoyne & Tova Shaban

Mr.◊ & Mrs. Robert J. Cencek

Mr. Andrew Christians

Dr. & Mrs. Robert Clark

Mr. William Cole & Mrs. Carol Litka Cole

Dr. & Mrs. Charles G. Colombo

Mr. & Mrs. Brian G. Connors

Mr. & Mrs. David Conrad

Ms. Joy Crawford* & Mr. Richard Aude

Phyllis & Kevin Cullen

Mrs. Barbara Cunningham

Ms. Joyce Delamarter

Michelle Devine & Brian Mahany

Dr. Lawrence O. Larson

Max Lepler & Rex L. Dotson

Mr. & Mrs. Robert K. Leverenz

Drs. Donald & Diane Levine

Mr. & Mrs. Richard Lewnau

Mr. John Lovegren & Mr. Daniel Isenschmid

Bob & Terri Lutz

Daniel & Linda Lutz

Mr. & Mrs. Winom J. Mahoney

Cis Maisel

Mr. Sean Maloney & Mrs. Laura Peppler-Maloney

Maurice Marshall

Mr. Anthony Roy McCree

Patricia A.◊ & Patrick G. McKeever

Dr. & Mrs. David Mendelson

Dr. Susan & Mr. Stephen* Molina

Mr. & Mrs. Daniel E. Moore

Ms. Jennifer Muse

Ms. Jacqueline Paige & Mr. David Fischer

Mr. & Mrs. Randy G. Paquette

Mr. David Phipps & Ms. Mary Buzard

William H. & Wendy W. Powers

Charlene & Michael Prysak

Mrs. Anna M. Ptasznik

Drs. Stuart & Hilary Ratner

Drs. Yaddanapudi Ravindranath & Kanta

Bhambhani

Mr. & Mrs. Dave Redfield

Mr. & Mrs. Gerrit Reepmeyer

Mr. & Mrs. Jon Rigoni

Ms. Patricia Rodzik

Michael & Susan Rontal

Mr. Wm. Christopher Sachs

Mr. David Salisbury & Mrs. Terese Ireland

Salisbury

Marjorie Shuman Saulson

Ms. Martha A. Scharchburg & Mr. Bruce Beyer

Mr. & Mrs. Donald & Janet Schenk

Shirley Anne & Alan Schlang

Joe & Ashley Schotthoefer

Mrs. Rosalind B. Sell

Carlo & Nicole Serraiocco

Robert & Patricia Shaw

Mr. Martin Sher*

Shiv Shivaraman

Mr. & Mrs. Matthew Simoncini

William & Cherie Sirois

Michael E. Smerza & Nancy Keppelman

Mr. Michael J. Smith & Mrs. Mary C. Williams

Ms. Susan Smith

Charlie & John Solecki

Peter & Patricia Steffes

Dr. Gregory Stephens

Mr. JT Stout

Mr. & Mrs.◊ John Streit

David Szymborski & Marilyn Sicklesteel

Joel & Shelley Tauber

Dr. & Mrs. Howard Terebelo

Dr. Barry Tigay

Alice ◊ & Paul Tomboulian

Yoni & Rachel Torgow

Tom & Laura Trudeau

Mrs. Eva von Voss

Mr. William Waak

Mr. Michael Walch & Ms. Joyce Keller

Richard P. Walter & Carol A. Walter

Mrs. Judith Weiner

Beverly & Barry Williams

Dr. & Mrs. Ned Winkelman

Ms. Andrea L. Wulf

Dr. Sandra & Mr. D. Johnny Yee

Mr. & Mrs. Wesley Yee

Ms. Ellen Hill Zeringue

And two who wish to remain anonymous

Dr. & Mrs. Thomas Ditkoff

Ms. Marla Donovan

Paul◊ & Peggy Dufault

Mr. Jay Fishman

Amy & Robert Folberg

Mr. & Mrs. Calvin Ford

Ms. Laurie Frankel

Mr. George Georges

Stephanie Germack

Thomas M. Gervasi

Mr. Joseph & Mrs. Lois Gilmore

Dr. Kenneth ◊ & Roslyne Gitlin

Ms. Jody Glancy

Judie Goodman & Kurt Vilders

Dr. William & Mrs. Antoinette Govier

Dr. Darla Granger & Mr. Luke Ponder

Diane & Saul Green

Dr. Robert Greenberger

Anne & Eugene Greenstein

Sharon Lopo Hadden

Dr. & Mrs. Razmig Haladjian

Mr. & Mrs. Robert Holcomb

James Hoogstra & Clark Heath

Dr. Karen Hrapkiewicz

Jean Hudson

Carolyn & Howard Iwrey

Mr. & Ms. Charles Jacobowitz

Lucy & Alexander* Kapordelis

Carole Keller

Bernard & Nina Kent Philanthropic Fund

John Kim & Sabrina Hiedemann

Mr. & Mrs. Norman R. King

Aileen & Harvey Kleiman

Tom ◊ & Beverly Klimko

Mr. & Mrs. Robert Koffron

Barbara & Michael Kratchman

Mr. Michael Kuhne

Mr. & Mrs. Robert LaBelle

Deborah Lamm

Ms. Anne T. Larin

Arlene & John Lewis

Mr. Steven L. Lipton

David & Clare Loebl

Mr. & Mrs. Eugene LoVasco

Mr. & Mrs. Charles W. Manke, Jr.

Barbara J. Martin

Dr. & Mrs. Peter M. McCann, M.D.

Ms. Mary McGough

Ms. Kristen McLennan

Steve & Brenda Mihalik

Lynn & Randall Miller

Mr. & Mrs. Robert S. Miller

H. Keith Mobley

Dr. Van C. Momon, Jr. & Dr. Pamela Berry

Eugene & Sheila Mondry Foundation

Ms. Sandra Morrison

Mr. Frederick Morsches & Mr. Kareem

George

Megan Norris & Howard Matthew

Mr. & Mrs. Arthur T. O’Reilly

Mr. Tony Osentoski & Mr. David Ogloza

Ken & Geralyn Papa

Mark Pasik & Julie Sosnowski

Priscilla & Huel Perkins

Peter & Carrie Perlman

Ms. Alice Pfahlert

Mr. Steven Read

Mr. & Mrs. William A. Reed

Dr. Claude & Mrs. Sandra Reitelman

Denise Reske

Mr. & Mrs. John Rieckhoff

Ms. Rochelle Riley

Ms. Marilyn Rodzik

Mr. James Rose

Mr. & Mrs. Robert B. Rosowski

Sandy ◊ & Alan Schwartz

Mr. Jeffrey S. Serman

Shapero Foundation

Bill* & Chris Shell

Dr. Les Siegel & Ellen Lesser Siegel

Ralph & Peggy Skiano

Ms. Dhivya Srinivasan

Shirley R. Stancato

Daniel & Tracey Stavale

Mrs. Andreas H. Steglich

Nancy C. Stocking

Dr. & Mrs. Gerald Stollman

Danielle Susser

Dr. Neil Talon

Mr. Rob Tanner

Mr. & Mrs. Harry Thomalla

Barbara & Stuart Trager

Barbara & Steve Tronstein

Charles ◊ & Sally Van Dusen

Mr. Gary Van Elslander

Gerald & Teresa Varani

Ms. Caren Vondell

Mr. Patrick Webster

Rissa & Sheldon Winkelman

Mr. William Wonfor & Ms. Kathy White

Ms. Gail Zabowski

And two who wish to remain anonymous

TRIBUTE GIFTS

Gifts received – February 15 to August 31, 2025

Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts, & family programming. For information about making a tribute gift, please call 313.576.5114 or visit dso.org/donate.

In Honor

Hayden Anders

Paula Durbuow

Dr. George & Joyce Blum

Mr. and Mrs. Michael Leib

Joanne Danto

Aviva & Dean

Friedman

Dr. & Mrs. Richard S. Schwartz

Mr. Phillip Wm. Fisher

Joanne Danto and Arnold Weingarden

Ms. Amanda Fisher & Mr. Ben Hubert

Mr. Frederick Morsches

& Mr. Kareem George

In honor of their wedding and support of the initiatives of the Anne Parsons Leadership Fund

Shari Burgess

Ms. Joy Crawford* & Mr. Richard Aude

Maureen T. D’Avanzo

Ms. Christina Dragone

Carol A Friend

Joyce Hayes Giles

Ric & Carola

Huttenlocher

Mr. Shane Pliska and Mr. Karl Lievense

Mrs. Bonnie Larson

Linda and Bob Michaels

Franz Morsches

Conny Owen

Patrick Owen

Tom and Linda Platt

Carol & Larry Pliska

Nancy Rands Realty, Inc.

Ms. Susan Sherbow

Silvia Sims

Ms. Candace Stuart

Buzz Thomas

Jack Horner*

Mr. and Mrs. Thomas C. Cook

David LeDoux

Mr. and Mrs. Jerry LeDoux

Faye Alexander Nelson

Mr. Lane Coleman

Sammy & David

Nicholson

Mr. and Mrs. William A. Bernstein

Mr. and Mrs. Robert Bury

John Cannon

Mr. Jonathan Colman

Tasha Downey

Mr. & Mrs. David Fischer

Jeffrey Frost

Mr. & Mrs. Andrew Goodrich

Mr. and Mrs. Brad Gregory

Joe Kaiser

Mr. Douglas Krizanic

Dean Larson

Patrick Mansfield

Mr. and Mrs. Gary Marowske

Mr. & Mrs. Eugene A. Miller

Mr. and Mrs. Jerry Norcia

John Ottaway

David Philips

Dr. and Mrs. Louis D. Saravolatz

Mary Shank

Mr. Allan Schlumberger

Mr. and Mrs. Robert I. Schostak

Sandy◊ & Alan Schwartz

Mr. and Mrs. Richard R. Widgren

Mr. and Mrs. Paul Vantol

Christine and David Provost

Maureen T. D’Avanzo

Mrs. Rosalind B. Sell

Ms. Mary Brady

Emily Sheffer

The Doug Sheffer Family

Dean Simmer

Roland Andreasson

The Viola Section of the DSO

Marc Haxer

Mary Wilson

Ann McIlvain

Mrs. Lynn E. Adams

Ms. Aimee Anderson

Dr. & Mrs. Gary S. Assarian

Mr. & Mrs. William C. Babbage

Drs. Richard & Helena Balon

Dr. Jeffrey D. Band & Mrs. Meredith Weston-Band

Mr. & Mrs. David W. Berry

Mr. & Mrs. John Bishop

Ms. Terry Book

Mr. Larry Brown & Mrs. Marilynn Silberman

Mr. & Mrs. Richard Burstein

Ms. Paula Cole

Mr. & Mrs. David Colman

Catherine Compton

Gordon & Elaine Didier

Diana & Mark Domin

Mr. Howard O. Emorey

Burke & Carol Fossee

Mr. Paul Glantz

Mr. & Mrs. Matthew Goodman

Mr. Henry Grix & Mr. Howard Israel

Mr. Jay Brown

Mr. Chad McDaniels

Carol Ann Campbell

Mr. and Mrs. Robert B. Clement

Ilene Kahn

Marilyn Johnson

Annette Dooley Winger

Amy Zimmerman

Barbara Ann David

Neil & Ro Schilke

Dr. Robert Erbes

Linda and Jim Barry

Spencer Felix & Derrick Garner

Ms. Lynda-Anne Cash

Maurine K. Fisher (19071995)

Michael J. Fisher

John Gleeson

Linda Asciutto

Dr. Gerald “Jerry” Grossman

Ms. Christine Peck

Joyce DuPont Herron

Alice Bakalis

Nancy Moss

Jennifer Schied

Susan Nanette Jacques Board of Uplift Milford

Catherine Jewell

Chris and Carol Brown

Charles and Lisa Crouch

Larry Larson

George Pariseau

Dana Powell

Dr. Susan Harold

Mrs. Andrea Harral

Mr. & Mrs. Mark R. High

Sally Ingold

James Jacob

Mrs. & Mr. Clara Jenkins

Mr. & Mrs. Gerd H. Keuffel

Elissa & Daniel Kline

Mr. & Mrs.◊ Gregory Knas

Mr. Robert Kosinski

Mr. & Mrs. Charles Laurencelle

Mr. Daniel Lewis

Mr. & Mrs. Arthur Liss

Clara & Federico Mariona

Ms. Nancy McGunn

Camille & Ian McLeod

Ms. Evelyn Micheletti

Carolyn & J. Michael Moore

Mr.◊ & Mrs. George Nicholson

Mrs. Ruth Nix

Anne Parsons ◊ & Donald Dietz

Mr. & Mrs. Mark H. Peterson

In Memory

Peter Kalakailo, Jr

Ms. Karen Brichford

Mr. Kelly Brown

Carolyn Danielson

Ms. Ellen M. Demray

Jeffrey Ghioto

Ms. Joann Kefalas

Mr. Jerry McKindles

Jim & Terrye Mock

Ron & Joanne Nosek

The St. Paul’s Girls

Vera Kalnins

Gerson Family Foundation

Mr. and Mrs. Gary Eubanks

Mrs. Michele Munkarah

John & Nada Ghafari

Leonard A. Karle III

Dr. Diane K. Karle

Frank Martilotti

Trudy Sharpe

Karen McCoy

Karen & Jerry Jennings

Martha Yost Newcomer

Mrs. Virginia Bennett

Eric Hampton

Ms. Karen Ruddy

Susan Zoma

William “Bill” Panzer

Danielle Leff

Friends of William Panzer

Laurie Myers

Couzens, Lansky, Fealk, Ellis, Roeder & Lazar, P.C.

Salvatore Rabbio*

Lynn Mayers

Mr. and Mrs. Thomas G. Marchesano

Nancy Nuss

Mr. Frank Polasek

Mr. & Mrs. Rodney Rask

Ms. Libby Robinson

Mr. and Mrs. John Rohrbeck

Brian & Toni Sanchez-Murphy

Ms. Rosemarie Sandel

Ms. Joyce E. Scafe

Dr. and Mr. Joyce R. Schomer

Ms. Sandra Shetler

Ms. Polly Tan

Ruth & Mark Theobald

Mr. & Mrs. Krister Ulmanis

Mr. & Mrs. Paul Vantol

Dennis & Jennifer Varian

Dr. & Mrs. Thomas E. Verhelle

Dr. Elliot & Mrs. Wendy Wagenheim

Ms. Janet Weir

Ms. Joan Whittingham

Mr. & Mrs.◊ Richard Wigginton

Mr. Robert S. Williams & Ms. Treva Womble

Cathy Cromer Wood

Ruth Rattner

Mrs. Julie August

Julie Buch

Mrs. Ann Fishman

Mrs. Eleanore Gabrys

Mr. and Mrs. Steve Goodman

Ms. Barbara Heller

Mr. Jeffrey Hollinshead

Dr. & Mrs. Joseph Jacobson

Mr.◊ & Mrs. Norman D. Katz

Dr. and Mrs. Steven Klein

Mr. and Mrs. Mark Lewis

Mr. and Mrs. Todd Sachse

Sandy Schreier

Cynthia Shaw

Marc Siegel

Mr. Marc Sussman

Ms. Mary Nave

Mr. Howard Weinberger

S. Evan & Gwen Weiner

Mrs. Lisa Weisman

Theresa Valasco

Ms. Sharon Zimmerman

Mr. and Mrs. Richard Zussman

Shelley Schwaderer

Roland

D and Laura Hamilton

Elizabeth A. Seurynck

Shanda Lowry Sachs

Leonard & Bonita Schemm

Nancy Smith

SAGE Publications, Inc.

Carrie Lyn StewartGulan

Robin Chan

Susan O’Brien

Clune Walsh

Ms. Beverly Curtiss

Jennifer Lynn Whitteaker

Joe Barone

Ms. Heather Betts

Anderson Eckstein & Westrick Inc

The Fanning Family

Julie Flory

Mark Gaworecki

Joy Girvan

David Harwood

Pamela Headley

Erin Hottel

Julie Jozwiak

Ms. Debbie Keith

Jason Knepper

Dawn M. Moffitt

Nancy J. Moody

Mr.◊ & Mrs. John Osler

Oakland County Association of Township Supervisors

Michael C. Robbins

The City of Royal Oak

Esther Sanabria

Mila Sarsozo

Ms. Michelle Sarsozo

Veronica Sherwood

Nancy Sizer

Eileen Lopez Tome

Domonique

And two who wish to remain anonymous *Current DSO Musician or Staff

Washington-McNish

Donald E. Whitteaker

Robert & Jean

Whittaker

Mrs. Ciara Yates

Mr. Douglas Ziemnick

CORPORATE,

FOUNDATION, AND GOVERNMENT GIVING

Giving of $500,000 & more

SAMUEL & JEAN FRANKEL FOUNDATION

THE STATE OF MICHIGAN

Giving of $200,000 & more

EMORY M. FORD JR. ENDOWMENT FUND

Giving of $100,000 & more

PAUL M. ANGELL FAMILY FOUNDATION

MARVIN & BETTY DANTO FAMILY FOUNDATION

Giving of $50,000 & more

William Randolph Hearst Foundation

Masco Corporation Milner Hotels Foundation

Donald R. Simon & Esther Simon Foundation Myron P. Leven Foundation

Giving of $20,000 & more

Detroit Pistons

MGM Grand Detroit

Eleanor & Edsel Ford Fund

Honigman LLP

Strum Allesee Family Foundation

Jack, Evelyn, & Richard Cole Family Foundation

Comerica Incorporated

Applebaum Family Philanthropy

The Cassie Foundation

Coffee Express Roasting Company

Benson & Edith Ford Fund

Sieg Dunlap Foundation

Enterprise Holdings Foundation EY

Japan Business Society of Detroit Foundation

Stone Foundation of Michigan

Wolverine Packing

Mandell & Madeleine Berman Foundation

Giving of $10,000 & more

Geoinge Foundation

Richard & Jane Manoogian Foundation

Oliver Dewey Marcks Foundation

Penske Foundation, Inc.

Karen & Drew Peslar Foundation

Giving of $5,000 & more

James & Lynelle Holden Fund Hylant Group

Marjorie & Maxwell Jospey Foundation

Mary Thompson Foundation

Giving of $1,000 & more

Dolores & Paul Lavins Foundation

Ludwig Foundation Fund

Michigan First Credit Union Plante Moran

Taft Law

Young Woman’s Home Association

Burton A. Zipser & Sandra D. Zipser Foundation

Renaissance (MI) Chapter of the Links

Sun Communities Inc.

HUB International

Sigmund and Sophie Rohlik Foundation

Samuel L. Westerman Foundation Anonymous

Louis & Nellie Sieg Foundation

The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year.

Mrs. Katana H. Abbott*

Mr. Joseph Aviv

Mr. Christopher Ballard*

Ms. Jessica B. Blake, Esq.

Ms. Rebecca J. Braun

Mr. Timothy Compton

Ms. Wendy Zimmer Cox*

Mr. Robin D. Ferriby*

Mrs. Jill Governale*

Mr. Henry Grix*

Mrs. Julie Hollinshead, CFA

Mr. Mark W. Jannott, CTFA

Ms. Jennifer Jennings*

Ms. Dawn Jinsky*

Mrs. Shirley Kaigler*

Mr. Robert E. Kass*

Mr. Christopher L. Kelly

Mr. Bernard S. Kent

Ms. Yuh Suhn Kim

Mrs. Marguerite Munson Lentz*

Mr. J. Thomas MacFarlane

Mr. Christopher M. Mann*

Mr. Curtis J. Mann

Mrs. Mary K. Mansfield

Mr. Mark E. Neithercut*

Mr. Steve Pierce

Ms. Deborah J. Renshaw, CFP

Mr. James P. Spica

Mr. David M. Thoms*

Mr. John N. Thomson, Esq.

Mr. Jason Tinsley*

Mr. William Vanover

Mr. William Winkler

*Executive Committee Member

CELEBRATING YOUR LEGACY SUPPORT

BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans.

Ms. Doris L. Adler ◊

Dr. & Mrs. William C. Albert

Mr. & Mrs. Robert A. Allesee ◊

Dr. Lourdes V. Andaya

Mr. & Mrs. Eugene Applebaum ◊

Dr. Augustin & Nancy ◊ Arbulu

Mr. David Assemany & Mr. Jeffery Zook

Ms. Sharon Backstrom

Stephanie Baer Fricker

Sally & Donald Baker

Mr. Mark G. Bartnik & Ms. Sandra J. Collins

Stanley A. Beattie

Mr. Melvyn Berent & Ms. Barbara Spreitzer-Berent

Mr. & Mrs. Mandell L. Berman ◊

Virginia B. Bertram ◊

Mrs. Betty Blair ◊

Ms. Rosalee Bleecker

Mr. Joseph Boner

Gwen & Richard Bowlby

Mr. Harry G. Bowles ◊

Mr. Charles Broh ◊

Mr. Lawrence Brown

Mrs. Ellen Brownfain

William & Julia Bugera

CM Carnes

Dr. & Mrs.◊ Thomas E. Carson

Cynthia Cassell, Ph. D.

Eleanor A. Christie

Ms. Mary F. Christner

Mr. Gary Ciampa

Robert & Lucinda Clement

Drs. William ◊ & Janet Cohn

Lois & Avern Cohn ◊

Mrs. RoseAnn Comstock◊

Mr. Scott Cook, Jr.

Mr. & Ms. Thomas Cook

Dorothy M. Craig ◊

Mr. & Mrs. John Cruikshank

Julie & Peter Cummings

Joanne Danto & Arnold Weingarden

Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer

Ms. Leslie C. Devereaux ◊

Mr. John Diebel◊

Mr. Stuart Dow ◊

Mr. Roger Dye ◊ & Ms. Jeanne

A. Bakale

Mr. & Mrs. Robert G. Eidson ◊

Marianne T. Endicott

Ms. Dorothy Fisher ◊

Mrs. Marjorie S. Fisher ◊

Mr. & Mrs. Phillip Wm. Fisher

Dorothy A. & Larry L. Fobes

Samuel & Laura Fogleman

Mr. Emory Ford, Jr.◊ Endowment

Dr. Saul & Mrs. Helen Forman

Barbara Frankel ◊ & Ron Michalak

Herman & Sharon Frankel

Mrs. Rema Frankel ◊

Jane French ◊

Mark & Donna Frentrup

Alan M. Gallatin

Janet M. Garrett

Dr. Byron P.◊ & Marilyn Georgeson

Jim & Nancy Gietzen

Mr. Joseph & Mrs. Lois Gilmore

Victor & Gale Girolami ◊

Ruth & Al Glancy ◊

David & Paulette Groen

Mr. Gerald Grum ◊

Rosemary Gugino

Mr. & Mrs. William Harriss

Donna & Eugene ◊ Hartwig

Gerhardt A. Hein ◊ & Rebecca

P. Hein

Ms. Nancy B. Henk◊

Joseph L. Hickey ◊

Mr.◊ & Mrs. Thomas N. Hitchman

Ronald M. & Carol◊ Horwitz

Andy Howell

Carol Howell ◊

Paul M. Huxley & Cynthia Pasky

David & Sheri Jaffa

Mr. and Mrs. Renato Jamett

Mr. & Mrs. Thomas H. Jeffs II

Mr. & Mrs. Richard J. Jessup

Mr. George G. Johnson

Lenard & Connie Johnston

Mr. and Mrs. Richard Johnston

Carol M. Jonson

Drs. Anthony & Joyce Kales

Faye & Austin ◊ Kanter

Norb ◊ & Carole Keller

Dr. Mark & Mrs. Gail Kelley

June K. Kendall◊

Dimitri ◊ & Suzanne Kosacheff

Douglas Koschik

Mr. & Mrs. Arthur J. Krolikowski ◊

Mary Clippert LaMont ◊

Ms. Sandra Lapadot

Mrs. Bonnie Larson

Ann C. Lawson ◊

Leslie Jean Lazzerin

Allan S. Leonard

Max Lepler & Rex L. Dotson

Dr. Melvin A. Lester ◊

Mr. & Mrs. Joseph Lile ◊

Eugene & Jeanne LoVasco

Harold Lundquist ◊ & Elizabeth Brockhaus Lundquist

Eric & Ginny Lundquist

Roberta Maki

Eileen ◊ & Ralph Mandarino

Judy Howe Masserang

Mr. Glenn Maxwell

Ms. Elizabeth Maysa ◊

Mary Joy McMachen, Ph.D.

Judith Mich ◊

Rhoda A. Milgrim ◊

Mr. & Mrs. Eugene A. Miller

John & Marcia Miller

Jerald A. & Marilyn H. Mitchell

Mr.◊ & Mrs. L. William Moll

Ms. I. Surayyah R. Muwwakkil◊

Joy & Allan Nachman

Geoffrey S. Nathan & Margaret E. Winters ◊

Beverley Anne Pack

David & Andrea Page ◊

Mr. Dale J. Pangonis

Ms. Mary Webber Parker ◊

Mr. David Patria & Ms. Barbara Underwood ◊

Mrs. Sophie Pearlstein ◊

Helen & Wesley Pelling ◊

Dr. William F. Pickard ◊

Mrs. Bernard E. Pincus

Ms. Christina Pitts

Mrs. Robert Plummer ◊

Mr. & Mrs. P. T. Ponta

Mrs. Mary Carol Prokop ◊

Ms. Linda Rankin & Mr. Daniel Graschuck

Mr. & Mrs. Douglas J. Rasmussen

Ms. Elizabeth Reiha ◊

Deborah J. Remer

Mr. & Mrs. Lloyd E. Reuss ◊

Barbara Gage Rex ◊

Ms. Marianne Reye ◊

Lori-Ann Rickard

Katherine D. Rines

Bernard & Eleanor Robertson

Ms. Barbara Robins ◊

Jack & Aviva Robinson ◊

Mr. and Mrs. John Rohrbeck

Mr. & Mrs. Gerald F. Ross ◊

Mr. & Mrs.◊ George Roumell

Marjorie Shuman Saulson

Ruth Saur Trust

Mr. & Mrs. Donald and Janet Schenk

Ms. Yvonne Schilla

David W. Schmidt ◊

Mr. & Mrs. Fred Secrest ◊

Mr. & Mrs. Robert L. Shaffer ◊

Patricia Finnegan Sharf ◊

Ms. Marla K. Shelton

Edna J. Shin

Ms. June Siebert

Mr. & Mrs. Donald R. Simon ◊

David & Sandra Smith

Ms. Marilyn Snodgrass ◊

Mrs. Margot Sterren ◊

Mr.◊ & Mrs. Walter Stuecken

Mr.◊ & Mrs. Alexander C. Suczek

David Szymborski & Marilyn Sicklesteel

Alice ◊ & Paul Tomboulian

Roger & Tina Valade

Barbara C. Van Dusen

Charles ◊ & Sally Van Dusen

Mr. & Mrs. Melvin VanderBrug

Mr. & Mrs. George C. Vincent ◊

Mr. Sanford Waxer ◊

Christine & Keith C. Weber

Mr. Herman Weinreich ◊

John ◊ & Joanne Werner

Mr.◊ & Mrs. Arthur Wilhelm

Mr. Robert E. Wilkins ◊

Mrs. Michel Williams

Ms. Nancy S. Williams ◊

Mr. Robert S. Williams & Ms. Treva Womble

Ms. Barbara Wojtas

Elizabeth B. Work◊

Dr. Melissa J. Smiley & Dr. Patricia A. Wren

Dr. & Mrs. Clyde Wu ◊

Ms. Andrea L. Wulf

Mrs. Judith G. Yaker

Milton & Lois Zussman ◊

And six who wish to remain anonymous

FORD PIQUETTE AVENUE PLANT

Birthplace of the Model T

A NATIONAL HISTORIC LANDMARK

461 Piquette

5 minutes from Orchestra Hall

PUBLIC HOURS

Visit Henry Ford’s original Model T factory built in 1904. Stroll through automotive history at your own pace, or take a guided tour led by museum historians. You’ll learn the amazing story of how Ford revolutionized manufacturing and put the world on wheels. Get up close to more than 65 rare automobiles and T trucks, see Ford’s office, find unique gifts, or host your special event in this landmark building. For private and group tour information, call (313) 872-8759

Wednesday to Sunday 10 am – 4 pm

Closed Holidays

Private tours and school fi eld trips are available Mondays and Tuesdays upon request.

Optional guided tours at 10 am, Noon & 2 pm

ADMISSION

Adults: $20

Seniors (65+) and Veterans: $18

Students (with ID)/Youth: $10

Children (4 & under): Free

Group Tours (15+ guests): $15 ea.

YOUR EXPERIENCE AT THE MAX

Our Home on Woodward Avenue

The Max M. and Marjorie S. Fisher Music Center is one of Detroit’s most notable cultural campuses. The Max includes three main performance spaces: historic Orchestra Hall, the Peter D. and Julie F. Cummings Cube (The Cube), and Robert A. and Maggie Allesee Hall, plus our outdoor green space, Sosnick Courtyard. All are accessible from the centrally located William Davidson Atrium. The Jacob Bernard Pincus Music Education Center is home to the DSO’s Wu Family Academy and other music education offerings. The DSO is also proud to offer The Max as a performance and administrative space for several local partners.

Parking

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $12 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that accessible parking spaces go quickly, so please arrive early!

Valet parking is also available for all patrons (credit card payment only), and a golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.

What Should I Wear?

You do you! We don’t have a dress code, and you’ll see a variety of outfit styles. Business casual attire is common, but sneakers and jeans are just as welcome as suits and ties. Please reference page 51 for our bag policy.

Food and Drink

Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and plated dinner options are available in the Paradise Lounge on the second floor. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes.

Patrons are welcome to take drinks to their seats at all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.

Accessibility

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER 3711 Woodward Avenue Detroit, MI

Box

Visit the DSO online at dso.org For general inquiries, please email info@dso.org

Accessibility matters. Whether you need ramp access for your wheelchair or are looking for sensory-friendly concert options, we are thinking of you.

• The Max has elevators, barrier-free restrooms, and accessible seating on each level. Security staff are available at all entrances to help patrons requiring extra assistance in and out of vehicles.

• The DSO’s Sennheiser MobileConnect hearing assistance system is available for all performances in Orchestra Hall. You can use your own mobile device and headphones by downloading the Sennheiser MobileConnect app, or borrow a device by visiting the Box Office.

• Available at the Box Office during all events at The Max, William Davidson Neighborhood Concert Series venues, and chamber recitals, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a person with a sensory processing difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance at The Max.

• A golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.

• Check out the Accessibility tab on dso.org/ yourexperience to learn more

WiFi

Complimentary WiFi is available throughout The Max. Look for the DSOGuest network on your device. And be sure to tag your posts with #IAMDSO!

Shop DSO Merchandise

Visit shopdso.org to purchase DSO and Civic Youth Ensembles merchandise anywhere, anytime!

The Herman and Sharon Frankel Donor Lounge

Governing Members can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact friends@dso.org.

Gift Certificates

Gift certificates are available in any denomination and may be used towards tickets to any DSO performance. Please contact the Box Office for more information.

Rent The Max

Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rentals or call 313.576.5131 for more information.

POLICIES

BAG POLICY

For the safety of our patrons, musicians, staff, volunteers and vendors, we have implemented the following policies:

• All bags entering DSO facilities are subject to inspection.

• No backpacks, large/duffel bags, large purses, and suitcases are permitted. Purses, medical bags, diaper bags, and medical devices smaller than 14” x 14” x 6” are allowed.

• There is no storage available for bags that do not adhere to the above standards.

• No weapons or disruptive materials are allowed on DSO property.

SEATING

Please note that all patrons (of any age) must have a ticket to attend concerts.

If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS

n All sales are final and non-refundable. n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options.

n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns.

n The DSO is a show-must-go-on orchestra. In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.

PHONES

Your neighbors and the musicians appreciate your cooperation in turning your phone to silent and your brightness down while you’re keeping an eye on texts from the babysitter or looking up where a composer was born!

PHOTOGRAPHY & RECORDING

We love a good selfie for social media (please share your experiences using @DetroitSymphony and #IAMDSO) but remember that having your device out can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos or videos. Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

NOTE: By entering event premises, you consent to having your likeness featured in photography, audio, and video captured by the DSO, and release the DSO from any liability connected with these materials. Visit dso.org for more.

SMOKING

Smoking and vaping are not allowed anywhere in The Max.

To report an emergency during a concert, immediately notify an usher or DSO staff member. If an usher or DSO staff member is not available, please contact DSO Security at 313.576.5199

The Fine Instrument Collection of the Detroit Symphony Orchestra

The Larson Piano, a Steinway Model D Concert Grand Piano, handmade in the New York Steinway Factory. Currently played by guest pianists. Contributed to the DSO in 2023 by Bonnie Larson.

David Tecchler cello, made in 1711 referred to as “The Bedetti” after a previous owner (Dominicus Montagna 1711). Currently played by Wei Yu, DSO Principal Cello. Contributed to the DSO in 2018 by Floy and Lee Barthel.

J.B. Guadagnini viola, made in 1757 (Joannes Baptifta Guadagnini Pia centinus fecit Mediolani 1757). Currently played by Eric Nowlin, DSO Principal Viola. Contributed to the DSO in 2019 by donors who wish to remain anonymous.

ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

Erik Rönmark

President and CEO

James B. and Ann V. Nicholson Chair

Jill Elder

Chief Revenue Officer

Martin Sher

Chief Artistic & Operating Officer

Joy Crawford

Administrative Assistant

Carol Davis

Executive Assistant

Anne Parsons ◊ President Emeritus

ARTISTIC OPERATIONS

ARTISTIC PLANNING

Ian Kivler

Senior Director of Artistic Planning

Jessica Slais

Creative Consultant for Popular & Special Programming

Stephen Grady Jr.

Program Manager, Popular & Special Programming

Jacquelynn Wealer Artistic Coordinator

LIVE FROM ORCHESTRA HALL

Marc Geelhoed

Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS

Kathryn Ginsburg

Vice President and General Manager

Patrick Peterson

Orchestra Manager

Dennis Rottell

Stage Manager

Andrew Williams Director of Orchestra Personnel

Laura Scales

Production Manager

Benjamin Tisherman Manager of Orchestra Personnel

ADVANCEMENT

Alex Kapordelis Vice President, Strategic Philanthropy

Ali Huber

Director of Donor Engagement

Dane Lighthart

Director of Individual Giving

Cat Lockman

Director of Institutional Partnerships and Strategic Giving

Zach Suchanek

Associate Director of Annual Giving

Alex Anderson Manager of Advancement Events

Francesca Leo DeLouis

Manager of Governance & Donor Engagement

Courtney Gonzales Institutional Giving Specialist

Elizabeth McConnell Major Gift Officer

Tarajee Moore Donor Communications Specialist

Samantha Taylor Manager of Institutional Giving

Amanda Tew Major Gift Officer

BUILDING OPERATIONS

Ken Waddington

Senior Director of Facilities & Engineering

Nykrum Bell Chief Engineer

Demetris Fisher Manager of Environmental Services (EVS)

William Guilbault EVS Technician

Robert Hobson Chief Maintenance Technician

Aaron Kirkwood EVS Lead

Anthony Lindsey EVS Technician

Daniel Speights EVS Technician

EVENT AND PATRON EXPERIENCE

Christina Williams Senior Director of Event & Patron Experience

Neva Kirksey Manager of Events & Rentals

Alison Reed, CVA Manager of Volunteer & Patron Experience

COMMUNICATIONS

Sarah Smarch Director of Content & Storytelling

Natalie Berger Manager of Multimedia Brand Content

LaToya Cross Communications & Advancement Content Specialist

Hannah Engwall Elbialy Public Relations Manager

Marisa Jacques Coordinator of Public Relations

LEARNING AND ENGAGEMENT

Karisa Antonio Vice President of Social Innovation & Learning

Damien Crutcher Director of Detroit Harmony

Debora Kang Director of Education

Clare Valenti Director of Engagement

Kiersten Alcorn Manager of Program Accessibility

Chris DeLouis

Manager of Student Development

Erin Faryniarz

Detroit Harmony Partnerships Coordinator

Claire Eileen Hall Coordinator of Engagement Operations

Bronwyn Hagerty Library & Programs Manager

Samuel Hsieh Coordinator of Learning Operations

Kendra Sachs Manager of Learning & Engagement

FINANCE

Tanisha Hester Accountant

Sophie Lall Accounting Clerk Assistant

Sandra Mazza Senior Accountant of Business Operations

Claudia Scalzetti Staff Accountant

HUMAN RESOURCES

Hannah Lozon Vice President of Talent & Culture

Angela Stough Director of Human Resources

Sharon Tse Director of Culture & Inclusion

Severina Oliver HR Specialist

INFORMATION TECHNOLOGY

William Shell Senior Director of Information Technology

Patrick Harris Systems Administrator

Michelle Koning Web Manager

Aaron Tockstein Database Administrator

MARKETING & AUDIENCE DEVELOPMENT

Kelly Striewski Vice President of Marketing & Patron Experience

Connor Mehren Director of Growth Marketing

Juliana Nahas Director of Loyalty Marketing

Sharon Gardner Carr Tessitura Event Operations Manager

Jay Holladay Brand Graphic Designer

LaHeidra Marshall

Direct Marketing Manager

Thomas Monks Loyalty Marketing Manager

Declan O’Neal

Marketing & Promotions Coordinator

Kristin Pagels Quinlan Digital Advertising Manager

Grace Venner

Manager of Growth Marketing

PATRON SALES & SERVICE

Michelle Marshall Director of Patron Sales & Service

Valerie Jackson Group Sales Representative

James Sabatella

Group & Tourism Sales Manager

Chantel Woodard

Manager of Patron Sales & Service

SAFETY & SECURITY

George Krappmann Director of Safety & Security

Johnnie Scott Safety & Security Manager

Willie Coleman Security Officer

Joyce Dorsey Security Officer

Tony Morris

Security Officer

Eric Thomas

Security Officer & Maintenance Technician

UPCOMING CONCERTS & EVENTS

NOVEMBER

CYE CIVIC YOUTH ENSEMBLES EXPERIENCE AND SHOWCASE CONCERT NOV 2

PVS CLASSICAL SERIES CARMINA BURANA NOV 7—9

PVS CLASSICAL SERIES BIGNAMINI CONDUCTS MOZART AND BEETHOVEN

NOV 14—15

PNC POPS SERIES THE BILLY JOEL SONGBOOK NOV 21—23

TERENCE BLANCHARD: MALCOLM X JAZZ SUITE DEC 5

BIGNAMINI CONDUCTS MOZART AND BEETHOVEN NOV 14—15

DECEMBER

TRISHA YEARWOOD DEC 19

PVS CLASSICAL SERIES ROMANTIC TREASURES: BRUCH & BRAHMS DEC 4—7

PARADISE JAZZ SERIES TERENCE BLANCHARD: MALCOLM X JAZZ SUITE DEC 5

TINY TOTS KRIS JOHNSON GROUP

DEC 6

FAMILY WINTER WONDERLAND DEC 6

SPECIAL EVENT LOVE ACTUALLY

DEC 10

PNC POPS SERIES HOME FOR THE HOLIDAYS

DEC 12—14

SPECIAL EVENT HOLIDAY BRASS DEC 18

SPECIAL EVENT TRISHA YEARWOOD

DEC 19

SPECIAL EVENT HOME ALONE

DEC 20—21

& INFO

Featuring U-M Jazz Faculty

Ed Sarath, trumpet

Ellen Rowe, piano

Dennis Wilson, trombone

Robert Hurst, bass

Andrew Bishop, tenor sax

Andy Milne, piano

Daniel Pinilla, guitar

by

by

Scotty Barnhart

With

Directed by Dennis Wilson

And special guests

Carla Cook, guest vocalist

Nandi Comer, Former Michigan

Poet Laureate (BA ’01, English & Spanish)

Mark Stryker, Master of Ceremonies

October 24, 2025, 8pm

Power Center for the Performing Arts

Reserved Seating (fees included) $40 / $34 / $16 Student Tickets

Directed

Directed

Scotty Barnhart

The Whitney, a 130-year-old Romanesque-style mansion, stands as one of the last great mansions to grace Woodward Avenue. Before your next show, or whenever the urge hits you, come visit. From the welcoming reception you’ll receive, the exquisite cuisine and refined cocktails you’ll enjoy, and the timeless ambience you’ll experience, you’ll feel like you’ve stepped back in time.

Pre-Concert Dining, Post-Concert Desserts and Cocktails, Sunday Brunch or Afternoon Tea — it’s an experience you won’t forget.

4421 Woodward Avenue, Detroit | 313 832 5700 |