Co-presented with Philharmonic Society of Orange County
Vivaldi’s Four Seasons
Avi Avital, mandolin and leader Estelí Gomez, soprano
Sunday, November 10, 2024 | 3PM
Pre-concert lecture by Classical KUSC’s Brian Lauritzen | 2PM Soka Performing Arts Center at Soka University of America
Featured Performers
Philharmonia Baroque Orchestra
Violin
Manami Mizumoto, cm
Isabelle Seula Lee, p2
Elizabeth Blumenstock
Jolianne Einem
Lisa Grodin
Katherine Kyme
Carla Moore
Maxine Nemerovski
Noah Strick
Viola
Aaron Westman*
Maria Caswell
Ellie Nishi
Cello
William Skeen, bc
Clara Abel
Eva Lymenstull
Double Bass
Kristin Zoernig, bc
Theorbo
Kevin Payne, bc
Harpsichord
David Belkovski, bc
cm Concertmaster
* Principal p2 Principal 2nd Violin bc Basso Continuo
PROGRAM
ANTONIO VIVALDI
Concerto in G minor for Strings and Basso Continuo, RV 156
I. Allegro
II. Adagio
III. Allegro
VENETIAN TRADITIONAL
Si’, la gondola avere’, no crie
VENETIAN TRADITIONAL
Cara la mia Ninetta
VENETIAN TRADITIONAL
L’occasion delle mie pene
ANTONIO VIVALDI
Concerto Op. 8, No. 1 in E major, RV 269, “Spring”
I. Allegro
II. Largo
III. Allegro
VENETIAN TRADITIONAL
In fin che’l tempo è bello
VENETIAN TRADITIONAL
Semplicetta è la farfalla
ANTONIO VIVALDI
Concerto Op. 8, No. 2 in G minor, RV 315, “Summer”
I. Allegro
II. Adagio
III. Presto
-- INTERMISSION --
ANTONIO VIVALDI
Aria der Megacle “Lo seguitai felice” from L’Olimpiade
ANTONIO VIVALDI
Concerto Op. 8, No. 3 in F major, RV 293, “Autumn”
I. Allegro
II. Adagio molto
III. Allegro
VENETIAN TRADITIONAL
Chi no ga la borsa grossa
VENETIAN TRADITIONAL
Co’ Checca, Betta e Catte
ANTONIO VIVALDI
Concerto Op. 8, No. 4 in F minor, RV 297, “Winter”
I. Allegro non molto
II. Largo
III. Allegro
Italian Text & Translations
Si’, la gondola avere’, no crie Instrumental
Cara la mia Ninetta
Cara la mia Ninetta
so che ti ga un zardin che no’ ti l’à fittà se ti me vol son quà se ti me vol son quà per lavorarlo
Mi fon un zardinier che sé far el mestier per ti el faro di cuor so quel che parlo per ti el faro de cuor so quel che parlo.
L’occasion delle mie pene
L’occasion de le mie pene ti xe ancora mia Ninetta e la cara mia diletta ti xe stada e ti sarà.
Femo pase anema mia femo pase mio tesoro al mio sen dona ristoro abbandona crudeltà.
So anca mi che son stà ingrato infedel, e de più ancora ma te zuro sarò grato a quel sesto ch’inamora. Che da ti dolce mia bella non vòi sdegno ma pietà.
Senti come in selva in monte pase dise ogni arboretto pase in valle, pase in fonte pase canta ogni oseletto
My darling Ninetta
I know that you have a garden
That you haven’t tended If you want me I am here
If you want me I am here to work on your garden
I am a gardener who knows how to do the job
For you I will do it heartily I know what I am talking about
For you I will do it heartily I know What I am talking about.
The source of my sorrows
Is you, again, oh my Ninetta My dear beloved You were and you shall be.
Let us make peace, my soul
Let us make peace, my darling
Give solace to my chest, Abandon all cruelty.
I too know that I have been ungrateful Unloyal, and even more
But I swear to you that I will be grateful To that feeling that makes one fall in love. That from you my sweet beauty I do not want scorn but pity.
Listen how in the woods, or mountain
Every little tree says pass through
Pass through in the valley, pass through in the spring
Every little bird sings pass through
In fin che’l tempo è bello
Infin che’l tempo è belo andemo a far bordelo, andemo a ciassizar, puti galanti; no stemo a consumar più el tempo a smorosar, che’l fruto de l’amor xe pene e pianti; andemo a ciassizar, puti galanti.
Godemo l’alegria, la dolçe compagnia; no stemo a sospirar più per ste pute; le xe da misurar tute su un brazzolar, che d’un istesso umor za le xe tute; no stemo a zavariar più per ste pute.
Le xe tute furbete tute maliziosete; de fame delirar le à per natura; lassemole pur star, no stemo a tarocar, za de belezza el fior passa e no dura; de fame delirar le à per natura.
Semplicetta è la farfalla
Semplicetta è la farfalla, gira e poi si cala contro un lume a incenerir. Così il semplice mio core raggirando a un chiaro adore sottoposto è di perir.
As long as the weather is beautiful We go to make a mess, We go to make noise, You gallant men; Let us not waste Time flirting, Since the fruit of love Is pains and cries; We go to make noise, You gallant men.
We enjoy cheerfulness, Sweet company; We are no longer yearning For these young women; Need to be measured All in the same manner, That they are all already Of the same nature; Let us not argue Anymore about these young women.
They are all clever They malicious; Making me delirious Is due to their nature Leave them alone, Let’s not argue, The flower of beauty already Passes by and does not last; Making me delirious Is natural
The butterfly is simple, It turns and then goes down To be burned against a light. In that way my simple heart Turning around a clear passion Is bound to perish.
Chi no ga la borsa grossa
Chi no ga la borsa grossa, tropi ciassi no pol far. Ghe vol zechini, no pochetini, quando de tuto se vol gustar.
Mi che so piu tosto indrio come mai posso ciassar? Alegramente zoga la zente; za andarò stagno, me vòi provar.
Lassè pur; mi no me perdo de coragio gnanca un sia. Vòi torme spasso e far del ciasso co pochi bezzi tuto l’istà.
Co’ Checca, Betta e Catte
Co’ Checca, Betta e Cate sedemo fedel mio sollazzo è per un dio, senz’ esserghe un badile, senz’ esserghe un badil
He who does not have deep pockets, Cannot make a ruckus. One requires money, And not just small change, When one wants To taste everything.
I am not rich How can I make a ruckus? Happily People play; I will proceed with caution And try myself.
Let it go; I do not lose myself Of courage not even a little. I am going to enjoy myself And make noise With little means All the time.
With Checca, Betta and Cate
We sit loyal My pleasure is for one day, Without being boring Without being bored
Venice, Music & Vivaldi
Antonio Vivaldi lived in Venice during one of the first great periods of artistic preoccupation with fashion—a development that both helped and hindered him. The prospect of fame probably urged Vivaldi to step beyond his comfortable life as a teacher at the Pio Ospedale della Pietà (one of four Venetian orphanageconservatoires), but the same shifts in taste saw him fall quickly from taste, even if his proto-Romantic flair for placing a higher, other-worldly value on his musical expressions proved way ahead of its time.
Like the city of Venice itself, Vivaldi possessed something of a supernatural aura induced by a combination of remarkable talent and striking looks (in his case red hair). Some describe the so-called Red Priest as a philanderer. While that is difficult to quantify or prove, the composer was certainly not averse to self-promotion. He was, in fact, a down-right boast. But he was also plagued by poor health throughout his life (a mystery illness that was probably asthma) and died destitute while attempting to revive his ailing career in Vienna.
The city of Venice, Vivaldi’s birthplace, has instilled itself in the collective consciousness and is somehow familiar even to those of us who have never been there— largely thanks to film, literature, painting, even travel brochures and news reports. Much of that is due to the city’s proliferation of water. That water necessitates boats —specifically, gondolas: flatbottomed rowing boats that were
first used in Venice in the eleventh century and have been associated with the city ever since.
Before long, the gondoliers who both propelled and steered these boats with skillful use of a single oar, started to sing. Most of their songs, which together assumed the genre title ‘barcarolle’, are anonymous. Many parodied known styles and even languages. But the purpose wasn’t simply to while away stressful shifts on the choppy lagoon and entertain passengers. Often, barcarolles were sung in costume at staged events during Venetian festivals or boat parties. Sometimes, small orchestras the size of which Vivaldi would have known would accompany them.
The singing of the Venetian gondoliers was apparently inspired by the proliferation of opera in the city (Vivaldi may be chiefly remembered as a composer of instrumental concertos, but for many years he was the city’s most successful opera composer). In his dictionary of music, the writer Jean Jacques Rousseau noted that the songs of the gondoliers were often simplified versions of operatic arias, and spilled over into popular culture following the demise of baroque Italian opera in the city after 1750. Gondoliers were allowed into theaters for free, so there was no shortage of inspiration.
Tonight’s leader and soloist Avi Avital has made a speciality of using these traditional Venetian songs to contextualize music by the baroque composers from the city whom we
are used to hearing in concert. Many of the songs of the gondoliers were charming and bawdy. Others were more introspective or touching. In this selection by Avi that weaves its way around music by Vivaldi, there are examples of both. The operatic DNA of a song like ‘Si’, la gondola avere’, no crie is obvious. It may have been based on an aria by Johann Adolph Hasse, a German composer who had moved to Venice to work. His name is also associated with ‘L’occasion delle mie pene’ and ‘Semplicetta è la farfalla’. One of the best known traditional gondolier songs is ‘Chi no ga la borsa grossa’ brims with the bawdy character that the gondolier community displays even to this day.
Concerto for Strings and Basso
Continuo in G minor, RV 156 ANTONIO VIVALDI
Born March 4, 1678, Venice
Died July 28, 1741, Vienna
The orchestral concerto—a piece in which one or more solo instruments is accompanied by an ensemble—would never be the same after Vivaldi got his hands on it. As both teacher and composer, Vivaldi developed the concerto beyond recognition, inviting new instruments into its fraternity and laying foundations upon which legions of successors would build. Vivaldi’s elevated treatment of the orchestral component of a concerto joined with his formidable violin technique to make him the most influential composer of his generation. Syncopations, seamless shifts from major to minor and unusual intervals are among
his stylistic hallmarks.
Vivaldi was largely responsible for making the idea of ‘contrast’ the lifeblood of a concerto. The composer wrote over 500 concertos from the early 1700s, excelling when it came to matters of contrast between the soloists and the ‘tutti’, between music fast and slow, and between musical moods from the joyous and excitable to the pensive and melancholy. He did all this by hitting upon new ideals of virtuosity that would last for centuries.
Before the solo concerto gained a foothold after 1710, a concerto might well have specified no soloist at all. The word ‘concerto’ simply implied dynamism and contrast: a musical dialogue founded on competition and rivalry as well as concord and common purpose within an instrumental group.
Vivaldi’s String Concertos or ‘concerti a quattro’—he wrote over forty throughout his career—don’t call for specific solo contributions and are probably best considered forerunners to the symphony rather than the solo concerto. In other words, they adopt and develop musical material, discussing it in two fast movements either side of a brief slow interlude.
This ensemble concerto by Vivaldi is in the stormy key of G minor. In the opening movement, the rhythmically emphatic violins sing passionately over a bass line that descends alluringly through semitones or ‘half-notes’. After a reflective Adagio, the music
of the final movement surges energetically upwards.
Aria der Megacle “Lo seguitai felice” from L’Olimpiade
ANTONIO VIVALDI
Vivaldi purported to have written 94 operas, though only 22 have survived. His claims to be a superlative operatic composer seem to be supported by historical fact: in the second half of the composer’s life, when really got into his operatic stride, the city of Venice staged more operas by Vivaldi than by any other composer.
One of them was L’Olimpiade, first seen on February 17th, 1734 at the Teatro Sant’Angelo in Venice. It is a tragicomedy which uses as its setting, appropriately for this Olympic year of 2024, an Olympic Games staged in the Greek city of Sicyon. Whoever wins the overall Olympiad will win the princess Aristea’s hand in marriage. The man who truly loves Aristea, Licida, hires a far superior athlete, Megacle, to compete under his identity. Megacle, however, is already Arista’s lover (unbeknownst to Licida).
‘Lo seguitai felice’ is an aria sung by Megacle—originally a countertenor (a male singing falsetto)—who frets over his friendship with Licida and its conflict with his love for Aristea. ‘I followed him in happiness…and I wish to follow him still,’ sings Megacle in the aria, worrying that ‘misfortunes shall uncover a false friend’s true heart.’ The florid vocal runs and patterned sequences
suggest Megacle’s mental torment, only exacerbated by the music’s ratcheting up through keys—all devices Vivaldi used, to just as thrilling effect, in his instrumental concertos.
Violin Concertos Op. 8, Nos. 1-4, The Four Seasons ANTONIO VIVALDI
The most famous concertos of all Vivaldi’s—indeed, of the entire baroque era—are the first four in Vivaldi’s set labeled Opus 8, a collection published as ‘The Contest of Harmony and Invention’. We know them, of course, as The Four Seasons.
These short concertos rank alongside Stravinsky’s The Rite of Spring and Beethoven’s Symphony No 5 for the way in which they prompted new thinking about music’s capabilities. They have had musicologists chewing over vital points of aesthetic philosophy for three hundred years and counting.
The crux of the issue was musical description. If you’ve ever wondered how a composer can describe specific human interactions or states of mind in an orchestral work without recourse to setting words, then you’re thinking on the very questions that were occupying Vivaldi in the early 1720s.
By now Vivaldi was working in Mantua and had already written dozens of violin concertos— including the one already heard tonight —prompted by the fact that he was probably the best violinist
on the planet. But the composer was itching to explore something more: to attempt the depiction of particular landscapes and scenes (in this case, the earth’s cycle of seasons) in music that would also convey specifics of human behavior. The principle of concerto form, one soloist playing opposite a bigger ensemble, would be preserved throughout.
Vivaldi had set himself quite a challenge, but he’d also hit upon an idea that a lot of music theorists didn’t like. So-called ‘programmatic music’ existed before, but it was seen by some as inferior and regressive. Vivaldi was determined to prove that descriptive music could be sophisticated, intricate, and virtuosic enough to be taken seriously – and that it could advance the cause of the concerto at the same time. With his unequaled gift for orchestral color and melody, if anyone could do it, Vivaldi could.
The structural thinking behind Vivaldi’s The Four Seasons was that each movement—twelve in all (three per season)—would establish a certain mood, against which narrative events could then play out. When it came to the detail of those occurrences—barking dogs, drunken dancers, buzzing insects— Vivaldi delivered elegance and originality where other composers had barely moved beyond crude animal-noise clichés. Just listen, in the final movement of ‘Winter’, for Vivaldi’s portrayal of a man skidding across ice using descending octaves on the second violins and violas. In the same concerto, the
soloist and lower strings conjure what one Vivaldi expert has called ‘fireside warmth’ while violins depict icy rain falling outside.
It was generally accepted at the time that Vivaldi wrote music with flair while his colleague Arcangelo Corelli crafted with elegance. What we hear in The Four Seasons is that Vivaldi could actually do both: he could combine his sense of virtuosity with constant outpourings of melody and orchestral color while underpinning it all with a sound structural foundation.
All Vivaldi would have wanted you to know about the music was some idea of the narrative context in which it was written. For this reason, he published sonnets with each concerto, sketching out in words the stories he was trying to tell in each movement.
La Primavera (Spring)
Spring has come and the birds greet it with happy song. Then, shrouding the air with a black cloak, come lightning and thunder; when these are silent, the little birds return to their incantations.
And now, to the soft murmur of leaves and plants, the goat-herd sleeps.
To the festive sound of a pastoral pipe, nymphs and shepherds dance, greeting the glittering arrival of Spring.
L’Estate (Summer)
In the harsh season scorched by the sun, man and flock languish, and the pine is on fire; the cuckoo calls and soon after, the turtledove and the goldfinch. The west wind gently blows, but the north wind contests it, and the little shepherd weeps with fear.
To his tired limbs rest is denied by the fear of lightning, thunder and the furious swarm of flies and hornets.
Alas, his fears are justified. The sky is filled with thunder and lightning and hail cuts down the proud again.
L’Autunno (Autumn)
The peasant celebrates the happy harvest with dances and songs; inflamed by the liquor of Bacchus, many end their rejoicing with sleep.
The mild air invites all to the sweet delights of peaceful sleep.
The hunters set forth with horns, guns and hounds. Already frightened and tired by the great noise of guns and hounds, the wounded animal dies.
L’Inverno (Winter)
Trembling with cold amidst the freezing snow, running and stamping one’s feet and feeling one’s teeth chatter from the extreme cold.
Spending contented days by the fire whilst the rain outside drenches
hundreds.
Walking cautiously on ice with slow steps, spinning around, slipping, falling down, running until the ice splits; hearing all the winds at war burst forth from bolted doors – this is winter, but it brings joy.
Program notes by Andrew Mellor © 2024
PHILHARMONIA BAROQUE ORCHESTRA & CHORALE
Philharmonia Baroque Orchestra & Chorale presents audiences throughout the world with performances that capture the spirit, style, and distinctive sound of early music history. Recognized as “America’s leading historically informed ensemble” (The New York Times), The ensemble performs on period-specific instruments, presenting repertoire ranging from early Baroque to late Romantic, as well as new works and major operatic productions. The ensemble engages audiences through its signature Bay Area series, national and international tours, recordings, commissions, and education programs. Philharmonia was founded by Laurette Goldberg, led by Music Director Laureate Nicholas McGegan for 35 years, and Richard Egarr for the last 4 years. The 2024/25 season introduces four candidates to be Philharmonia’s next Music Director.
Philharmonia’s musicians are leaders in historical performance and serve on the faculties of The Juilliard School, San Francisco Conservatory of Music, and Stanford University. The organization regularly welcomes eminent guest artists including countertenors Tim Mead and Anthony Roth Costanzo, violoncellist Steven Isserlis, and maestros John Butt and Kristian Bezuidenhout. Philharmonia enjoys artistic collaborations with The Juilliard School, Dunedin Consort, and the American Modern Opera Company (AMOC), and appears
regularly at Lincoln Center, Norfolk Chamber Festival, and Tanglewood. In 2020, Philharmonia presented a fully-staged, reimagined production of Handel’s Aci, Galatea e Polifemo directed by Christopher Alden and featuring countertenor Anthony Roth Costanzo, bass-baritone Davóne Tines, and soprano Lauren Snouffer in eight sold out performances. Following seasons continued with fully-staged productions of Handel works Radamisto and Amadigi di Gaula.
Among the most recorded orchestras in the world, Philharmonia boasts a discography of nearly 50 recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson in Berlioz’s Les Nuits D’été, and a GRAMMY®-nominated recording of Haydn symphonies. In 2020, Philharmonia released three groundbreaking recordings: a full collection of commissioned works by Pulitzer Prize winner Caroline Shaw, a selection of arias sung by rising star contralto Avery
Amereau, and Handel’s Saul with countertenor Aryeh Nussbaum Cohen.
Philharmonia’s Jews & Music series has taken audiences on journeys of discovery of Jewish themes that have emerged across music and visual art over time, curated by Jews & Music Scholar in Residence Francesco Spagnolo.
ESTELÍ GOMEZ SOPRANO
Praised for her “clear, bright voice” (New York Times) and “artistry that belies her young years” (Kansas City Metropolis), soprano Estelí Gomez is quickly gaining recognition as a stylish interpreter of early and contemporary repertoires. In January 2014 she was awarded a GRAMMY® with contemporary octet Roomful of Teeth, for best chamber music/small ensemble performance; in November 2011 she received first prize in the Canticum Gaudium International Early Music Vocal Competition in Poznan, Poland. Estelí can be heard on the soundtrack of Lena Dunham’s 2022 film Catherine Called Birdy, Seattle Symphony’s 2017 recording of Nielsen’s Symphony No. 3, on the first track of Silkroad Ensemble’s GRAMMY®-winning 2016 album Sing Me Home, and on Roomful of Teeth’s self-titled debut album, for which composer Caroline Shaw’s Partita was awarded the 2013 Pulitzer Prize.
Highlights of the season include recording a Spanish translation of Handel’s Messiah with Bach
The organization also presents SESSIONS, an intimate and casual series that presents guided tours of music, social political history, and art. In the 2024/25 season, SESSIONS presents “Bach in Bengal,” a cross-genre performance that skillfully weaves Baroque themes with Indian classical music, hosted by Composer in Residence Tarik O’Regan.
Collegium San Diego; the world premiere of chamber opera Dreams Have No Borders in Ashland, OR; solo appearances with Orchestra Iowa, Madison Bach Musicians, Spire Chamber Ensemble, Sheboygan Symphony, and the Early Music Latin America Festival in El Paso TX; performances at the Washington National Cathedral, Cathedral Church of the Advent Birmingham, and Epiphany Parish of Seattle; artist residencies at Avaloch Farms, University of Oregon Eugene, and UNC Greensboro; and concerts at the Barbican and Baryshnikov Arts Center, with additional tours
throughout Europe, with Roomful of Teeth. Roomful’s third studio album, Rough Magic, received two GRAMMY® nominations for 2024.
Estelí teaches at Lawrence University as assistant professor of voice, in addition to continuing her work as a performer. Originally from Watsonville, California, Estelí received her Bachelor of Arts with
AVI AVITAL MANDOLIN AND LEADER
The first mandolin soloist to be nominated for a classical GRAMMY®, Avi Avital has been compared to Segovia for his championship of his instrument and to Heifetz for his incredible virtuosity. The driving force behind the reinvigoration of the mandolin, he has reshaped the history and the future of his instrument. He has expanded mandolin repertoire through transcriptions and by commissioning over 100 works, with concertos by Higdon, Clyne, Dorman & Sollima.
Highlights of the 2024/25 season include Minnesota Orchestra, Colorado Symphony, Orchestre National des Pays de la Loire, Freiburg Barockorchester, Philharmonia Baroque, Venice Baroque and il pomo d’oro. He performs with Sebastian Wienand, Ksenija Sidorova, Omer Klein and Brooklyn Rider and returns to Cadogan & Wigmore Hall London, Philharmonie Berlin, Konzerthaus Dortmund, Alte Oper Frankfurt, Aula Magna Sapienza Rome, Amici
honors in music from Yale College, and Master of Music from McGill University, studying with Sanford Sylvan. She is also a proud member of Beyond Artists, a coalition of artists who donate a percentage of their concert fees to organizations they care about. She is currently donating to RAICES and the Texas Civil Rights Project.
della Musica Florence, Auditorio Nacional Madrid, City Hall Hong Kong, Orchestra Hall Minnesota & Herbst Hall San Francisco.
Other recent engagements include Chicago & Vancouver Symphony Orchestras, Orchestre symphonique de Montréal, Los Angeles Philharmonic, NDR Elbphilharmonie Orchester, Yomiuri Nippon Symphony, Orchestra dell’Accademia Nazionale di Santa Cecilia, Tonhalle-Orchester Zürich, Symphonie-Orchester Berlin & Orchestre National de Lyon, working with conductors such as
Mehta, Nagano, Gilbert, Vänskä, Antonini and Koopman.
In 2023, Avi Avital launched “Between Worlds Ensemble” with a three-part residency at Boulez Saal Berlin & other European venues. The ensemble explores different genres & musical worlds focusing on traditional, classical and folk music from the Iberian Peninsula, Black Sea and South Italy.
Avi Avital’s versatility has led to features as “Portrait Artist” at Schleswig-Holstein Musik Festival, BOZAR Brussels, Bodensee Festival & La Jolla Music Society California. He visits regularly festivals such as Aspen, Salzburg, Hollywood Bowl, Tanglewood, MISA Shanghai, Cheltenham, Verbier, Lucerne, Bad Kissingen, Rheingau & Gstaad.
An exclusive Deutsche Grammophon artist, Avi Avital’s seventh album Concertos, recorded with Il Giardino Armonico and Giovanni Antonini, features mandolin concertos by Vivaldi, Hummel, Bach, Barbella and Paisiello, winning a 2024 Opus Klassik award for Concerto Recording of the Year. His other albums include The Art of the Mandolin (2020), Avital meets Avital (2017) and Between Worlds (2014).
Born in Be’er Sheva in southern Israel, Avital began learning the mandolin at the age of eight, studying at Jerusalem Music Academy and Conservatorio Cesare Pollini in Padua. He plays a mandolin by Israeli luthier Arik
Randall Goosby
Co-presented with Philharmonic Society of Orange County
SUNDAY, APR. 6, 2025 | 3PM
PROGRAM
BOLOGNE Violin Sonata No. 3 in G Minor, Op. 1a
FAURÉ Sonata No. 1 in A Major, Op. 13
CHAUSSON Poème, Op. 25
SCHUBERT Rondeau brillant in B minor, D. 895
SOKA PERFORMING ARTS CENTER
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FREE FAMILY CONCERT:
Once Upon A Symphony
Co-presented with Philharmonic Society of Orange County
SATURDAY, FEB. 1, 2025 | 11AM
FEATURED ARTISTS:
• Orange County Youth Symphony
Johannes Müller Stosch, Music Director/OCYS Conductor
• Kristi Brown Montesano, Narrator
LOBBY ACTIVITIES BEGIN AT 10 AM
FAMILY CONCERT BEGINS AT 11AM
Bring the family to Soka Performing Arts Center for a lively morning with the Orange County Youth Symphony! Enjoy fun, hands-on activities in the lobby before a free concert designed to inspire young listeners and welcome all ages into the joy of live music.
SOKA PERFORMING ARTS CENTER
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Concessions
A wide variety of wine, beer, soft drinks and freshly prepared snacks will be available before the concert and during intermission in the lobby.
Artist Drink Pick
Venetian Spritz
Aperol, Prosecco, Soda Water, Olive, Orange Slice
We asked the artist for their favorite drink pick to feature at concessions! The Venetian Spritz was selected by Avi Avital and will be available for purchase before the performance & during intermission.
Click here for menu and to order
Pre-order your concessions and skip the line at intermission!
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List current as of 09/26/2024
The Soka Performing Arts Center deeply appreciates the support of its sponsors and donors, and makes every effort to ensure accurate and appropriate recognition. Contact Renée Bodie, General Manager at (949) 480-4821 to make us aware of any error or omission in the foregoing list.
DONATE TO SOKA PERFORMING ARTS CENTER
Your support helps ensure Soka Performing Arts Center fulfills its purpose: to engage, educate, and elevate the human spirit. Your gift supports the programming of world-class performances, provides transformative educational outreach experiences, and opens the opportunity to build engagement with our community by sharing the joy of live music.
CREATE
Our subscription and renewal program provides you with even more flexibility in our season packages*. With our enhanced program, you now have the power to curate your very own unique experience.
• 15% Discount for a 3 performance package
• 18% Discount for a 4 performance package
• 20% Discount for a 5+ performance package
*full details online at soka.edu/pac
OUR PARTNERS
• Blueport Jazz
• Philharmonic Society of Orange County
• Pacific Symphony
• Parnassus Society
SOKA PAC MANAGEMENT TEAM
Renée Bodie
General Manager & Artistic Director
John Morgan
Box Office Manager
Antoinette Rossman
House Manager/Assistant to the General Manager
Jaime Spataro
Marketing & Communications Manager
Joe Nicholls
Marketing & Communications Assistant
Steve Baker
Production Manager
Aadya Agrawal
Stage Manager
Jarmil Maupin
Internal Events Manager
Piano Tuners
Kathy Smith Lead Tuner
Ron Elliott
David Stoneman
David Vanderlip
SokaPAC @SokaPAC SokaPerformingArtsCenter @SokaPAC
Website soka.edu/pac
SOKA
Soka Performing Arts Center resides on the beautiful campus of Soka University of America. We thank the SUA Board of Trustees and the SUA Leadership Council for all of their support.
SUA BOARD OF TRUSTEES
Stephen S. Dunham, JD | CHAIR
Vice President and General Counsel Emeritus, Pennsylvania State University | Baltimore, Maryland
Tariq Hasan, PhD | VICE CHAIR
Chief Executive Officer, SGI-USA | New York, New York
Andrea Bartoli, PhD
President, Sant’Egidio Foundation for Peace and Dialogue | New York, New York
Matilda Buck
Benefactor | Los Angeles, California
Lawrence E. Carter, Sr, PhD, DD, DH, DRS
Dean, Professor of Religion, College Archivist and Curator, Morehouse College | Atlanta, Georgia
Andy Firoved
CEO, HOTB Software | Irvine, California
Jason Goulah, PhD
Professor of Bilingual-Bicultural Education and Director, Institute for Daisaku Ikeda Studies in Education, Director of Programs in Bilingual-Bicultural Education, World Language Education, and Value-Creating Education for Global Citizenship, College of Education, DePaul University | Chicago, Illinois
Clothilde V. Hewlett, JD
Commissioner of Department of Financial Protection and Innovation, State of California | San Francisco, California
Karen Lewis, PhD
Sondheimer Professor of International Finance and Co-Director, Weiss Center for International Financial Research, Wharton School, University of Pennsylvania | Philadelphia, Pennsylvania
Luis Nieves
Founder, Chairman Emeritus AUL Corp, Benefactor | Napa, California
Isabel Nuñez, PhD, MPhil, JD
Professor of Educational Studies, Dean of School of Education, Purdue University Fort Wayne | Fort Wayne, Indiana
Gene Marie O’Connell, RN, MS
Health Care Consultant, Associate Clinical Professor, University of California, San Francisco School of Nursing | Corte Madera, California
Adin Strauss
General Director, Soka Gakkai International-USA | Santa Monica, California
Yoshiki Tanigawa
Benefactor, Soka Gakkai | Tokyo, Japan
Gregg S. Wolpert
Co-president, The Stahl Organization | New York, New York
Edward M. Feasel, PhD
President, Soka University of America (ex-officio member) | Aliso Viejo, California
Edward M. Feasel, PhD
President
Chief Academic Officer
Professor of Economics
Archibald E. Asawa
Executive Vice President for Finance and Administration
Chief Financial Officer
Chief Investment Officer
Katherine M. King, PHR
Executive Vice President of University
Community
Chief Human Resources Officer
Title IX and Section 504 Coordinator for Faculty, Staff and Others
Michael Weiner, PhD
Executive Vice President for Academic Affairs
Professor of East Asian History & International Studies
Bryan E. Penprase, PhD
Vice President for Sponsored Research and External Academic Relations Professor of Physics and Astronomy
Tomoko Takahashi, PhD, EdD, LHD
Vice President for Institutional Research and Assessment
Dean of the Graduate School Professor of Linguistics and Education
David Welch, JD Vice President University Counsel
M. Robert Hamersley, PhD Dean of Faculty Professor of Environmental Biogeochemistry
Hyon J. Moon, EdD Dean of Students
Title IX and Section 504 Deputy Coordinator for Students
Michelle Hobby-Mears, MBA Associate Dean of Students Director of Student Activities
Andrew Woolsey, EdD Dean of Enrollment Services
Martin Beck, MA
Executive Director of Strategic Marketing and Communications
The Philharmonic Society of Orange County gratefully acknowledges the following donors for their generous support of the Fund for Music during the past twelve months. These contributions make up the difference between the income generated from ticket sales and the actual cost of bringing the world’s finest orchestras, soloists and chamber ensembles to Orange County and inspiring 100,000 K-12 students each year with quality music programs. Gifts range from $70 to more than $100,000, and each member of the Philharmonic Society plays a valuable role in furthering the mission of this organization.
YOUTH MUSIC EDUCATION PROGRAM SPONSORS
Bluebird Legacy Inc.
Chapman University
The Committees of the Philharmonic Society
The Crean Foundation
The Davisson Family Fund for Youth Music Education
The William Gillespie Foundation
SERIES SPONSORS
Donna L. Kendall Foundation
Hearst Foundation
Thomas J. Madracki Memorial Endowment
Orange County Community Foundation
Pacific Life Foundation
U.S. Bank
Anonymous
Dr. and Mrs. Howard Jelinek/Jelinek Family Trust, Eclectic Orange Series
Henry T. and Elizabeth Segerstrom Foundation
Steven M. Sorenson Foundation
FOUNDER’S SOCIETY ($100,000+)
The Committees of the Philharmonic Society
Donna L. Kendall and the Donna L. Kendall Foundation
Dr. Howard Jelinek/Jelinek Family Trust
Mr. and Mrs. Jerry Kohl
MAESTRO SOCIETY ($50,000+)
Colburn Foundationl
Mr. and Mrs. William F. Podlich
Gail and Robert Sebring
CHAIRMAN’S SOCIETY ($25,000+)
Bluebird Legacy, Inc.
The Crean Foundation
Valerie and Hans Imhof
Carolyn and Bill Klein
National Endowment for the Arts
Orange County Community Foundation
Lauren and Richard Packard
PRESIDENT’S SOCIETY ($10,000+)
Sabra and Peter Bordas
Mr. James J. Brophy
Suzanne and David Chonette
City of Laguna Beach
Marjorie and Roger Davisson
The Dirk Family
Sam B. and Lyndie
Ersan
Karen and Don Evarts
Hung Fan and
Michael Feldman
Mrs. Jean Felder
Mrs. Joanne C. Fernbach
Fidelity Brokerage Services LLC
Mr. John D. Flemming and Mr. Mark Powell
Frome Family Foundation
Ms. Joan Halvajian
Milli Hill
Nadler Survivors Trust
Philharmonic Foundation
Henry T. and Elizabeth Segerstrom Foundation
Elizabeth Segerstrom
Maria Manetti Shrem
Jane Fuhjishige Yada
Ms. Dea Stanuszek
Margaret M. Gates
Barbara Roberts
Dr. Bob and Mao Shillman
Mr. and Mrs. Douglas H. Smith
Al Spector and Tatjana Soli
U.S. Bank
Mr. Stephen Amendt
David and Michelle Horowitz
Carole Innes-Owens
Gary and Betsy Jenkins
Phillip N. and Mary A.
Lyons
Northern Trust
Cheryl Hill Oakes
Mr. Patrick Paddon
Richard and Deborah Polonsky
Ellen and Vasily I.
Semeniuta
Shillman Foundation
Richard and Elizabeth Steele Endowment Fund
Waters Edge Winery
Gayle Widyolar
Edward and Anna Yeung
PLATINUM BATON ($6,000+)
Dr. Richard D. and France Campbell
Cor and Lauren Claus
Helen & Fritz Lin
Elaine & Carl Neuss
Chris & Marlene Nielsen
Marcia Kay & Ron Radelet
GOLDEN BATON ($3,000+)
Diane and John Chimo
Arnold
John W. Benecke and Lee Marino
Mr. Gary Capata
Mr. & Mrs. Robert Clemmer
Richard Goodman
Carl & Kathy Greenwood
Jane & Joe Hanauer
Elizabeth Evans Henry
Ms. Elizabeth Jones
Kari Kerr
Vicki & Richard Lee
National Philanthropic Trust
Richard & Dot Nelson
Marshall Fund for
SILVER BATON ($1,200+)
Dr. & Mrs. Daniel L. Abbott
Dr. & Mrs. Donald R. Abraham
Nancy Arnold
David and Frances Nitta
Barnes
Dr. & Mrs. Berislav Bosnjak
Ms. Michelle Brenner
Mr. James Carter
Mrs. Diana Casey
Dr. and Mrs. Shigeru Chino
Mr. and Mrs. Stewart A. Clark
Crevier Family Foundation
Susan and Kevin Daly
Eve and Timothy Donovan
Dr. Harvey Eisenberg
Deborah and Cody Engle
CONCERTO ($600+)
Abbott Laboratories
Richard Alexander
Brien Amspoker & Ellen Breitman
Tod & Craig Beckett-Frank
Evelyn Brownstone
The Colburn School
David & Victoria Collins
Peter Conlon & Deborah Shaw
Mr. & Mrs. Jack Delman
Michael DeVries
Resa Evans
Fidelity Charitable Gift Fund
Mr. & Mrs. James G. Reynolds
Diane & Michael Stephens
Dramatic Arts & Classical Music
Sandra Price
Christopher Quilter
Mr. & Mrs. Philip E. Ridout
Ms. Harriet Roop
Samueli Foundation
Mr. & Mrs. David Seigle
Dr. Emmanuel Sharef
Dr. & Mrs. Henry Sobel
Ms. Barbara Tanner
The William Gillespie Foundation
Anthony & Nancy Ferruzzo
Dr. and Mrs. Sidney A. Field
Petrina Friede
David & Trudi Gartley
Dr. Anna Gonosova
Mr. and Mrs. Michael S. Gordon
Barbara Hamkalo
Ellen Pickler Harris & Ron Harris
Dr. Daniel E. Haspert and Mr. Gerard Curtin
Mr. Chuck Hong
Barbara and Don Howland
Kevin & Judith Ivey
Mengchau Jang
Ms. Jena Jensen
Anne Johnson - in memory of Tom
Dr. Nancy L. Kidder
Dr. and Mrs. Tae S. Kim
Cathy and David Krinsky
Hank and Bonnie Landsberg
Janet Laurin
Dr. Sean Liang
Mr. Greg MacGillivray & Mrs. Barbara Macgillivray
Mr. and Mrs. Richard Malcolm
Mrs. Linda Lipman
Mandelbaum
Karen McCulley
Danny and Kristy Melita
Patricia Morgan
Elizabeth Morse
Dr. Kevin O’Grady & Mrs. Nella Webster O’Grady
Michael and Meili Pinto
Mr. Keith Polakoff
Susan Qaqundah
Les Redpath
Deborah and Robert Schlesinger
Eva and Fred Schneider
Dr. Ellis Schwied
John Shaak
Ms. Linda Silverman & Mr. Ercil Brown
Dr. William & Mrs. Marta Sokol
Eric W. Bell & Susanne L. Spangler
Vina Spiehler
Walter and Masami Stahr
Ann D. Stephens
Edith Tonkon
Dr. & Mrs. Fritz C. Westerhout
Dr. Rebecca Yamarik
Walter C. Fidler
Mr. Dan Fleet
Mr. & Mrs. Karl Forsstrom
Dr. & Mrs. Glenn Fowler
Mr. & Mrs. Donald French
Cheryl Garland
Dr. & Mrs. Mark W. Gow
Marlene Hewitt
Grace Holdaway
Carey Jeffrey
Barbara Kilponen
Professor & Mrs. John Koshak
Mr. Greg Kwan
Dr. & Mrs. Gary C.
Lawrence
Mr. Kent Livesay
Katsuhiko & Meiko
Maeshige
Mater Dei High School
Mrs. Gordon
Niedringhaus
Ojai Music Festival
Mr. Richard Parslow
Mr. & Mrs. John Prange
Boris & Dorothy Ralphs
Deborah & Tom Rapport
Karyn Rashoff
Carol Schwab
Ms. Barbara Sentell
Igal & Diane Silber
Leonard Simon
Soka University of America
Diane Stovall
Dr. & Mrs. Harvey S. Triebwasser
Edith & Thomas Van
Huss
Ms. Sally Westrom
Dr. Andrew Yen & Ms. Grace Chen
SONATA ($300+)
Alta Bahia Philharmonic Committee
Buck & Suzanne Baird
Dr. Lori Bassman & Mr. Harley C. Bassman
Charlene Bauer
Mr. & Mrs. Tony Bedi
Sally Bender
Mr. Scott Brinkerhoff
Mr. & Mrs. Tyke Camaras
Luisa Cano
Beverly & Dave Carmichael
Mr. & Mrs. Gustave S. Chabre
Mr. & Mrs. Joseph P. Chamberlain Jr.
Mary E. Chelius
Mr. Randall K. Chun
Mr. & Mrs. Edgar
Compton
Gordon Cowan
Mrs. Frayda Eilbert
Joan Fang
Mitch Farber-Netbilling
Jeanie Gibson
Marvin Goecks, Jr.
Dr. Alan L. Goldin
Terry Hanna
Sandra & Jerome Harlan
Howard & Carol Hay
Ms. & Mr. Delores Holte
Mr. & Mrs. Dan Horgan
John & Julia Houten
Mr. Paul A. Schmidhauser & Ms. Cindy R. Hughes
Ms. & Mr. Julie Huniu
Irvine Integrative Medical Center
Elizabeth M. & Donald P. Johnson
Ms. Sumie Jossi
Mr. & Mrs. Eric M. Kadison
Dr. & Mrs. William P.
Klein
Elliott Kornhauser & Joe
HONORARY LIFE MEMBERS
Frieda Belinfante, in memoriam
Jane K. Grier, in memoriam
John M. Rau
Baker
Mr. & Mrs. Edward S. Kriz
Bruce Larson & Dinny Beringer
Dr. & Mrs. Craig Leonard
Sijie Ling
MacGillivray Freeman
Films
Dr. Lani & Mr. David Martin
Francis McClain & Sandra
Campbell-McClain
Kelly & Susan McClellan
Mr. H.W. McKee
Leslie & Gus Ordonez
Lisa Miller
Perry Family Fund
Sidney & Nancy Petersen
John Pettit
Mr. Craig Poindexter
Robbie & Steve Prepas
Lucinda Prewitt
Coralie Prince
Chris Reed & Pat O’Brien
Mr. & Ms. Peter T. Ridley
Dr. & Mrs. Stephen G. Romansky
Mr. & Mrs. Arthur Rose
Deborah & Frank Rugani
Pamela Sefton
Mr. & Mrs. Arkady
Serebryannik
Mr. & Mrs. Gregg Stempson
Mr. & Mrs. John Stevens
Diane Stovall
Ms. Donna Thiessen
Ms. Carole Uhlaner & Mr. D Brownstone
Annabel Wang
Dr. Mark Wohlgemuth
Ms. Cynthia M. Wolcott
Mr. Leonard Wyss
Bob & Ellie Yates
List current as of 10/16/2024
The Philharmonic Society deeply appreciates the support of its sponsors and donors, and makes every effort to ensure accurate and appropriate recognition. Contact the Development Department at (949) 553-2422, ext. 233, to make us aware of any error or omission in the foregoing list.
ESTERHAZY PATRONS
The Philharmonic Society is proud to recognize our dedicated patrons who have made a multi-year Esterhazy Patron pledge. We are grateful for their support, which has been largely responsible for enabling us to present the world’s most acclaimed symphony orchestras, chamber ensembles and soloists.
Mr. James Alexiou
Mr. & Mrs. Darrel Anderson
A. Gary Anderson Family Foundation
Mr. Gary N. Babick
Ms. Tricia Babick
Mrs. Linda Beimfohr
Mr. & Mrs. John Carson
Cheng Family Foundation
Mrs. William P. Conlin
Mr. Warren G. Coy
Marjorie & Roger Davisson
Mr. & Mrs. Jack Delman
The Dirk Family
Dr. & Mrs. Christopher Duma
Mr. & Mrs. Rodney Emery
Catherine Emmi
LEGACY CIRCLE MEMBERS
Mr. James Alexiou & Mrs.
Elaine Alexiou*
Dr. & Mrs. Julio Aljure
Diane & John Chimo Arnold
Estate of Edra E. Brophy*
Mr. James J. Brophy
Mr. Douglas T. Burch, Jr.*
Mr. William P. Conlin* & Mrs. Laila Conlin
Pamela Courtial*
Richard Cullen & Robert Finnerty
Mr. Ben Dolson*
Camille & Eric Durand Trust*
Karen & Don Evarts
Erika E. Faust*
James & Judy Freimuth
Ms. Carol Frobish*
The William Gillespie Foundation*
Lyndie Ersan
Mr. & Mrs. Howard Freedland
Margaret M. GatesIn memory of family
Mr. Milton S. Grier, Jr.
Maralou Harrington
Dr. Howard J. Jelinek
Mr. & Mrs. Mark Chapin
Johnson
Dr. Siret Jurison
Donna L. Kendall
Foundation
Mr. & Mrs. Venelin Khristov
Mr. & Mrs. Roger Kirwan
Capt. Steve Lutz & Shala
Shashani Lutz
Professor Robert &
Dr. Adeline Yen Mah
Mrs. Sharon McNalley
Dr. Vahe Meghrouni
Mrs. Michael D. Nadler
Elaine & Carl Neuss
Mr. Thomas Nielsen
Milena & Milan Panic
Helen Reinsch
Barbara Roberts
Mrs. Michelle Rohé
Mr. & Mrs. Stephen L. Salyer
Elizabeth Segerstrom
Mr. & Mrs. Douglas H. Smith
Mrs. Elaine Weinberg
Mr. & Mrs. George Wentworth
Bobbitt & Bill Williams
Anonymous
Mr. & Mrs.* Milton S. Grier, Jr.
Mr. Edward Halvajian*
Ms. Joan Halvajian
Ms. Marie Hiebsch*
Mildred & James* Hill
Mr. & Mrs. Lawrence Hull*
Mr. Leonard Jaffe
Judith* & Howard Jelinek
Dr. Burton L. Karson
Donna L. Kendall
Hank & Bonnie Landsberg
Mrs. Carla Liggett
Dr. William Lycette
Mr. & Mrs. Herbert Michel
Mr. & Mrs. Bart Morrow
Mr. & Mrs. Michael D. Nadler*
Eva Cebulski Olivier
Mrs. Frank M. Posch*
Marcia Kay Radelet
*Deceased | Bold type indicates gifts of $50,000 or more.
Marjorie Rawlins*
Mrs. Ladislaw Reday*
Elaine M. Redfield*
Mr. Richard M. Reinsch*
Mr. & Mrs. Stephen L. Salyer
Mr. & Mrs. Robert Sebring
Mr. H. Russell Smith*
Al Spector & Tatjana Soli
Ms. Dea Stanuszek
Diane & Michael Stephens
Vas Nunes Family Trust*
Betty M. Williams* Anonymous
Please call the Philharmonic Society Development Department if you have included either the Philharmonic Society or the separate Philharmonic Foundation in your will or trust so that we may honor you as a member of the Legacy Circle. For more information, call (949) 553-2422, ext. 233 or visit: www.PhilharmonicSociety.org/SupportUs and click on Secure The Future.
SECURING THE FUTURE
The Philharmonic Society’s Philharmonic Forward campaign is the first of its kind in the organization’s history. It will grow the Society’s endowment—providing greater opportunities for the presentation of the world’s leading orchestras and other musical performances while expanding our educational and community outreach—and also establish a current needs fund for organizational sustainability and flexibility. We are proud to recognize those who are helping secure the Society’s future with a gift to the Philharmonic Forward Campaign. We are grateful for their support, which will help fuel the Society’s growth and provide a legacy of incomparable music and superb music education programs in perpetuity.
For more information, contact Halim Kim, Senior Director of Development, at (949) 553-2422, ext. 233 or email halim@philharmonicsociety.org.
DONORS TO THE PHILHARMONIC FORWARD CAMPAIGN
Co-Chairs
Donna L. Kendall & Douglas H. Smith
$1,000,000+
Mr. James J. Brophy
Donna L. Kendall & the Donna L. Kendall Foundation
Mr. & Mrs. Robert Sebring
Anonymous
$500,000+
Richard Cullen & Robert Finnerty
James & Judy Freimuth
$250,000+
The Davisson Family Fund for Youth Music Education
Margaret M. GatesIn memory of family
Mr. & Mrs.* Milton S. Grier, Jr.
Mr. & Mrs. Douglas H. Smith
$100,000+
Pete & Sabra* Bordas
David & Suzanne Chonette
Karen & Don Evarts
Milli & Jim* Hill
Chris & Marlene Nielsen
Richard* & Deborah Polonsky
Diane & Michael Stephens Anonymous
$50,000+
Mr. Douglas T. Burch, Jr.*
Dr. Richard D. & France
Campbell
Erika E. Faust*
Mrs. Joanne C. Fernbach
Joan Halvajian
Elaine & Carl Neuss
Marcia Kay Radelet
Mr. & Mrs. Philip E. Ridout
Ms. Dea Stanuszek
Dr. Daniel & Jeule Stein
$25,000+
Douglas Burch Classical Programs Fund
Mr. William P. Conlin* & Mrs. Laila Conlin
Mr. & Mrs. Donald French
Mr. & Mrs. Peter Fuerbringer
Mr. & Mrs. Noel Hamilton
Dr. & Mrs. Chase* Roh
Up to $24,999
Eleanor & Jim* Anderson
John W. Benecke
Mr. & Mrs. Jim Burra
Ana & Ron Dufault
Hung Fan & Michael Feldman
First American Trust
Kimberly Dwan Bernatz
Mr. John D. Flemming & Mr. Mark Powell
Duke Funderburke
Carolyn & John Garrett
Karin Easter Gurwell
Maralou & Jerry M.* Harrington
Mrs. Alice E. Hood
Huntington Harbour Philharmonic Committee - Marina Windjammer Group
Kevin & Judith Ivey
Ms. Lula Belle Jenkins
Doris & Jim Kollias
Mrs. Elizabeth C. Kramer
Mr. & Mrs. Richard Lewis
Mr. & Mrs. Thomas Madracki
Mr. & Mrs. Anthony Mastrangelo
Mr. & Mrs. Herbert Michel
Charles Mosmann
Carl Neisser*
Joan Rehnborg
Dr. & Mrs. Henry Sobel
Dr. & Mrs. Julio Taleisnik
Marti & Walter Unger
Gayle Widyolar, M.D.
Sandi Wright-Cordes
U.S. Bank
Anonymous *Deceased
LEAVE A LEGACY
Estate gifts allow our long-time subscribers and donors to leave an enduring legacy that helps ensure the long-term financial strength of the Philharmonic Society of Orange County. Please consider including us in your will, as either a percentage of your estate or a fixed amount. Doing so will support our commitment of presenting world-class programming and music education that enriches the cultural life of Orange County for generations to come.
For more information, please contact (949) 553-2422, ext. 233, or email support@philharmonicsociety.org
THE PHILHARMONIC SOCIETY OF ORANGE COUNTY
Founded in 1954 as Orange County’s first music organization, the Philharmonic Society of Orange County presents national and international performances of the highest quality and provides dynamic and innovative music education programs for individuals of all ages to enhance the lives of Orange County audiences through music.
For more than 70 years the Philharmonic Society has evolved and grown with the county’s changing landscape, presenting artists and orchestras who set the standard for artistic achievement from Itzhak Perlman, Gustavo Dudamel, Yo-Yo Ma, and Renée Fleming to the Berlin Philharmonic, Vienna Philharmonic, Chicago Symphony Orchestra, and many others. In addition, the Philharmonic Society celebrates multi-disciplinary performances under its Eclectic Orange brand and embraces music from a wide range of countries with its World Music performances. Its celebrated family concerts introduce children to classical music with creative and inspiring performances, instilling music appreciation for future generations.
The Philharmonic Society’s nationally recognized Youth Music Education Programs, offered free of charge, engage more than 100,000 students annually through curriculum-based music education programs that aim to inspire, expand imaginations, and encourage learning at all levels. These programs are made possible by the Committees of the Philharmonic Society comprised of 500 volunteer members who provide more than 90,000 hours of in-kind service each year.
As a key youth program, the exceptional Orange County Youth Symphony and String Ensemble provide top-tier training to the area’s most talented young musicians through multi-level ensemble instruction, leadership training, touring opportunities, challenging professional repertoire, and performances in world-class venues. The Philharmonic Society also promotes life-long learning by connecting with colleges and universities to conduct masterclasses and workshops and providing pre-concert lectures to introduce audiences to program selections.
PHILHARMONIC SOCIETY
BOARD OF DIRECTORS
OFFICERS
Elaine Neuss, Chair/CEO*
John Flemming, Deputy Board Chair*
Donna L. Kendall, Vice Chair*
Stephen Amendt, Secretary/Treasurer*
BOARD OF DIRECTORS
Kathy Barrett, President-Elect, The Committees
John W. Benecke, Special Events Chair
Lauren Claus, President, The Committees*
Hung Fan, Laguna Beach Music Festival Chair
Jean Felder, Artistic and Marketing Chair
John Flemming, Nominating & Governance
Margaret M. Gates, Development Chair
Kari Kerr
Mirella Reznic
June Shillman
Douglas H. Smith, Member at Large*
Steven M. Sorenson, MD
Sandi Wright-Cordes, Orange County Youth Symphony Chair
IN MEMORIAM
Sabra Bordas
Douglas T. Burch, Jr.
Jane Grier
*Executive Committee
ADMINISTRATIVE STAFF
PRESIDENT AND ARTISTIC DIRECTOR
Tommy Phillips
ARTISTIC OPERATIONS
Emily Persinko, Artistic Operations Manager
Hana Kurihana, Concert Production Coordinator
Kathy Smith, Piano Technician
DEVELOPMENT
Halim Kim, Senior Director of Development
Paige Frank, Individual Giving Manager/Board Liaison
Nicole Gonzales, Special Events Manager
Zach Edwards, Development Coordinator
EDUCATION
Katherine Yang, Vice President of Education and Community Engagement
Courtney McKinnon, Manager of Volunteer and Education Services
Jennifer Niedringhaus, Education and Engagement Operations Manager
Chloe Hopper, Education Associate
Penny Arroyo, Huntington Harbour Office Manager and Finance Coordinator
Kathryn Lau, Education and Community Engagement Intern
FINANCE
Roan Alombro, Vice President of Finance
Fay Hu, Finance and HR Associate
MARKETING AND PUBLIC RELATIONS
Jean Hsu, COO / Vice President of Communications
Marie Songco-Torres, Senior Marketing & PR Manager
Adaora Onyebeke, Marketing and PR Associate
PATRON SERVICES
Jonathan Mariott, Director of Patron Services
Angelica Nicolas, Marketing & Patron Services Manager
Randy Polevoi, Musical Concierge
ORANGE COUNTY YOUTH SYMPHONY AND STRING ENSEMBLE
Johannes Müller Stosch, Music Director & OCYS Conductor
Lucy Lu, OCYSE Conductor & OCYS Strings Coach
Danielle Culhane, Operations and Personnel Manager