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contents february 2009 10



the music

10 Creating the Experience

19 The concert’s program and notes

Nick Jones previews the new sights designed to complement the well-loved sounds of Haydn’s Creation.

38 Passionate Pairing

Nadja Salerno-Sonnenberg and Mei-Ann Chen collaborate on emotionally charged treasures by Mendelssohn and Tchaikovsky.

 Encore Atlanta

aso departments 6 8 9 16 29 46 48 50 52

Dear Music Lovers ASO Leadership Robert Spano Musicians Contributors General Info Ticket Info Administration Gallery ASO

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Nick Jones and Margaret Shakespeare publisher/sales Sherry Madigan White 404.459.4128

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Music Lovers I

t’s that time of year when we anticipate a turn of season and new beginnings … and the Atlanta Symphony is right in step! This month, maestro Robert Spano leads the orchestra, chorus and illustrious guest artists in one of our signature “Theatre of a Concert” presentations of Haydn’s The Creation, a vibrant musical celebration of the world’s beginning. We welcome back set designer Anne Patterson, whose onstage creativity enhanced the ASO’s St. John Passion last season. In the meantime, Donald Runnicles continues his unique collaboration with soprano Christine Brewer as they record the second all-Strauss program with the ASO live in Symphony Hall. Also, our own Mei-Ann Chen, ASO Assistant Conductor and League of American Orchestras Conducting Fellow, makes her classical season debut. (See article on page 38.) In another “new beginning,” the Atlanta Symphony’s 65th anniversary and 2009-10 season was recently unveiled to a crowd of media and supporters, as well as online viewers nationwide via live Web cast — a technological first for the ASO, generously made possible by Turner Inc. Next season, the Atlanta Symphony’s artistic evolution and identity are evidenced by five world premieres (three are ASO commissions), return invitations to Carnegie Hall and Berlin, two “Theater of a Concert” presentations and a host of world-class guest artists. The season culminates with the ASO hosting the 2010 national conferences of the League of American Orchestras and Chorus America that will include the launch of the 10th anniversary celebration of the Atlanta School of Composers. We are honored to be invited to host these two conferences, and are already hard at work planning ways to share our artistic achievement in Atlanta with our orchestra and chorus colleagues from across the country. Revisit the season announcement via recorded Web cast on the ASO Web site at The Web cast features Music Director Robert Spano, Principal Guest Conductor Donald Runnicles, Chairman Ben Johnson and special guests Composer Michael Gandolfi; League of American Orchestras President and CEO Jesse Rosen; Louisiana Philharmonic Orchestra Managing Director Babs Mollere; Carnegie Hall Executive and Artistic Director Clive Gillinson (video); and Berlin Philharmonic Administrative Director Pamela Rosenberg (video). Season tickets for the 2009-10 season are available online or at the Box Office. Seize the moment and make plans now to join us for a spectacular season! Yours in Music,

Allison Vulgamore President and Chief Executive Officer Atlanta Symphony Orchestra

 Encore Atlanta

Atlanta’s Performing Arts Publication 

ASOleadership atlanta Symphony Orchestra League 2008-2009 Board of Directors Officers Ben F. Johnson, III Chairman Clayton F. Jackson

Jeff Mango John D. Rogers Treasurer

Chilton Davis Varner Allison Vulgamore*

Kathleen (Suzy) Wasserman ASA President* Joni Winston Secretary

Jim Henry Edward S. Heys, Jr. Tycho Howle Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Ben F. Johnson, III Marsha Sampson Johnson Mark Kistulinec Michael Lang Patricia Leake Lucy Lee Jeff Mango Darrell J. Mays

JoAnn McClinton Penelope McPhee Giorgio Medici Charles Moseley Galen Oelkers Victoria Palefsky Leslie Z. Petter Patricia Reid Margaret Conant Reiser Martin Richenhagen John D. Rogers Dennis Sadlowski William Schultz Tom Sherwood John Sibley

Hamilton Smith Thurmond Smithgall Gail R. Starr Mary Rose Taylor Liz Troy Ray Uttenhove Chilton Davis Varner Allison Vulgamore* Rick Walker Mark Wasserman Kathleen (Suzy) Wasserman* John B. White, Jr. Richard S. (Dick) White, Jr. Joni Winston Camille Yow

George Lanier Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey John W. McIntyre Bertil D. Nordin Dell P. Rearden Joyce Schwob

Mrs. Charles A. Smithgall, Jr. W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White Neil Williams

Directors Robert M. Balentine Joseph R. Bankoff * Jan Bennett Jason A. Bernstein Paul Blackney C. Merrell Calhoun Donald P. Carson Philip Cave Ann W. Cramer Christopher Crommett Cari K. Dawson Carla Fackler Gary P. Fayard Dr. Robert Franklin Willem-Jan O. Hattink

Board of counselors Howell E. Adams, Jr. Mrs. John Aderhold Milton Brannon Elinor Breman Dr. John W. Cooledge Bradley Currey, Jr. John Donnell Jere Drummond

Ruth Gershon Charles Ginden John T. Glover Frances B. Graves Dona Humphreys John S. Hunsinger Aaron J. Johnson Herb Karp Jim Kelley

Life Directors Mrs. Drew Fuller Mary D. Gellerstedt

Azira Hill Dr. James M. Hund

Arthur L. Montgomery Mrs. M.G. Woodward

* ex officio

 Encore Atlanta

Robert Spano music Director


tlanta Symphony Orchestra Music Director Robert Spano is recognized internationally as one of the most imaginative conductors of his generation. Since 2001, he has invigorated and expanded the ASO’s repertoire through a creative programming mix, recordings and visual enhancements, such as the Theater of a Concert, a continuing exploration of different formats, settings, and enhancements for the musical performance experience. Mr. Spano also champions the Atlanta School of Composers, his commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers. Mr. Spano has conducted the great orchestras of North America, including those in Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia and San Francisco. Overseas, he has led the Royal Concertgebouw Orchestra, Orchestra Filarmonica della Scala, Czech Philharmonic, Frankfurt Radio Sinfonie Orchestra, BBC Symphony Orchestra, BBC Scottish, City of Birmingham Symphony Orchestra, New Japan Philharmonic and Tonhalle Orchester. He has conducted the Chicago, Houston, Santa Fe, Royal Opera at Covent Garden, and Welsh National Operas. In August 2005, he conducted Wagner’s Der Ring des Nibelungen at Seattle Opera, and returns for the cycle in 2009. With a discography of nine critically acclaimed recordings for Telarc and Deutsche Grammophon made over six years, Robert Spano has garnered six Grammy Awards. Musical America’s 2008 Conductor of the Year, Mr. Spano was Artistic Director of the Ojai Festival in 2006, Director of the Festival of Contemporary Music at the Boston Symphony Orchestra’s Tanglewood Music Center in 2003 and 2004, and from 1996 to 2004 was Music Director of the Brooklyn Philharmonic. Head of the Conducting Fellowship Program at Tanglewood Music Center from 1998-2002, he has served on the faculties of Bowling Green State University, Curtis Institute and Oberlin Conservatory. Mr. Spano lives in Atlanta. Atlanta’s Performing Arts Publication 







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Patterson’s designs for The Creation include special placement for the orchestra, chorus, and conductor, ramps for the soloists and images projected on fragments arrayed at the back.

Anne Patterson

admission, were fairly new in Vienna, though they had been common in London since at least the heyday of Handel. This work’s success with the ticket-buying audience helped pave the way for the big public concerts by which Beethoven enhanced his Viennese reputation a few years later. The Atlanta Symphony Orchestra performed and recorded The Creation under Robert Shaw’s baton in 1992, with Shaw’s own English translation sung by the full ASO Chorus and soloists, including Dawn Upshaw. For our concerts at the end of February, the first ASO performances of the work since then, Robert Spano will use the elite ASO Chamber Chorus, singing in German, and a cast of soloists headed by the luminous soprano voice of Janice Chandler Eteme, who has previously appeared here in Carmen and the Brahms German Requiem.

12 Encore Atlanta

Much in the manner of our St. John Passion concerts a couple of years back, Haydn’s Creation will be presented with scenic elements, special lighting, and projections, part of the ASO’s innovative Theater of a Concert initiative. The orchestra players will be grouped in the center and to the left, as seen from the audience, while the chorus will be offset to the center and right. Soloists — three angels acting as narrators in Parts I and II, with the characters of Adam and Eve replacing two of the angels in Part III — will enter and sing on raised ramps that jut from the wings and bring them toward the center through the midst of the orchestral and choral forces. The angels will remain elevated on their respective ramps, and, like the chorus, they will be dressed simply in black or black and white. In front of the rear wall, forming the focal center of the stage picture, will be a suspended group

of jagged shapes on whose white surfaces Last month I spoke by phone with Anne various images will be projected. These will Patterson, who designed the visual aspects be abstract compositions suggesting the for these concerts, as well as those for the St. initial chaos and the various stages of the John Passion and a number of other staged world’s creation in Part I of the oratorio, giving ASO presentations going back to the “Music way to more concrete images of animals, and …” summer festival concerts in 2001. fish, and birds in Part II, as the singers enumerate “ he Creation testifies to the breadth of Haydn’s the achievements of inner world. … The diversity inherent in this succeeding days, following the Bible’s account as set spiritual landscape may account for the strong forth in Genesis. In Part echo that the work, since its first performance, III, which is largely based has evoked in the hearts of listeners.” on John Milton’s poetic —Hayden biographer Karl Geiringer conception in Paradise Lost, Adam and Eve appear and are guided by the angel Uriel as She spoke of her pleasure in working with they wonderingly explore the world’s bounty Maestro Spano and the ASO: “Robert and I and express their love for God and each other, have a true collaboration — often by the end which offers additional opportunities for of the day, we don’t know whose idea was evocative imagery. whose.  I feel he definitely brings out the best


Atlanta’s Performing Arts Publication 13

Two of the many thumbnail swatches through which Anne Patterson developed the colors and shapes she used in her Creation designs. in me as an artist.” She also noted the good fortune that Atlanta Symphony Hall has a complete theatrical stagehouse (unusual in a concert hall), allowing scenery to be hung, lighted and even moved if desired, all with considerable flexibility. When asked about the aggregation of jagged fragments hanging at the back of the stage for the Creation production, Patterson replied that her conception was of broken pieces coming together and reforming, perhaps following the Big Bang of creation. It occurred to me that, although the concept of the Big Bang had not yet been proposed in the 18th century, it is a creation image that resonates with modern audiences, and there is evidence Haydn was aware of ideas about the formation of the cosmos held by astronomers of his day. Patterson’s purpose in projecting colorful images on those fragments is not to illustrate the actions of the text in too literal a fashion, but to take the words as “guideposts” in expressing “the essence of the music.” For producing these images, she gives credit to Adam Larsen, saying, “Together we created the projected images for Górecki’s Third and Brahms’s Third [Symphonies] last spring. He is a integral member of the design — I couldn’t do this

14 Encore Atlanta

without him.” She also praises her associate stage designer, Andrew Lu, who turned her sketches into precise technical drawings on the computer, and Atlanta’s D.B. Balliet, who designed the lighting for the production. Patterson has worked closely with Robert Spano and the ASO production team in preparing this production. She was in Atlanta for planning meetings last September and again in December, and there has been much conferring by telephone and e-mail as well. Produced in Atlanta, the scenic elements will be “loaded in” to Symphony Hall in midFebruary along with the lights, to be tested and adjusted during two weeks of technical and musical rehearsals. Onstage sight lines, standing and sitting cues, entrances and exits, and lighting changes have been carefully planned in advance, but everything has to be fine-tuned when the production leaves the page and becomes a physical reality. The goal of course is that everything will flow smoothly at the concerts, and with this unusual visual addition, Haydn’s immortal music will take on renewed and intensified meaning for performers and listeners alike. A member of the large ASO Chorus, Nick Jones formerly served as the orchestra’s program annotator for 25 years.

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FIRST VIOLIN VIOLA William Pu Reid Harris Associate/Acting Concertmaster Principal

BASS Ralph Jones

The Charles McKenzie Taylor Chair*

The Edus H. and Harriet H. Warren Chair*

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Paul Murphy

Gloria Jones

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Amy Leventhal

Carolyn Toll Hancock

Wesley Collins Robert Jones Marian Kent Yang-Yoon Kim Catherine Lynn Lachlan McBane Heidi Nitchie Ardath Weck

Assistant Concertmaster The AGL Resources Chair

Martha Reaves Head John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich SECOND VIOLIN David Arenz

Principal The Atlanta Symphony Associates Chair*

Sou-Chun Su

Associate Principal The Frances Cheney Boggs Chair*

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Assistant Principal

Eleanor Arenz Sharon Berenson David Braitberg Noriko Konno Clift Judith Cox David Dillard Raymond Leung Ruth Ann Little Thomas O’Donnell Ronda Respess Sanford Salzinger Frank Walton

16 Encore Atlanta

Assistant Principal

CELLO Christopher Rex

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Daniel Laufer

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Dona Vellek Klein

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Joel Dallow Jere Flint Larry LeMaster Brad Ritchie Davin Rubicz• Paul Warner

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Joseph Conyers Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson

FLUTE Christina Smith

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Paul Brittan

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Carl David Hall PICCOLO Carl David Hall OBOE Elizabeth Koch

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Yvonne Powers Peterson Associate Principal Deborah Workman Patrick McFarland ENGLISH HORN Patrick McFarland

Jere Flint, S  taff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair *

Norman Mackenzie, Director of Choruses, The Frannie and Bill Graves Chair Mei-Ann Chen, Assistant Conductor, League of American Orchestras Conducting Fellow CLARINET Laura Ardan

Principal The Robert Shaw Chair*

HORN Brice Andrus

Ted Gurch

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William Rappaport

Associate Principal

Associate Principal

Susan Welty

Alcides Rodriguez

Thomas Witte Richard Deane


Bruce Kenney

The Lucent Technologies Chair

BASS CLARINET Alcides Rodriguez BASSOON Carl Nitchie

The UPS Community Service Chair

TRUMPET Thomas Hooten

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Principal The Walter L. “Buz” Carr, III Chair

Kevin Lyons

Elizabeth Burkhardt

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Associate Principal

Laura Najarian

The Pricewaterhouse ­Coopers Chair

Juan de Gomar CONTRABASSOON Juan de Gomar

TIMPANI Mark Yancich

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William Wilder

Assistant Principal

PERCUSSION Thomas Sherwood Principal The Julie and Arthur Montgomery Chair*

William Wilder Assistant Principal Charles Settle**

HARP Elisabeth Remy Johnson Principal The Delta Air Lines Chair


The Hugh and Jessie Hodgson Memorial Chair*

Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY Rebecca Beavers Principal

Steven Sherrill Assistant

John Wildermuth

Associate Principal

Joseph Walthall

Michael Tiscione TROMBONE Colin Williams

Principal The First Union Chair

Stephen Wilson

Associate Principal The Patsy and Jere Drummond Chair

George Curran Bill Thomas BASS TROMBONE George Curran TUBA Michael Moore

Principal The Georgia-Pacific Chair * Chair named in perpetuity •New this season **Leave of absence †Regularly engaged musician Players in string sections are listed alphabetically.

Atlanta’s Performing Arts Publication 17

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ASOprogram Atlanta Symphony Orchestra A founding member of the Robert W. Woodruff Arts Center Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor

Delta classical Series Concerts Thursday, February 5 and Saturday, February 7, 2009, at 8 p.m.

donald runnicles, Conductor christine brewer, Soprano ERIC OWENS, Bass Richard Strauss (1864-1949) Sextet from Capriccio, Opus 85 (1942) “Nun den, allein!” (“Recognition Scene”) from Elektra, Opus 58 (1909) christine brewer, Soprano Eric Owens, Bass INTERMISSION “Schweigt doch: Ich hab es nicht getan!” from Die Frau ohne Schatten, Opus 65 (1919) christine brewer, Soprano Eric Owens, Bass

“Moonlight Interlude” from Capriccio, Opus 85 (1942)

“Dance of the Seven Veils” and Final Scene from Salome, Opus 54 (1905) christine brewer, Soprano

English Surtitles by Ken Meltzer

“Inside the Music” preview of the concert, Thursday at 7 p.m., presented by Ken Meltzer, ASO Insider and Program Annotator. The use of cameras or recording devices during the concert is strictly prohibited. Atlanta’s Performing Arts Publication 19

Atlanta Symphony Orchestra sponsors

is proud to sponsor the Delta Classical Series of the Atlanta Symphony Orchestra. Delta’s commitment to the communities we serve began the day our first flight took off. After almost 80 years, Delta’s community spirit worldwide continues to be a cornerstone of our organization. As a force for global good, our mission is to continuously create value through an inclusive culture by leveraging partnerships and serving communities where we live and work. It 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. Delta is an active, giving corporate citizen in the communities it serves. Delta’s community engagement efforts are driven by our desire to build long-term partnerships in a way that enables nonprofits to utilize many aspects of Delta's currency – our employees time and talent, our free and discounted air travel, as well as our surplus donations. Together, we believe we can take our worldwide communities to new heights!

Major funding for the Atlanta SymphonyOrchestra is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.

Solo pianos used by the ASO are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the ASO in honor of Rosi Fiedotin. This performance is being recorded for broadcast at a later time. ASO concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broaccasting’s statewide network. The ASO records for Telarc. Other ASO recordings are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips and Sony Classical labels. Four Seasons Hotel Atlanta is the preferred hotel of the ASO. Trucks provided by Ryder Truck Rental Inc. Media sponsors: The Atlanta Journal-Constitution and WSB 750 AM.

20 Encore Atlanta

ASOprogram Notes on the Program By Ken Meltzer Richard Strauss was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8,1949. All of the works on this program are receiving their ASO Classical Subscription Premieres.

Sextet from Capriccio, Opus 85 (1942) The first performance of Capriccio took place in Munich, Germany, at the Munich National Theater on October 28, 1942, with Clemens Krauss, conducting. The Sextet is scored for two violins, two violas, and two cellos. Approximate performance time is ten minutes.


he final decade of Richard Strauss’s long and productive life was, in many ways, the most difficult. Along with the kinds of challenges typically encountered in later years, Strauss witnessed the destruction of his native Germany, as World War II reached its devastating conclusion. Ultimately, Strauss and his wife, Pauline, left their home in Garmisch, seeking refuge in Switzerland. Nevertheless, Strauss’s last decade proved to be a remarkably creative period, one affectionately referred to as the composer’s “Indian Summer.” During the 1940s, Strauss produced several marvelous works notable for their haunting lyricism, magical instrumental colors and economy of expression. These works include the Second Horn Concerto (1942), Metamorphosen (subtitled “A Study for 23 Solo Strings”) (1945), the Oboe Concerto (1945) and the Four Last Songs (1948). Strauss’s final opera, Capriccio (1942), is another worthy member of the “Indian Summer” family. The idea for the work originated in 1933. Author Stefan Zweig (1881-1942), the librettist for Strauss’s opera Die Schweigsame Frau (The Silent Woman) (1935), was visiting the British Library. There, he found a libretto by the 18th-century Italian writer Giovanni Battista di Casti, Prima la musica, e poi le parole (First the Music, and then the Words). Composer Antonio Salieri (1750-1825) set Casti’s text to music, and the opera was staged in Vienna in February of 1786, along with Wolfgang Amadeus Mozart’s Der Schauspieldirektor (The Impresario). Zweig thought the subject of the libretto — the relative importance of words and music in opera — would appeal to Strauss. Zweig was correct, and Strauss urged the author to collaborate with him on the project. Zweig, who was Jewish, had no interest in returning to Nazi Germany. Zweig met in Switzerland with librettist Joseph Gregor, and the two developed a scenario to serve as the basis for Strauss’s opera. However, Strauss found his collaboration with Gregor unsatisfactory. In 1939, conductor Clemens Krauss (1893-1954) met with Strauss and agreed to assist in the project. Over time, Krauss usurped Gregor’s involvement with the opera. The final libretto for the opera, Capriccio, was fashioned by Krauss, with contributions from Strauss as well. Capriccio received its premiere at the Munich National Theater on October 28, 1942. Clemens Krauss conducted and his wife, soprano Viorica Ursuleac, sang the role of the Countess Madeleine. Atlanta’s Performing Arts Publication 21

Strauss described Capriccio as “A Conversation Piece for Music in one act”. The “conversation,” as previously noted, focuses on the eternal debate of whether words or music should take precedence in opera. The story takes place in a chateau on the outskirts of Paris in May of 1777. The Countess Madeleine is pursued by two lovers — the musician, Flamand, and the poet, Olivier. As the opera opens, musicians are performing the slow movement of a String Sextet Flamand composed for the Countess. This beautiful Sextet (Andante con moto) also serves as Capriccio’s Overture.

“Nun den, allein!” (“Recognition Scene”) from Elektra, Opus 58 (1909) The premiere of Elektra took place in Dresden, Germany, at the Königliches Opernhaus on January 25, 1909, with Ernst von Schuch, conducting. The Recognition Scene is scored for soprano and bass solo, piccolo, three flutes, two oboes, English horn, heckelphone, E-flat clarinet, four clarinets, bass clarinet, basset clarinet, three bassoons, contrabassoon, eight horns, four Wagner tubas, three trumpets, four trombones, bass trumpet, tuba, timpani (two players), percussion and strings. Approximate performance time is twenty-two minutes.

Strauss and Hofmannsthal


lektra was the first collaboration between Richard Strauss and the brilliant Austrian poet and dramatist, Hugo von Hofmannsthal (1874-1929). It was the beginning of one of the greatest partnerships in operatic history. In addition to Elektra, Strauss and Hofmannsthal created Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), The Egyptian Helen (1928), and Arabella (1933). While at work on Salome in 1905, Strauss attended a performance of Hofmannsthal’s adaptation of Electra, by the Greek dramatist, Sophocles. Strauss approached Hofmannsthal, and the two agreed to create an operatic adaptation of the Sophocles play. But then, Strauss then had second thoughts. There were obvious and striking similarities between Elektra and Salome. Both are one-act operas. Both tell the story of an obsessed daughter, an evil mother and a licentious stepfather. The implacable natures of Elektra’s Orestes and Salome’s John the Baptist provided another parallel. But Hofmannsthal found crucial differences between the two works: “…in Salome there is so to speak purple and violet, the atmosphere is torrid, in Elektra, on the other hand, it is a mixture of night and light, of black and bright.”

“Well, I liked it!” Strauss and Hofmannsthal decided to proceed with the project. The opera Elektra received its premiere in Dresden on January 25, 1909. Prior to the premiere, Strauss invited a group of professional musicians to attend the dress rehearsal. The power and audacity of the music was so overwhelming that at the opera’s conclusion, the audience sat in stone-cold silence.

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ASOprogram After looking around for a few moments, Strauss finally announced: “Well, I liked it!” The critics and audiences didn’t quite know what to make of a score that was both powerful and shocking. One wrote: “Though Strauss did not Elektra-fy the audience, he did Elektra-cute it.” Another said: (Strauss) has a constitutional aversion to what sounds beautiful … If the reader who has not heard Elektra desires to witness something that looks as its orchestral score sounds, let him, next summer, poke a stick into an ant hill and watch the black insects darting, angry and bewildered, biting and clawing, in a thousand directions at once. It’s amusing for ten minutes, but not for two hours. To be fair to those early critics, it must be acknowledged that many contemporary opera-goers still find Elektra to be a daunting work. However, no one can deny the brilliance of Strauss’s orchestral and vocal writing, or for that matter, the extreme challenges they present for the musicians. It should also be noted that the “Recognition Scene”, presented in these concerts, offers by far the most extended lyrical moment in the opera.

The Story of Elektra The story of Elektra takes place in the courtyard of the palace of the Atridae in Mycenae. Electra, the disgraced daughter of King Agamemnon, is disheveled and near insanity. Electra recalls how Agamemnon, was killed by her mother, Clytaemnestra, and her lover, Aegisthus. Electra invokes the spirit of her dead father to come to her aid. Electra’s sister, Chrysothemis, does not seek revenge. Instead, Chrysothemis hopes for marriage and motherhood, so that she can escape her unhappy life in the palace. Chrysothemis reveals that Aegisthus and Clytaemnestra plan to imprison Electra. Soon, Clytaemnestra’s procession approaches. Clytaemnestra has been haunted by recurring nightmares, in which Orestes avenges his father’s death. Clytaemnestra is going to pray to the gods to restore her peace of mind. Clytaemnestra asks Electra how she can rid herself of her nightmares. Electra responds that Clytaemnestra must sacrifice herself to the gods. A confidante tells Clytaemnestra that two messengers have arrived bearing news of the death of Orestes. Clytaemnestra celebrates this news, and then departs. Electra now realizes that she alone must avenge her father’s death. She asks Chrysothemis for her help, but the terrified woman rushes away. In the “Recognition Scene”, Electra encounters one of the messengers, who confirms the death of Orestes. But when the messenger realizes that he is speaking with Electra, he reveals himself to be her brother. Orestes prepares to avenge his father’s death and enters the palace. Two horrible screams from within reveal that Orestes has murdered Clytaemnestra. The commotion brings Aegisthus out of the palace. Electra pretends to help her stepfather by lighting his path — which of course leads to his death at Orestes’s hands. Electra dances in triumph, and falls lifeless to the ground. Atlanta’s Performing Arts Publication 23

“Schweigt doch: Ich hab es nicht getan!” from Die Frau ohne Schatten (The Woman without a Shadow), Opus 65 (1919) The premiere of Die Frau ohne Schatten took place in Vienna, Austria, at the Vienna Staatsoper on October 10, 1919, with Franz Schalk, conducting. “Schweigt doch: Ich hab es nicht getan” is scored for soprano and bass solo, three flutes, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, basset clarinet, three bassoons, contrabassoon, eight horns, four Wagner tubas, three trumpets, four trombones, tuba, timpani, bass drum, two harps, Sergeiceleste, Prokofiev organ and strings. Approximate performance time is eleven minutes.


fter the success Elektra (1909), Strauss informed Hugo von Hofmannsthal that he wished to compose “a Mozart opera.” Early in 1909, the two agreed on the plot that was to become the basis of Der Rosenkavalier (The Knight of the Rose). Hofmannsthal described the story in the following manner: “(A) pompous, fat, and elderly suitor favored by the father has his nose put out of joint by a dashing lover—could anything be plainer?” Der Rosenkavalier was an immediate and resounding success. Within a year of the Dresden premiere on January 26, 1911, the Königliches Opernhaus presented fifty sold-out performances. Special “Rosenkavalier trains” transported eager opera lovers from Berlin and neighboring towns to Dresden. Strauss was anxious to embark immediately on a new operatic project with Hofmannsthal. The author suggested two possibilities, one of which became their next collaboration, Ariadne auf Naxos (1912, rev. 1916). The other subject Hofmannsthal proposed was “a magic fairy tale” of two couples. Over time, this “magic fairy tale” developed into the epic three-act opera, Die Frau ohne Schatten (The Woman without a Shadow). Progress on Die Frau ohne Schatten proved to be slow. Strauss worked on the project for more than three years. By contrast, Strauss wrote Der Rosenkavalier (a work of comparable length) in seventeen months. Certainly the outbreak of the First World War had a great deal to do with this (Hofmannsthal served in the military during the conflict). Also, Strauss spent considerable time on his revision of Ariadne auf Naxos, as well as the huge orchestral work, An Alpine Symphony (1915). Strauss finally completed Die Frau’s final act in September of 1916. Both Strauss and Hofmannsthal agreed that the premiere of Die Frau ohne Schatten should await the conclusion of the War. The first performance took place at the Vienna State Opera on October 10, 1919. The epic and complex work tells the story of an enchanted Empress who lacks a shadow, the symbol of both fertility and compassion. The Empress learns that unless she acquires a shadow in three days’ time, she will be forced to leave her husband, the Emperor, who will be turned into stone. In search of a shadow, the Empress meets the wife of the poor dyer, Barak. The Empress and the Dyer’s Wife reach an agreement for the latter’s shadow. In the end, the Empress’s refusal to take the shadow of the Dyer’s Wife, even at the potential cost of the Emperor’s death, leads to everyone’s salvation. At the beginning of Act III (“Schweigt doch: Ich hab es nicht getan!”), Barak and his Wife are in an underground vault, separated by a wall. The Dyer’s Wife is haunted by the voices of unborn

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ASOprogram children. She confesses that she still loves Barak. A light guides Barak and his wife up a staircase to where they will be reunited.

“Moonlight Interlude” from Capriccio, Opus 85 (1942) The “Moonlight Interlude” is scored for piccolo, two flutes, two oboes, English horn, three clarinets, basset clarinet, bass clarinet, three bassoons, four horns, two trumpets, two harps and strings. Approximate performance time is five minutes.


he Countess has made dates with both of her lovers—the musician Flamand and poet Olivier — for the same time and place. She tries to choose between the two men. In the final scene of Capriccio, the Countess, wearing an elegant evening gown, steps out of her salon onto the moonlit terrace. In an exquisite monologue, the Countess struggles with her emotions. At the opera’s close, the Countess’s choice remains a mystery. The Final Scene opens with an orchestral introduction, the gorgeous “Moonlight Interlude” (Andante con moto). The Interlude begins with an extended horn solo, blossoming into the orchestra’s shimmering climax. In the final measures, the “Moonlight Interlude” resolves to an ascending pianissimo close.

“Dance of the Seven Veils” and Final Scene from Salome, Opus 54 (1905) The first performance of Salome took place on December 9, 1905, at the Königliches Opernhaus in Dresden, Germany, with Ernst von Schuch conducting. The “Dance of the Seven Veils” and Final Scene are scored for soprano solo, piccolo, three flutes, two oboes, English horn, heckelphone, E-flat clarinet, two clarinets in A, two clarinets in B-flat, bass clarinet, three bassoons, contrabassoon, six horns, four trumpets, four trombones, tuba, timpani (two players), gong, cymbals, bass drum, snare drum, tambourine, triangle, xylophone, castanets, glockenspiel, celesta, two harps and strings. Approximate performance time is twenty-seven minutes.

Wilde, Strauss and Salome Richard Strauss’s one-act opera, Salome, is based upon the biblical play by Oscar Wilde (1854-1900), written in 1891 and published two years later. Wilde originally intended Salome as a vehicle for the great actress, Sarah Bernhardt. However, Bernhardt, fearful that the play’s shocking story might cause a scandal, withdrew from the project. Wilde’s Salome finally had its premiere, in Paris, in 1896. Subsequently, Hedwig Lachmann authored a German translation of Wilde’s original French text. And when Richard Strauss attended a German performance of Salome featuring the Lachmann translation, the composer became convinced of the possibilities for an operatic adaptation. Strauss worked on Salome for two years, finally completing the opera on June 20, 1905. During the composition of Salome, Strauss played some of the score for his father, Franz Strauss. The elder Strauss, one of the greatest horn players of his generation, was never shy about offering Atlanta’s Performing Arts Publication 25

his opinion. Upon hearing Salome, Franz Strauss remarked: “Oh God, what nervous music! It sounds as if a swarm of ants were crawling in the seat of your trousers.” On the other hand, Gustav Mahler was quite taken with Strauss’s Salome. Mahler was concerned that the scandalous plot might preclude the opera from being staged in Catholic countries. But Mahler’s wife, Alma, recalled that when Strauss played the score for Mahler, her husband “was charmed … Mahler was won over. A man may dare all if he has the genius to make the incredible credible.”

Early Reactions to Salome The premiere of Salome, which took place in Dresden on December 9, 1905, was an extraordinary triumph. The audience roared its approval, calling the musicians and composer back to the stage for 38 curtain calls. Still, all was not smooth sailing. The North American premiere of Salome took place at New York’s Metropolitan Opera on January 22, 1907. Two days earlier, there was a dress rehearsal, presented for an invited audience. In what was probably not the wisest planning, Heinrich Conried, Manager of the Metropolitan Opera, scheduled the dress rehearsal for Sunday afternoon, shortly after many of the audience members had been to church. Included in the dress rehearsal audience was industrialist J. P. Morgan, who was deeply offended by what he saw. At the Metropolitan Opera premiere, the great Swedish-American soprano, Olive Fremstad, gave a stunning performance in the title role, capped by a voluptuous kiss on the lips of John the Baptist’s severed head. The Met’s board of directors was scandalized. Twenty-seven years would elapse before the Metropolitan Opera would again stage Salome. Today, Salome is one of the staples of the operatic repertoire. It remains, however, a piece that has the power to seduce and shock its audiences. It is also a work that presents extraordinary challenges, notably for the soprano performing the title role. In Wilde’s play and Strauss’s opera, Salome is a beautiful, teenage princess. But in the opera, Strauss often requires the soprano to project her voice over huge orchestral forces. As Strauss put it, the ideal Salome should have the figure of “a sixteen-year-old princess with the voice of an Isolde.” As you might imagine, the confluence of such attributes is rare. The first Salome, Marie Wittich, was a superb singer, but a quite ample woman as well. Strauss was not deterred: “Voice, Horatio, voice, and once again voice,” he wrote to a friend. But when the moment arrived for the performance of the “Dance of the Seven Veils,” a professional dancer substituted for Wittich. Later, Strauss asked the beautiful American soprano, Geraldine Farrar, to consider the role of Salome. Farrar replied that she felt her lyric soprano was not appropriate for this dramatic role. Strauss countered, “ You, Farrar, (who) have such dramatic possibilities, can act and dance half naked, so no one will care if you sing or not.” Farrar politely declined Strauss’s suggestion.

The Story of Salome Salome takes place in Tiberius, in the palace of Herod, Tetrarch of Judea. The princess Salome, daughter of Herod’s wife, Herodias, becomes fascinated with imprisoned prophet, John the

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ASOprogram Baptist. When John the Baptist resists Salome’s advances, the young princess vows that she will kiss the prophet’s mouth. The lecherous Herod vows to give Salome anything she wishes if the princess will dance for him. After extracting this promise from Herod, Salome performs the seductive “Dance of the Seven Veils”, a stunning and voluptuous orchestral showpiece that has enjoyed an independent life in the concert repertoire. At the conclusion of the Dance, Salome throws herself at Herod’s feet and asks for her reward — the head of John the Baptist on a silver platter. Herod protests, but finally realizes he has no choice but to fulfill his promise. In the Final Scene, Salome grabs the platter, and, exulting in her triumph, kisses the mouth of the prophet’s severed head. Herod orders that his soldiers crush Salome beneath their shields.

donald runnicles, Conductor


onald Runnicles, Music Director and Principal Conductor of the San Francisco Opera since 1992, is also Music Director of the Grand Teton Music Festival and Principal Guest Conductor of the Atlanta Symphony Orchestra, with which he has made a series of acclaimed recordings for Telarc. In 2009, he will become General Music Director of the Deutsche Oper Berlin and Chief Conductor of the BBC Scottish Orchestra. Symphonic work and chamber music are as close to the maeDonald Runnicles stro’s heart as opera. He conducts three weeks with the Atlanta Symphony Orchestra this season, and also returns to Rome’s Accademia Nazionale di Santa Cecilia, the Philadelphia Orchestra, Berlin’s Deutsches Sinfonie-Orchester, and the London Symphony Orchestra. He also conducts a pair of concerts with the BBC Scottish Symphony Orchestra in the season before becoming Chief Conductor. Mr. Runnicles began his musical career as a rehearsal pianist in Germany, and made his conducting debut 30 years ago in Mannheim, where he was the City’s General Music Director. In December, he returns there to celebrate the anniversary, conducting a pair of concerts and a performance of Strauss’s Elektra. Mr. Runnicles has ongoing musical relationships with some of the finest orchestras and opera companies in the U.S. and Europe. Among those in the U.S. are the Philadelphia and Cleveland Orchestras, San Francisco and Chicago Symphony Orchestras, and the New World Symphony. He is a frequent guest conductor of the BBC Symphony Orchestra, North German Radio Orchestra Hamburg (NDR) and Bavarian Radio Orchestra, Munich. He appears annually in Great Britain at both the BBC London Proms and the Edinburgh Festival, and each year conducts the Vienna State Opera. He has also led productions in the opera houses of Amsterdam, Berlin, Cologne, Copenhagen, Hamburg, Milan, Munich, Paris and Zurich. Among Donald Runnicles’s awards are the Order of the British Empire (OBE) and an honorary degree from Edinburgh University. Atlanta’s Performing Arts Publication 27

ASOprogram christine brewer, Soprano


rammy Award winning American soprano Christine Brewer’s appearances in opera, concert and recital are marked with her own unique timbre, at once warm and brilliant, combined with a vibrant personality and emotional honesty reminiscent of the great sopranos of the past. Her range, golden tone, boundless power, and control make her a favorite of the stage as well as a sought-after recording artist.

Christine Brewer

Highlights of Christine Brewer’s 2008-09 season are numerous and include her return to the Metropolitan Opera as Brünnhilde in the last showing of Otto Schenk’s landmark Ring production, heard around the world as part of the MET radio broadcasts; Mahler’s Symphony No. 8 with the Los Angeles Philharmonic and Esa-Pekka Salonen, the New York Philharmonic and Lorin Maazel, and the Staatskapelle Berlin and Pierre Boulez at Carnegie Hall; Verdi’s Requiem with the St. Louis Symphony Orchestra and David Robertson as well as with the London Symphony Orchestra and Sir Colin Davis, with whom she also collaborates as soloist in Strauss’s Four Last Songs with Donald Runnicles; concerts with the BBC Philharmonic at home in Beethoven’s Missa Solemnis and on tour to Spain with Wagner’s Wesendonck-lieder; and performances of Britten’s War Requiem in Dresden and at Royal Albert Hall. Typical of this versatile artist, she sings and records Strauss opera scenes with the Atlanta Symphony Orchestra and Runnicles, performs Handel with the Chamber Music Society of Lincoln Center, Wagner with the Malaysia Philharmonic, and closes the season in the title role of Gluck’s masterpiece, Alceste, at Santa Fe Opera.

eric owens, Bass


cclaimed for his commanding stage presence and inventive artistry, American bass-baritone Eric Owens has carved a unique place in the contemporary opera world as both a troubadour of new music and a powerful interpreter of classic works. Called “consistently charismatic, theatrically and vocally” by New York Magazine and “absolutely remarkable” by The Philadelphia Inquirer, Owens is equally at home in concert, recital and opera performances, bringing his powerful poise, expansive voice and instinctive acting faculties to stages around the globe.

Eric Owens

Recent dramatic roles include Owens’ debut with Lyric Opera of Chicago as General Leslie Groves – a role he originated – in John Adams’ Doctor Atomic, conducted by Robert Spano. Additionally, Owens returns to the San Francisco Opera as the King of Scotland in Handel’s Ariodante, conducted by Patrick Summers, and portrays Oroveso in Bellini’s Norma with the Opera Company of Philadelphia.

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ASOsupport Ray Uttenhove, Appassionato Chair

Ap-pas’-si-o-na’-to – adv., Passionately, with strong emotion The Atlanta Symphony Orchestra is privileged to receive annual contributions from individuals throughout the southeast. Appassionato was inaugurated in 2000 & welcomes annual givers of $10,000 & above. Appassionato members provide the Symphony with a continuous & strong financial base in support of our ambitionous aritistic & education initiatives.


Mrs. Anne Cox Chambers

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$35,000+ C. Tycho & Marie Howle Foundation $25,000+ Madeline & Howell E. Adams, Jr. Stephanie & Arthur Blank Mr. & Mrs. Bradley Currey, Jr. Catherine Warren Dukehart Charles & Mary Ginden*

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$10,000+ Aadu & Kristi Allpere Anonymous (2) The Balloun Family* Lisa & Joe Bankoff Mr. & Mrs. Jason A. Bernstein Breman Foundation Frances B. Bunzl Cynthia & Donald Carson Lucy & John Cook Dr. John W. Cooledge In Honor of Norman Mackenzie by Janet Davenport Cari Katrice Dawson Marcia & John Donnell Jere & Patsy Drummond

Atlanta’s Performing Arts Publication 29

ASOsupport Judy Hellriegel, Chair

The Insiderâ&#x20AC;&#x2122;s Experience for Atlanta Symphony Orchestra Members The Patron Partnership of the Atlanta Symphony Orchestra is the society of donors who have given $1,750 or more and comprise a vital extension of the ASO family through their institutional leadership and financial support.

$5,000+ Anonymous (3) Ron & Susan Antinori Mr. & Mrs. William Atkins Jan & Gus Bennett Kelley O. & Neil H. Berman Mr. David Boatwright Ms. Suzanne Dansby Bollman Dr. Robert L. & Lucinda W. Bunnen Ann and Jeff Cramer* Sally & Larry Davis

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Ms. Margaret H. Petersen Mr. George E. Peterson Mr. & Mrs. Tunstall P. Rushton Mr. & Mrs. Baker A. Smith Hamilton & Mason Smith* Lynne & Steven Steindel* Mr. Russell Williamson & Ms. Shawn Pagliarini Suzanne Bunzl Wilner Mr. & Mrs. Gerald B. Wilson T & H Yamashita*

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Representative Pat Gardner & Mr. Jerry Gardner Mr. & Mrs. Edward T. M. Garland Ms. Alma Garrette Mr. & Mrs. Andrew A. Geller Dr. Mary G. George Bill & Susan Gibson Mr. & Mrs. John T. Glover Mr. & Mrs. Henry W. Grady Ben & Lynda Greer Mr. & Mrs. Bradley Hale Dr. & Mrs. Earl Haltiwanger Mr. & Mrs. Thomas J. Hanner Sally W. Hawkins Mr. & Mrs. John E. Hellriegel Mr. Haywood (Robin) Hendrix Deedi Henson Mr. S. Bayne Hill In Memory of Carolyn B. Hochman Mr. & Mrs. Harry C. Howard Ms. Joy G. Howard

Linda & Richard Hubert Dr. William M. Hudson Mr. & Mrs. W. F. Johnston Mr. & Mrs. L. Michael Kelly Mr. & Mrs. Daniel J. King Mr. & Mrs. John King Mr. & Mrs. Richard A. Kruger Dr. Leslie Leigh Mr. & Mrs. J. David Lifsey Mr. & Mrs. Sean Lynch Mr. & Mrs. Frederick C. Mabry Ruth & Paul Marston Dr. & Mrs. William McClatchey Mr. & Mrs. David V. McQueen Mr. & Mrs. Keith E. Mitchell Ms. Lilot Moorman & Mr. Jeffrey B. Bradley Richard S. & Winifred B. Myrick Dr. & Mrs. R. Daniel Nable Mr. & Mrs. Albert N. Parker Mr. & Mrs. Andreas Penninger Janet M. Pierce

$3,500+ Julie M. Altenbach Mr. & Mrs. Todd Evans Mr. & Mrs. Marshall E. Franklin Mr. & Mrs. Henry D. Gregory Ms. Cynthia Jeness Dr. & Mrs. James T. Laney* Mr. & Mrs. T.J. Lavallee, Sr.

$2,250+ John & Helen Aderhold Mr. & Mrs. Thomas R. Agnew Mr. & Mrs. Richard Allison Mr. & Mrs. Phillip Alvelda* Mr. Albert S. Anderson Mr. & Mrs. A. James Anderson Anonymous (4) Jack & Helga Beam Neale M. Bearden Robert & Teresa Betkowski Shirley & Sol** Blaine Rita & Herschel Bloom Mr. & Mrs. Merritt S. Bond* Mr. & Mrs. Milton W. Brannon Jacqueline A. & Joseph E. Brown, Jr. Maj. Gen. & Mrs. Robert Bunker Mr. & Mrs. Russell E. Butner* Mr. & Mrs. Walter K. Canipe Mrs. Thalia Carlos

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ASOsupport $2,250+ (continued) Dr. John B. Pugh Realan Foundation, Inc. Dr. & Mrs. W. Harrison Reeves, Sr. S. A. Robinson Mrs. William A. Schwartz Edward G. Scruggs

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Dr. Paul Seguin Dr. & Mrs. James Sexson Andrew J. Singletary Gary E. Snyder Mr. & Mrs. Raymond F. Stainback, Jr. Mrs. James R. Stow Kay & Alex Summers Elvira Tate Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Dede & Bob Thompson Mr. & Mrs. William M. Tipping Frank Vinicor, M.D. Drs. Mel & Nan Vulgamore Charlie Wade & M.J. Conboy Mr. J.H. Walker III Drs. Julius & Nanette Wenger David & Martha West Mrs. Thomas R. Williams Mark & Ruthelen Williamson Ned J. Winsor Marguerite & Mike York Chuck & Pat Young Dr. & Mrs. James D. Young The Zaban Foundation, Inc. Grace & Herbert Zwerner

$1,750+ Mr. Albert Anderson Marian & Paul Anderson Anonymous Mrs. Kathy Betty B. Sandford Birdsey III Martha S. Brewer Mr. & Mrs. Eric L. Brooker Tony & Norma Jean Bueschen Ian M. Burt Dr. Carol T. Bush & Dr. Aubrey M. Bush Evelyn J. & Richard A. Carroll Dr. Michele R. Chartier & Lt. Col. Kirk Chartier Dr. & Mrs. Grady S. Clinkscales, Jr. Dr. & Mrs. B. Woodfin Cobbs, Jr. Mr. & Mrs. Barksdale Collins* Jean & Jerry Cooper Robert Cronin & Christina Smith Mr. & Mrs. Burton K. Davis Mrs. H. Frances Davis Cecil B. Day Family Elizabeth & John Donnelly Mr. Bruce E. Dunlap Ms. Diane Durgin Cree & Frazer Durrett Drs. Norma J. & Bryan P. Edwards

*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.

Atlanta’s Performing Arts Publication 31


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Darrell J. Mays Chief Executive Officer

“A King Celebration” Presenting Sponsor Robert L. Ulrich Chairman and Chief Executive Officer

Richard Anderson Chief Executive Officer

1180 Peachtree * Perimeter Summit * Riverwood

Delta Classic Chastain Presenting Sponsor Kendall Alley Atlanta Regional President

Delta Classic Chastain Presenting Sponsor

Delta Classic Chastain Presenting Sponsor

Philip I. Kent Chief Executive Officer

David W. Scobey President & Chief Executive Officer - AT&T - Southeast

$50,000+ AT&T The Real Yellow Pages GE Energy Oliver Wyman

$35,000+ Ogletree, Deakins, Nash, Smoak & Stewart, PC Porsche Cars North America Publix Super Markets Charities

Official Coffee of Delta Classic Chastain Free Parks Title Sponsor Lisa Compton Regional Vice President

Supporter of the Atlanta Symphony Orchestra Chorus Jerry Karr Managing Director GE Asset Management


$20,000+ HoneyBaked Ham Company Reliance Trust Stanford Financial Services The UPS Foundation

Owned by affiliate of the General Electric Pension Trust – GE Asset Management, exclusive real estate advisor

CNN Evolution Home Theater Nordstrom Peachtree Hills Place

The Boston Consulting Group Turner Construction Company Verizon Wireless Wilmington Trust WineStyles

foundation and government support $100,000+ The Arthur M. Blank Family Foundation The Halle Foundation William Randolph Hearst Foundations The Andrew W. Mellon Foundation The Zeist Foundation

Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.

32 Encore Atlanta

$25,000+ American Symphony Orchestra League Anne and Gordon Getty Foundation MetLife Music for Life Initiative


$5,000+ Atlanta Federation of Musicians Fraser-Parker Foundation Robert S. Elster Foundation The Sartain Lanier Family Foundation

The Aaron Copland Fund For Music, Inc. The Arnold Foundation The Green Foundation Hellen Ingram Plummer Charitable Foundation The Kendeda Fund National Endowment for the Arts

Office of Cultural Affairs: Major support is provided by the City of Atlanta Office of Cultural Affairs.

Special Gifts The ASCAP Foundation Cobb Energy Performing Arts Centre Foundation Kathy Griffin Memorial Endowment Livingston Foundation Reiman Charitable Foundation William Randolph Hearst Endowed Fund

This program is supported in part by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. The Council is a Partner Agency of the National Endowment for the Arts.

ASOsupport Recognizing planned gifts that benefit the Atlanta Symphony Orchestra Madeline & Howell E. Adams, Jr. Mr. & Mrs. John E. Aderhold William & Marion Atkins Dr. & Mrs. William Bauer Neil H. Berman Fred & Bettye Betts Mr. & Mrs.* Karl A. Bevins Mr.* & Mrs. Sol Blaine Frances Cheney Boggs* Robert* & Sidney Boozer Elinor A. Breman William Breman* James C. Buggs, Sr. Mr. & Mrs. Richard H. Burgin Wilber W. Caldwell Mr. & Mrs. C. Merrell Calhoun Cynthia & Donald Carson Margie & Pierce Cline Dr. & Mrs. Grady Clinkscales, Jr. Miriam & John A. Conant* Dr. John W. Cooledge Mr. & Mrs. William R. Cummickel* John R. Donnell Dixon W. Driggs* Catherine Warren Dukehart Ms. Diane Durgin Arnold & Sylvia Eaves

Elizabeth Etoll John F. Evans Doyle Faler* Rosi & Arnoldo Fiedotin Dr. Emile T. Fisher A. D. Frazier, Jr. Betty & Drew* Fuller Carl & Sally Gable William H. Gaik Kay Gardner* Mr.* & Mrs. L. L. Gellerstedt, Jr. Ruth Gershon & Sandy Cohn Micheline & Bob Gerson Mr. & Mrs. John T. Glover Mrs. Irma G. Goldwasser* Robert Hall Gunn, Jr. Billie & Sig* Guthman Betty G. & Joseph* F. Haas James & Virginia Hale Ms. Jeannie Hearn Jill* & Jennings Hertz Albert L. Hibbard, Jr.* Richard E. Hodges Mr. & Mrs. Charles K. Holmes, Jr. Mr. & Mrs. Fred A. Hoyt, Jr. Dr. & Mrs. James M. Hund Mary B. James deForest F. Jurkiewicz* Herb & Hazel Karp Anne Morgan & Jim Kelley

Bob Kinsey James W. & Mary Ellen* Kitchell Paul Kniepkamp, Jr. Miss Florence Kopleff Ouida Hayes Lanier Liz & Jay* Levine Jane Little Mrs. J. Erskine Love, Jr. Nell Galt & Will D. Magruder K Maier John W. Markham, III Ann Bernard Martin* Mr. Michael McDowell* Mr. & Mrs. Richard McGinnis Vera A. Milner* Mr. & Mrs. Bertil D. Nordin Roger B. Orloff Dr. Bernard & Sandra Palay Bill Perkins Mr. & Mrs. Rezin E. Pidgeon, Jr. Janet M. Pierce Reverend Neal P. Ponder, Jr. William L. & Lucia Fairlie Pulgram Carl J. Reith* Edith Goodman Rhodes* Vicki J. & Joe A. Riedel Dr. Shirley E. Rivers Mr. & Mrs. Martin H. Sauser

Mr. Paul S. Scharff & Ms. Polly G. Fraser Edward G. Scruggs Dr. & Mrs. George P. Sessions W. Griggs Shaefer, Jr.* Mr. & Mrs. Robert Shaw* Charles H. Siegel* Mr. & Mrs. H. Hamilton Smith Mrs. Lessie B. Smithgall Margo Sommers* Elliott Sopkin Elizabeth Morgan Spiegel Daniel D. Stanley* Peter James Stelling C. Mack* & Mary Rose Taylor Jed Thompson Steven R. Tunnell Mary E. Van Valkenburgh Mrs. Anise C. Wallace* Mr. & Mrs. John B. White, Jr. Richard S. White, Jr. Hubert H. Whitlow, Jr. Sue & Neil Williams Elin M. Winn* Joni Winston George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12)


Talent Development program supporters Funds included: ASO Training Programs Fund as part of the ASO Learning Community Fund, The Azira G. Hill Scholarship Endowment Fund, & TDP Endowment Campaign


Bank of America The Coca Cola Company John H. & Wilhelmina D. Harland Foundation* Mr. & Mrs. Jesse Hill , Jr.* Monica (Kaufman) Pearson & John E. Pearson, Sr.* Margaret & Bob Reiser* Jay & Arthur Richardson*


AGL Resources* Edith H. & James E. Bostic, Jr. Family Foundation* Marcia & John Donnell* Cree & Frazer Durrett* The Goizueta Foundation The Sartain Lanier Family Foundation, Inc.* The Pittulloch Foundation* John C. Portman, Jr.* Simmons Family Foundation* Mr. & Mrs. Robert A. Yellowlees*


Mr. & Mrs. Henry Aaron* Elinor Rosenberg Breman** Cynthia & Donald Carson* Georgia-Pacific Corporation Mr. & Mrs. Charles B. Ginden* Mr. & Mrs. David Gould Mrs. Mary C. Gramling* Lincoln Financial Foundation Links Inc., Azalea City Chapter Mr. Kenneth & Dr. Carolyn Meltzer Margo Brinton & Eldon Park* Mr. & Mrs. Thomas L. Sullivan* Isaiah & Hellena Huntley Tidwell* The Frances Wood Wilson Foundation, Inc.* Ms. Joni Winston*


Madeline & Howell E. Adams, Jr.* Claire & Hubie Brown Dr. Eric & Nancy Brown*

Dr. Sheri D. Campbell* Sharon, Lindsay & Gordon Fisher Dr. John O. Gaston & Dr. Gloria S. Gaston* Mr. & Mrs. Ernest Greer* The Honorable Judge Glenda Hatchett* Ms. Joy G. Howard Aaron & Joyce Johnson* Mr. & Mrs. William Lamar, Jr.* Ms. Malinda C. Logan* Mr. & Mrs. Howatt E. Mallinson* Dr. Emily A. Massey* Dr. Joanne R. Nurss* Dr. & Mrs. Travis Paige* Mr. & Mrs. Howard Palefsky* Ms. Margaret H. Petersen Ms. Elise T. Phillips Erich & Suzette Randolph* Mr. Herman J. Russell, Sr. Michael & Lovette Russell Stephanie & H. Jerome Russell*

Suzanne & Willard Shull* Mr. & Mrs. Michael A. Troy Mr. & Mrs. Mark D. Wasserman* Mr. Mack Wilbourne*

Special gifts

The Arthur M. Blank Family Foundation GE Energy The Green Foundation William Randolph Hearst Foundations MetLife Music for Life Initiative Nordstrom The UPS Foundation Woodruff Arts Centerâ&#x20AC;&#x2122;s Celebrate Diversity through the Arts The Zeist Foundation * Those that have contributed recently to the TDP Endowment Campaign

**Scholarships for Atlanta Symphony Youth Orchestra tuition are made possible through the Elinor Rosenberg Breman Fellowship.

Atlantaâ&#x20AC;&#x2122;s Performing Arts Publication 33

ASOsupport The volunteer organization of the Atlanta Symphony Orchestra 2008-2009 Board Kathleen (Suzy) Wasserman President Leslie Petter Advisor Judy Schmidt Parliamentarian Alison Mimms Secretary

Belinda Massafra Treasurer Joanne Lincoln Historian Gail Spurlock Nominating Chair Elba McCue VP Adminstration Honey Corbin VP Public Relations

Liz Troy VP Membership Martha Perrow Decorators’ Show House & Gardens Chair Sylvia Davidson VP Youth Education Yetty Arp & Deede Stephenson ASA Fall Meeting

Belinda Massafra Nominating Chair April Conaway & Annie York Trujillo ASA Night at the Symphony Janis Eckert ASA Spring Luncheon Camille Kesler Newsletter Editor

Ann Levin Directory Editor Nancy Levitt Ambassador’s Desk Camille Yow & Leslie Petter Annual Fund Mary Francis Early Outreach

Events 2008 Decorators’ Show House & Gardens Diamond Atlanta Homes & Lifestyles Magazine

Ticket Sponsor The Epicurean Springer Mountain Farms Jim Ellis Audi Atlanta

Gold Atlanta Metro Publishing Platinum Benjamin Moore & Co. Jackson Spalding Boxwoods Gardens Opening Night Party & Gifts Comcast Merrel Hattink with Dorsey Alston Realtors

Silver Arborguard Tree Specialists Bombardier Flexjet Publix Super Markets Charities

Siemens Energy & Automation Bronze Buckhead Coach Commercial Audio Systems Designer Previews Flora by John Grady Burns

Kaufmann Tire Parc at Buckhead Phipps Plaza Preprint Reece Tent Rental, LLC Swoozie’s We Rent Atlanta

2008 Atlanta Symphony Ball corporate Sponsors Phoenix Delta Air Lines Platinum Invesco Coca-Cola Company Diamond Mednikow Jewelers Gold Beacham & Company, Realtors A Legendary Event UPS Silver AGL Resources AirTran Airways Alston & Bird LLP AT&T Georgia Caren West PR Cayo Espanto Island Resort

special contributors

BenefactorS Mr. & Mrs. Ronald Antinori Lisa & Joe Bankoff GOLD Jan & Gus Bennett Stephanie & Arthur Blank Chris & Merry Carlos Cynthia & Donald Carson Silver Mr. & Mrs. Paul J. Blackney Shannon & Phillip Cave Michelle & David Crosland Monica & John S. Mr. & Mrs. Jere A. Pearson, Sr. Bronze Drummond Ms. Joni Winston Adorno & Yoss Mary D. Gellerstedt Buckingham Portraits Bronze Frannie & Bill Graves Flat Creek Lodge Jesse & Azira G. Hill Dr. & Mrs. Alexander Gross King & Spalding LLP Gail & Loren Starr Veronique Krafft-Jones Magick Lantern Patty & Doug Reid & Baxter Jones Printpack, Inc. & Mr. & Mrs. Manuel The Gay & Erskine Hosts Kaloyannides Love Foundation Victoria & Howard Jeff Mango The Ranches at Belt Creek Palefsky Lawrence E. Mock, Jr. William & Judith Vogel The Yachts of Seabourn Susan Bell & Patrick Morris Media sponsor The Atlantan Cisco Neiman Marcus Siemens Energy & Automation Southern Company Sutherland Turner Broadcasting System, Inc.

Mr. & Mrs. Charles Moseley Lynn & Galen Oelkers Margo Brinton & Eldon Park Leslie & Skip Petter Patty & Doug Reid Margaret & Bob Reiser Jay & Arthur Richardson John & Kyle Rogers Mr. & Mrs. Baker A. Smith Annie York Trujillo & Raul F. Trujillo Adair & Dick White Mary & Felker Ward

2007 AIRTRAN ASO Golf Classic Tournament 2008 AIRTRAN ASO Golf Classic Tournament

Presenting Sponsor Four-person Team & Hole Sponsor AirTran Airways Coca-Cola Company Reception Sponsor EMC Corporation Siemens Energy & Jones Day Automation Luncheon & Hole Sponsor: Sun Trust Private Wealth Management

Four-person Team Sponsor Allconnect Deloitte Ernst & Young

34 Encore Atlanta

Hirtle, Callaghan, & Co. Jones Lang Lasalle Ovations Food Services John W. Rooker & Associates, Inc. Verizon Wireless Two-person Team & Hole Sponsor: Zeliff Wallace Jackson

Two-person Team Sponsor Alston & Bird Augus Benefits Credit Suisse Morgan Stanley Private Wealth Management Solution Property Group Turner Construction

Hole Sponsor: King & Spalding, LLP Morgan Creek Capital Management, LLC Sutherland, Asbill, & Brennan, LLP Sea Island Properties

Patron Circle of Stars

The Woodruff Arts Center salutes the Patron Circle of Stars: Those who have given $15,000 or more to our Annual Corporate Campaign. You helped us reach a record $8.7 Million Goal for 2007-2008. Thank You!

Chairman’s Council ★★★★★★★★★★★★ $450,000+ The Coca-Cola Company

Kaiser Permanente KPMG LLP, Partners & Employees The Sara Giles Moore Foundation ★★★★★★★★★★★ PricewaterhouseCoopers $400,000+ Partners & Employees Georgia Power Foundation, Inc. The Rich Foundation, Inc. Turner Broadcasting System, Inc. The Wachovia Foundation, Inc.

Frank Jackson Sandy Springs Toyota and Scion Infor Global Solutions The Ray M. & Mary Elizabeth Lee Foundation, Inc. Sutherland Troutman Sanders LLP Wal-Mart Stores, Inc. The Zeist Foundation, Inc.

★★★★★★★★★★ $300,000+ UPS Cox Interests Cox Enterprises (Atlanta Journal-Constitution, WSB-TV, Cox Radio Group Atlanta, James M. Cox Foundation) The Honorable Anne Cox Chambers Deloitte Partners & Employees

★★★★ $35,000+ AGL Resources Inc. Atlanta Foundation Assurant Atlanta Companies Assurant Solutions Assurant Specialty Property Joe & Lisa Bankoff DuPont Genuine Parts Company Haworth, Inc. The Imlay Foundation, Inc. INVESCO PLC Kilpatrick Stockton LLP Katherine John Murphy Foundation Paul, Hastings, Janofsky & Walker LLP Rock-Tenn Company Siemens Harris A. Smith Tishman Speyer Properties Valvoline Waffle House, Inc. Frances Wood Wilson Foundation, Inc.

★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. SunTrust Foundations & Employees Florence C. & Harry L. English Memorial Fund Harriet McDaniel Marshall Trust Walter H. & Marjory M. Rich Memorial Fund ★★★★★★★★ $150,000+ Alston & Bird LLP Bank of America Ernst & Young, Partners & Employees Equifax Inc. & Employees Jones Day Foundation & Employees

36 Encore Atlanta

★★★★★★★ $100,000+ AirTran Airways R. Howard Dobbs, Jr. Foundation Holder Construction Company ING King & Spalding LLP The Marcus Foundation, Inc. The David, Helen & Marian Woodward Fund ★★★★★★ $75,000+ GE Energy Goldman Sachs & Co. The Home Depot Foundation Kimberly-Clark Corporation The Sartain Lanier Family Foundation, Inc. Macy’s Foundation Verizon ★★★★★ $50,000+ American International Group, Inc. Cisco Citi Foundation and Citi businesses of Primerica Citi Smith Barney CitiFinancial Corporate Investment Bank Coca-Cola Enterprises The Delta Airlines Foundation

★★★ $25,000+ Acuity Brands, Inc. Arcapita Balch & Bingham LLP BDO Seidman, LLP The Arthur M. Blank Family Foundation

Woodruff Arts Center Alliance Theatre Company Atlanta Symphony Orchestra High Museum of Art Young Audiences Crawford & Company DLA Piper Duke Realty Corporation EARNEST Partners LLC General Motors Corporation Georgia Natural Gas Georgia-Pacific Corporation Harland Clarke C. Tycho & Marie Howle Foundation IBM Corporation IDI JPMorgan Private Bank Philip I. Kent Foundation LaFarge North America Thomas H. Lanier Foundation The Blanche Lipscomb Foundation McKinsey & Company, Inc. Morgan Stanley Norfolk Southern Foundation Powell Goldstein LLP Revenue Analytics, Inc. SCANA Energy Southwire Company Spectrum Brands Towers Perrin Gertrude & William C. Wardlaw Fund Yancey Bros. Co. ★★ $15,000+ Accenture ACE INA Foundation AFLAC Arnall Golden Gregory LLP Atlanta Life Financial Group Atlanta Marriott Marquis Julie & Jim Balloun Bank of North Georgia BB&T Corporation The Beaulieu Group, LLC Kenny Blank Boral Bricks Inc.

Bovis Lend Lease Bradford Branch The Brand Banking Company CB Richard Ellis Center Family Foundation Mrs. Bunny Center Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman Chamberlain, Hrdlicka, White, Williams & Martin The Chatham Valley Foundation, Inc. Chubb Group of Insurance Companies Cleveland Electric Company Kimberly & David Hanna Charitable Fund Cousins Properties Incorporated Credit Suisse Deutsche Bank Alex. Brown Exposition Foundation, Inc. John & Mary Franklin Foundation, Inc. Ford & Harrison LLP Ford Motor Company Gas South, LLC Global Payments Inc. GMT Capital Corp. The Howell Fund, Inc. Hunton & Williams Initial Contract Services J. Mack Robinson Interests Atlantic American Corporation Delta Insurance Group Gray Television Jamestown Properties Mr. and Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation Jones Lang LaSalle David & Jennifer Kahn Family Foundation Sarah & Jim Kennedy Livingston Foundation, Inc.

Lockheed Martin Aeronautics Company Macy's Systems & Technology Manhattan Associates Gail and Bob O'Leary Paces Properties & the Cochran Family Fund Piedmont Charitable Foundation, Inc. Post Properties, Inc. Price Gilbert, Jr. Charitable Fund Printpack Inc./The Gay & Erskine Love Foundation David M. Ratcliffe Betsy & Bert Rayle Raymond James Financial, Inc. Regal Entertainment Group Russell Reynolds Associates Schiff Hardin LLP The Sembler Company Alex and Betty Smith Foundation, Inc. Spencer Stuart Karen & John Spiegel Superior Essex Inc. U.S. Security Associates, Inc. VIPGift Waste Management Charitable Foundation Watson Wyatt Worldwide John Wieland Homes and Neighborhoods The Betty A. & James B. Williams Foundation Sue & Neil Williams Winter Construction Company Leonard & Carla Wood WATL/WXIA/Gannett Foundation The Woodruff Arts Center gratefully acknowledges the generocity of the Fulton County Arts Council. *As of August 1, 2008

Atlanta’s Performing Arts Publication 37

Passionate Pairing


hen Mei-Ann Chen was music

director of the Portland Youth Philharmonic in Oregon, she used to play a little game with her car radio. “I would turn on the classical station and try to guess the performer,” she says. “I would always know when it was Nadja Salerno-Sonnenberg because she is so specific ­­— she is telling a story to you every second she plays. And she is one of my favorite violinists in the world. But, I’ve never heard her play in person.”

38 Encore Atlanta

by Margaret Shakespeare




“The Mendelssohn… is a genius piece and every time out I find something new.” — Nadja Salerno-Sonnenberg

Now, in her Atlanta Symphony Orchestra subscription debut, ASO Assistant Conductor Chen will lead the Mendelssohn Violin Concerto with Salerno-Sonnenberg as soloist, followed by Tchaikovsky’s Symphony No. 5. Winning the 1981 Naumberg International Violin Competition, Nadja Salerno-Sonnenberg quickly established herself as an international artist known for electrifying performances with a searing technique and forceful personality. She has played the Mendelssohn “maybe a thousand times. But, it’s a genius piece and every time out I find something new,” she says. “It’s like pizza —­ you eat it all your life because it’s good.” Many, including Mei-Ann Chen, who is also a trained violinist, know about SalernoSonnenberg’s music-making and background 40 Encore Atlanta

from the Academy Award-nominated documentary Speaking in Strings, made about her by a New Jersey childhood friend in 2000. It explores the highs and lows of having great talent, starting out young, trying to find personal growth and coming back from grave adversity. “Everyone can relate to a bad time in life,” she says. “I learned the lessons I needed to learn.” Salerno-Sonnenberg, happy that “the film has a happy ending,” is not afraid of what others might say or of being outspoken. She has been called a lot of things: Jersey girl (she laughs); diva (“oh, please”); volatile (“hmmm ... not so much anymore”); highstrung, fiery (“yeah”); maverick (“absolutely ­— and proud of it”). Now add concertmaster. “Concertmaster? That would have been ludicrous, something I wouldn’t have taken


R P a 9

t 200 n la ,

t y 20 A ar e r u o Jan

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Created & Directed by JEF BILLINGS

Special Guest JEFFREY BUTTLE, 2008 World Champion


Tickets: 404-249-6400

Groups(10+): 404-878-FUNN (3866) • Kids and Senior Discounts Boys & Girls Clubs of America will receive a donation for every ticket sold. Date and skaters subject to change. Smucker’s is a registered trademark of The J.M. Smucker Company. Stars on Ice and logo are trademarks of International Merchandising Corporation. ©2009 All Rights Reserved.


five seconds to consider,” she says emphatically. Then, the conductor-less New Century Chamber Orchestra invited her to join them for concerts in San Francisco. “Ten days, I thought, I’ll be stuck, with my soul being sapped. But we clicked. I learned about myself as a musician. After I left, I found myself, maybe in the shower, thinking about them. It was like a virus I couldn’t shake [it] off.” Turns out, the NCCO musicians felt similarly and asked her to be their music director and concertmaster. “They are my passion now,” SalernoSonnenberg says. She plans to tour with them, and already they are recording on her NSS Music label, founded in 2005. “It is important to me that the classical music community knows who New Century is.” Salerno-Sonnenberg takes joy in playing both Bach and new works, such as a Clarice Assad concerto written for her and Brazilian guitarists Sergio and Odair Assad, long-time collaborators. She also gives duo recitals regularly with pianist Anne-Marie McDermott. “What we [musicians] do is more demanding

“The Fifth… helped me  discover my own voice.” – Mei-Ann Chen

42 Encore Atlanta

—­­ it takes more talent, more practice, more hard work — than any other entertainment. I hope that any audience leaves a concert feeling ‘there is nothing I would rather have done tonight.’ I want to communicate — live, when anything can happen — how great the piece of music is.” Mei-Ann Chen, who won the 2005 Nicolai Malko Competition for Conductors, which launched her young career, says, “That moment of making music and connecting with people makes you feel so alive.” She is particularly thrilled that Atlanta audiences will hear her lead Tchaikovsky’s Symphony No. 5, which she conducted in the final competition round, and hints at how to listen: “Music is a language that expresses [the] deepest humanity. The Fifth, so different than the Fourth or the Sixth symphonies, is the work where Tchaikovsky struggled with fate. And it is a piece that helped me discover my own voice.” Margaret Shakespeare, who lives in New York and the farmlands of Long Island, often writes about music and musicians.

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We invite you to walk across the street after the show to enjoy one of our signature desserts at The Savoy Purchase one dessert & receive one complimentary dessert as our guest. On your next Fox Theatre evening; join us for dinner at The Savoy. As always, theatre patrons who dine with us will receive two hours of complimentary parking in our deck.



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Register for these contests: â&#x20AC;¢ A pair of tickets to see Broadway Across America's production of JERSEY BOYS at the Fox Theatre May 27-June 21 and $100 gift card at South City Kitchen â&#x20AC;¢ A pair of tickets to see Billy Joel and Twyla Tharpe's MOVIN' OUT at the Fox Theatre May 1-3 and $100 gift card at ONE Midtown Kitchen â&#x20AC;¢ A pair of tickets to see HAPPY DAYS THE MUSICAL at the Fox Theatre March 31-April 5 and $100 gift card at Dogwood Restaurant

It’s not polite to shout during the show. So we invite you to


PRESENT YOUR TICKET AND RECEIVE 15% OFF FOOD ONLY AT SHOUT* Offer valid with your Atlanta Symphony Orchestra or Fox Theatre ticket stub. Expires 2/28/09.


1197 Peachtree Rd • (404) 846-2000 • Open 7 nights a week serving dinner • Lunch served Mon-Fri

B E C A U S E Y O U C E L E B R AT E T H E A R T S An easy walk from the theatre district, Straits welcomes you with open arms to enjoy our savory Singaporean cuisine in an elegant and relaxing atmosphere. Straits is a great beginning or ending to your evening out on the town... CHEF CHRIS YEO / CHRIS “LUDACRIS” BRIDGES

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Not Redeemable For Cash

Ticket Info CAN’T ATTEND A CONCERT? If you can’t use or exchange your tickets, please pass them on to friends or return them to the box office for resale. To donate tickets, please phone 404.733.5000 before the concert begins. A receipt will be mailed to you in January acknowledging the value of all tickets donated for resale during the year.

Woodruff Arts Center Box Office Mon. – Fri., 10 am – 8 pm; Sat. – Sun., Noon – 8 pm. The box office is open through intermission on concert dates. No service charge if tickets are purchased in person. Please note: All single-ticket sales are final. No refunds or exchanges. All artists and programs subject to change.

SINGLE TICKETS Call 404.733.5000 Mon. – Fri., 10 am – 8 pm; Sat. – Sun., Noon – 8 pm. Service charge applies. Phone orders are filled on a best-available basis.

GROUP DISCOUNTS Groups of 10 or more save up to 15% on most ASO concerts, subject to ticket availability. Call 404.733.4848. Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks prior to the concert, tickets will be held at the box office.

GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000.

3YV4VSJIWWMSREP)RWIQFPI Bruce V. Benator, CPA, Managing Partner Kevin J. Hedrick, CPA, Partner Steven G. Horn, CPA, Partner Laura E. Speir, CPA, Partner Patricia A. Yeager, CPA, Partner

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encore2:Layout 1


3:23 PM

Page 2


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administrative staff Executive Allison Vulgamore President & Chief Executive Officer Evans Mirageas Director of Artistic Planning Rachel Roberts Director of Strategic Planning Engagement Tom Tomlinson Project Director Woodruff Arts Center Expansion Executive on loan from the Atlanta Symphony Orchestra Carla Peterson Project Coordinator Martha M. Van Nouhuys Executive Assistant to the ASO Executive Office ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator Carol Wyatt Executive Assistant to the Music Director & Principal Guest Conductor Jeffrey Baxter Choral Administrator Ken Meltzer ASO Insider & Program Annotator Russell Williamson Orchestra Personnel Manager Susanne Watts Assistant Orchestra Personnel Manager Paul Barrett Senior Production Stage Manager Lela Huff Assistant Stage Manager Richard Carvlin Stage Manager Kevin Brown House Manager

50 Encore Atlanta

FINANCE & ADMINISTRATION Donald F. Fox Executive Vice President for Business Operations Aysha Siddique Administrative Assistant to the CFO Susan Ambo Controller April Satterfield Senior Accountant Kim Hielsberg Director of Financial Planning & Analysis Guy Wallace Staff Accountant Rachel Parton Reception/ Administration Support Stephen Jones Symphony Store Manager Peter Dickson Venue Accountant Popular Presentations Clay Schell General Manager Trevor Ralph Senior Operations & Venues Manager Holly Clausen Director of Marketing Keri Musgraves Promotions Manager Lisa Eng Graphic Artist Chastain Park Amphitheater Tanner Smith Program Director Jonathan Owens Operations Manager Verizon Wireless Amphitheatre at Encore Park Katie Daniel VIP Sales Manager Debra Honan Receptionist Stevan Simms Facility Operations & Maintenance Manager Jenny Iammarino Guest Services Manager & Operations Assistant Rebecca Gordon Box Office Manager

advancement & learning Paul W. Hogle Vice President for Institutional Advancement & Learning Tammie Taylor Assistant to the VP for Advancement & Learning Stephanie Malhotra Director of Advancement & Learning Services Rebecca Abernathy Donor Services Associate Renee Vary Director of Constituent Communications

Barbara Saunders Learning Community Gifts Officer Mariel Reynolds ASO Community Catalyst Elizabeth Wilson Director of Student Musician Development Lindsay Fisher Learning Community Specialist; Ensembles Coordinator

MARKETING & CONCERT PROMOTIONS Charles Wade Vice President for Marketing & Audience Engagement Major & Planned Giving Alesia Banks Jessica Langlois Director of Customer Director of Leadership Gifts Service & Season Tickets & Planned Giving Nellie Cummins Andrea Welna Group & Corporate Major Gifts Officer Sales Associate Meredith Jackson Rebecca Enright Prospect Research Officer Subscription & Education Sales Annual, Institutional Assistant & Volunteer Services Janice Hay Scott Giffen Senior Director Director of Institutional of Marketing Support & Partnerships Meko Hector Corey Cowart Office & Marketing Corporate Relations Coordinator Manager Jennifer Jefferson Cortni Witherspoon Interactive Partnership Creation Media Manager Consultant Melanie Kite Janina Edwards Subscription Grant Writer Office Manager Barbara Saunders Shelby Moody Learning Community Group & Corporate Gifts Officer Sales Coordinator Toni Paz Director of Individual Giving Seth Newcom Database Administrator Maya Robinson Robert Phipps Patron Partnership Publications Director Gifts Officer Melissa A. E. Sanders Celeste Pendarvis Director of Volunteer Services Director of Public & Media Relations & Special Events Karl Schnittke Christine Woods Publications Editor Volunteer Project Manager Robin Smith Catherine Bowman Group & Corporate Decoratorsâ&#x20AC;&#x2122; Show House Sales Assistant Coordinator Laura Soldati Sarah Turner Publicist Special Events Coordinator Russell Wheeler ASO Learning Community Group & Corporate Melanie Darby Sales Manager Director of Education Christina Wood Programming Marketing Manager Scott Giffen Director of Development

ATLANTA CHAMBER PLAYERS present “Tour de Force”

Spivey Hall – Clayton State University Sunday afternoon, March 1, 2009 at 3 p.m. John Meisner, violin ● Elizabeth Koch, oboe Carl Nitchie, bassoon ● Paula Peace, piano and artistic director ● Christina Smith, flute ● Brad Ritchie, cello Catherine Lynn, viola ● Justin Bruns, violin “Atlanta’s All-Stars” – Atlanta Journal-Constitution

BEETHOVEN Serenade in D Major, Opus 25 POULENC Trio (oboe, bassoon, piano) KORNGOLD Piano Quintet, Opus 15

Admission $25; students $12.50 with ID Tickets: Spivey Hall box office (678) 466-4200 or

1/4 page BW no bleed 4-5/8”W x 1-7/8”H

VB-14699 Encore Atlanta



Come Coast Awhile, Atlanta!

Join us before or after the show $35 pre-fixe theatre menu available Valet parking available at the corner of West Peachtree Street and Ivan Allen Jr. Blvd. 30 Ivan Allen Jr. Blvd. Atlanta, GA 30308

Atlanta’s Performing Arts Publication

More than a program, it’s your ticket to the arts. 404.459.4128

RESERVATIONS 404.266.1440

After the show, Enjoy some of our award winning... Southern Hospitality

A Boutique Luxuryat Hotel West Peachtree 10th






Written and Directed by David Shiner    


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â&#x20AC;˘ Significant discount on ticket service charge Special access to tickets before they go on sale to the public â&#x20AC;˘ Special group rates on selected performances and categories â&#x20AC;˘

Call Fox Theatre at 404-881-2000 or visit sales.htm Looking for a turnkey event that will make a lasting impression? You may also ask us about our Tapis Rougeâ&#x201E;˘ VIP Hospitality.



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Encore Atlanta February 2009 ASO  

Encore Atlanta is the official program for the Fox Theatre and the Atlanta Symphony Orchestra. In this issue: Donald Runnicles, Conductor; C...