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September/October 2017 | Content 6 Welcome
8 Robert Spano
Bachelor’s Curtis Institute of Music: ry: Master’s New England Conservato de Paris: First Prize Conservatoire Superieur Johannes String Boston Symphony, Previous Experience: Chamber Orchestra Quartet, Australian
Viola Julliard School of Music: Bachelor’s & Master’s Previous Experience: New World Symphony, (regularly engaged), ASO Minnesota Orchestra, Houston Symphony, St. Paul Chamber Orchestra
10 Orchestra Leadership
UCLA: Bachelor’s Temp Previous Experienc le University: Symphon Master’s e: y, San Fran Kansas City Sym Orchestra cisco Symphon phony, New World , Detroit y, Symphon Chicago Sym y Orchestra phony
JOSEPH PETRAS EK
24 Concert Program & Notes
72 ASO Support
& Masters Bachelors d School: progress) The Juilliar Masters (in l of Music: ence: Yale Schoo Previous ExperiYale Opera rmonia, Yale Philha
ING ZHANG SISSI YUQ
Cleveland Institute: Bachelor’s Rice University’s Shepherd School of Music: Master’s Previous Experience: Cleveland Orchestra, Hawaii Symphony Orchestra, West Virginia Symphony Orchestra, Atlanta Ballet Orchestra
ANTHONY GEORGE SON
86 ASO Staff
University of Wisconsin: The Julliar Bachelor’s d School of Music Previo New World us Experience: Florid : Master’s Symphony, a Orchestra, Wisconsin Milwaukee Chamber Symphony, Orchestra, Sarasota Orchestra
or’s Music: Bachel Master’s Institute of l of Music: Cleveland erd Schoo ony, sity’s Sheph World Symph Rice Univer ence: New stra, Previous Experi al Repertory Orche stra The Nation Pears Orche the Britten
88 Ticket Info /General Info 90 ASO Calendar
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18 New Kids on the Block
The start of a new ASO season is exciting for all of us, but especially for our newest musicians … | by Michael Kurth
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ASO | Welcome Dear Friends,
elcome to the GRAMMY® Award-winning Atlanta Symphony Orchestra’s 73rd season. It truly is an exciting time to be a part of the Atlanta Symphony Orchestra family. We look forward to celebrating the music and legacies of Ludwig van Beethoven and Leonard Bernstein with you this season and next in the year of Bernstein’s centennial. We’re also delighted to welcome seven new musicians to the Orchestra, as well as our new Assistant Conductor and Atlanta Symphony Youth Orchestra Music Director, Stephen Mulligan. Enjoy the feature on the newest members of the Orchestra, written by our own bassist Michael Kurth, in this issue of Encore. The Atlanta Symphony Orchestra closed the 2016-17 fiscal year in the black, our third consecutive year with positive financial news. We would like to thank all of you for your generosity, and thank the entire Atlanta Symphony Orchestra team for a job well done. Continuing the good news, we’re happy to share that we’re starting our 73rd season with the highest subscription base in five years. In fact, we exceeded our annual Delta Classical Series subscription goal before the season even began. And, single ticket sales across all of our offerings from the Coca-Cola Holiday Series to Atlanta Symphony Hall LIVE and the Delta Classical Series are pacing well ahead of goal. With a solid base of support, we will work to deepen the Atlanta Symphony Orchestra’s engagement with donors, subscribers, patrons and the broader Atlanta community. There has never been a better time for the Atlanta Symphony Orchestra & Chorus to play a central role moving our city and state forward in harmony. Thank you for joining us on this exciting musical journey! Sincerely,
Howard D. Palefsky Chairman of the Board
Jennifer Barlament Executive Director
6 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
IN SUWANEE. Vibrant, thriving communities across the country all have one thing in common: a strong commitment to public art.
We got this.
Join us in Town Center Park this spring as we unveil the 20 pieces that make up our ďŹ fth Suwanee SculpTour temporary sculpture exhibition, joining the 16 pieces of art in the Cityâ€™s permanent collection.
ASO | Music Director Robert Spano
onductor, pianist, composer and teacher Robert Spano is known worldwide for the intensity of his artistry and distinctive communicative abilities. Beginning his 17th season as Music Director of the Atlanta Symphony Orchestra, this highly imaginative conductor is an approachable artist with the innate ability to share his enthusiasm for music with an entire community and concert hall. A fervent mentor to rising artists, he is responsible for nurturing the careers of numerous celebrated composers, conductors and performers and enjoys collaborations with composers and musicians of all ages, backgrounds and ability, especially through his leadership of the Atlanta School of Composers. As Music Director of the Aspen Music Festival and School, he oversees the programming of more than 300 events and educational programs for 630 students and rising artists; he also holds a conducting residency with the Colburn School Orchestra in Los Angeles. Spano has led ASO performances at Carnegie Hall, Lincoln Center, and the Ravinia, Ojai, and Savannah Music Festivals. Guest engagements have included the New York and Los Angeles Philharmonics, and San Francisco, Boston, Cleveland, Chicago, Minnesota, Oregon, Utah, Kansas City and Philadelphia Symphony Orchestras, the Orchestra Filarmonica della Scala, BBC Symphony, Amsterdamâ€™s Royal Concertgebouw Orchestra, Orquestra Sinfonica Brasileira, Orquestra Sinfonica Estado Sao Paulo, the Melbourne Symphony in Australia and the Saito Kinen Orchestra in Japan. His opera performances include Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera and the Seattle Operaâ€™s Wagner Ring cycles.
With a discography of critically-acclaimed recordings for Telarc, Deutsche Grammophon, and ASO Media, Robert Spano has won six Grammy Awards with the Atlanta Symphony Orchestra. Spano is on faculty at Oberlin Conservatory and has received honorary doctorates from Bowling Green State University, the Curtis Institute of Music, Emory University and Oberlin.
8 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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ASO | leadership 2017-18 Board of Directors Officers Howard D. Palefsky, Chair
Keith Adams Juliet McClatchey Allan Jennifer Barlament* Neil H. Berman+ Paul Blackney Rita Bloom Mary Rockett Brock Janine Brown Karen Bunn* C. Merrell Calhoun+ Bill Carey S. Wright Caughman, M.D.+ Russell Currey Carlos del Rio, M.D.+
Thomas Wardell, Vice Chair Lynn Eden, Vice Chair
Meghan H. Magruder, James Rubright, Secretary Treasurer
Lynn Eden Shirley C. Franklin Paul R. Garcia Jason Guggenheim Joseph W. Hamilton, III Bonnie Harris Caroline Hofland Doug Hooker Tad Hutcheson Roya Irvani D. Kirk Jamieson Carrie Kurlander James H. Landon+ Donna Lee Hank Linginfelter
Karole F. Lloyd Kelly L. Loeffler Meghan H. Magruder Brian F. McCarthy Penelope McPhee+ Bert Mills Molly Minnear Terence L. Neal Joseph M. Oâ€™Donnell Galen Lee Oelkers Howard D. Palefsky Sunny K. Park Suzanne Tucker Plybon+ Ronda Respess* James Rubright
William Schultz Charles Sharbaugh Doug Shipman* John Sibley Ross Singletary, II Paul Snyder+ John Sparrow Gail Ravin Starr Joseph M. Thompson S. Patrick Viguerie+ Thomas Wardell Mark D. Wasserman Dr. James Wells John B. White, Jr. Richard S. White, Jr.
John T. Glover Dona Humphreys Aaron J. Johnson Ben F. Johnson III Jim Kelley George Lanier Patricia Leake
Lucy Lee Mrs. William C. Lester Mrs. J. Erskine Love Patricia H. Reid Joyce Schwob H. Hamilton Smith W. Rhett Tanner
G. Kimbrough Taylor Michael W. Trapp Ray Uttenhove Chilton Varner Adair R. White Sue Sigmon Williams
Mrs. Drew Fuller Mary D. Gellerstedt
Azira G. Hill Mrs. Charles A. Smithgall, Jr.
Board of Counselors Mrs. Helen Aderhold Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Charles Ginden
Howell E. Adams, Jr. Bradley Currey, Jr.
* Ex-officio + 2017-2018 Sabbatical 10 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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Robert Spano Music Director The Robert Reid Topping Chair
MUSICIAN ROSTER FIRST VIOLIN David Coucheron Concertmaster
SECTION VIOLIN ‡ Judith Cox Raymond Leung
VIOLA Reid Harris Principal
The Mr. & Mrs. The Carolyn Howard R. Peevy Chair McClatchey Chair The Mabel Dorn Sanford Salzinger Reeder Honorary Chair
The Edus H. & Harriet H. Warren Chair
Justin Bruns Associate Concertmaster
The Mary & Lawrence Gellerstedt Chair
The Charles McKenzie Taylor Chair
Vacant Assistant Concertmaster Jun-Ching Lin Assistant Concertmaster Anastasia Agapova Acting Assistant Concertmaster Carolyn Toll Hancock
SECOND VIOLIN Julianne Lee• Principal
Paul Murphy Associate Principal Catherine Lynn
The Atlanta Symphony Assistant Principal Associates Chair Marian Kent
Sou-Chun Su Associate Principal
The Frances Cheney Boggs Chair
Jay Christy Assistant Principal Noriko Konno Clift Acting Assistant Principal Sharon Berenson The Wells Fargo Chair David Braitberg John Meisner David Dillard Christopher Pulgram Eleanor Kosek Carol Ramirez Ruth Ann Little Juan Ramirez Thomas O’Donnell Olga Shpitko Ronda Respess Kenn Wagner Frank Walton Lisa Wiedman Yancich Sissi Yuquing Zhang •
Yang-Yoon Kim Yiyin Li Lachlan McBane Jessica Oudin Madeline Sharp
CELLO Christopher Rex Principal The Miriam & John Conant Chair
Daniel Laufer Associate Principal The Livingston Foundation Chair
Karen Freer Assistant Principal Dona Vellek Assistant Principal Emeritus Thomas Carpenter •
Players in string sections are listed alphabetically
12 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Donald Runnicles Principal Guest Conductor The Neil and Sue Williams Chair Joel Dallow
The UPS Foundation Chair
Larry LeMaster Brad Ritchie Paul Warner BASS Vacant The Marcia & John Donnell Chair Gloria Jones Allgood Associate Principal Lucy R. & Gary Lee Jr. Chair
Karl Fenner Michael Kenady
The Jane Little Chair
Michael Kurth Joseph McFadden* Daniel Tosky FLUTE Christina Smith Principal The Jill Hertz Chair
Robert Cronin Associate Principal C. Todd Skitch Gina Hughes PICCOLO Gina Hughes
Michael Krajewski Principal Pops Conductor
Stephen Mulligan Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair
OBOE Elizabeth Koch Tiscione Principal
Anthony Georgeson• Associate Principal Laura Najarian The George M. & Corrie Juan de Gomar Hoyt Brown Chair
Yvonne Powers Peterson Associate Principal The Kendeda Fund Chair
Samuel Nemec Emily Brebach ENGLISH HORN Emily Brebach CLARINET Laura Ardan Principal
Nathan Zgonc Second/Associate Principal Brian Hecht
BASS TROMBONE CONTRA-BASSOON Brian Hecht The Home Depot Juan de Gomar Veterans Chair
HORN Brice Andrus Principal The Betty Sands Fuller Chair
Susan Welty Associate Principal Jaclyn Rainey Bruce Kenney
TRUMPET The Robert Shaw Chair Stuart Stephenson Principal Ted Gurch The Madeline & Associate Principal Howell Adams Chair Marci Gurnow Vacant Alcides Rodriguez Associate Principal E-FLAT CLARINET Michael Tiscione Acting Associate Ted Gurch Principal/Second BASS CLARINET TROMBONE Alcides Rodriguez Samuel Schlosser BASSOON Principal The Terence L. Neal Andrew Brady Chair, Honoring Principal The Abraham J. & Phyllis Katz Foundation Chair
Norman Mackenzie Director of Choruses The Frannie and Bill Graves Chair
his dedication and service to the Atlanta Symphony Orchestra
TUBA Michael Moore Principal The Delta Air Lines Chair
TIMPANI Mark Yancich Principal The Walter H. Bunzl Chair
William Wilder Assistant Principal PERCUSSION Joseph Petrasek • Principal
HARP Elisabeth Remy Johnson Principal The Sally & Carl Gable Chair
The Hugh & Jessie Hodgson Memorial Chair
Peter Marshall † Sharon Berenson LIBRARY Nicole Jordan Principal The Marianna & Solon Patterson Chair
Holly Matthews Assistant Principal Librarian Hannah Davis ASYO/Assistant Librarian
The Julie & Arthur Montgomery Chair
Charles Settle* Acting Principal The Connie & Merrell Calhoun Chair
William Wilder Assistant Principal The William A. Schwartz Chair
Michael Stubbart •
‡ rotate between sections * Leave of absence † Regularly engaged musician • New this season
encoreatlanta.com | Atlanta’s Performing Arts Publication 13
Atlantan Russell Thomas Takes on Verdiâ€™s
in the Atlanta Symphony Orchestra Premiere By Andrew Alexander 14 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
s Atlantans, we’re pretty accustomed to long work commutes, but most of us have nothing on Russell Thomas. As a highly in-demand opera singer, the Atlantabased tenor travels across the globe so regularly that the chance to actually enjoy a week or two in his own home is something of a rarity. That’s just one of the reasons why Thomas’ upcoming performances in the lead role of the Atlanta Symphony Orchestra’s concert presentations of Verdi’s Otello, October 7 and 10, will be so special for him. “I love Atlanta,” said the busy tenor by phone from Salzburg, Austria, where he was performing as Tito in Mozart’s La clemenza di Tito in the city’s famous music festival. “But it’s not often I get to work at home. I’m not even at home very often, so this is a win-win for me.”
More importantly, however, the ASO Otello performances will mark a major milestone in Thomas’ career. Though Thomas has earned raves for his performances of other roles throughout the Italian repertoire, the Symphony Hall performances will be his debut in the title role of Verdi’s masterpiece. “The most important thing is pacing,” said Thomas of the challenge of taking on the monumental role for the first time.
“It’s one of those roles. The issue is that you sing continuously over four acts almost non-stop. The challenge is to pace yourself, especially during the second and third act because Otello is singing the entire time. There are no particular high notes that stick out, the range is not what gives you trouble. What gives you trouble is the intensity of emotion over four acts of constant singing and emoting at a very intense level.” Although working from home might be an all-too-rare occurrence recently, Thomas is still no stranger to working with the ASO. His first performance with the symphony was in 2011 singing the role of Pinkerton in concert performances of Madama Butterfly, and in the 2014-15 season, he was named the ASO’s first artist-in-residence, becoming the face of community outreach for the symphony. “When [Vice President for Artistic Planning] Evans Mirageas spoke to me about the opportunity, I jumped at it. As a transplant to Atlanta via Florida, I wanted to get to know the community more and what better opportunity,” he said. As part of his ASO residency, Thomas performed recitals across Atlanta, appeared at events and visited schools, with a focus on reaching children in the African American community.
encoreatlanta.com | Atlanta’s Performing Arts Publication 15
the helm for rehearsals and performances of Otello. “Robert is the kind of conductor who is sensitive to the needs of a singer,” he said. “He asks you what you need and then he does his all to give it to you. When they said it was Robert conducting, it was a weight lifted off my shoulders. We’ll work together for about a week before we Thomas’ upcoming performances as begin official rehearsals with the Orchestra Otello will be among the first in which and just figure out what I need to make it a an African American singer with an successful performance. Most conductors international career will appear as the won’t give you that kind of time. It was lead character in Verdi’s opera. “I think beautiful that Robert volunteered his time it’s great I get to sing the role of a black that week to help me prepare.” character that’s not by Gershwin,” he “Russell is one of the country’s most said. “That’s a beautiful thing. I don’t sought-after tenors and it has been take that for granted. People say it’s not thrilling to watch his career flourish,” a racially charged show, but absolutely it said Music Director Robert Spano of the is. In Shakespeare, there are so many ugly upcoming collaboration. “We can promise things that are said about Otello racially. the Atlanta debut of Otello will be a As Otello, my being a black man will color performance to remember.” those words in a specific way.” Still, taking on Otello for the first time is a “I was taken aback that so many people of color responded that they would love to know more about the symphony, they would love to be a part of it, but they hadn’t really had the opportunity,” said Thomas. “They were happy the ASO had started to do that via the artist-inresidence program.”
Thomas added that he’s especially grateful major challenge for any singer, no matter that Music Director Robert Spano will be at how battle-tested he and his conductor are. “You never know until you do it,” said Thomas. “Until you put it on its feet, you don’t know if it’s going to be a success or not. Technically, I’m ready for it. With the level of maturity I have at 40 years old, I feel ready for it.” Join Russell Thomas and the Orchestra on Oct. 7 and 10 for Verdi’s Otello, also featuring Mary Elizabeth Williams, Nmon Ford, Benjamin Bliss, Arthur Woodley, Kathryn Leemhius, Miles Mykkanen, Norman Garrett and the renowned Atlanta Symphony Orchestra Chorus.
16 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
ARTFULLY YOURS Whether itâ€™s music from the movies or the classical masters with the LaGrange Symphony Orchestra, a classic ballet at the Lafayette Society for the Performing Arts, or your favorite Broadway-style production onstage at LaGrange Collegeâ€™s Price Theatre, you can enjoy a full season of performing arts in our community. Just a short drive from Atlanta, visit LaGrange where you can escape the humdrum of everyday life. Plan your journey our way at
ic: Bachelor’s Curtis Institute of Mus y: Master’s ator New England Conserv Paris: First Prize de ur erie Conservatoire Sup Johannes String Boston Symphony, Previous Experience: r Orchestra mbe Cha an Quartet, Australi
Viola Julliard School of Mus ic: Bachelor’s & Mas ter’s Previous Experience: New World Sympho ny, ASO (regularly engaged), Minnesota Orchestr a, Houston Symphony, St. Pau l Chamber Orchestr a
sters chelors & Ma School: Ba ogress) The Juilliard Music: Masters (in pr of Yale School vious Experience: Pre Opera monia, Yale Yale Philhar
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ANTHON Y GEORG ESON
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ER CARPENT THOMAS
18 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
UCLA: Bachelor Tem Previous Experie ple University: ’s Symph Maste ony, Sa nce: Kansas C n Franci ity Sym r’s phon sco Orchest ra, Det Symphony, Chi y, New World roit Sym cago Sy phony Orchest mphony ra
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New Kids on the Block by Michael Kurth, Bass
The start of a new ASO season is exciting for all of us, but especially for our newest musicians. We as an orchestra are eager to get to know them, since we’ll be sharing the stage together for many years and countless musical experiences. As ASO Creative Liaison, it was my enviable task to sit down with our new members and get a head start on learning about the diverse paths that brought them to Atlanta. Have you visited Atlanta before? What are you looking forward to about living in Atlanta? Sissi: I visited the Swan House at the Atlanta History Center in Buckhead and did a couple of sketches of the building and the garden. And I took my mom to the Margaret Mitchell House on Crescent Avenue because Gone with the Wind is one of our favorite movies.
encoreatlanta.com | Atlanta’s Performing Arts Publication 19
How did you feel about your ASO audition experience? Sissi: A week before my trial week, I broke my foot in the middle of a festival in Arkansas. I somehow managed to get to the first rehearsal of the season’s last concert with both crutches and a boot, and a violin on my back. But thankfully everybody in the orchestra was so nice to me, including the person who was in the trial week with me, and the ASO personnel manager, who also broke her ankle. “Breaking a leg” really brought good fortune and I successfully passed my trial week! Anthony: The airline lost my luggage on my way to the Atlanta audition in April so I had to play the audition in street clothes and did not have reed tools to adjust my reeds. Madeline: The week leading up to the ASO audition was pretty stressful. It wasn’t just “another audition”, since I was living here (and loving it). So, I had basically been a hermit for about a month and a half, practicing away. The week of the audition I remember feeling nervous in every rehearsal -- having visions of me falling on my face on that very stage...etc. But, when the day came I just relaxed and tried to enjoy it. I’m glad it worked out! What’s a non-musical skill or interest you have? Thomas: One of my non-musical interests I have is soccer. I used to play a lot with my little brother who happens to be training to be a professional goalkeeper. I also played and trained a bit with the men’s club team at Rice. I play pickup soccer nowadays, and really love just getting outside and playing with anyone who loves to kick the ball around. Stephen: I’ve always loved spending time outdoors. I played sports growing up, and now I like to run and hike when I have time. I’ve recently discovered backpacking, too,
but it’s hard to find time to leave the grid. I look forward to exploring the North Georgia Mountains when I have a chance. Cats or dogs? Julianne: Dogs. I’ve had my 8-year-old cairn terrier named Sylvie since she was three months old. She knows a handful of tricks, including closing doors and drawers. Thomas, Madeline, Anthony: Dogs. Joseph: Cats. We have two, Chloe and Penelope. Do you follow or support any college or pro sports teams? Thomas: I support Liverpool FC, the professional soccer team. I try to watch every game that works with my schedule. Since there is a five-hour time difference from here to the U.K., some of the games start at 6:30 am! I am also becoming a fan of Atlanta United FC. They are very exciting to watch, and I’m excited to see them in person. Stephen: When I was little my family lived in San Antonio, Texas, where my dad was playing concertmaster for the symphony. I remember going to Spurs games as a boy, and despite having lived in many cities across the country, my allegiance to the Spurs remains. Anthony: UW Madison Badger Football! Madeline: I grew up in Chicago and have been a Chicago Cubs fan my whole life (my parents met at a baseball game). Last year was pretty exciting for Chicago -- first championship in 108 years! What’s the last band you listened to on CD/iTunes/Spotify/Pandora? Michael: Run the Jewels. Thomas: The Red Hot Chili Peppers. I grew up listening to them and my dad, who was a guitar player in a rock band, played some of their music with his band. Joseph: The Punch Brothers.
20 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Julianne: Bruce Molsky. I met him at Mark O’Connor’s fiddle camp in 2009. He taught me a fiddle tune called The Bucking Mule. Years later we both ended up at the Berklee College of Music as faculty members. What’s one piece of music would you love to add to the ASO concert schedule? Joseph: Shostakovich 11. Anthony: Shostakovich 4 or 8. Madeline: My favorite piece is Mahler 2 -I’ve been dying to play it and the ASO played it before my arrival. I hope we play it again soon! Julianne: Mozart Symphonies. Every single measure is pure genius, it is impossible not to get excited while playing them. What’s your “guilty pleasure” music? Anthony: My favorite thing to listen to hasn’t changed since I was a kid - movie scores. That was my first exposure to orchestral music and how I began to love the grand sound of an orchestra, still makes me feel nostalgic and happy. Have you ever done karaoke? What song did you choose? Michael: Regulators by Warren G featuring Nate Dogg has become something of a signature number. Joseph: Aces High by Iron Maiden. Anthony: I always do either the theme song to “Cheers” (Where Everybody Knows Your Name) or “Dare You to Move” by Switchfoot.
The ASO welcomes Stephen Mulligan this season as the Assistant Conductor and the Atlanta Symphony Youth Orchestra Music Director. Mulligan most recently served as Assistant Conductor and Youth Orchestra Director for the Winston-Salem Symphony in North Carolina. Mulligan graduated cum laude from Yale University, where he served as the Yale Symphony’s assistant conductor, traveled to Helsinki to study Sibelius’ late manuscripts with a grant from the Mellon Foundation and was awarded the Wrexham Prize for excellence in performance for violin and conducting. Mulligan grew up in Baltimore, MD, studying violin with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony. “Robert Spano has been a tremendous influence as my mentor at the Aspen Music Festival from 2014-2016,” said Mulligan. “I am thrilled to continue learning from him, as well as the incredibly talented Atlanta Symphony Orchestra and Youth Orchestra musicians.”
Conductor STEPHEN MUL LIGAN encoreatlanta.com | Atlanta’s Performing Arts Publication 21
ASO | sponsors AtlantaSymphonyOrchestra
The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
Delta is proud to celebrate more than 75 years as Atlantaâ€™s hometown airline. Deltaâ€™s community engagement worldwide continues to be a cornerstone of our organization. As a global airline, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. This includes not only valuing individual differences of race, religion, gender, nationality and lifestyle, but also managing and valuing the diversity of work teams, intracompany teams and business partnerships. Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin. The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation. The Atlanta Symphony Orchestra records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels. Trucks provided by Ryder Truck Rental Inc.
22 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
encoreatlanta.com | Atlantaâ€™s Performing Arts Publication 23
SEP 21/23 | program The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Concerts of Thursday, September 21, and Saturday, September 23, 2017, at 8:00pm ROBERT SPANO, Conductor Additional support for Opening Weekend performances generously provided by Victoria and Howard D. Palefsky.
The Atlanta Symphony Orchestra is proud to feature several works by Michael Kurth, composer, and member of the Orchestra’s double-bass section, during the course of the 2017-18 season. JAN 25/27 Everything Lasts Forever MAR 22/24 World Premiere APR 5/6 May Cause Dizziness
JEAN-YVES THIBAUDET, piano JOHN STAFFORD SMITH (1750-1836) (arr. Walter Damrosch) The Star-Spangled Banner LEONARD BERNSTEIN (1918-1990) Symphony No. 2 for Piano and Orchestra, 36 MIN “The Age of Anxiety” (1949, rev. 1965) Part I a) The Prologue: Lento moderato—Poco più andante b) The Seven Ages: Variations 1-7 c) The Seven Stages: Variations 8-14
Part II a) The Dirge: Largo—Molto rubato b) The Masque: Extremely fast c) The Epilogue: L’istesso tempo Jean-Yves Thibaudet, piano
INTERMISSION JOHN STAFFORD SMITH (arr. Michael Kurth) The Star-Spangled Banner MICHAEL KURTH (b. 1971) 27 MIN A Thousand Words (2015) I. Above: Radiance II. Beneath: My Sinister Groove Machine III. Within IV. Beyond: We Will Puncture the Canopy of Night GEORGE GERSHWIN (1898-1937) An American in Paris (1928) (ed. Mark Clague)
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other handheld devices. 24 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Notes on the Program Ken Meltzer, Program Annotator Symphony No. 2 for Piano and Orchestra, “The Age of Anxiety” (1949, rev. 1965)
First Classical Subscription Performances: May 2, 3, and 4, 1974, Leonard Pennario, Piano, Robert Shaw, Conductor.
LEONARD BERNSTEIN was born in Lawrence, Massachusetts, on August 25, 1918, and died Most Recent Classical Subscription in New York on October 14, 1990. The first Performances: April 21, 22, and 23, performance of the Symphony No. 2 took place 1988, Jeffrey Kahane, Piano, at Symphony Hall in Boston, Massachusetts Robert Shaw, Conductor. on April 8, 1949, with the composer as piano soloist, and Serge Koussevitsky conducting the Boston Symphony Orchestra. The Symphony No. 2 is scored for piano solo, piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, snare drum, bass drum, tenor drum, tam-tam, cymbals, temple blocks, triangle, glockenspiel, xylophone, celesta, two harps, pianino, and strings.
Auden’s book-length poem, The Age of Anxiety, first published in 1947, won the Pulitzer Prize for Poetry the following year. Leonard Bernstein regarded The Age of Anxiety “as one of the most shattering examples of pure virtuosity in the history of English poetry.” Bernstein first read Auden’s poem in the summer of 1947. In program notes for the work’s premiere, Bernstein confessed: “From that moment the composition of a symphony based on The Age of Anxiety acquired an almost compulsive quality…” Bernstein worked on the score over the following several months, completing the Symphony on March 20, 1948. The premiere took place at Symphony Hall in Boston, Massachusetts, on April 8, 1949. Bernstein was the piano soloist, with Serge Koussevitsky conducting the Boston Symphony Orchestra. Set in New York City during World War II, The Age of Anxiety concerns the meeting and interaction of four people in a bar on Third Avenue. The four principals (Quant, Malin, Rosetta, and Emble) attempt to come to grips with a war-torn, and increasingly materialistic world. Auden’s narrative is set for the most part in alliterative tetrameter. Bernstein viewed Auden’s narrative as depicting “the record of our difficult and problematic search for faith.” In his program notes, Bernstein describes the role of the solo piano: I imagine that the conception of a symphony with piano solo emerges from the extremely personal identification of myself with the poem. In this sense, the pianist provides an almost autobiographical protagonist, set against an orchestral mirror in which he sees himself, analytically, in the modern ambience. The score is in two Parts. Each Part has three subsections, played without pause, that track the progression of Auden’s original poem. Part I a) The Prologue: Lento moderato—Poco più andante—The four principals meet late at night in a Third Avenue bar. There, according to Bernstein, they attempt “through drink, to detach themselves from their conflicts, or, at best, to resolve them.” The brief Prologue features an improvisation by two clarinets, resolving to a descending scale, “which acts as a bridge into the realm of the unconscious, where most of the poem takes place.” encoreatlanta.com | Atlanta’s Performing Arts Publication 25
SEP 21/23 | program b) The Seven Ages: Variations 1-7—The protagonists offer their takes on the progression of one’s life. Bernstein portrays this exchange with a series of variations. But the variations are not based upon a single central theme. Rather, each succeeding variation incorporates and develops some characteristic of its immediate predecessor. c) The Seven Stages: Variations 8-14—The quartet embarks upon a “dream-odyssey,” in which “they go on an inner and highly symbolic journey…” The variations gather energy and momentum, leading to “a hectic, though indecisive, close.” Part II a) The Dirge: Largo—Molto rubato—The principals take a cab to Rosetta’s apartment for a nightcap. Along the way, they “mourn the loss of the ‘colossal Dad,’ the great leader who can always give the right orders, find the right solution…” b) The Masque: Extremely fast—The group arrives at Rosetta’s apartment, “weary, guilty, determined to have a party, each one afraid of spoiling the others’ fun by admitting that he should be home in bed.” Bernstein scores this jazzy episode for piano solo and percussion. An upright piano reprises The Masque, “repetitiously and with waning energy,” leading to the Epilogue. c) The Epilogue: L’istesso tempo—Bernstein observes: “What is left, it turns out, is faith.” A trumpet intones a statement of “something pure.” The Epilogue journeys “to a positive statement of the newly recognized faith.” A Thousand Words (2015) MICHAEL KURTH was born in Falls Church, Virginia, First Classical Subscription on November 22, 1971. The first performance of A Performances (World Premiere): Thousand Words took place at Atlanta Symphony Hall February 4, 5, and 6, 2016, in Atlanta, Georgia, on February 4, 2016, with Robert Robert Spano, Conductor. Spano conducting the Atlanta Symphony Orchestra. A Thousand Words is scored for piccolo, two flutes, two oboes, English horn, E-flat clarinet, two B-flat clarinets, B-flat bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, glockenspiel, marimba, vibraphone, tambourine, ratchet, triangle, tam-tam, kick drum, snare drum, hihat, toms, splash cymbal, suspended cymbal, cowbell, gong, bass drum, congas, brake drum, shaker, salsa bell, claves, chimes, cabasa, optional Berlioz bells, harp, piano, celesta, and strings.
Thousand Words was commissioned by Robert Spano and the Atlanta Symphony Orchestra. The composer provided the following program notes for the work’s premiere.
This work is more difficult to write about than my previous Atlanta Symphony Orchestra commissions; parts of it are slightly programmatic, but mostly it’s just music from inside my head spread all over the orchestra for half an hour. One of my favorite authors, Richard Powers, in his novel Orfeo, says: “Music doesn’t mean things. It is things.” I hope that this music will be things to listeners; it is things to me. Why A Thousand Words ? The title alludes to the inherent difficulty in expressing verbally the images or memories that occupy our minds. When we remember visits to meaningful places, the images we recall are often accompanied by sensory memories and sentiments difficult to capture with words. I could share pictures of places I’ve visited or events I’ve experienced, I could try to describe them, or I could relate 26 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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SEP 21/23 | program these things to you musically. In the absence of images or words, the music conveys the meaning, but more; the music becomes its own experience, independent of its source, like a tide pool, or a feral animal. A Thousand Words is symphonic in form, and has four movements: I. Above: Radiance—The first movement was inspired by a sunrise over the Atlantic ocean on a January morning at Tybee Island. The movement lasts just about as long as it takes the sun to fully crest the horizon. II. Beneath: My Sinister Groove Machine—Parts of the second movement were inspired by the basalt cliffs at Reynisfjara, on the southern coast of Iceland; parts were inspired by the Sloss Furnaces in Birmingham, Alabama. Both places are eerily beautiful, and you should visit them. The music grooves in a mechanically sinister way, hence the subtitle. III. Within—The third movement at first appears fragile, but as it develops, it reveals its strength. IV. Beyond: We Will Puncture the Canopy of Night—Parts of the fourth movement were inspired by birds in flight, and also by seeing millions of stars in places where that’s still possible. It ends with a joyful Carnival parade. —Michael Kurth An American in Paris (1928) (ed. Mark Clague) First Classical Subscription GEORGE GERSHWIN was born in Brooklyn, Performance: March 3, 1953, New York, on September 26, 1898, and died Henry Sopkin, Conductor. in Hollywood, California, on July 11, 1937. The first performance of An American in Paris Most Recent Classical Subscription took place at Carnegie Hall in New York on Performances: April 30, May 1 and 2, December 13, 1928, with Walter Damrosch con2015, Robert Spano, Conductor. ducting the New York Philharmonic-Symphony Society. An American in Paris is scored for piccolo, three flutes, two oboes, English horn, two clarinets in B-flat, bass clarinet in B-flat, two bassoons, three saxophonists (1: B-flat soprano sax, E-flat alto sax; 2: B-flat soprano sax, E-flat alto sax, B-flat tenor sax; 3: B-flat soprano sax, E-flat alto sax, E-flat baritone sax), four horns in F, three trumpets in B-flat, three trombones, tuba, timpani, snare drum, wood block, suspended cymbal, taxi horns, (optional crash cymbals), bass drum, triangle, wood block, tom-toms (small/large), ratchet, glockenspiel, xylophone, (optional celesta), celesta, and strings. In March of 1928, George Gershwin departed New York for Europe, and trips to Paris, London, and Vienna. Prior to that time, Gershwin received a commission from conductor Walter Damrosch and the New York Symphony Society (later, the New York PhilharmonicSymphony Society) for a new orchestral work. Gershwin returned to New York in June, where he completed An American in Paris a month before the work’s premiere. Walter Damrosch conducted the Carnegie Hall concert, which took place on December 13, 1928. These concerts present the United States premiere of a new edition of An American in Paris. It is part of the comprehensive The George and Ira Gershwin Critical Edition, a collaboration between the Gershwin family estates, their publishers, and the University of Michigan. 28 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Ins I st on makI ng a t o a s t. Enjo y l I f E t o t hE f ul l E s t thEr E arE no drE ss rE h Ea r s a l s . hav E y our st E ak and E at I t, t o o .
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SEP 21/23 | artists Edited by Mark Clague, the new edition draws upon various original sources. These include the composer’s handwritten holograph score that resides in the Library of Congress, as well as the February 4, 1929 world premiere recording, supervised by Gershwin, and featuring his performance of the celesta part. Notable departures from the familiar performing version (compiled in the early 1940s by Frank Campbell-Watson) include the pitching of the taxi horns in accordance with Gershwin’s original wishes, as well as an expanded saxophone section. While Gershwin’s brilliant synthesis of classical and jazz elements remains, the latter receives its full due in the new critical edition. In describing An American in Paris, Gershwin observed: “This new piece, really a rhapsodic ballet, is written very freely and is the most modern music I’ve yet attempted.” An American in Paris opens with music depicting the protagonist strolling throughout Paris (Gershwin went to great time and expense to find authentic French taxi horns for inclusion in the premiere). Later, according to Gershwin: “Our American friend perhaps after strolling into a café and having a couple of drinks, has succumbed to a spasm of homesickness.” But finally, “the homesick American, having left the café and reached the open air, has disowned his spell of the blues and once again is an alert spectator of Parisian life. At the conclusion, the street noises and French atmosphere are triumphant.” JEAN-YVES THIBAUDET, piano
or more than three decades, Jean-Yves Thibaudet has performed world-wide, recorded over 50 albums, and built a reputation as one of today’s finest pianists. He plays a range of solo, chamber, and orchestral repertoire – from Beethoven through Liszt, Tchaikovsky, Grieg and Saint-Saëns; to Ravel, Khachaturian and Gershwin, and to contemporary composers Qigang Chen and James MacMillan. Thibaudet’s recording catalogue of more than 50 albums has received two Grammy nominations, Preis der Deutschen Schallplattenkritik, the Diapason d’Or, the Choc du Monde de la Musique, the Edison Prize, as well as Gramophone and Echo awards. He was the soloist on the award-winning and critically acclaimed films Atonement, Pride and Prejudice, and Extremely Loud & Incredibly Close. His concert wardrobe is designed by Vivienne Westwood. In 2010 the Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012. Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age 5 and made his first public appearance at age 7. At 12, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age 15, he won the Premier Prix du Conservatoire, and three years later, the Young Concert Artists Auditions in New York City. Among his numerous commendations is the Victoire d’Honneur, a lifetime career achievement award and the highest honour given by France’s Victoires de la Musique.
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OCT 7/10 | program The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Concerts of Saturday, October 7 and Tuesday, October 10, 2017, at 8:00pm ROBERT SPANO, Conductor ATLANTA SYMPHONY ORCHESTRA CHORUS, Norman Mackenzie, Director of Choruses
Another masterpiece from the latter part of Verdi’s career is the Messa da requiem, composed in memory of the great Italian author Alessandro Manzoni. Verdi conducted the Requiem’s world premiere at the Church of San Marco in Milan on May 22, 1874.
CAST: RUSSELL THOMAS, tenor Otello, Moor, general of the Venetian armada MARY ELIZABETH WILLIAMS, soprano Desdemona, Otello’s wife NMON FORD, baritone Jago, ensign BEN BLISS, tenor Cassio, squadron commander
ARTHUR WOODLEY, bass Lodovico, ambassador of the Venetian Republic
Donald Runnicles, conductor
KATHRYN LEEMHUIS, mezzo-soprano Emilia, Jago’s wife MILES MYKKANEN, tenor Roderigo, Venetian gentleman NORMAN GARRETT, bass Montano, Otello’s predecessor as governor of the Island of Cyprus TBD, bass A Herald GIUSEPPE VERDI (1813-1901) Otello (1887)
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
Act I—A port in Cyprus
Act II—A hall on the ground floor of the castle
Act III—The great hall of the castle
Act IV—Desdemona’s bedchamber
English surtitles by Ken Meltzer
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Notes on the Program Ken Meltzer, Program Annotator Otello (1887) GIUSEPPE VERDI was born in Roncole, Italy, on October 9 or 10, 1813, and died in Milan, Italy, on January 27, 1901. The first performance of Otello took place at the La Scala Opera House in Milan on February 5, 1887, Franco Faccio conducting. Otello is scored for soprano, mezzo-soprano, three tenor, baritone, and three bass solos, mixed chorus, piccolo, three flutes, two oboes, English horn, two clarinets, bass clarinet, four bassoons, four horns, two cornets, two trumpets, three trombones, tuba, timpani, bass drum, gong, snare drum, cymbals, suspended cymbal, guitar, mandolin, harp, organ, and strings.
iuseppe Verdi maintained a lifelong reverence for the works of William Shakespeare. Verdi composed three operas based upon Shakespeare plays. The first of the VerdiShakespeare operas was Macbeth (1847). After the premiere in Paris in 1865 of the opera’s revised version, a critic suggested that Verdi did not understand Shakespeare. The composer, in an April 28, 1865 letter to the French publisher and impresario, Léon Escudier, responded: It may be that I have not rendered Macbeth well, but that I don’t know, don’t understand, and don’t feel Shakespeare — no, by God, no. He is a favorite poet of mine, whom I have had in my hands from earliest youth, and whom I read and reread constantly.
Verdi’s final two Shakespearean masterpieces were Otello (1887) and Falstaff (1893). Verdi’s librettist for these two works was Arrigo Boito (1842-1918), an accomplished opera composer in his own right. The two artists seemed to bring out the best in each other, and the Verdi-Boito Shakespeare operas rank among the greatest masterpieces of the lyric theater. The premiere of Verdi’s Otello took place at the La Scala Opera House in Milan on February 5, 1887. The great dramatic tenor Francesco Tamagno (1850-1905) sang the title role. The Iago was the renowned French baritone, Victor Maurel (1848-1923). Six years later, Maurel created the title role in Verdi’s final masterpiece, Falstaff. Among the musicians in the La Scala Orchestra for Otello’s 1887 world premiere was a 19-year-old second cellist from Parma, Arturo Toscanini. At the conclusion of Otello’s premiere, there were dozens of curtain calls. When Verdi left the theater, the people of Milan drew his carriage to the Grand Hotel. There, the composer, Boito, and the principal singers were treated to continuous ovations that, according to Verdi’s wife, were “deafening, and reached the point of delirium...but I confess to you that I was moved by it, because this admiration, this passionate demonstration, comes from a high esteem, an affection that is heavy with understanding.” Since its triumphant premiere, Otello has maintained its status as one of the masterpieces of the Italian lyric theater, a fitting, heartfelt tribute to Shakespeare by a composer who understood and revered the essence of the English playwright’s genius. Act I (The plot synopsis uses the names of the characters as they appear in the original Shakespeare play.) The story takes place in Cyprus toward the close of the 15th century (Verdi and Boito omit Act I of Shakespeare’s play, set in Venice). The curtain rises on a violent storm. The people of Cyprus pray for the safe arrival of Othello, a Venetian general, and their new governor. Othello finally enters and triumphantly announces the defeat of the Turkish fleet encoreatlanta.com | Atlanta’s Performing Arts Publication 33
OCT 7/10 | program (“Esultate!”). The crowd cheers Othello as he enters the castle. Iago, Othello’s ensign, plots his revenge for the general’s promotion of Cassio to the rank of captain. Iago enlists the aid of Roderigo, a Venetian gentlemen in love with Othello’s bride, Desdemona. Under the pretense of celebrating the marriage of Othello and Desdemona, Iago encourages Cassio to become intoxicated (“Inaffia l’ugola!”). Roderigo then provokes Cassio into a duel. Montano, the previous governor of Cyprus, tries to intercede, and is wounded by Cassio. Othello suddenly appears, and demands to know the cause of the disruption. Iago pretends to be confused as to the reasons for Cassio’s behavior. When Desdemona, awakened from her sleep, appears, Othello is overcome with anger, and strips Cassio of his rank. Othello dismisses the crowd. Othello and Desdemona are now alone. In one of Verdi’s greatest love duets (“Già nella notte densa”), they celebrate their love and future happiness. Othello and Desdemona walk arm in arm into the castle. Act II Act II takes place in a hall of the great castle. Iago encourages Cassio to enlist the aid of Desdemona to regain Othello’s favor (“Non ti cruciar”). When Cassio leaves, Iago declaims his philosophy of God and mankind’s inherently evil nature (“Credo in un Dio crudel”). Cassio approaches Desdemona. Othello enters, and Iago pretends to be concerned that Cassio is speaking with the general’s wife. Iago then begins to plant the first seeds of jealousy by suggesting that there might be a romantic attraction between Cassio and Desdemona. Othello’s anger is momentarily calmed by the arrival of his wife, serenaded by the Cypriot people (“Dove guardi splendono”). But Othello’s jealousy revives when Desdemona asks for Cassio’s pardon. Othello complains of a headache. When Desdemona attempts to bind her husband’s brow with her handkerchief, he throws it to the ground. Emilia, Desdemona’s attendant and Iago’s wife, picks up the handkerchief. Iago quickly takes it from Emilia and warns her to be quiet. When Desdemona again asks for Cassio’s pardon, Othello abruptly dismisses her. Othello and Iago are left alone (“Desdemona rea!”). Othello bids farewell to Desdemona’s love, and his former glory and happiness (“Ora e per sempre addio”). At first, Othello turns on his ensign for poisoning his thoughts of Desdemona, but Iago then offers supposed “proof” of her infidelity. He falsely recounts overhearing a sleeping Cassio proclaim both his love for Desdemona, and hatred for the Moor (“Era la notte”). Iago then tells Othello that he has seen Cassio bearing the handkerchief that was the Moor’s first present to his wife. Iago is lying, of course—the handkerchief is the same one Desdemona was carrying earlier. Still, Othello is now unreservedly convinced of his wife’s infidelity. In the duet, “Si pel ciel,” Othello and Iago swear vengeance on Desdemona and Cassio. Act III Act III takes place in the great hall of the Castle. Iago counsels Othello to pay close attention to Cassio’s behavior. When Iago revisits the subject of the handkerchief, Othello angrily dismisses his ensign. Desdemona enters, and attempts to convince Othello of Cassio’s worthiness (“Dio ti giocondi, o sposo”). Othello asks Desdemona for the handkerchief he gave her during their courtship. When Desdemona is unable to produce it, Othello warns her of grave consequences. Desdemona again pleads for Cassio. Othello flies into a rage, 34 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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OCT 7/10 | program and accuses his wife of being a prostitute. Desdemona tearfully proclaims her innocence, but Othello violently pushes her away. Alone, Othello is overcome with despair (“Dio! mi potevi scagliar”). His thoughts are interrupted by Iago, who announces Cassio’s arrival. Othello hides and attempts to overhear Iago’s conversation with Cassio. Iago engages Cassio in a discussion about his mistress, Bianca (“Vieni; l’aula è deserta”), but Othello is convinced they are talking of Desdemona. Cassio then mentions finding a handkerchief in his home. The handkerchief was planted there by Iago, who now asks Cassio to show it to him. Iago brandishes the handkerchief in plain view of Othello (“Questa è una ragna”). After Cassio departs, Othello, at Iago’s suggestion, agrees to kill Desdemona in the bed where she was supposed to have committed her infidelity. Iago vows to murder Cassio, and Othello promotes his ensign to the rank of captain. Trumpets herald the arrival of Lodovico, the Venetian ambassador (“Viva il Leon di San Marco!”). The Doge has recalled Othello to Venice, and appointed Cassio to replace him as governor of Cyprus. When Othello overhears Desdemona speak to Iago of Cassio, the Moor throws his wife to the ground (“A terra!...sì…nel livido fango”). The onlookers are horrified by the behavior of Othello, who dismisses everyone. Othello is overcome with emotion, and faints. Iago stands triumphantly over the stricken Moor. As the Cypriots sing offstage: “Glory to the Lion of Venice!”, Iago points to the stricken general and derisively exclaims: “Behold the Lion!” Act IV Act IV takes place in Desdemona’s bedchamber. Desdemona, with Emilia’s assistance, prepares for bed, and awaits Othello’s arrival. Desdemona recalls the song of Barbara, a family maid, whose lover deserted her (“Piangea cantando nell’erma landa”). Desdemona then recites the “Ave Maria,” and goes to bed. Othello enters the bedchamber, extinguishes the lights, and kisses Desdemona. When she awakens, Othello bids his wife to say her final prayers. He must kill her as punishment for her affair with Cassio. Desdemona desperately attempts to proclaim her innocence, but Othello refuses to listen, and strangles her. Emilia knocks on the door. When Othello allows her to enter, Emilia announces that Cassio has killed Roderigo. Desdemona briefly revives. She professes both her and Othello’s innocence, and expires. Othello quickly acknowledges his responsibility for Desdemona’s death. Emilia cries for help, and Lodovico, Cassio, and Iago arrive. When Iago confirms his supposed belief in Desdemona’s infidelity, Emilia and Cassio explain the circumstances surrounding the handkerchief. Montano announces that Roderigo has admitted Iago’s evil plotting, and the ensign quickly runs from the room. Confronted with Desdemona’s innocence (“Niun mi tema”), Othello stabs himself. With his dying effort, Othello kisses Desdemona.
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OCT 7/10 | artists RUSSELL THOMAS, tenor
T FAY FOX
his summer, American tenor Russell Thomas, lauded for both the power and beauty of his voice, marked his debut at the Salzburg Festival, singing the title role in Mozart’s La clemenza di Tito. He followed these performances by joining the Boston Symphony Orchestra in Tanglewood for two concerts conducted by Andris Nelsons: the first singing Cavaradossi in Act 2 of Tosca, with Kristine Opolais and Bryn Terfel, and the next day as the tenor soloist in Beethoven’s Symphony No. 9. His 2017-18 season commences with a homecoming to the Atlanta Symphony (the Symphony’s first Artist-in-Residence in 2014-15) in the long-awaited title role debut of Verdi’s Otello, with Music Director Robert Spano conducting the concert performances.
This fall, he returns to the Metropolitan Opera, as Rodolfo in La bohème, before assuming the role of Henri in Verdi’s Les vêpres siciliennes with Oper Frankfurt. As the New Year begins, Mr. Thomas appears as Florestan in Fidelio with the Finnish Radio Symphony Orchestra under conductor Hannu Lintu at the Helsinki Music Centre, Concert Hall. Returning again to New York, Mr. Thomas joins a group of colleagues at Carnegie Hall for the final annual Marilyn Horne Song Celebration. A company debut follows in March at the Washington National Opera, where he sings the title role in Verdi’s Don Carlo. Remaining in DC, he next is the tenor soloist in the Verdi Requiem, with Gianandrea Noseda leading the forces of the National Symphony Orchestra and Chorus. The final engagement of this season, in May, includes another Company debut, as Tito for the Dutch National Opera’s La clemenza di Tito. MARY ELIZABETH WILLIAMS, soprano
ary Elizabeth Williams is a native of Philadelphia. Her career has taken her all over the globe in a careening zig-zag pattern—and she is grateful for every moment. Not long after graduating with a Bachelor of Arts degree in English Literature from Luther College in Iowa, she began her first professional singing engagement with the national Broadway tour of Showboat, which toured nine U.S. cities in 12 months. While performing in Milwaukee, she met Dr. Constance Haas, the voice teacher with whom she studies to this day. She began her operatic career after completing young artist contracts at both Seattle Opera and the Opéra National de Paris, quickly making a name for herself in spinto soprano repertoire like Tosca, Aida and Leonora in Il trovatore. Since 2013, Mary Elizabeth has gradually added more demanding dramatic coloratura roles to her repertoire, and now is a sought-after interpreter of roles like Abigaille (Nabucco), Lady Macbeth in Macbeth and Norma. She is a regular guest artist at Seattle Opera, Welsh National Opera and Theater St. Gallen (Switzerland). She made her La Scala (Milano) debut to great acclaim in November 2016 with the role of Serena in Porgy and Bess. She lives in Italy with her husband, tenor Lorenzo Decaro.
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OCT 7/10 | artists NMON FORD, baritone
n 2017-18, Nmon Ford returns to the American operatic landscape as a baritone of some repute in dramatic repertoire as Iago Otello at Atlanta Symphony and Riolobo in Florencia en el Amazonas at Madison Opera. Concert projects include Brahms Requiem at Kansas City Symphony and Bernstein Songfest at the Barbican with BBC Symphony.
Past successes include his tenure in the ensemble at Staatsoper Hamburg, where he made role debuts as Scarpia Tosca, title role Billy Budd, The Traveler Death in Venice, Thoas Iphigénie en Tauride and Demetrius A Midsummer Night’s Dream. In Hungary, he sang Escamillo Carmen at the Szeged Open-Air Festival, and he performed at Opéra National de Bordeaux as Jochanaan in a new production of Salome. Nmon received critical acclaim at Spoleto Festival in the title role Don Giovanni (c: Emmanuel Villaume); he appeared as Riolobo Florencia en el Amazonas at Cincinnati Opera and at Utah Opera, and at Michigan Opera Theater as Zurga Les pêcheurs de perles; further roles include Amfortas Parsifal at Los Angeles Opera in Robert Wilson’s production (c: Kent Nagano) where he covered Plácido Domingo; Luna Il trovatore and Iago Otello at Virginia Opera; title role of Ernest Bloch’s Macbeth in a new production at Chicago Opera Theatre and at Long Beach Opera; Belcore L’elisir d’amore at San Francisco Opera (c: Maurizio Barbacini) and at Opera Memphis he sang the role of Amonasro Aida. His awards include First Place in the Wagner Division of the Liederkranz Foundation of New York Competition, as well as major prizes from the Gerda Lissner Foundation and the George London Foundation. BEN BLISS, tenor
n the 2017-18 season, American tenor Ben Bliss will sing the role of Ferrando in Così fan tutte at the Metropolitan Opera, Seattle Opera and Oper Frankfurt. He will also make his house debut at Opera Philadelphia as Tamino in The Magic Flute, and sing the role of Cassio in Otello with the Atlanta Symphony Orchestra. In addition, he will return to Santa Fe Opera to make his role debut as Robert Wilson in Dr. Atomic in a production directed by Peter Sellars. Concert appearances will include singing Messiah with the New York Philharmonic in December.
Ben Bliss’ 2016/17 season included a US recital tour with pianist Lachlan Glen, with stops at Carnegie Hall, the Folly Theater in Kansas City as part of the Harriman-Jewell series and the Theater of the Arts at the University of District of Columbia as part of the Vocal Arts DC Emerging Artists series. Operatic appearances for Bliss included a return to the Metropolitan Opera, first as Tamino in The Magic Flute and then as Steuermann in Der Fliegende Höllander, conducted by Yannick NézetSéguin. Other opera appearances included Belmonte in Die Entführung aus dem Serail with Atlanta Opera, Tom Rakewell in The Rake’s Progress for a role and house debut with Boston Lyric Opera and Camille, Count de Rosillon in Die lustige Witwe in concert for his house and role debut with the Gran Teatre del Liceu in Barcelona.
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OCT 7/10 | artists ARTHUR WOODLEY, bass
he American bass Arthur Woodley has been acclaimed for his performances in both opera and concert.
Mr. Woodley has appeared with prestigious opera companies all over the U.S. including the San Francisco Opera, Washington National Opera, Seattle Opera, Opera Company of Philadelphia, Dallas Opera, Cincinnati Opera, Pittsburgh, Opera, New Orleans Opera, and the Opera Theatre of St. Louis. His many roles have included Varlaam in Boris Godunov, Bartolo in Le nozze di Figaro, the Four Villains in Les Contes d’Hoffman, Kuno in Die Freischütz, Banquo in Macbeth, Nick Shadow in The Rake’s Progress, Sulpice in La Fille du Régiment, Leporello in Don Giovanni, Rocco in Fidelio, Publio in La Clemenza di Tito, Angelotti in Tosca, Achillas in Guilio Cesare, and Dansker in Billy Budd. He recently created the role of Dick Hallorann in Paul Moravec’s The Shining at the Minnesota Opera and Emile Griffith in Terence Blanchard’s Champion at the Opera Theatre of St. Louis. Mr. Woodley has performed Porgy in Porgy and Bess, both staged and in concert, with over a dozen companies around the world. In concert, Mr. Woodley has appeared with the Dallas Symphony Orchestra, the Houston Symphony, the American Composers Orchestra in Carnegie Hall, the Collegiate Chorale at Lincoln Center, and at the Bard Music Festival. He also sang the world premiere of God, Mississippi, and Medgar Evers with the New Jersey Symphony Orchestra and was the bass soloist in Beethoven’s Symphony No. 9 in Mexico City with Sir Neville Marriner and The Academy of St. Martin in the Fields. MILES MYKKANEN, tenor
he 2017-18 season sees Miles Mykkanen performing the title role of Bernstein’s Candide with the Arizona Opera and Palm Beach Opera and Peter Quint in Britten’s The Turn of the Screw for Opera Columbus in a new production by Stephen Wadsworth. The music of Stravinsky serves the tenor’s debut at the Canadian Opera Company in Robert Lepage’s The Nightingale and Other Short Fables and Miles Mykkanen joins Cincinnati Opera as Steuermann in a production of Der fliegende Holländer. On the concert stage he is heard in performances of Handel’s Messiah with the New Jersey Symphony and Indianapolis Symphony, in concert performances of Verdi’s Otello with Robert Spano leading the Atlanta Symphony Orchestra, and in Bernstein’s Songfest with his frequent collaborators, Steven Blier, Michael Barrett and the New York Festival of Song. Miles Mykkanen spent the summer of 2017 at the Marlboro Music Festival and made a debut at the Bard Music Festival with performances of Moniuszko’s Halka and Berlioz’s Roméo et Juliette with Leon Botstein conducting the American Symphony Orchestra. Last season Miles Mykkanen bowed in Opera Columbus’ new production of Mozart’s Die Entführung aus dem Serail, in Janáček’s Kát’a Kabanová in a new Stephen Wadsworth production at Juilliard conducted by Anne Manson, in the title role of Candide in a fully staged production with the Orlando Philharmonic Orchestra and joined the world premiere cast of Kept: A Ghost Story by Kristin Kuster and Megan Levad in a presentation at the Virginia Arts Festival conducted by JoAnn Falletta.
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2017 - 2018
CANDLER CONCERT SERIES SCHWARTZ CENTER FOR PERFORMING ARTS
ALESSIO BAX, PIANO & CHEE-YUN, VIOLIN Saturday, October 7, 2017 at 8 p.m.
VIENNA BOYS CHOIR Sunday, October 22, 2017 at 4 p.m.
CROSSCURRENTS: FEATURING ZAKIR HUSSAIN, TABLA & DAVE HOLLAND, BASS Thursday, November 2, 2017 at 8 p.m.
IRMA THOMAS, THE BLIND BOYS OF ALABAMA & THE PRESERVATION HALL LEGACY QUINTET Thursday, November 16, 2017 at 8 p.m.
SUSAN GRAHAM, MEZZO-SOPRANO Saturday, February 3, 2018 at 8 p.m.
CHINA NATIONAL SYMPHONY ORCHESTRA FEATURING TAN DUN, CONDUCTOR
Sunday, February 18, 2018 at 7 p.m.
MURRAY PERAHIA, PIANO Sunday, April 15, 2018 at 7 p.m.
CANDLER DANCE EVENT TRISHA BROWN DANCE COMPANY April 7 - 8, 2018
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OCT 7/10 | artists KATHRYN LEEMHUIS, mezzo-soprano
merican mezzo-soprano Kathryn Leemhuis has performed with international opera companies such as the Lyric Opera of Chicago, Dallas Opera, Cincinnati Opera, Teatro Colón, Fort Worth Opera, Opera Theatre of St. Louis, Florentine Opera, and Chicago Opera Theater, among others. Her significant roles include Dorabella in Mozart’s Così fan tutte, Suzuki in Puccini’s Madama Butterfly, Dido in Pucell’s Dido and Aeneas, Rosina in Rossini’s Il barbiere di Siviglia,and Hänsel in Humperdinck’s Hänsel und Gretel. On the concert stage, Kathryn has performed at the Ravinia Festival, the Grant Park Music Festival, with the Los Angeles Philharmonic at the Hollywood Bowl, the Boston Symphony Orchestra at the Tanglewood Music Festival, and Chicago’s Music of the Baroque. She has returned multiple times to sing with the Richmond Symphony, most notably in Berlioz’s Les nuits d’été.
As an alumna of the esteemed Ryan Opera Center, Kathryn performed Giovanna in Verdi’s Ernani, Glasa in Janáček’s Kát’a Kabanová, Javotte in Massenet’s Manon, and the Kunstgewerblerin in Berg’s Lulu. She was also a young artist with Opera Theatre St. Louis’ Gerdine Young Artist Program, the Carmel Bach Festival, Ravinia’s Steans Institute, and the Tanglewood Music Center, where she sang Dorabella under the baton of Maestro James Levine. In the competition arena, Kathryn has won several prizes, most notably with the New York Lyric Opera, the National Opera Association, Opera Birmingham, the Florida Grand Opera, the Gerda Lissner Foundation, the Fort Worth McCammon Foundation, the Licia Albanese-Puccini Foundation, the George London Foundation, and the Giulio Gari Foundation. She was a National Semi-Finalist in the 2012 Metropolitan Opera National Council Auditions. NORMAN GARRETT, bass
A ARIELLE DONESON
merican baritone Norman Garrett, a native of Lubbock, Texas, is a recent alumnus of the Domingo-Cafritz Young Artist Program at Washington National Opera. In the 2017-2018 season, Mr. Garrett will debut with Austin Opera, performing Escamillo in Carmen, Crown in Porgy and Bess with the University of Michigan, and Beethoven’s Symphony No. 9 with the Rogue Valley Symphony in Ashland, Oregon. A former resident artist of the Academy of Vocal Arts, he has been seen on stage with Kentucky Opera, Cincinnati Opera, and Philadelphia’s Center City Opera Theater, where he performed Marcello in La bohème, Almaviva in Le nozze di Figaro, Malatesta in Don Pasquale and Guglielmo in Così fan tutte. Previous concert work includes appearances with the Cincinnati Pops Orchestra, the Southwest Florida Symphony in Ft. Myers and the Penn Symphony Orchestra. He has also collaborated with the Dolce Suono Ensemble in recital.
Mr. Garrett is a winner of the 2014 George London Foundation Competition. In the past three years, he has garnered top prizes in more than a dozen international vocal competitions, including the Gerda Lissner Foundation, the William Matheus Sullivan Foundation, the Jensen Foundation, the Giulio Gari Foundation, Fort Worth Opera’s McCammon Competition and the Licia Albanese-Puccini Competition. He is a graduate of the University of Cincinnati College-Conservatory of Music and Texas Tech. 44 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
OCT 7/10 | artists
NORMAN MACKENZIE, Director of Choruses As Director of Choruses for the Atlanta Symphony Orchestra since 2000 and holder of its endowed Frannie and Bill Graves Chair, Norman Mackenzie was chosen to help carry forward the creative vision of legendary founding conductor Robert Shaw to a new generation of music lovers. At the Orchestra, he prepares the Choruses for all concerts and recordings, works closely with Robert Spano on the commissioning and realization of new choral-orchestral works and conducts holiday concerts annually. During his tenure, the Chorus has made numerous tours and garnered its most recent four Grammy awards. Mr. Mackenzie also serves as Organist and Director of Music and Fine Arts for Atlanta’s Trinity Presbyterian Church, and pursues an active recital and guest conducting schedule. The New York Times describes Mr. Mackenzie as Robert Shaw’s “designated successor.” In his 14-year association with Shaw, he was keyboardist for the Atlanta Symphony Orchestra, principal accompanist for the Choruses, and ultimately assistant choral conductor. In addition, he was musical assistant and accompanist for the Robert Shaw Chamber Singers, the Robert Shaw Institute Summer Choral Festivals in France and the United States, and the famed Shaw/Carnegie Hall Choral Workshops. He was choral clinician for the first three workshops after Shaw’s passing, and partnered with Robert Spano for the 20th anniversary workshop featuring the Berlioz Requiem. ATLANTA SYMPHONY ORCHESTRA CHORUS
he Atlanta Symphony Orchestra Chorus, founded in 1970 by former Music Director Robert Shaw, remains an important part of the Orchestra’s programming. The Chorus is an all-volunteer, auditioned organization that performs on a regular basis with the Orchestra and is featured on many of its recordings. Led by Director of Choruses, Norman Mackenzie, the chorus is known for its precision and expressive singing quality. Its recordings have won 14 Grammy Awards (nine for Best Choral Performance; four for Best Classical Recording and one for Best Opera Recording). Those include Vaughan Williams’ A Sea Symphony and the Berlioz Requiem. The Chorus performs large choral-symphonic works under the direction of Music Director, Robert Spano; Principal Guest Conductor, Donald Runnicles. In addition, the Chorus has been involved in the creation and shaping of numerous world-premiere commissioned works.
The Chorus made its debut at NY’s Carnegie Hall in 1976 in a performance of Beethoven’s Symphony No. 9, with the Atlanta Symphony Orchestra led by Robert Shaw. In addition, the Chorus performed in Washington, DC, for President-elect Jimmy Carter’s Inaugural Concert in 1977, and returned there with Robert Spano in 2017 as part of the SHIFT Festival. In 1988, it accompanied Shaw and the Orchestra on their European debut tour. The Chorus has traveled to Germany three times as a special guest of the Berlin Philharmonic – in December 2003 for three performances of Britten’s War Requiem, in May 2008 for the Berlioz Requiem, and in December 2009 for a week of Brahms Requiem performances – all with Atlanta Symphony Orchestra Principal Guest Conductor, Donald Runnicles. Within the Chorus, there is an auditioned group of 60 singers called the Atlanta Symphony Orchestra Chamber Chorus. The Chamber Chorus, which formed before the larger Chorus in 1967, performs music of the Baroque and Classical eras, as well as works by modern masters. 46 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
SELVA MORALE ET SPIRITUALE
GRAMMY® nominated SERAPHIC FIRE, led by Patrick Dupré Quigley, presents an exhibition of the Italian Baroque in what The Guardian calls Monteverdi’s “most significant anthology of liturgical works.”
SUNDAY OCTOBER 22 7:00 PM
Peachtree Road United Methodist Church 3180 Peachtree Road NE Atlanta, GA 30305
PURCHASE TICKETS AT www.prumc.org/register
$25 | General Admission Sponsored by the PRUMC Friends of Music
At Wesleyan, we believe Academic excellence and a Christ-centered community are not mutually exclusive. FOR MORE INFORMATION GO TO WWW.WESLEYANSCHOOL.ORG/DISCOVER-MORE encoreatlanta.com | Atlanta’s Performing Arts Publication 47
A Funny Thing Happened on the Way to the Forum, 2017
Offering the best in academics–enriched with more than 80 classes in the Fine Arts, all taught by professional artists.
Saturday, November 11 Kindergarten–Grade 5, 1 pm Sunday, November 12 Grades 6–8, 1 pm Grades 9–12, 4 pm
The Lovett School practices a non-discriminatory admission policy. Financial aid is available.
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CREATE YOUR PATH EVERY CHILD’S EDUCATION IS A UNIQUE JOURNEY.
At Woodward, we provide the compass.
404.765.4001 • RSVP at woodward.edu MAIN CAMPUS
Pre-K to 12 • College Park Sunday, Oct. 22 2 to 5 p.m.
Pre-K to 6 • Johns Creek Sunday, Nov. 12 2 to 4 p.m.
OCT 7/10 | artists Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair SOPRANO 1 Ellen Abney Kathryn Bishop Hanan Davis Khadijah Davis Sakinah Davis Liz Dean Virginia Elizondo Laura Foster Courtney Hulsey Erin Jones Victoria Latimer Arietha Lockhart** Mindy Margolis* Joneen Padgett* Joanna Reesman Brianna Riley Sharon Robertson Natalie Rogers Stacey Tanner Brianne Turgeon* SOPRANO 2 June Abbott** Sloan Atwood* Barbara Brown Kelly Campobasso Amy Dowis Ellen Dukes** Brianna Gilliam Mary Goodwin Amanda Hoffman Kathleen Kelly-George Eda Mathews** Shannon Nesbit Vickie Orme* Chantae Pittman Chelsea Rhoades Paula Snelling* Tommie Storer Emily Tallant Cheryl Thrash** Brenda Turner Donna Weeks* Katie Woolf
Jeffrey Baxter, Choral Administrator The Florence Kopleff Chair
ALTO 1 Verena Anders Erin Axson Emily Bateman Deborah Boland** Rachel Bowman Laurie Cronin Patricia DinkinsMatthews* Shana Evans-Bassett Katherine Fisher Beth Freeman Noelle Hooge Beverly Hueter Virginia Little* Staria Lovelady Meredith McCoy Frances McDowell** Mary Elizabeth Mendenhall Linda Morgan** Meesook Sonu Rachel Stewart** Diana Strommen Nancy York* ALTO 2 Michelle Austin Angelica BlackmanKeim Marcia Chandler Meaghan Curry Cynthia Goeltz DeBold** MichĂ¨le Diament Afton Herring Sally Kann Nicole Khoury* Lynda Martin Campbell Rogers Sharon Simons* Alexandra Tanico Virginia Thompson* Alexandra Willingham Kiki Wilson** Diane Woodard**
Peter Marshall, Accompanist
TENOR 1 Jeffrey Baxter** Jordan Bell Christian Bigliani John Brandt Jack Caldwell* Daniel Cameron* Daniel Compton Matthew Cook Justin Cornelius Joseph Cortes Clifford Edge** Steven Farrow** Leif Gilbert-Hansen* James Jarrell Sean Mayer* Clinton Miller Christopher Patton Stephen Reed # Nathaniel Sundholm
BASS 1 Dock Anderson Russell Cason** Trey Clegg Michael Cranford Steven Darst** Michael Dennison Michael Ervin Jon Gunnemann* Lee Johnson Nick Jones # Jason Maynard Mark Mendenhall Mitchell Moore Peter Shirts Kendric Smith # John Terry Ike Van Meter Edgie Wallace* Edward Watkins**
TENOR 2 Randall Barker** Mark Barnes Steve Brailsford Charles Cottingham # Phillip Crumbly* Joseph Few* Sean Fletcher Hamilton Fong John Harr Steven Johnstone* Joseph Kang Jonathan Marvel Marshall Peterson* Brent Runnels Thomas Slusher Scott Stephens* Keith Thompson
BASS 2 Joshua Alexander Philip Barreca Charles Boone Brian Brown* Joel Craft** Paul Fletcher Andrew Gee* Timothy Gunter* Eric Litsey** Kevin Newman Eckhart Richter* John Ruff* Jonathan Smith* David Webster** Keith Wyatt*
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* 20+ years of service ** 30+ years of service # Charter member (1970)
Equipping students to be pure in character and strong in spirit as they use their talents for Christ
Open House Dates
October 25, 2017
January 17, 2018
February 7, 2018
Eastside Christian School does not discriminate on the basis of race or national origin in the administration of its educational policies, admission policies or employment practices.
BEFORE YOU HEAD OUT, HEAD OVER TO
ENCOREATLANTA.COM Read about the artists onstage, see what’s happening around town and discover the best Atlanta has to offer. We’re more than just a show program. We’re your ticket to the arts.
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OCT 12/14 | program The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Concerts of Thursday, October 12, and Saturday, October 14, 2017, at 8:00pm ROBERT SPANO, Conductor DEJAN LAZIĆ, piano
Rachmaninov’s Symphony No. 2, the Russian composer’s most famous and beloved work in this genre, is also a part of the ASO’s 2017-18 season. MAR 1/3 Edo de Waart, Conductor Augustin Hadelich, violin SHOSTAKOVICH: Violin Concerto No. 1 RACHMANINOV: Symphony No. 2
MICHAEL GANDOLFI (b. 1956) A Garden Feeds also the Soul (2017) The Bone Garden (…of death and rebirth…) The Scottish Worthies World Premiere, Commissioned by Paul and Linnea Bert for the Atlanta Symphony Orchestra DEJAN LAZIĆ (b. 1977) Concerto in Istrian Style, for Piano and Orchestra, Opus 18 (2014) 35 MIN I. Overture II. Intermezzo III. Cadenza ad libitum IV. Canon and Rondo on Istrian Folk Tunes V. Finale Dejan Lazić, piano INTERMISSION SERGEI RACHMANINOV (1873-1943) Symphony No. 3 in A minor, Opus 44 (1936) I. Lento; Allegro moderato II. Adagio ma non troppo III. Allegro
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
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20 MIN 39 MIN
Notes on the Program Ken Meltzer, Program Annotator A Garden Feeds also the Soul (2017) MICHAEL GANDOLFI was born in Melrose, Massachusetts, on July 5, 1956. These are the world premiere performances.
ichael Gandolfi describes the inspiration for his orchestral work, The Garden of Cosmic Speculation (2007):
The Garden of Cosmic Speculation, a thirty-acre private garden in the Borders area of Scotland created by architect and architectural critic Charles Jencks, is a joining of terrestrial nature with fundamental concepts of modern physics (quantum mechanics, super-string theory, complexity theory, etc.)…I have long been interested in modern physics and it seemed proper for music to participate in this magnificent joining of physics and architecture. I discovered The Garden of Cosmic Speculation in January of 2004 and after a month or so of sketching musical ideas I decided to focus on several aspects of the garden to which I had the strongest musical response.
The Garden of Cosmic Speculation, a work in three Parts, comprising sixteen movements, received its world premiere in Miami, Florida, in April of 2007, with Robert Spano conducting the New World Symphony Orchestra. Robert Spano conducted the Atlanta Symphony premiere on May 24, 2007. Following the performances, Maestro Spano and the ASO recorded the work for Telarc Records (CD-80696). The two movements premiered tonight, The Bone Garden and The Scottish Worthies, will eventually join two movements written for Chicago’s Grant Park Orchestra last year, titled Octagonia and The Comet Bridge, to form the fourth part of the ever expanding larger work, The Garden of Cosmic Speculation. The Bone Garden (Charles Jencks, the architect of The Garden of Cosmic Speculation, also describes this as the Garden of Death and Rebirth) is rather self-explanatory in its title. In my composition, I composed an introduction, which makes overt references to rattling bones but also sets two figures in motion: one that is rising and one that is falling, to metaphorically depict the trajectory of life and death. This is followed by a chaconne (a repeating chord progression) that is composed of ominous-sounding chords that lead downward locally, but the overall progression is made to rise. The progression ends at a slightly higher pitch-level (one whole-step, to be precise) than its point of origin. This sets in motion an upward spiral that is the metaphor for rebirth. With each iteration, this chaconne increases in brightness and orchestral strength and patterning. When it has risen a full octave, the rebirth is complete and a gentle unwinding occurs until the opening introductory material is rejoined, albeit modulated slightly, as if poised to run through this cycle of infinity. The Scottish Worthies comprise a portion of Jencks’ garden devoted to honoring great figures of the Scottish Enlightenment. Included in this list are Francis Hutcheson, David Hume, Adam Smith, James Hutton, Robert Adam, James Watt, Thomas Telford, Robert Burns, Joanna Baillie, Walter Scott, Mary Somerville, Thomas Babington Macaulay and David Livingstone, Andrew Carnegie, Elsie Maude Inglis, Margaret Macdonald, and Rebecca West. Monuments to each are assembled in chronological order by birth. I decided to approach this in multiple parts, as it would otherwise create a movement of too great a length. I focused on the following, which Jencks characterizes as follows. encoreatlanta.com | Atlanta’s Performing Arts Publication 53
OCT 12/14 | program Frances Hutcheson (1694-1746) – “…an attractive figure from the beginning of the Scottish Enlightenment…had a passion for freedom…” David Hume (1711-76) – “The Philosopher and the Fishwife” Adam Smith (1723-90) – “Empathy and Social Construction” James Hutton (1726-97) – “Deep Time Rocks” Robert Adam (1728-92) – “Wild and Refined” James Watt (1736-1819) – “Practical Invention” Thomas Telford (1757-1834) – “Shrinking Spacetime” Robert Burns (1759-96) – “New Music” Joanna Baillie (1762-1851) – “Lyrical Moralist” The Scottish Worthies is composed as a set of episodes or variations that seek to capture the spirit of these great figures from the Scottish Enlightenment. —Michael Gandolfi (Annotator’s note: At the time of publication, the instrumentation and estimated performance time had not been finalized.) Concerto in Istrian Style, for Piano and Orchestra, Opus 18 (2014) These are the first Classical DEJAN LAZIĆ was born in Zagreb, Croatia, in 1977. The Subscription Performances. first performance of the Concerto in Istrian Style took place in Aspen, Colorado, on July 23, 2014, with the composer as soloist, and Robert Spano conducting the Aspen Festival Orchestra. In addition to the solo piano, the Concerto in Istrian Style is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.
his concerto is based on Istrian folklore and its musical tradition: Istria is a peninsula in the northwest of Croatia that juts into the Adriatic Sea near (the) Italian city of Trieste. Despite the fact that this region is situated between Croatia, Slovenia, Italy and Austria – therefore between Slavic, Latin and Germanic Spheres of influence – its musical culture and traditions have remained thoroughly idiosyncratic. In both vocal and instrumental traditions, Istrian folk music is typically two-voiced, with the melody harmonised in thirds; this is frequently supported by shifts into asymmetrical metres (5/4, 7/4, etc.). Because traditional Istrian folk music uses a non-tempered scale, the folk harmonisation sounds rather exotic to Western ears. This was a wonderful source of inspiration which gave me an extraordinary palette of opportunities. The five contrasting movements are linked with each other through contrapositive motifs which appear throughout the piece in various forms. The work is a tribute to many great pianist-composers who have inspired me over the years and whose works I regularly perform on stage. I also used a number of well-known musical cryptograms employing German note names (where “H” corresponds to “B”, and “B” to “B-flat”). These include “D-S-C-H” (Dmitri Shostakovich), “B-A-C-H” (Bach), “A-S-C-H” and “A-BE-G-G” (both referring to Schumann), and “F-A-E,” Frei aber einsam (Free but lonely), the ultra-Romantic mantra of the 19th century violinist Joseph Joachim and a motif
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encoreatlanta.com | Atlantaâ€™s Performing Arts Publication 55
OCT 12/14 | program employed in that context by Schumann and Brahms as well. —Dejan Lazić, 2016 I. Overture II. Intermezzo III. Cadenza ad libitum IV. Canon and Rondo on Istrian Folk Tunes V. Finale Symphony No. 3 in A minor, Opus 44 (1936) SERGEI RACHMANINOV was born in Semyonovo, First Classical Subscription Russia, on April 1, 1873, and died in Beverly Performance: November 5, 1955, Hills, California, on March 28, 1943. The first Henry Sopkin, Conductor. performance of the Third Symphony took place at Most recent Classical Subscription the Academy of Music in Philadelphia, Pennsylvania, performances: June 5, 7, and 8, on November 6, 1936, with Leopold Stokowski 2008, Robert Spano, Conductor. conducting the Philadelphia Orchestra. The Third Symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, xylophone, triangle, tambourine, side drum, bass drum, cymbals, suspended cymbal, tam-tam, celesta, and strings.
he creation of Sergei Rachmaninov’s three Symphonies spanned more than four decades. Rachmaninov completed his First Symphony in 1895. The disastrous March 15, 1897 premiere in St. Petersburg caused Rachmaninov to lapse into a profound depression that almost ended his musical career forever. It was only after consultation with Dr. Nikolai Dahl, a physician who employed hypnosis, that Rachmaninov was able to recover from the trauma. In 1907, a decade after the devastating premiere of his First Symphony, Rachmaninov put the finishing touches on his Symphony No. 2. Rachmaninov’s Third Symphony was the Russian composer’s first purely orchestral work since his 1909 symphonic poem, The Isle of the Dead. The premiere of the Third Symphony took place in Philadelphia on November 6, 1936. The legendary maestro Leopold Stokowski conducted the Philadelphia Orchestra (three years later, Rachmaninov and the Philadelphia Orchestra recorded the work for RCA). Despite the extraordinary talents involved in the work’s creation and premiere, the Rachmaninov Third Symphony received mixed reviews. In a letter to a friend, Rachmaninov wrote: Let me say a few words about my new symphony…It was played wonderfully (the Philadelphia Orchestra about which I have written you, Stokowski conducting). The reception by the public and critics was…sour…I personally am firmly convinced that the composition is good. But…sometimes authors are mistaken! However, I am still of my opinion. Rachmaninov certainly had to be gratified by the appraisal of the prominent British conductor, Sir Henry Wood, whose opinion of the Third Symphony has, in subsequent years, found repeated affirmation:
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encoreatlanta.com | Atlanta’s Performing Arts Publication 57
OCT 12/14 | artists I have recently had the pleasure of studying with (Rachmaninov) his third symphony in A minor, and have since directed it at the Liverpool Philharmonic Society’s concert (March 22, 1938) and at a studio broadcast with the BBC Symphony Orchestra…The work impresses me as being of the true Russian romantic school; one cannot get away from the beauty and melodic line of the themes and their logical development. As did Tchaikovsky, Rachmaninov uses the instruments of the orchestra to their fullest effect…I am convinced that Rachmaninov’s children will see their father’s third symphony take its rightful place in the affection of that section of the public which loves melody. The Rachmaninov Third Symphony is in three movements. The first opens with a brief slowtempo introduction (Lento), featuring a motif that will return throughout the Symphony. The ensuing Allegro moderato features two principal themes, the second of which is a soaring melody (dolce cantabile), introduced by the cellos. The second movement (Adagio ma non troppo), begins with the Symphony’s recurring central motif. The Adagio is in A—B—A form, with two lyrical sections framing a vibrant scherzo episode (Allegro vivace). As in the opening movement, the finale (Allegro) offers two contrasting principal themes. A lively contrapuntal episode is based upon the finale’s opening theme. A Rachmaninov trademark, the ancient plainchant, Dies irae (“This day, this day of wrath”) assumes prominence. A playful sequence highlighting the winds leads to the Symphony’s triumphant resolution. DEJAN LAZIĆ, piano
ejan Lazić’s fresh interpretations of the repertoire have established him as one of the most unique and unusual soloists of his generation. He appears with such orchestras as the Budapest Festival Orchestra, NDR Elbphilharmonie Orchester Hamburg, Netherlands Philharmonic, Rotterdam Philharmonic, Helsinki Philharmonic, Swedish Radio Symphony, Danish National Symphony, Boston Symphony, Chicago Symphony and the Australian and Basel Chamber Orchestras. Lazić enjoys a significant following in the Far East touring China with Budapest Festival Orchestra and Iván Fischer, and appearing with NHK Symphony, Yomiuri Nippon and Sapporo Symphony as well as Seoul and Hong Kong Philharmonic Orchestras. He has built close collaborations with conductors including Giovanni Antonini, Iván Fischer, Andris Nelsons, Robert Spano, John Storgårds, and Krzysztof Urbański. Dejan Lazić’s compositions receive increased recognition; he was recently signed as a composer by Sikorski Music Publishing Group. His arrangement of Brahms’ Violin Concerto as a piano concerto was premiered with Atlanta Symphony Orchestra and Robert Spano in 2009 and has enjoyed much ongoing success, at BBC Proms, Concertgebouw Amsterdam, Hamburg Easter Festival, Chopin Festival Warsaw, in both Americas and in Japan. Lazić has performed his ‘Piano Concerto in Istrian Style’ many times since its premiere in 2014. His first major orchestral work, a tone poem entitled ‘Mozart and Salieri’ (inspired by Alexander Pushkin’s eponymous drama), was commissioned and premiered by Indianapolis Symphony and Krzysztof Urbański in April 2017. His Cadenzas for Beethoven’s Piano Concertos Nos. 1 - 4 are scheduled for publication in August 2017, and he is currently working on his ‘Chinese Fantasy’ for Violin and Orchestra. Born into a musical family in Zagreb, Croatia, Lazić grew up in Salzburg, Austria, where he studied at the Mozarteum. He now lives in Amsterdam. 58 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Upcoming concerts at
the Cathedral of St. Philip tickets: stphilipscathedral.org/concerts
Atlanta Baroque Orchestra “20 Celebrate 20” 20 musicians gather to celebrate 20 years of great music by the ABO, with selections chosen by you, our audience!
— 2744 Peachtree Road NW Atlanta, Georgia 30305
The Atlanta Symphony Brass Holiday Brass Concert
A Christ-centered college preparatory school for grades PreK4 through 12 Located in Smyrna, Whitefield Academy provides students with a well-rounded school experience including over 50 athletic teams and an awardwinning arts program. 678.305.3027 whitefieldacademy.com encoreatlanta.com | Atlanta’s Performing Arts Publication 59
OCT 19/21 | program The Atlanta Symphony Orchestra Classical Series is presented by Delta Air Lines.
AtlantaSymphonyOrchestra Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Concerts of Thursday, October 19, and Saturday, October 21, 2017, at 8:00pm LUDOVIC MORLOT, Conductor RAY CHEN, violin
Maurice Ravel’s most famous dance-inspired work, Boléro, returns to Symphony Hall. MAR 15/17 Miguel Harth-Bedoya, Conductor Alcides Rodriguez, maracas Ksenjia Sidorova, accordion JIMMY LÓPEZ: Suite from Bel Canto RICARDO LORENZ: Concerto for Maracas, “Pataruco” PIAZZOLLA: Concierto para Bandoneón, “Aconcagua” RAVEL: Boléro
The use of cameras or recording devices during the concert is strictly prohibited. Please be kind to those around you and silence your mobile phone and other hand-held devices.
LEONARD BERNSTEIN (1918-1990) Divertimento for Orchestra (1980) 15MIN I. Sennets and Tuckets II. Waltz III. Mazurka IV. Samba V. Turkey Trot VI. Sphinxes VII. Blues VIII. In Memoriam; March: “The BSO Forever” SERGEI PROKOFIEV (1891-1953) Concerto for Violin and Orchestra No. 2 in G minor, Opus 63 (1935) I. Allegro moderato II. Andante assai III. Allegro, ben marcato Ray Chen, violin INTERMISSION HENRI DUTILLEUX (1916-2013) Métaboles (1964) I. Incantatoire II. Linéaire III. Obsessionnel IV. Torpide V. Flamboyant MAURICE RAVEL (1875-1937) La valse, Choreographic Poem for Orchestra (1920)
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Notes on the Program Ken Meltzer, Program Annotator Divertimento for Orchestra (1980)
These are the first Classical Subscription Performances. LEONARD BERNSTEIN was born in Lawrence, Massachusetts on August 25, 1918, and died in New York on October 14, 1990. The first performance of the Divertimento took place at Symphony Hall in Boston, Massachusetts, on September 25, 1980, with Seiji Ozawa conducting the Boston Symphony Orchestra. The Divertimento for Orchestra is scored for two piccolos, three flutes, two oboes, English horn, E-flat clarinet, two clarinets in B-flat, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba (doubles baritone euphonium), timpani, four snare drums (high to low), bass drum, cymbals (pair), large cymbals (pair), suspended cymbal, tam-tam, triangle, tambourine, woodblock, two Cuban cowbells (high and low), sandpaper blocks, rasp and maracas, three bongos and two conga drums, four temple blocks, trap set, glockenspiel, xylophone, chimes, piano, harp, and strings.
eonard Bernstein composed his Divertimento to commemorate the 100th Anniversary of the Boston Symphony Orchestra. Bernstein dedicated the work “with affection to the Boston Symphony Orchestra in celebration of its First Centenary.” According to the notes by Jack Gottlieb that appear as a preface to the score: “Leonard Bernstein’s Divertimento is an expression of his love affair with the city of his youth and its symphony orchestra...It is a nostalgic album filled with affectionate memories of his growing up in Boston...” While the Divertimento is scored for a large orchestra, several of the movements spotlight individual instrument families. The second-movement Waltz (in 7/8 time) is scored only for the strings. The succeeding Mazurka features the double-reed instruments and the harp. The penultimate Blues movement highlights the brass and percussion. Each of the brief movements is based upon two pitches: B (for “Boston”) and C (for “Centennial”). In addition, the work is “replete with allusions to the repertoire with which Mr. Bernstein grew up in Symphony Hall, some quite obvious, others more secret messages for the players themselves.” The Divertimento abounds with the eclecticism, passionate, heartfelt emotion, and unbounded joie de vivre that personified Leonard Bernstein and his music. Much of Bernstein’s Divertimento is in a lighthearted vein that befits its title. However, the final movement opens with a trio for flutes, titled In Memoriam, a moving tribute to “the conductors and members of the Boston Symphony Orchestra no longer with us.” A brief segue resolves to the lively concluding March that celebrates the past and future legacy of the composer’s beloved hometown orchestra. I. Sennets and Tuckets II. Waltz III. Mazurka IV. Samba V. Turkey Trot VI. Sphinxes VII. Blues VIII. In Memoriam; March: “The BSO Forever” Concerto No. 2 for Violin and Orchestra in G minor, Opus 63 (1935) SERGEI PROKOFIEV was born in Sontsovka, Russia, on April 23, 1891, and died in Moscow, Russia, on March 5, 1953. The first performance of the Violin Concerto No. 2 took place in Madrid, Spain, on December 1, 1935, with Robert Soëtans as soloist and Enrique encoreatlanta.com | Atlanta’s Performing Arts Publication 61
OCT 19/21 | program Arbós conducting the Madrid Symphony Orchestra. In addition to the solo violin, the Concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, triangle, suspended cymbal, castanets, snare drum, bass drum, and strings.
n his autobiography, Sergei Prokofiev recalled the circumstances surrounding the creation of his Violin Concerto No. 2:
First Classical Subscription Performances: February 5, 6 and 7, 1976, Viktor Tretyakov, Violin, Michael Palmer, Conductor. Most Recent Classical Subscription Performances: January 15 and 17, 2015, Julian Rachlin, Violin, Marin Alsop, Conductor.
In 1935 a group of admirers of the French violinist (Robert) Soëtans asked me to write a violin concerto for him, giving him exclusive rights to perform it for one year. I readily agreed since I had been intending to write something for the violin at that time and had accumulated some material. As in the case of the preceding concertos, I began by searching for an original title for the piece, such as “concert sonata for violin and orchestra,” but finally returned to the simplest solution: Concerto No. 2. Nevertheless, I wanted it to be altogether different from No. 1 both as to music and style. Despite Prokofiev’s apparent desire that his Second Violin Concerto stand in sharp contrast to the First, most commentators have noted the similarly elegant and lyric nature of the two works. Regardless of Prokofiev’s stated intent, what emerged is a work of enduring charm and grace that demands the highest level of technical mastery from the soloist. The Concerto is in three movements. The first (Allegro moderato) is based upon two themes, both introduced by the soloist. In the slow-tempo second movement (Andante assai), clarinets and pizzicato strings introduce an ascending figure that accompanies to the soloist’s presentation of the tender, lyrical central theme. Restatements of the melody alternate with contrasting sections of varying moods and colors. The virtuoso finale (Allegro, ben marcato), a rondo in the style of a rustic peasant dance, stands in sharp contrast to the refinement of the preceding two movements. Métaboles (1964)
First Classical Subscription Performances: November 10-12, HENRI DUTILLEUX was born in Angers, France, on January 22, 1916, and died in Paris, France, on May 22, 1977, Robert Shaw, Conductor. 2013. The first performance of Métaboles took place at Severance Hall in Cleveland, Ohio, on January 14, 1965, with George Szell conducting the Cleveland Orchestra. Métaboles is scored for two piccolos, four flutes, three oboes, English horn, E-flat clarinet, two clarinets in B-flat, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, bass drum, cowbell, Chinese cymbals, three tom-toms (high, medium, and low), xylophone, orchestra bells, snare drum, two temple blocks, triangle, cymbals, suspended cymbal, tam-tams (medium and low), celesta, harp, and strings.
rench composer Henri Dutilleux wrote Métaboles for the Cleveland Orchestra, in celebration of its 40th anniversary. Dutilleux dedicated the work to the Orchestra’s Music Director, George Szell, who led the January 14, 1965 world premiere. Dutilleux offered the following explanation of the work’s title: In ancient Greek music this name was given to the passage connecting the conjunct system to the disjunct system (or vice-versa). It was therefore a sort of modulation, 62 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
a transformation, a change. In the field of rhetoric, it’s a stylistic figure by which one repeats in the second part of the sentence words used in the first part of the sentence in order to modify the idea. But it is most importantly a different figure which consists of repeating a single idea in different ways. In the world of physiology, metabolism is a slow and progressive chemical transformation that causes the elements to undergo a change of their basic properties.... I am basically concerned with presenting one or several ideas in a certain order and from different aspects to the point where they undergo, through successive stages, a true alteration of their essential nature. There is a métabole on the scale of the entire piece. In Métaboles, Dutilleux introduces and develops thematic material throughout the course of the work’s five parts. The composer observes: at a certain stage in the evolution, toward the end of each (part), the distortion is so marked that it engenders a new figure, and this appears like a watermark beneath the symphonic argument. This figure serves as a starting-point for the following (part), and so on until the final one… In order to emphasize the organic nature of the work, the score notes the following: “The five parts constituting these Métaboles are linked without interruption, and can never give rise to fragmentary execution.” Each of the first four parts focuses upon a certain portion of the orchestra; Incantoire (winds), Linéaire (strings), Obsessionnel (brass), and Torpide (percussion). The entire ensemble joins forces for the concluding Flamboyant. La valse, Choreographic Poem for Orchestra (1920)
First Classical Subscription Performance: March 16, 1954, MAURICE RAVEL was born in Ciboure, BassesHenry Sopkin, Conductor. Pyrénées, France, on March 7, 1875 and died in Paris, France, on December 28, 1937. The Most Recent Classical Subscription first performance of La valse took place in Paris Performances: March 13, 15, and 16, on December 12, 1920, with Camille Chevillard 2014, Donald Runnicles, Conductor. conducting the Lamoureux Orchestra. La valse is scored for piccolo, three flutes, three oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, orchestra bells, triangle, snare drum, tambourine, castanets, tam-tam, cymbals, suspended cymbal, crotale in C, bass drum, two harps, and strings.
aurice Ravel completed La valse in early 1920. Sergei Diaghilev, Director of the Ballets Russes, agreed to stage La valse as part of the upcoming summer season. Previously, Diaghilev’s company had presented the world premiere of the composer’s Daphnis et Chloé (1912). In the spring of 1920, Ravel and Marcelle Mayer performed the composer’s two-piano version of the score for an audience that included Diaghilev, Francis Poulenc, Igor Stravinsky, and choreographer Léonide Massine. According to Poulenc, once the performance concluded, Diaghilev commented: “Ravel, it’s a masterpiece...but it’s not a ballet...It’s the portrait of a ballet...the painting of a ballet.” Ravel calmly gathered his manuscript and left the room. He and Diaghilev never again worked together. In his score, Ravel provided a brief choreographic argument for La valse: Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually scatter: one sees an immense hall filled with a swirling throng. The stage is gradually illuminated. The light of the chandeliers reaches its peak at the fortissimo. An imperial court, about 1855. encoreatlanta.com | Atlanta’s Performing Arts Publication 63
OCT 19/21 | artists LUDOVIC MORLOT, conductort
L LISA-MARIE MAZZUCCO
udovic Morlot has been Music Director of the Seattle Symphony since 2011. During the 2017-18 season they will particularly focus on the music of Berlioz, Stravinsky and Bernstein. In addition, they will be presenting some exciting new works by John Luther Adams, Alexandra Gardner, David Lang and Andrew Norman. Their many successful recordings have resulted in two Grammy Awards. This season, Ludovic will be conducting at Seattle Opera for the first time, make his debut with the Orchestra of St Luke’s and will return to the Atlanta and Houston Symphony Orchestras. He has regular relationships with the Chicago Symphony, New York and Los Angeles Philharmonic Orchestras. Ludovic also has a particularly strong connection with the Boston Symphony Orchestra, having been Seiji Ozawa Fellowship Conductor at Tanglewood and subsequently appointed assistant conductor for the orchestra and their Music Director James Levine. Since then he has conducted the orchestra in subscription concerts in Boston, at Tanglewood and on a tour to the west coast of America. Outside North America, recent and future debuts include the Berliner Philharmoniker, Vienna Symphony, Yomiuri Nippon Symphony and Bergen Philharmonic Orchestras. Other recent notable performances have included the Royal Concertgebouw, London Philharmonic, Czech Philharmonic, Dresden Staatskapelle, Tonhalle, Budapest Festival, Orchestre National de France and Tokyo Philharmonic Orchestras. Ludovic served as conductor in residence with the Orchestre National de Lyon under David Robertson (2002-04) and was Chief Conductor of La Monnaie (2012-2014). Ludovic is Chair of Orchestral Conducting Studies at the University of Washington School of Music in Seattle. RAY CHEN, violin
inner of the Queen Elisabeth and Yehudi Menuhin Competitions, Ray Chen is among the most compelling young violinists today. He is dedicated to expanding the reach of classical music through education and social media. In 2017, Ray signed to Decca Classics in a major new recording deal and multimedia partnership. Ray has previously released three critically acclaimed albums on Sony: a recital program “Virtuoso” of works by Bach, Tartini, Franck, and Wieniawski, and the Mendelssohn and Tchaikovsky concertos with Swedish Radio Orchestra and Daniel Harding. Following the success of these recordings, Ray was profiled by The Strad and Gramophone magazines as “the one to watch”. “Virtuoso” was distinguished with the prestigious ECHO Klassik award. His third recording, an all-Mozart album with Christoph Eschenbach and the SchleswigHolstein Festival Orchestra, was released in January 2014. Ray has appeared with some of the leading orchestras around the world including the London Philharmonic, the National Symphony Orchestraand the Orchestre National de France where he joined Daniele Gatti for the televised Bastille Day concert in Paris to an audience of over 800,000. Other recent highlights include his 2016 debut at the BBC Proms where he appeared with the BBC Symphony at Royal Albert Hall in London.
64 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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An independent Catholic school for students age 6 months-12th grade. holyspiritprep.org encoreatlanta.com | Atlanta’s Performing Arts Publication 65
OCT 19/21 | artists
Born in Taiwan and raised in Australia, Ray was accepted to the Curtis Institute of Music at age 15 where he studied with Aaron Rosand and was supported by Young Concert Artists. He plays the 1715 â€œJoachimâ€? Stradivarius violin on loan from the Nippon Music Foundation. This instrument was once owned by the famed Hungarian violinist, Joseph Joachim (1831-1907).
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OCT 29 | program AtlantaSymphonyOrchestra
Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor Stephen Mulligan, Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra Concert of Sunday, October 29, 2017, at 3:00pm STEPHEN MULLIGAN, Conductor Upcoming Family Concert FAMILY HOLIDAY featuring The Snowman Movie DEC 3 | Sun: 3pm
Halloween Haunts JOHN WILLIAMS (b.1932) “Hedwig’s Theme” from Harry Potter ENGELBERT HUMPERDINCK (1854-1921) “Hexenritt” from Hansel and Gretel ANATOLY KONSTANTINOVICH LYADOV (1855-1914) Baba Yaga, Op. 56 ADAM GLASER (b.1970) March of the Little Goblins MODEST PETROVICH MUSSORGSKY (1839-1881) “Gnomus” from Pictures at an Exhibition (orch. Maurice Ravel) CAMILLE SAINT-SAÉNS (1865-1921) Danse Macabre, Op. 40 IGOR FYODOROVICH STRAVINSKY (1882-1971) “Infernal Dance” from The Firebird Suite (1919)
JOHN WILLIAMS (b.1932) “Harry’s Wondrous World” from Harry Potter NO INTERMISSION
Accessibility for the Deaf and Hard of Hearing: This performance is Sign Language Interpreted.
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OCT 29 | artists STEPHEN MULLIGAN, Assistant Conductor; Music Director of the Atlanta Symphony Youth Orchestra
onductor Stephen Mulligan was recently appointed as the Assistant Conductor of the Atlanta Symphony Orchestra and the Music Director of the Atlanta Symphony Youth Orchestra, where he began his term in August 2017. From 2014-16, he served as Assistant Conductor of the Winston-Salem Symphony and the Music Director of the Winston-Salem Symphony Youth Orchestras Program.
Recent highlights include appearances with the St. Louis Symphony, Florida Orchestra, Charlotte Symphony Orchestra, Memphis Symphony Orchestra, Amarillo Symphony Orchestra, and Reading Symphony Orchestra. Mulligan has also frequently assisted with programs at the Los Angeles Philharmonic, including productions of Bernstein’s West Side Story at the Hollywood Bowl and John Adams’ Nixon in China at Walt Disney Concert Hall. Mulligan was awarded the Aspen Conducting Prize after studying with Robert Spano as a fellow in the American Academy of Conducting at Aspen from 2013-2014; he served as the festival’s Assistant Conductor in 2015 and as a guest conductor in 2016. Mulligan also studied with Gustav Meier, Markand Thakar, and Marin Alsop at the Peabody Institute, and received his Master’s Degree there in 2013. While studying at Peabody, Mulligan co-founded and directed the Occasional Symphony, an ensemble devoted to performing in alternative venues. In 2012, he traveled to Venezuela with the Baltimore Symphony’s OrchKids staff to participate in an educational exchange with the renowned El Sistema program. In 2011, Mulligan graduated cum laude from Yale University, where he served as the Yale Symphony’s assistant conductor, traveled to Helsinki to study Sibelius’ late manuscripts with a grant from the Mellon Foundation, and was awarded the Wrexham Prize for excellence in performance for violin and conducting. Mulligan grew up in Baltimore, MD, studying violin with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony.
70 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
amuse & engage Metro Atlantaâ€™s college prep community inspiring Early Learners through 12th grade
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ASO | support
he Orchestra donor list includes annual fund donations made since June 1, 2016. This list represents those among us who have been transformed by music, whether during one evening or over the course of a lifetime. Those who understand the Orchestra’s role in providing music education across our schools, enhancing our quality of life and being a beacon of Atlanta’s cultural sophistication for the entire world. On behalf of your Atlanta Symphony Orchestra – musicians, volunteers, and staff – we thank you for playing such an important part in the music we work so passionately to create and share. Bravo!
$500,000+ $250,000+ $100,000+
Delta Air Lines, Inc. The Kendeda Fund
Lettie Pate Evans Foundation, Inc. The Andrew W. Mellon Foundation
Mrs. Anne Cox Chambers
1180 Peachtree AT&T Bank of America The Coca-Cola Company The Home Depot Foundation
Abraham J. & Phyllis Katz Foundation Amy W. Norman Charitable Foundation
Susan & Richard Anderson The Antinori Foundation
Susan & Thomas Wardell
The Arthur M. Blank Family Foundation Thalia & Michael C. Carlos Advised Fund
Ms. Lynn Eden The Graves Foundation The Zeist Foundation
Catherine Warren Dukehart Ann & Gordon Getty Foundation National Endowment for the Arts
Victoria & Howard Palefsky Ann Marie & John B. White, Jr.* Charlie & Dorothy Yates Family Fund
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
72 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
ASO | support Appassionato We are so grateful for donors who give to the Annual Fund and Gala at the Appassionato level ($10,000+). They enjoy the benefits of the Patron Partnership, while also having opportunities to receive VIP concierge service for ticketing and reservations, exclusive access to artists’ events and recognition as a concert sponsor. For more information, contact the Development Office at 404.733.4262.
A Friend of the Symphony The John W. & Rosemary K. Brown Family Foundation & John & Rosemary Brown Janine Brown & Alex J. Simmons, Jr. Mr. & Mrs. C. Merrell Calhoun CBH International, Inc. City of Atlanta Office of Cultural Affairs Jim Cox, Jr Foundation Mr. & Mrs. Bradley Currey, Jr. The Roy & Janet Dorsey Foundation Four Seasons Hotel Atlanta Betty Sands Fuller Fulton County Arts Council Scott Hudgens Family Foundation, Inc. Lucy R. & Gary Lee, Jr. Hank Linginfelter The Charles Loridans Foundation, Inc. Ms. Molly Minnear Terence L. & Jeanne P. Neal* Massey Charitable Trust Sunny Park Mr. & Mrs. E. Fay Pearce, Jr. Porsche Cars North America Inc. Publix Super Markets Charities Ryder Truck Rental, Inc. Bill & Rachel Schultz* Mrs. William A. Schwartz Mrs. Charles A. Smithgall, Jr. Southern Company Gas
Mr. G. Kimbrough Taylor & Ms. Triska Drake Turner The UPS Foundation Patrick & Susie Viguerie Mr.** & Mrs. Edus H. Warren, Jr. Ann Marie & John B White, Jr.* Adair & Dick White Mrs. Sue S. Williams
Neale M. Bearden** Mr. & Mrs. Frank H. Boykin Wright & Alison Caughman William M. Graves Kirk & Kim Jamieson Donna Lee & Howard Ehni Caroline & Joe O’Donnell The Sally & Peter Parsonson Foundation Ms. Sara C. Passarella, in memory of Ann E. Calk Estate of Dr. Shirley E. Rivers Mary & Jim Rubright University of Michigan Mark & Rebekah Wasserman
A Friend of the Symphony Madeline & Howell E. Adams, Jr. Mr. Keith Adams & Ms. Kerry Heyward Mr. & Mrs. John Allan Alston & Bird Clark & Ruby Baker Foundation Kelley O. & Neil H. Berman Mr. & Mrs. Paul J. Blackney
Rita & Herschel Bloom Mr. David Boatwright Mary & John Brock The Capital Group Companies Charitable Foundation Russell Currey & Amy Durrell Cari Dawson & John Sparrow Marty & John Gillin Drs. Jeannette Guarner & Carlos del Rio Jason & Carey Guggenheim/Boston Consulting Group Clay & Jane Jackson Ann A. & Ben F. Johnson III* James H. Landon Karole & John Lloyd Meghan & Clarke Magruder Ken & Carolyn Meltzer Lynn & Galen Oelkers Piedmont National Family Foundation Dr.** & Mrs. Mark P. Pentecost, Jr. Patty & Doug Reid Joyce & Henry Schwob Mr. & Mrs. Ross Singletary II Slumgullion Charitable Fund Jeffrey Sprecher & Kelly Loeffler Loren & Gail Starr Trapp Family Dr. James Wells & Susan Kengeter Wells Dr. & Mrs. James O. Wells, Jr.
The Walter & Frances Bunzl Foundation John W. Cooledge Janet Davenport, in honor of Norman Mackenzie Marcia & John Donnell DS Services Eleanor & Charles Edmondson Georgia-Pacific Foundation Georgia Power Foundation, Inc. The Robert Hall Gunn, Jr. Fund Virginia Hepner & Malcolm Barnes Hertz Family Foundation Robert & Sherry Johnson Sarah & Jim Kennedy Mr. ** & Mrs.** Donald Keough King & Spalding Pat & Nolan Leake Lenox Square Mr. & Mrs. Brian F. McCarthy John F. & Marilyn M. McMullan Walter W. Mitchell Suzanne & Bill Plybon* June & John Scott Mr. John A. Sibley III Dr. Steven & Lynne Steindel* Turner Foundation, Inc. John & Ray Uttenhove Chilton & Morgan Varner Mrs. Virginia S. Williams Ms. Joni Winston
A Friend of the Symphony Atlanta Beverage Company Julie & Jim Balloun
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
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ASO | support the patron partnership We are grateful for members of the Patron Partnership, who give $2,000–$9,999 within a given fiscal year and enjoy all the benefits of the Conductor’s Circle, as well as others, that include invitations to Insiders’ Evenings and Symphony Nightcaps, access to the Robert Shaw Room, and opportunities to sit onstage during a rehearsal. For more information about the Patron Partnership, contact the Development Office at 404.733.5102.
committee June Scott Belinda Massafra Chair Vice-Chair, Communications & Kristi Allpere Newsletter Editor Vice-Chair, Programs Deedee Hamburger Helga Beam Programs Committee Vice-Chair, Annual Member Fund Judy Hellriegel Annual Fund Committee Member
Aadu & Kristi Allpere* The Estate of Donald S. & Joyce Bickers Lisa & Russ Butner Sally & Carl Gable Deedee & Marc Hamburger* Azira G. Hill Paul & Rosthema Kastin The Piedmont National Family Foundation Betsy & Lee Robinson Beverly & Milton Shlapak Amy & Paul Snyder
A Friend of the Symphony (5) Mrs. Kay Adams* & Mr. Ralph Paulk ADP Mr. William Allgood Asad Bashey Jack & Helga Beam Bell Family Foundation for Hope, Inc. Natalie & Matthew Bernstein
The Breman Foundation, Inc. Jacqueline A. & Joseph E. Brown, Jr. Patricia & William Buss William & Patricia Cook Jean & Jerry Cooper Thomas G. Cousins Mr. & Mrs. Jonathan J. Davies Peter & Vivian de Kok Ms. Arlene DeMita Ms. Diane Durgin John & Michelle Fuller Mr. & Mrs. Charles B. Ginden Mr. & Mrs. Richard Goodsell Sally W. Hawkins Tad & Janin Hutcheson Roya & Bahman Irvani Mr. Baxter P. Jones & Dr. Jiong Yan Cecile M. Jones Donald S. Orr & Marcia K. Knight Mr. Kurt P. Kuehn & Ms. Cheryl Davis Mr. & Mrs. J. Hicks Lanier/The Sartain Lanier Family Isabel Lamy Lee Peg & Jim Lowman
Cindy Jeness Communications Committee Member Milt Shlapak Member-at-Large Sally Parsonson Communications Committee Member
Peter Stelling Programs Committee Member Jonne Walter Annual Fund Committee Member Marcia Watt Communications Committee Member
Mary Ruth McDonald* Ms. Terry S. McGehee & Ms. Sheila A. Hunt, A.I.A. Morgens West Foundation North Highland Northwestern Mutual Goodwin, Wright/ Northwestern Benefit Corporation of Georgia Franca G. Oreffice Overture Lindbergh Margaret H. Petersen Jack & Susanne Pinkerton Mr. & Mrs. Joel F. Reeves John T. Ruff In memory of Willard Shull Hamilton & Mason Smith Ms. Caroline Stackhouse Peter James Stelling Mrs. C. Preston Stephens John & Yee-Wan Stevens Carol & Ramon Tomé Family Fund* Kathy N. Waller Ms. Toni Ward Alan & Marcia Watt Thomas E. Whitesides, Jr. M.D. Hubert H. Whitlow, Jr. Suzanne B. Wilner Mr. & Mrs. John C. Yates
Margo Brinton & Eldon Park Karen & Rod Bunn Mr. & Mrs. Dennis M. Chorba Ruth & Mark Coan Carol Comstock & Jim Davis* Jere & Patsy Drummond Betty W. Dykes Mr. Richard H. Delay & Dr. Francine D. Dykes Dr. & Mrs. Carl D. Fackler Ellen & Howard Feinsand Mr. & Mrs. Jeff Githens John & Martha Head The Hellen Ingram Plummer Charitable Foundation, Inc. James & Bridget Horgan Dick & Georgia Kimball* Ms. & Ms. Tara King-Hughes Lillian Balentine Law Mr. Ralph Levy Joanne Lincoln William & Deborah Liss* Ms. Erin M. Marshall Belinda & Gino Massafra Susan Perdew Doris Pidgeon in Memory of Rezin E. Pidgeon, Jr.
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
74 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
In Memory of Dr. Frank S. Pittman III Tom & Mary Quigley Mr. Leonard B. Reed S. A. Robinson Lou & Dick Stormont Stephen & Sonia Swartz Elliott & Elaine Tapp George & Amy Taylor Mrs. William J. Thompson Burton Trimble Drs. Jonne & Paul Walter Robert Wenger & Susan Carney Mr. & Mrs. Tomohiro Yamashita*
A Friend of the Symphony (4) Ms. Mary Allen Mr. & Mrs. Stephen D. Ambo The Hisham & Nawal Araim Foundation Dr. Evelyn R. Babey Lisa & Joe Bankoff Anthony Barbagallo & Kristen Fowks Dr. & Mrs. Joel Berenson Shirley Blaine Jane & Gregory Blount Mr. Roger Blythe Leon Borchers Martha S. Brewer Dr. & Mrs. Anton J. Bueschen Mrs. Judith D. Bullock Dr. Aubrey Bush & Dr. Carol Bush Mr. & Mrs. Walter K. Canipe Capitol Connection, Inc. Alison & Chuck Carlin Mr. & Mrs. George E. Case, III Susan & Carl Cofer Mr. Terence M. Colleran & Ms. Lim J. Kiaw Mr. & Mrs. R. Barksdale Collins* Ralph & Rita Connell Mr. Kenneth Cornwall Mr. & Ms. Jonathan Cramer
Susan & Ed Croft Bertha Davis Lawrence & Sally Davis Mr. & Mrs. Donald Defoe* Mr. Philip A. Delanty Mary & Mahlon Delong Mrs. Sheila Tschinkel Xavier Duralde & Mary Barrett Mr. & Mrs. Robert G. Edge Dieter Elsner The Elster Foundation George T. & Alecia H. Ethridge Mr. & Mrs. William M. Evans , Jr. Mr. & Mrs. Clayton H. Farnham Mr. & Mrs. William A. Flinn Drs. John & Gloria Gaston Mary D. Gellerstedt Dr. Mary G. George & Mr. Kenneth Molinelli Sally & Walter George Caroline M. Gilham Mrs. Janet D. Goldstein Dr. & Mrs. Carl Grafton Mary C. Gramling Mrs. Louise Grant Joanne & Alex Gross Charles Campbell & Ann Grovenstein-Campbell Mr. & Mrs. George N. Gundersen* Harald R. Hansen** Phil & Lisa Hartley Mr. & Mrs. John E. Hellriegel Mr. William B. Hendrix Kenneth R. Hey Sarah & Harvey Hill* Dr. Walter J. Hill Mia & Ronald Hilley Mr. & Mrs. James Horgan* Mrs. Sally Horntvedt Tatty & Harry Howard John E. & Hollis H. Hudak Dona & Bill Humphreys Mrs. James M. Hund
JoAnn Hall Hunsinger The Hyman Foundation Mary & Wayne James Cynthia Jeness Aaron & Joyce Johnson Janet & Bucky Johnson Mr. & Mrs. Robert E. Johnson Mrs. Jo W. Koch Dr. Rose Mary Kolpatzki Mr. Jeffery Koon Mr. & Mrs. Charles R. Kowal David & Jill Krischer Wolfgang & Mariana Laufer Mr. & Mrs. Van R. Lear Mr. & Mrs. J. David Lifsey Lubo Fund Mr. & Mrs. Frederick C. Mabry Barbara & Jim MacGinnitie Elvira & Jay Mannelly Kay & John T. Marshall Martha & Reynolds McClatchey Mr. & Mrs. Albert S. McGhee Dr. Larry V. McIntire Birgit & David McQueen Virginia K. McTague The Community Foundation for Greater Atlanta Anna & Hays Mershon Judy Zaban-Miller & Lester Miller Mr. Bert Mobley Gregory & Judy Moore Mr. Andrew Muir Janice & Tom Munsterman Mr. & Mrs. Michael J. Murphy* Ann A. Nable Melanie & Allan Nelkin Gary R. Noble Robert & Mary Ann Olive Barbara & Sanford Orkin Mr. Nat Padget Mary Kay & Gene Poland* Ms. Kathy Powell Mr. Leonard B. Reed*
Mr. J. A. Reiman & Ms. Cynthia Good Mrs. Susan H. Reinach Peach State Truck Centers Roger & Lynn Lieberman Ritvo Ms. Susan Robinson & Ms. Mary Roemer Mr. & Mrs. Richard L. Rodgers George & Mary Rodrigue Jane & Rein Saral Mr. & Mrs. Robert Schlotman Sam Schwartz & Dr. Lynn Goldowski Mr. Randy Shields & Mrs. Sarah Shields Helga Hazelrig Siegel Diana Silverman Anne Marie Gary Baker & Debby Smith Johannah Smith Mr. K. Douglas Smith Mr. & Mrs. Morton S. Smith Mr. & Mrs. Raymond F. Stainback, Jr. Kay & Alex Summers Judith & Mark K. Taylor Vogel Family Foundation Carol Brantley & David Webster Joan & Howard Weinstein Dr. Nanette K. Wegner David & Martha West Dr. William West Sally Stephens Westmoreland Ron & Susan Whitaker Mr. & Mrs. Peter L. Whitcup Mrs. Frank L. Wilson, Jr. Russell F. Winch Mary Lou Wolff Mr. & Mrs. M. Beattie Wood Camille Yow Herbert & Grace Zwerner
encoreatlanta.com | Atlantaâ€™s Performing Arts Publication 75
ASO | support henry sopkin circle The Henry Sopkin Circle celebrates individuals and families who have made a legacy gift to the Atlanta Symphony Orchestra. Whether through a bequest, beneficiary designation, or trust distribution, planned gifts ensure the ASOâ€™s success for future generations. Just like the Symphonyâ€™s first Music Director, Henry Sopkin, our planned giving donors are shaping the future of the Atlanta Symphony Orchestra. To learn more about the Henry Sopkin Circle, please contact the development Office at 404.733.4262. Anonymous (21) Madeline & Howell E. Adams, Jr. Mr.** & Mrs. John E. Aderhold Mr. & Mrs. William Atkins Dr. & Mrs. William Bauer Neil H. Berman Mr.** & Mrs. Sol Blaine W. Moses Bond Mr.** & Mrs. Robert C. Boozer Elinor A. Breman James C. Buggs Mr. & Mrs.** Richard H. Burgin Hugh W. Burke Patricia & William Buss Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Lenore Cicchese* Margie & Pierce** Cline Dr. & Mrs. Grady S. Clinkscales, Jr. Robert Boston Colgin Dr. John W. Cooledge John R. Donnell Pamela Johnson Drummond Catherine Warren Dukehart Ms. Diane Durgin Kenneth P. Dutter Arnold & Sylvia Eaves Mr. & Mrs. Robert G. Edge Elizabeth R. Etoll Brien P. Faucett Dr. Emile T. Fisher Bruce & Avery Flower A. D. Frazier, Jr. Nola Frink
Betty & Drew** Fuller Sally & Carl Gable William & Carolyn Gaik Mr.** & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Robert Hall Gunn, Jr. Billie & Sig** Guthman James & Virginia Hale Sally & Paul** Hawkins John & Martha Head Mary Virginia Hearn** Barbara & John** Henigbaum Richard E. Hodges, Jr. Pat & Chuck Holmes Mr.** & Mrs. Fred A. Hoyt, Jr. Jim** & Barbara Hund Clayton F. Jackson Mary B. James Calvert Johnson Herb** & Hazel Karp Anne Morgan & Jim Kelley Robert Kinsey James W. & Mary Ellen** Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff** Rob Lamy James H. Landon Ouida Hayes Lanier Ione & John Lee Lucy R. & Gary Lee, Jr. Mr.** & Mrs. William C. Lester Liz & Jay** Levine Robert M. Lewis, Jr. Joanne Lincoln Jane Little**
Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K. Maier John W. Markham Linda & John Matthews Dr. Michael S. McGarry John & Clodagh Miller Mr. & Mrs. Bertil D. Nordin Amy W. Norman** Roger B. Orloff Dr. Bernard** & Sandra Palay Sally & Pete Parsonson Dan R. Payne Bill Perkins Mr.** & Mrs. Rezin E. Pidgeon, Jr. Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Vicki J. & Joe A. Riedel Helen & John Rieser Dr. Shirley E. Rivers** David F. & Maxine A. Rock Mr.** & Mrs. Martin H. Sauser Mr. Paul S. Scharff & Ms. Polly G. Fraser June & John Scott Dr. & Mrs. George P. Sessions Charles H. Siegel** Hamilton & Mason Smith Mrs. Lessie B. Smithgall Elliott Sopkin Elizabeth Morgan Spiegel Gail & Loren Starr Peter James Stelling
76 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
C. Mack** & Mary Rose Taylor Jennings Thompson IV Margaret** & Randolph** Thrower Kenneth & Kathleen Tice Mr. H. Burton Trimble, Jr. Steven R. Tunnell John & Ray Uttenhove Mary E. Van Valkenburgh Adair & Dick White Mr. & Mrs. John B. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil** Williams Mrs. Frank L. Wilson, Jr. Ms. Joni Winston George & Camille Wright Mr.** & Mrs.** Charles R. Yates
You can help make music happen! For more information on giving at any level, call 404.733.5102 or visit aso.org/giving
encoreatlanta.com | Atlantaâ€™s Performing Arts Publication 77
ASO | education
(recommended for children 1 to 5 years of age) Music of North America OCT 15 | Sun: 1:30/2:30/3:30pm NOV 18 | Sat: 9:30/10:30/11:30am NOV 19 | Sun: 1:30/2:30/3:30pm aso.org/MVY Talent Development Program MUSICALE NOV 12 | Sun: 3:00 p.m. The ASO Talent Development Program educates and develops musically gifted African American and Latino musicians committed to pursuing a career in orchestral music. Join us as the fellows showcase their talents and hard work in a special program also featuring TDP alumnae and New World Symphony fellow Chelsea Sharpe. aso.org/TDP Atlanta Symphony Youth Orchestra OVERTURE CONCERT NOV 5 | Sun: 3:00 p.m. Enjoy the future of classical music with the region’s most talented young musicians. Tickets are only $12, and provide a great introduction to classical music for the novice, or an affordable family experience. aso.org/ASYO
Family Holiday featuring The Snowman Movie
DEC 3 | Sun: 3pm Grab your family and friends and get in the winter spirit with the Atlanta Symphony Orchestra as we perform Howard Blake’s soundtrack to The Snowman movie live with the film! Also featuring Peter Ilyich Tchaikovsky’s Nutcracker Overture and Antonio Vivaldi’s ”Winter” from The Four Seasons. aso.org/FAMILY 78 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
Recipient of the Regional Theatre Tony Award®
bohème Puccini october 3, 6, 9, 11, 2015
JAN 29/31/FEB 1
Family Series on the Alliance Stage
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Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
T H E F OX T H E AT R E | F E B R U A R Y 2 0 1 5
THE FOX THEATRE | APRIL 2014
Recipient of the Regional Theatre Tony Award®
PiraTesof Penzance GilberT & sullivan
SPANO > < RUNNICLES
March 5, 8, 11, 12, 13, 2016
The Rite of Spring MAR 13/15/16
Nov. 21–Dec. 24, 2014
Family Series on the Alliance Stage
2/19/16 7:07 PM
WWW.FOXTHEATRE.ORG | WWW.ENCOREATLANTA.COM
2/20/14 4:25 PM
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DO YOU WANT TO REACH MORE THAN 4 MILLION ACTIVE, ENGAGED AND CONNECTED PEOPLE THIS YEAR?
ADVERTISE IN ENCORE ATLANTA! To find out about advertising with Encore Atlanta contact Tom Casey by phone, 678–837–4032, or by email, firstname.lastname@example.org, today!
Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
THE FOX THEATRE
Recipient of the Regional Theatre Tony Award®
Recipient of the Regional Theatre Tony Award®
FEB 27/28/ MAR 1 NIELSEN: Violin Concerto
Jan. 21–Feb. 22, 2015
DECEMBERS MUSIC BY JAKE HEGGIE | LIBRETTO BY GENE SCHEER
Sept. 3–Oct. 5, 2014 JANUARY 2014 | WWW.FOXTHEATRE.ORG | WWW.ENCOREATLANTA.COM
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THE FABULOUS FOX THEATRE
THE FOX THEATRE | JANUARY 2015
5/15/15 9:24 PM
Recipient of the Regional Theatre Tony Award®
F O X T H E AT R E . O R G | E N C O R E AT L A N TA . C O M
JAN 23/25/26 2012 Musical America MUSICIAN OF THE YEAR
BRITTEN: Piano Concerto
Family Series on the Alliance Stage
Feb. 22–March 16, 2014
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ASO | education
LA R L EGIS A SK YOU
GA Arts Futur
#GAARTSFuture The National Endowment for the Arts has made many Atlanta Symphony Orchestra programs and initiatives possible with more than $3 million in support since the mid 1980s. The proposed 2018 White House budget eliminated three cultural agencies —the National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH) and the Institute of Museum and Library Services (IMLS). The loss of the NEA, NEH, and IMLS would have the greatest impact on people who have the least access to the arts: rural populations, low-income communities, school children, seniors and veterans. Join us in showing support for these programs by encouraging your legislator to continue funding. We’ve made it easy, just stop by the Symphony Store, fill out a postcard with what the arts mean to you and we’ll mail it for you. 80 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
LET’S BE FRIENDS
At Encore Atlanta, we love our fans. That’s why we frequently give away tickets, share special 50% off deals and the best Atlanta has to offer every day. So connect with Encore Atlanta on Twitter, Facebook, YouTube, Google+ and Pinterest! Don’t forget to download the free Encore Atlanta+ app for your mobile device to unlock bonus content in our show programs (and this ad).
musicians’ endowment Robert Spano, John B. White, Jr., Co-Chairs The Atlanta Symphony Orchestra surpassed our $25 Million Musicians’ Endowment Campaign goal, nearly two years ahead of schedule. A special thanks to The Delta Air Lines Foundation for their pledge of $2.5 Million, along with all of the generous individuals, foundations and corporations listed below, who helped the Orchestra achieve this critically important milestone. The Musicians’ Endowment will permanently endow 11 positions in the Atlanta Symphony Orchestra and strengthen our foundation to ensure that the Atlanta Symphony Orchestra remains a strong cultural presence for generations to come.
The Robert W. Woodruff Foundation Betty Gage Holland Anonymous, in honor of Betty Fuller Anonymous, in honor of Terence L. Neal Connie & Merrell Calhoun
Thalia & Michael C. Carlos Foundation The Delta Air Lines Foundation Sally & Carl Gable Wilbur & Hilda Glenn Family Foundation
Estate of Cora Nunnally Miller
Abraham J. & Phyllis Katz Foundation The Kendeda Fund Lucy R. & Gary Lee, Jr. The UPS Foundation Wells Fargo
Mr. & Mrs. Solon P. Patterson
Betty & Robert Balentine Estate of Michael McDowell
Patty & Doug Reid
David, Helen & Marian Woodward Fund
The Antinori Foundation Mrs. Hugh M. Chapman Marty & John Gillin Clay & Jane Jackson The Besse Johnson & George Blanton Allen Foundation Mrs. Azira G. Hill Brenda & Charles Moseley Victoria & Howard Palefsky
Mr. & Mrs. Wyatt T. Johnson Massey Charitable Trust The Fred & Sue McGehee Family Charitable Fund Powell Charitable Trust
The Sumgullion Charitable Fund Mark & Evelyn Trammell Foundation Susan & Tom Wardell Sue Williams
Joyce & Henry Schwob Mr. John A. Sibley III Chilton & Morgan Varner
The Vasser Woolley Foundation, Inc.
Don Carson Dr. John Cooledge The Roy & Janet Dorsey Foundation
The Robert S. Elster Foundation Nancy D. Gould Elizabeth J. Levine
Bill & Rachel Schultz The Trapp Family Mr. & Mrs. Edus H. Warren, Jr.
Jan & Gus Bennett Terri & Jim Coil D. D. Conrad Arnika & Stephen Dawkins Dr. & Mrs. Carl D. Fackler
Mr. & Mrs. Richard K. Hines V Pat & Nolan Leake Dr. & Mrs. William M. McClatchey Mr. & Mrs. John W. Scott
Estate of Chip Siegel Dr. Steven & Lynne Steindel Mr. & Mrs. Mason W. Stephenson Liz & Mike Troy
Mr. & Mrs. John Allen Margo Brinton & Eldon Park Mr. & Mrs. William B. Fryer
Mr. & Mrs. Robert D. Hays Lynn & Galen Oelkers The Sally & Peter Parsonson Foundation
Mr. & Mrs. John C. Staton, Jr. Adair & Dick White
82 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
THE WOODRUFF CIRCLE
Woodruff Circle members each contribute more than $250,000 annually to support the arts and education work of The Woodruff Arts Center, Alliance Theatre, Atlanta Symphony Orchestra, and High Museum of Art. We are deeply grateful to these 43 partners who lead our efforts to ensure the arts thrive in our community.
RHONDA AND DAN CATHY
WALTER CLAY HILL & FAMILY FOUNDATION A FRIEND OF THE ATLANTA SYMPHONY ORCHESTRA
A FRIEND OF THE WOODRUFF ARTS CENTER
Bank of America
Mr. and Mrs. C. Merrell Calhoun
Georgia Power Foundation, Inc.
SunTrust Trusteed Foundations: Harriet McDaniel Marshall Trust Walter H. and Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust
The Home Depot Foundation Invesco Ltd. Sarah and Jim Kennedy
WellsFargo The Zeist Foundation, Inc.
The Marcus Foundation, Inc. The Sara Giles Moore Foundation
Estate of Andrew Musselman PwC, Partners & Employees Tull Charitable Foundation
Abraham J. & Phyllis Katz Foundation The Douglas J. Hertz Family Lucy R. and Gary Lee, Jr.
$300,000+ King & Spalding, Partners & Employees PNC The Rich Foundation Spray Foundation, Inc.
UPS Mr. and Mrs. Leonard Wood
KPMG LLP, Partners & Employees
Victoria and Howard Palefsky Mr. and Mrs. Solon P. Patterson Patty and Doug Reid Louise S. Sams and Jerome Grilhot
Contributions Made: June 1, 2016 – May 31, 2017
Beauchamp C. Carr Challenge Fund Donors
The Antinori Foundation / Ron and Susan Antinori
Deloitte, its Partners & Employees
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THE PATRON CIRCLE $200,000+
The Andrew W. Mellon Foundation Equifax & Employees EY, Partners & Employees Sally and Carl Gable The Sartain Lanier Family Foundation The Shubert Foundation William Randolph Hearst Foundations
1180 Peachtree Alston & Bird The Arthur M. Blank Family Foundation Lucinda W. Bunnen Frances B. Bunzl The David, Helen & Marian Woodward Fund - Atlanta Edgerton Foundation New American Plays Jones Day Foundation & Employees Katherine John Murphy Foundation Estate of Amy Norman Susan and Tom Wardell
A Friend of the Alliance Theatre & Woodruff Arts Center AT&T Sandra and Dan Baldwin In honor of Alleene and Jim Bratton Barbara and Steve Chaddick Community Foundation for Greater Atlanta, Inc. Ellen and Howard Feinsand First Data Corporation Peggy Foreman Fulton County Arts Council Genuine Parts Company Georgia-Pacific Corporation Google Beth and Tommy Holder Intercontinental Exchange, Inc. Kaiser Permanente Kilpatrick Townsend & Stockton LLP Merrill Lynch Morgens West Foundation Garnet and Dan Reardon Margaret and Bob Reiser Southern Company Gas Carol and Ramon Tomé Family Fund Mr.* and Mrs. Edus H. Warren, Jr. WestRock Company
Susan and Richard Anderson BB&T Kathy and Ken Bernhardt Bloomberg Philanthropies BNY Mellon Wealth Management Ann and Jeff Cramer Katie and Reade Fahs The Fraser-Parker Foundation JLL Livingston Foundation, Inc. Massey Charitable Trust
National Endowment for the Arts Publix Super Markets Charities, Inc. Thalia and Michael C. Carlos Advised Fund Elizabeth and Chris Willett
A Friend of the High Museum of Art ADP Aarati and Peter Alexander Atlanta Area BMW Centers The Carter’s Charitable Foundation Carolynn Cooper and Pratap Mukharji Melinda and Brian Corbett Crawford & Company Mr. and Mrs. Bradley Currey, Jr. Dan and Merrie Boone Foundation / Dan W. Boone III Mr. and Mrs. Richard A. Denny, Jr. DS Services Catherine Warren Dukehart Eversheds Sutherland (US) LLP Jennifer and Marty Flanagan Betty Sands Fuller Kate and Paul Gaffney Carol and Paul Garcia General Electric Company George Lucas Family Foundation GMT Capital Corporation The Graves Foundation Nena C. Griffith Halle Foundation Allison and Ben Hill The Howell Fund, Inc. Karen and Jeb Hughes The John W. and Rosemary K. Brown Family Foundation & John and Rosemary Brown Katie and West Johnson Mr. Baxter P. Jones and Dr. Jiong Yan Joel Knox and Joan Marmo Merry McCleary and Ann Pasky Starr Moore and the James Starr Moore Memorial Foundation Morris Manning & Martin LLP Moxie Norfolk Southern Foundation North Highland Mr. and Mrs. David Parker The Primerica Foundation Regions Bank The Selig Foundation: Linda and Steve Selig & Cathy and Steve Kuranoff Mr. and Mrs. H. Bronson Smith Ms. Iris Smith and Mr. Michael S. Smith Sara and Paul Steinfeld Sally G. Tomlinson Mrs. Sue S. Williams The Woodruff Arts Center Employees
The Patron Circle includes donors who generously made contributions to our FY17 annual funds and/or long-term special projects and endowment funds.
A Friend of the High Museum of Art Kristie and Charles Abney Mrs. Kristin Adams Madeline and Howell E. Adams, Jr. Allstate Insurance Company Ann and Gordon Getty Foundation Arby’s Foundation, Inc. Arnall Golden Gregory LLP Yum and Ross Arnold Spring and Tom Asher Assurant Atlanta Beverage Company Atlantic Trust Company The Balloun Family Barbara and Ron Balser Lisa and Joe Bankoff Juanita and Gregory Baranco Anna and Ed Bastian Kelly O. and Neil H. Berman Birch Communications Mr. and Mrs. Paul J. Blackney Nancy and Kenny Blank Janine Brown and Alex J. Simmons, Jr. Lisa and Paul Brown Camp-Younts Foundation The Capital Group Companies Charitable Foundation Elaine and John Carlos Wright and Alison Caughman CBH International, Inc. The Charles Loridans Foundation, Inc. Compass Group Tony Conway Cousins Properties Sherri and Jesse Crawford Erica and David Cummings Cushman & Wakefield, Inc. Cheryl Davis and Kurt Kuehn Kay and David Dempsey Marcia and John Donnell Margaret and Scott Dozier Mrs. Sarah A. Eby-Ebersole and Mr. W. Daniel Ebersole Ed and Claude Fortson Charitable Trust Ms. Lynn Eden Mr. Fredric M. Ehlers and Mr. David Lile Virginia and Brent Eiland Four Seasons Hotel Atlanta Frances Wood Wilson Foundation, Inc. Nick Franz Sonya and Rick Garber Mr. and Mrs. Lawrence L. Gellerstedt III General Building Maintenance, Inc. George M. Brown Trust Fund of Atlanta, Georgia Georgia Natural Gas Gertrude and William C. Wardlaw Fund, Inc. Goldman Sachs & Co. Carolyn and David Gould Sara Goza Mr. Kenneth Haines The Harold & Mimi Steinberg Charitable Trust
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Virginia Hepner and Malcolm Barnes Holder Construction Company Mr. and Mrs. Hilton H. Howell, Jr. Jane and Clayton Jackson Kim and Kirk Jamieson Lori and Bill Johnson Andrea and Boland Jones JP Morgan Private Bank Kaneva John C. Keller James F. Kelly Charitable Trust Mr. and Mrs. Donald R. Keough * Mr. and Mrs. David E. Kiefer Wendy and Scott Kopp Malinda and David Krantz Mr. and Mrs. Jeffrey A. Lewis Hank Linginfelter Karole and John Lloyd Lockheed Martin Aeronautics Company Kelly Loeffler and Jeffrey Sprecher The Mark & Evelyn Trammell Foundation Margot and Danny McCaul Sally and Allen McDaniel The Michael and Andrea Leven Family Foundation Judy Zaban-Miller and Lester Miller Printpack Morgan Stanley – Atlanta Private Wealth Management Mueller Water Products, Inc. NCR Foundation Terence L. and Jeanne P. Neal Nelson Mullins Riley & Scarborough LLP Northern Trust Northwestern Mutual Goodwin, Wright/ Northwestern Benefit Corporation of Georgia Novelis, Inc. Oscar G. and Elsa S. Mayer Family Foundation Oxford Industries, Inc. Vicki and John Palmer Ms. Sara C. Passarella, in Memory of Ann E. Caulk Mr. and Mrs. E. Fay Pearce, Jr. Dr.* and Mrs. Martha Pentecost Porsche Cars North America, Inc. Quikrete Mr. and Mrs. David M. Ratcliffe The Ray M. and Mary Elizabeth Lee Foundation, Inc. Mr. and Mrs. Robbie Robinson Mrs. Ruth Magness Rollins Ron & Lisa Brill Charitable Trust Mary and Jim Rubright Ryder Truck Rental, Inc. The Sally & Peter Parsonson Foundation
Samuel H. Kress Foundation SCANA Energy Rachel and Bill Schultz Mrs. William A. Schwartz Joyce and Henry Schwob Linda and Mark Silberman Mr. and Mrs. Ross Singletary II Mr. and Mrs. Marc Skalla Skanska Mr. and Mrs. E. Kendrick Smith Mrs. Lessie B. Smithgall Southwest Airlines Southwire Company State Bank & Trust Company Dr. Steven and Lynne Steindel Margaret and Terry Stent Mr. G. Kimbrough Taylor and Ms. Triska Drake Troutman Sanders LLP United Distributors, Inc. Lori Vanderboegh and Brady Young Mr. Brandon Verner Susie and Patrick Viguerie Waffle House Kim and Reggie Walker Leigh and Tim Walsh Rebekah and Mark Wasserman Adair and Dick White Ann Marie and John B. White, Jr. Susan and John Wieland Wilmington Trust Suzanne B. Wilner Ellen and John Yates Amy and Todd Zeldin
A Friend of the Atlanta Symphony Orchestra A Friend of the High Museum of Art (2) A Friend of The Woodruff Arts Center (2) AAA Parking ABM Acuity Brands, Inc. Keith Adams and Kerry Heyward Robin Aiken and Bill Bolen Akris Mary Allen The Allstate Foundation Altria Client Services, Inc. Alvarez & Marsal Arris Group, Inc. Evelyn Ashley and Alan McKeon Atlanta Marriott Marquis Atlantic American Corporation/Delta Life Insurance/ Gray Television Atlantic Capital Bank Mr. and Mrs. Ali Azadi Margaret Baldwin and L. Paul Pendergrass Jennifer Barlament and Kenneth Potsic Susan R. Bell and Patrick M. Morris Nancy and Phil Binkow Stan and Laura Blackburn
The Blanche Lipscomb Foundation Stephanie Blank-Jomaky Mr. David Boatwright Susan V. Booth and Max Leventhal Lisa and Jim Boswell Mr. and Mrs. Frank H. Boykin The Breman Foundation, Inc. Brenau University Laura Brightwell Mary and John Brock Brown & Brown Insurance, Inc. Bryan Cave Ms. Mary Cahill and Mr. Rory Murphy The Casey Slade Group, Merrill Lynch Mr. and Mrs. Jefrrey S. Cashdan Center Family Foundation Chamberlain, Hrdlicka, White, Williams & Aughtry The Chatham Valley Foundation, Inc. Chubb Clark and Ruby Baker Foundation Cathy and Bert Clark Susan and Carl Cofer Colliers International Ann and Steve Collins Cooper Global Ann and Tom Cousins Charlene Crusoe-Ingram and Earnest Ingram CSX Transportation Rebecca and Chris Cummiskey Russell Currey and Amy Durrell Elaine and Erroll Davis Cari Dawson and John Sparrow Mr. and Mrs. James Douglass Diane Durgin Mr. and Mrs. Merritt P. Dyke Eagle Rock Distributing Company Dr. Geoffrey G. Eichholz L. Franklyn Elliott, M.D. Fifth Third Bank Ford Motor Company Fund The Fred and Sue McGehee Family Charitable Fund Gas South, LLC Sue and Tim Gedrych Doris and Matthew Geller Marty and John Gillin Mr. and Mrs. Richard G. Goerss Mr. and Mrs. Richard Goodsell Graphic Packaging International, Inc. Nancy and Holcombe Green Joy and Tony Greene Drs. Jeannette Guarner and Carlos del Rio Jason and Carey Guggenheim/Boston Consulting Group Mr. Patrick J. Gunning Angelle and Jack Hamilton Nancy and Charles Harrison HD Supply
Grace B. Helmer Hogan Construction Group Mr. and Mrs. Christopher D. Hohlstein Mr. and Mrs. Jack K. Holland Jocelyn J. Hunter Ida Alice Ryan Charitable Trust Infor Global Solutions Inglett & Stubbs, LLC Insight Sourcing Group Jabian Consulting Jackson Healthcare Sheree and John Jay Lou Brown Jewell Ann A. and Ben F. Johnson III Mary and Neil Johnson Anne and Mark Kaiser James E. Kane Greg Kelly Kennedy Center for the Performing Arts Kimberly-Clark Lisa and Scott Kirkpatrick Eydie and Steve Koonin Mr. and Mrs. Charles R. Kowal Carrie and Brian Kurlander Louise and E.T. Laird James H. Landon Donna Lee and Howard Ehni Macy’s MAG Mutual Insurance Company Meghan and Clarke Magruder Majestic Realty Mr. and Mrs. Mike McCarthy Mr. and Mrs. Forrest McClain McKinsey & Company Mr. and Mrs. John F. McMullan Anna and Hays Mershon Ms. Molly Minnear Hala and Steve Moddelmog Phil and Caroline Moïse Montag Wealth Management Winifred B. and Richard S. Myrick Jane and Jeffrey Neumeyer Northside Hospital Caroline and Joe O’Donnell Lynn and Galen Oelkers Oldcastle, Inc. Gail O’Neill and Paul E. Viera Barbara and Sanford Orkin Overture Lindbergh Beth and David Park Karen and Richard Parker Perkins & Will Susan and David Peterson Piedmont Charitable Foundation, Inc. The Piedmont Group MassMutual The Piedmont National Family Foundation Plateau Excavation Suzanne and Bill Plybon Portman Holdings Alessandra and Elton Potts Sandra and Larry Prince Pure Storage Mr. and Mrs. William C. Rawson Regal Entertainment Group
Estate of Shirley Rivers The Robert Hall Gunn, Jr. Fund Mr. and Mrs. William H. Rogers, Jr. Rooms to Go Foundation Patricia and Maurice Rosenbaum The Roy and Janet Dorsey Foundation S.J. Collins Enterprises Salesforce Savannah Distributing Company Jack Sawyer and Dr. Bill Torres Marci Schmerler and Walter W. Mitchell June and John Scott ServiceNow The Slumgullion Charitable Fund Smith & Howard, PC Biljana and Phil Southerland Dr. and Mrs. Dennis Lee Spangler Spencer Stuart Karen and John Spiegel Gail and Loren Starr STARS of the Alliance Theatre Chandra Stephens-Albright and Warren Albright Charlita StephensWalker, Charles and Delores Stephens Judith and Mark Taylor Lisa Cannon Taylor and Chuck Taylor Thomas H. Lanier Foundation Rosemarie and David Thurston Tim and Lauren Schrager Family Foundation Transwestern Trapp Family U.S. Trust University of Michigan School of Music, Theatre & Dance John and Ray Uttenhove Roxanne and Benny Varzi Walden Security Kathy N. Waller Mr. and Mrs. Bradford L. Watkins Weldon H. Johnson Family Foundation Mrs. Susan Kengeter Wells and Dr. James Wells Mrs. Melinda M. Wertheim and Dr. Steven B. Wertheim Rod Westmoreland James B. and Betty A. Williams Richard Williams and Janet Lavine Jan and Greg Winchester Ms. Joni Winston Diane Wisebram and Edward D. Jewell Dina Woodruff Paul Wrights Mary and Bob Yellowlees
encoreatlanta.com | Atlanta’s Performing Arts Publication 85
ASO | staff EXECUTIVE Jennifer Barlament Executive Director Stephanie Smith, Executive Assistant Alvinetta CookseyWyche Executive Services Office Assistant ARTISTIC Evans Mirageas Vice President for Artistic Planning & Operations Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer Insider & Program Annotator Scott Oâ€™Toole Artist Liaison Bob Scarr Archives Program Manager DEVELOPMENT Toni Paz Director of Development Jordan Keegan Development Assistant William Keene Annual Fund Coordinator Nancy Field Grants Manager Brenda Turner Associate Director of Individual Giving
MARKETING & COMMUNICATIONS Tammy Hawk Senior Director of Marketing & Communications KC Commander Digital Marketing Specialist Elizabeth Daniell Communications Coordinator Adam Fenton Director of Multimedia Technology Caitlin Hutchinson, Marketing Coordinator Robert Phipps Publications Director SALES & REVENUE MANAGEMENT Russell Wheeler Senior Director of Sales & Revenue Management Melanie Kite Director of Subscriptions & Patron Services Pamela Kruseck Senior Manager of Sales Jesse Pace Patron Services Manager Gokul Parasuram Database Manager Robin Smith Subscription & Education Sales Christopher Stephens Corporate Sales Manager
EDUCATION & COMMUNITY ENGAGEMENT Holly Hudak Senior Director of Education and Community Engagement Kaitlin Gress Manager, Atlanta Symphony Youth Orchestra Tiffany I. M. Jones Managing Producer of Educational Concerts Ruthie Miltenberger Manager of Family Programs Adrienne Thompson Manager, Talent Development Program Tyrone Webb Manager of Education and Community Programs OPERATIONS Paul Barrett Senior Production Stage Manager Richard Carvlin Stage Manager Christopher McLaughlin Manager of Artistic Administration Kourtnea Stevenson Assistant Orchestra Personnel Manager Susanne Watts Orchestra Personnel Manager
86 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
FINANCE & ADMINISTRATION Susan Ambo Chief Financial Officer Kimberly Hielsberg Senior Director of Financial Planning & Analysis V.S. Jones Symphony Store Shannon McCown Office Manager Brandi Reed, Staff Accountant April Satterfield Controller ATLANTA SYMPHONY HALL LIVE Nicole Epstein Managing Producer Lisa Eng Multimedia Creative Manager Christine Lawrence Box Office Manager Joanne Lerner Runner/Assistant Natacha McLeod Senior Marketing Manager Clay Schell Consultant Will Strawn Associate Marketing Manager
corporate & government | support
Mayorâ€™s Office of Cultural Affairs
Major support is provided by the City of Atlanta Office of Cultural Affairs.
Major funding is provided by the Fulton County Board of Commissioners.
This program is supported in part by an award from the National Endowment for the Arts.
encoreatlanta.com | Atlantaâ€™s Performing Arts Publication 87
ASO | ticket info CAN’T ATTEND A CONCERT? You may exchange your tickets by 4 pm the day prior to the performance. Tickets may also be donated by calling 404.733.5000. SINGLE TICKETS Call 404.733.5000 Tuesday - Saturday noon to 6 pm and Sunday noon to 5 pm. Service charge applies. Phone orders are filled on a best-available basis. All single-ticket sales are final. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks before the concert, tickets will be held at the box office.
ASO | general info
LATE SEATING Patrons arriving later are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Late arrivers may be initially seated in the back out of courtesy to the musicians and other patrons. SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office (404.733.5000) to make advance arrangements. SYMPHONY STORE The Symphony Store is open before, during and after most concerts. THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $2,500 annually to become members of this private dining room to enjoy cocktails and dinner on concert evenings — private rentals are also available. Call 404.733.4839.
88 Atlanta Symphony Orchestra | aso.org
WOODRUFF ARTS CENTER BOX OFFICE Open Tuesday - Saturday noon to 6 p.m. and Sunday noon to 5 p.m. Please note: No refunds or exchanges. All artists and programs are subject to change. GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848. GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000. DONATE Tickets sales only cover a fraction of our costs. Please consider a donation to your ASO. Call 404.733.4262 or visit aso.org.
IMPORTANT PHONE NUMBERS Concert Hotline (Recorded info) 404.733.4949 Symphony Hall Box Office
Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales
Atlanta Symphony Associates 404.733.4855 (Volunteers) Educational Programs
Atlanta Symphony Youth Orchestra
Box Office TTD Number
with Special Needs
Lost and Found
Donations & Development
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READ ENCORE ATLANTA ONLINE
MA RQ UEE
M OF OFFICIAL PROGRA DISCOVERIES SERIES SPONSORE D BY
The Molly Blank of the Arthur Fund M. Family Founda Blank tion
UNE 2017 H E AT R E | J T H E F OX T Tony Award
COBB ENERGY PERFORMING ARTS
Theatre Recipient of the Regional
SECRET TAO PAGE
GARDENER Atlanta Botanic al Garden May 19 & 20, 2017
TRAVIS WALL’S MATTHEW MURPHHY
AFTER THE CURTAIN
OM TLANTA .C ENCOREA PM 5/24/17 7:11 ASO_1706_1-64.indd 1
JUN 10 – JUL 16, 2017 TAO_1705_Sec
5/25/17 12:22 AM
Robert Spano Music Director
3/14/17 7:43 PM 5/10/17 2:47 PM
Find out what you need to know before the show. Read the current and past Encore Atlanta programs for the Fox Theatre; Atlanta Symphony Orchestra and Alliance Theatre at Woodruff Arts Center; The Atlanta Opera; Rialto Center for the Arts and Cobb Energy Performing Arts Centre online at encoreatlanta.com/currentissuses
ASO | calendar
El amor brujo FALLA:
Thu/Sat: 8pm | Delta Classical FALLA: El amor brujo STRAUSS: Burleske BEETHOVEN: Symphony No. 4 Jun MÃ¤rkl, conductor Bertrand Chamayou, piano Catalina Cuervo, soprano
The Bewitched Love
Thu/Sat: 8pm | Delta Classical SCHUMANN: Cello Concerto MAHLER: Symphony No. 7 Robert Spano, conductor Steven Isserlis, cello
Thu/Sat: 8pm | Delta Classical VERDI: Requiem Donald Runnicles, conductor Erin Wall, soprano Jamie Barton, mezzo-soprano Dimitri Pittas, tenor Peter Rose, bass-baritone Atlanta Symphony Orchestra Chorus
Requiem NOV 16/18
Buy Tickets Here!
Woodruff Arts Center Box Office
90 aso.org | @AtlantaSymphony | facebook.com/AtlantaSymphony
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encoreatlanta.com | Atlanta’s Performing Arts Publication 91
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encoreatlanta.com | Atlantaâ€™s Performing Arts Publication C3
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Encore Atlanta is the official show program for the Fox Theatre, the Alliance Theatre, the Atlanta Symphony Orchestra, The Atlanta Opera, th...
Published on Sep 20, 2017
Encore Atlanta is the official show program for the Fox Theatre, the Alliance Theatre, the Atlanta Symphony Orchestra, The Atlanta Opera, th...