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Opening Night! June 20, 2009 Carmina burana & The Barber of Seville


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Dear Music Lovers,

Welcome

to the second season of the Atlanta Symphony Orchestra at Verizon Wireless Amphitheatre at Encore Park!

Last summer we explored fresh possibilities of bringing classical music to our new summer home. Together, with your tremendous support, we cultivated new traditions that enriched our musical experiences. We were overjoyed by the warm welcome we received from the greater North Fulton Community, and by the overwhelming response we continue to have about the gorgeous surroundings and acoustics at Verizon Wireless Amphitheatre. Thank you for making our 2008 opening summer an extraordinary experience for us all. This season, in response to your feedback, we are delighted to bring you more of the effervescent musical experiences and traditions we have grown to love. You will continue to hear what ASO musicians and guest artists have to say about each eveningâ&#x20AC;&#x2122;s concert at our Top of the Lawn conversations; text message your questions to guest artists to see and hear the answers during live on-site broadcasts projected on large screens throughout the summer; and join in the fun of themed evenings by dining on specially prepared food and beverages at each concert. Your enthusiasm for our movie-themed fare at Turner Classic Movie Night, world-cuisine offered at our classical concerts, and our gourmet picnic baskets, has encouraged endless creative possibilities for this summerâ&#x20AC;&#x2122;s themed menus! This year, we carry on the traditions we have created together to make every night a unique, magical experience. We are delighted to share Atlanta Symphony Orchestra events with you. Enjoy! Yours in music,

Allison Vulgamore President and Chief Executive Officer Atlanta Symphony Orchestra

 Encore Atlanta

Robert Spano Music Director


The arts nourish our hearts and imaginations. For that reason and many more, weâ&#x20AC;&#x2122;re proud to support the arts in Atlanta.


Encore Park for the Arts The Legacy Founders Robert W. Woodruff Arts Center

Atlanta Symphony Orchestra

Robert W. Woodruff Foundation

City of Alpharetta

Fulton County The Estate of Margaret and Board of John A. Conant Bob Reiser Commissioners under the guidance of the Fulton County Arts Council

Atlanta Symphony Orchestra Atlanta Symphony Orchestra League 2009-2010 Board of Directors Officers Ben F. Johnson, III Chair Vice Chairs Clayton F. Jackson Finance Chair/ Treasurer Jeff Mango Penny McPhee Chilton Davis Varner Allison Vulgamore * Kathleen (Suzy) Wasserman * ASA President Joni Winston Secretary

Directors Pinney L. Allen 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 Paul Garcia Willem-Jan O. Hattink

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 Mike Lang Donna Lee Lucy Lee Meghan H. Magruder Jeff Mango Darrell J. Mays JoAnn McClinton

Penny 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 Patrice Wright-Lewis Camille Yow

John S. Hunsinger Aaron J. Johnson Herb Karp Jim Kelley George Lanier Patricia Leake 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

Azira G. Hill

Dr. James M. Hund

Arthur L. Montgomery

* ex officio

Board of counselors Howell E. Adams, Jr. Mrs. John Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge Bradley Currey, Jr. John Donnell

Jere Drummond Arnoldo Fiedotin Ruth Gershon Charles Ginden John T. Glover Frances B. Graves Dona Humphreys

Life Directors Mrs. Drew Fuller

Mary D. Gellerstedt

Encore Park for the Arts 2009-2010 Board of Directors Joseph R. Bankoff Chair Paul Hogle Secretary Stephen P. Merz Treasurer

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Brandon Beach Barrie Davenport Donald F. Fox Alex Gross

Penn Hodge Dona Humphreys Clay Jackson Bruce Kenney Lucy Lee

Mayor Arthur Letchas Mike Nixon Fulton County Commissioner Lynne Riley

Clay Schell Mike Troy Allison Vulgamore



Robert Spano, conductor

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usic Director Robert Spano, currently in his eighth season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Last season, Mr. Spano conducted and recorded the Atlanta Symphony Orchestra and Chorus in Puccini’s La Bohème, the first American recording of the opera since 1956. It was released by Telarc in conjunction with the semi-staged performance he led at Verizon Wireless Amphitheatre at Encore Park, the Orchestra’s new state-of-the-art 12,000-seat venue in Alpharetta, Ga., where he conducted all of the orchestral concerts in the inaugural season. Since 2001, Mr. Spano has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim. The Orchestra and audiences together explore a creative programming mix, recordings and visual enhancements, such as Theater of a Concert, the Orchestra’s continuing exploration of different formats, settings, and enhancements for the musical performance experience (such as the first concert-staged performances of John Adams’s Doctor Atomic in November 2008). The Atlanta School of Composers reflects Mr. Spano and the Orchestra’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers, including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis, and Michael Gandolfi. Since the beginning of his tenure, Mr. Spano and the ASO have performed nearly 100 contemporary works (composed since 1950), including seven ASO-commissioned world premieres, two additional world premieres and one U.S. premiere. Mr. Spano continues to expand the discography of the Atlanta Symphony to include the music of Atlanta School of Composers Christopher Theofanidis, Jennifer Higdon and Michael Gandolfi, as well as John Adams, David Del Tredici, Sibelius’s Kullervo, Brahms’s Requiem, a recently released live recording of La Bohème and the Grammy® Award-winning recordings of Vaughan Williams’s A Sea Symphony and Berlioz’s Requiem. Mr. Spano and the ASO also have recently recorded two discs of the music by Atlanta School of Composers Osvaldo Golijov for Deutsche Grammophon: one including Three Songs and Oceana, and the other including the chamber opera Ainadamar, which was awarded two Grammys. In 2008, Robert Spano was named Musical America’s Conductor of the Year.

Atlanta Symphony Orchestra

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he Atlanta Symphony Orchestra, currently in its 64th season, is one of America’s leading orchestras, known for the excellence of its live performances, presentations, renowned choruses and its impressive list of Grammy Awardwinning recordings. With the opening of the 12,000-seat Verizon Wireless Amphitheatre at Encore Park (vzwamp. com) in May 2008, the Atlanta Symphony Orchestra became the first U.S. orchestra to annually perform and present in its concert hall and in two amphitheaters. In Summer 2008, the Orchestra celebrated 35 years at the legendary Chastain Park Amphitheater, the award-winning 6,500-seat venue in Atlanta, during the ASO’s annual Delta Classic Chastain concert series (classicchastain.com). The leading cultural organization in the Southeast, the Atlanta Symphony Orchestra serves as the cornerstone for artistic development and music education in the region. Under the Creative Partnership of Music Director Robert Spano, Principal Guest Conductor Donald Runnicles, and President and CEO Allison Vulgamore since September 2001, the Orchestra and audiences together explore a creative programming mix, recordings, and visual enhancements, such as the ASO Theater of a Concert, the Orchestra’s continuing exploration of different formats, settings, and enhancements for the musical performance experience. Another example is the Atlanta School of Composers, which reflects Mr. Spano and the Orchestra’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers. During its 31-year history with Telarc, the Orchestra has recorded more than 100 albums, and its recordings have won 26 Grammy Awards in categories including Best Classical Album, Best Orchestral Performance, Best Choral Performance and Best Opera Performance. The ASO Chorus has earned nine Grammy Awards for Best Choral Performance, most recently for the Berlioz Requiem in 2005. The Atlanta Symphony Orchestra performs more than 200 concerts each year to a combined audience of more than a half million in a full schedule of performances which also feature educational and community concerts. A recognized leader and supporter of contemporary American music, the Orchestra recently received the 2007 award for Strongest Commitment to New American Music from the American Society of Composers, Authors and Publishers.

 Encore Atlanta


Atlanta Symphony Orchestra

Verizon Wireless Amphitheatre at Encore Park

Opening Night Saturday, June 20, 2009, 8 pm

Robert Spano, Conductor Georgia Jarman, Soprano Nicholas Phan, Tenor Matthew Worth, Baritone Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Director of Choruses

Gwinnett Young Singers Lynn Urda, Director

Gioachino Rossini (1792-1868) Selections from Il barbiere di Siviglia (1816)

Overture “Ecco ridente in cielo” Nicholas Phan, Tenor “Largo al factotum” Matthew Worth, Baritone “Una voce poco fa” Georgia Jarman, Soprano “Ah! qual colpo” Ms. Jarman, Mr. Phan and Mr. Worth

INTERMISSION Carl Orff (1895-1982) Carmina burana (1936) Fortuna imperatrix mundi (Fortune, Empress of the World) Part I Primo vere (Spring) Uf dem Anger (On the Green) Part II In taberna (In the Tavern) Part III Cours d’amour (The Court of Love) Blanziflor et Helena (Blanchefleur and Helen) Fortuna imperatrix mundi (Fortune, Empress of the World) Ms. Jarman, Mr. Phan, Mr. Worth, Atlanta Symphony Orchestra Chorus and Gwinnett Young Singers English surtitles by Ken Meltzer, operated by Rebecca Beavers Atlanta’s Performing Arts Publication 


Notes on the program by Ken Meltzer

Gioachino Rossini was born in Pesaro, Italy, on February 29, 1792, and died in Passy, France, on November 13, 1868. The first performance of Il barbiere di Siviglia took place at the Teatro Argentina in Rome, Italy, on February 20, 1816. Approximate performance time of the excerpts is thirty-one minutes. Selections from Il barbiere di Siviglia (1816)

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ioachino Rossini’s Il barbiere di Siviglia (The Barber of Seville) belongs to a select group of masterpieces that were absolute flops at their premieres. Other operas in this unusual category are Giuseppe Verdi’s La traviata (1853) and Giacomo Puccini’s Madama Butterfly (1904). In the case of Rossini’s Barber the reasons for the initial failure are clear. Rossini’s The Barber of Seville is based upon the play of the same name by the French author, Beaumarchais. But Rossini’s Barber was not the first operatic adaptation of the Beaumarchais comedy. A Barber of Seville by the eminent Italian composer, Giovanni Paisiello, had already premiered in St. Petersburg, Russia, in 1782. Rossini and his librettist, Cesare Sterbini, were afraid of a negative reaction by Paisiello and his supporters to their new Barber. Rossini and Sterbini tried to placate everyone by re-titling their Barber of Seville, Almaviva, Or the Useless Precaution. They publicly stated that this name change was out of respect for Paisiello and for his prior version of The Barber. As it turned out, Rossini and Sterbini’s efforts proved to be their own “useless precaution.” The February 20, 1816 premiere in Rome of Rossini’s The Barber of Seville was one of the greatest fiascoes in operatic history. Supporters of Paisiello and of the rival theaters turned out en masse to jeer any shortcomings in the performance. And to be sure, they had ample material at their disposal. Manuel García, the great Spanish tenor, sang the role of the Count Almaviva. In his first aria, García accompanied himself on an out-oftune guitar, snapping one of the strings. The Don Basilio, Zenobio Vitarelli, made his grand entrance, immediately tripped over a trapdoor, fell, and injured his nose. Vitarelli sang his great “Calumny” aria while holding a handkerchief and sleeve to his bleeding face. As a coup de grace, a theater worker’s pet cat walked onto the stage during the first-act finale, and made its way from performer to performer, looking for attention. For the next evening’s performance, Rossini decided to go to bed, rather than be subjected to more audience derision. But, as Rossini noted in his diary: I was sleeping peacefully when I was awakened suddenly by a deafening uproar out in the street, accompanied by a brilliant glow of torches; as soon as I got up, I saw that they were coming toward my hotel. Still half asleep, and remembering the scene of the preceding night, I thought that they were coming to set fire to the building, and I saved myself by going to a stable in the back of the courtyard. But lo, after a few moments, I heard García calling me at the top of his voice. He finally located me. “Get a move on you; come now; listen to those shouts of ‘bravo, bravissimo Figaro.’ An unprecedented success. The street is full of people. They want to see you.” Since that time, Rossini’s The Barber of Seville has maintained its lofty status as one of the greatest and most beloved of comic operas.

Excerpts from The Barber of Seville The concert opens with the Overture, one of the most famous orchestral selections in all of opera. Many have commented on how the sparkling Overture ideally sets the mood for the comic intrigues that follow. In that context, it should be noted that the Overture also served as the curtain-raiser for two Rossini serious operas, Aureliano in Palmira (1813) and Elisabetta, regina d’Inghilterra (1815) The story of The Barber of Seville takes place in the Seventeenth Century. The Count Almaviva (tenor) is in love with Rosina (soprano), the ward of Dr. Bartolo. Disguised as the poor Lindoro, the Count stands below Rosina’s balcony, and sings the beautiful serenade, “Ecco ridente in cielo”. The Count hides as he hears someone approach. It is Figaro (baritone), the Barber of Seville. In his brilliant aria “Largo al factotum,” Figaro describes how the entire city depends upon his talents. Almaviva and Figaro are old acquaintances. Almaviva enlists the services of Figaro to help him gain entrance to Dr. Bartolo’s house. The scene changes to Rosina’s bedroom. In the aria “Una voce poco fa,” the wily Rosina vows to defeat Dr. Bartolo and marry Lindoro. In the opera’s final act, Rosina learns that Lindoro is, in fact, the Count Almaviva. In the trio “Ah! qual colpo,” Rosina, Almaviva and Figaro reflect on this turn of events and plot their escape from Bartolo’s house. Despite a few more twists and turns of the plot, all finally ends happily for the lovers.

10 Encore Atlanta


Carl Orff was born in Munich, Germany, on July 10, 1895, and died there on March 29, 1982. The first performance of Carmina burana took place in Frankfurt, Germany, on June 8, 1937. Approximate performance time is fifty-nine minutes. ASO Recordings: Atlanta Boy Choir, Atlanta Symphony Orchestra Chorus, Robert Shaw, Conductor (Telarc CD-80056) Gwinnett Young Singers, Atlanta Symphony Orchestra Chorus, Donald Runnicles, Conductor (Telarc CD-80575)

Carmina burana (1936)

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he 20th-century German composer Carl Orff was born into a family of army officers who demonstrated a keen interest in science, history and music. Orff began his own music studies (piano, organ and cello) at the age of five. While pursuing further studies in Munich, Orff became interested in the music of French Impressionist composer Claude Debussy (1862-1918) and the Austrian composer Arnold Schoenberg (1874-1951), a pioneer in atonal music expression. Orff was drafted into the army in 1917. After being wounded at the front, he was discharged from service. Upon his return to Munich in 1919, Orff began an intensive study of music from the 16th and 17th centuries, and in particular, the works of the great Italian Baroque composer, Claudio Monteverdi (1567-1643). Orff also co-founded the Güntherschule, an educational center that explored the synthesis of body movement, poetry and music. On June 8, 1937, Carl Orff’s “scenic cantata,” Carmina burana, premiered in Frankfurt. Carmina burana (Songs of Beuren) is Orff’s setting of texts discovered in the monastery of Benediktbeuren, located south of Munich. The texts are taken from the songs of the goliards— medieval students, monks, and seminarians who seem to have spent as much time carousing as they did studying. The songs of the goliards celebrate (sometimes in the most explicit terms) the pleasures of food, wine and lovemaking. Orff scored his Carmina burana for soprano, tenor and baritone soloists, as well as huge choral (large chorus, small chorus and boy chorus) and orchestral forces. Orff also envisioned dance as an integral part of his “scenic cantata.” In the early 20th century, many composers attempted to stretch the traditional concepts of tonality as far as possible. Some 20th-century composers, such as Schoenberg, even abandoned tonality altogether. Their atonal compositions inspired heated reactions, both by critics and audiences. To this day, the subject of atonality is guaranteed to inspire lively exchanges among music lovers. In that context, Carl Orff’s Carmina burana represents a stunning departure from the course of much of the concert music of the time. From the opening chorus, “O Fortuna”—a hymn to the inexorable power of Fate—it is clear that Orff’s Carmina burana marked an emphatic return to the forces of melody and rhythm in their most elemental form. 20th–century atonality is nowhere to be found. Instead, Orff’s infectious and decidedly tonal melodies are repeated over and over, with variety supplied by contrasts in dynamics, vocal and instrumental colors. Throughout, Carmina burana’s raucous celebration of the philosophy of carpe diem creates an irresistible force of energy guaranteed to leave the audience breathless at the conclusion. To this day, Orff’s Carmina burana remains one of the most wildly popular of all classical works, a constant presence in the concert hall and on recordings. Carmina burana may also be heard in numerous movies, television shows and advertisements. More than seventy years after its premiere, the attraction of Orff’s Carmina burana remains as irresistible as ever.

Georgia Jarman, soprano

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ailed by the New York Times for her “luminous, appealing, and agile voice,” and crystalline coloratura, Georgia Jarman returned in the 2008-09 season to New Orleans Opera for Violetta in La traviata, and the Opera de Colombia for Mimi in La bohème. She also sang the Three Heroines in Les contes d’Hoffmann with Boston Lyric Opera and in a return to Polish National Opera and Rozenn in Lalo’s Le roi d’Ys with the American Symphony Orchestra in her Avery Fisher Hall debut as well as joined the Metropolitan Opera roster. Her engagements in coming seasons include Gilda in Rigoletto with Florentine Opera and returns for Cincinnati Opera to reprise her celebrated characterization of Musetta in La bohème, Dallas Opera for Donna Elvira in Don Giovanni, and Portland Opera for Eurydice in Philip Glass’ Orphée.

Georgia Jarman

In the 2007-08 season, she returned to the Polish National Opera for Mathilde in Guillaume Tell and the Three Heroines in Les contes d’Hoffmann, Florentine Opera as Giulietta in I Capuleti e i Montecchi, and Palm Beach Opera for Violetta in La traviata. She also made her debut with the Atlanta Symphony Orchestra under the baton of Robert Spano in performances of Musetta in La bohème Atlanta’s Performing Arts Publication 11


that were released on the Telarc label and sang Elisetta in a new production of Il matrimonio segreto directed by Jonathan Miller at Brooklyn Academy of Music. A sought-after artist in bel canto repertoire, she has appeared numerous times at Caramoor Music Festival with Will Crutchfield and the Orchestra of St. Luke’s including most recently, as Amenaide in Tancredi alongside Ewa Podles. She made her European debut as Amelie in Gustave III Ou Le Bal Masque at L’Opéra de Metz in France, following which Opéra International exclaimed, “Georgia Jarman, impeccable singing, velvet timbre, is the most seductive and the most touching Amelie that one could dream of.”

Nicholas Phan, tenor

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icholas Phan is quickly establishing himself as an important tenor among America’s next generation of singers. An accomplished recitalist and concert singer, Mr. Phan returned this season to the Chicago Symphony Orchestra for performances of Stravinksy’s Pulcinella both in Chicago and in New York and appears with the Music of the Baroque in performances of Hercules. He was also presented in recital by the Metropolitan Museum of Art in New York, the Oberlin Conservatory of Music (under the auspices of the Marilyn Horne Foundation), and the University of Chicago. Upcoming engagements include his debuts with the San Francisco Symphony, returns to the Marlboro Festival and the Rheingau Festival, and his debut at the Edinburgh International Festival. Mr. Phan Nicholas Phan recently made his Carnegie Hall debut and also made his debuts with the Music of the Baroque, the San Diego Symphony, and the Oregon Symphony, and appeared with the New York Festival of Song in both the Kennedy Center and Weill Hall. In recital, he has been presented in New York by the prestigious Marilyn Horne Foundation in their annual On Wings of Song series. Other important concert engagements have included appearances with the Chicago Symphony Orchestra, St. Louis Symphony, National Symphony Orchestra, the Orchestra of St. Luke’s, and the Pacific Symphony. He recently made his debut at the Opera de Lille as Lindoro in L’italiana in Algeri and at the Ravinia Festival as Pedrillo in Die Entführung aus dem Serail. Other notable debuts have included the New York City Opera as Damon in Acis and Galatea, the Los Angeles Opera in L’incoronazione di Poppea, the Chicago Opera Theater in Il ritorno d’Ulisse in patria, the Arizona Opera as Lindoro, the Atlanta Opera in I Pagliacci and in Europe as Don Polidoro in a new production of La Finta Semplice directed by Christoph Loy at the Frankfurt Opera.

matthew Worth, baritone

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ailed by the Dallas Morning News for his “dashing, fine bright baritone” and the New York Times for a voice that is “fully powered and persuasively expressive,” Matthew Worth was recently the featured “Sound Bites” artist in Opera News, and is enjoying successes on both the operatic and concert stages, in all styles from the Renaissance to new repertoire. His 2008-09 engagements included the title role in Britten’s Owen Wingrave in a return to Chicago Opera Theater, Silvio in I Paglacci with Opera Company of North Carolina, Belcore in L’elisir d’amore with Opera Grand Rapids, Danilo in The Merry Widow with Dayton Opera, and Mercutio in Roméo et Juliette with Syracuse Opera. He also joined the roster of the Metropolitan Opera. In summer of 2009 he returns to Lorin Maazel’s Chateauville Foundation to reprise Tarquinius in The Rape of Lucretia, a role which he performed there in 2007; and performs Onegin in Eugene Onegin at the Chautauqua Institution.

Matthew Worth

Mr. Worth recently appeared as Count Carl-Magnus Malcolm in A Little Night Music with the Boston Pops at Symphony Hall and at the Tanglewood Music Center, toured with Boston Pops (Keith Lockhart conducting) performing music of Leonard Bernstein, and sang at Tanglewood in a program with the Mark Morris Dance Group. As a fellow of the Tanglewood Music Center he sang Guglielmo in Così fan tutte under conductor James Levine. Among other recent successes are performances of Papageno in Die Zauberflöte with Lyric Opera of Kansas City, Guglielmo with Opera Naples, his debut with the Chicago Opera Theater as Claudio in Béatrice et Bénédict, performances of Schulhoff’s Die Wolkenpumpe with the ACJW Ensemble at Carnegie’s Zankel Hall, Carmina burana with both the Lansing Symphony Orchestra and Baton Rouge Symphony Orchestra, and several reengagements with the New York Festival of Song.

The use of cameras or recording devices during the concert is strictly prohibited. Four Seasons Hotel Atlanta is the preferred hotel of the ASO. Trucks provided by Ryder Truck Rental, Inc. Promotional support provided by WSB-AM and Atlanta Journal-Constitution

12 Encore Atlanta


Strings, brass, woodwinds and percussion. The original entertainment bundle. Comcast is proud to support the arts. Itâ&#x20AC;&#x2122;s quite impressive when dozens of accomplished musicians orchestrate their talents. Comcast has quite an impressive ensemble, too. Our cable, Internet and phone bundle brings you the best in home entertainment, fast high-speed Internet and unlimited nationwide calling. All for one low monthly price. Bravo!

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Atlanta Symphony Orchestra Robert Spano, Music Director The Robert Reid Topping Chair *

Donald Runnicles, Principal Guest Conductor The Neil and Sue Williams Chair *

Jere Flint, Staff 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 FIRST VIOLIN William Pu Associate/Acting Concertmaster

The Charles McKenzie Taylor Chair *

Justin Bruns

Assistant Concertmaster The Mary and Cherry Emerson Chair

Jun-Ching Lin

Assistant Concertmaster

Carolyn Toll Hancock

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 TheFrances Cheney Boggs Chair *

Jay Christy

AssistantPrincipal

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

VIOLA Reid Harris

P  rincipal The Edus H. and Harriet H. Warren Chair *

Paul Murphy

A  ssociate Principal The Mary and Lawrence Gellerstedt Chair *

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

P  rincipal The Miriam and John Conant Chair *

Daniel Laufer

A  ssociate Principal The Livingston Foundation Chair

Karen Freer

Assistant Principal

Dona Vellek Klein

Assistant Principal Emeritus

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

TROMBONE Colin Williams

OBOE Elizabeth Koch

Stephen Wilson

P  rincipal The George M. and Corrie Hoyt Brown Chair *

P  rincipal The First Union Chair A  ssociate Principal The Patsy and Jere Drummond Chair

Yvonne Powers Peterson

Bill Thomas George Curran

Deborah Workman Patrick McFarland

BASS TROMBONE George Curran

ENGLISH HORN Patrick McFarland

TUBA Michael Moore

Associate Principal

CLARINET Laura Ardan

P  rincipal The Robert Shaw Chair *

Principal TheGeorgia-Pacific Chair

TIMPANI Mark Yancich

Ted Gurch

P  rincipal The Walter H. Bunzl Chair *

William Rappaport

William Wilder

Associate Principal The Lucent Technologies Chair

Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez BASSOON Carl Nitchie

P  rincipal The Walter L. “Buz” Carr, III Chair

Elizabeth Burkhardt Associate Principal

Laura Najarian

Assistant Principal

PERCUSSION Thomas Sherwood P  rincipal The Julie and Arthur Montgomery Chair *

William Wilder Assistant Principal Charles Settle** HARP Elisabeth Remy Johnson P  rincipal The Delta Air Lines Chair

KEYBOARD

P  rincipal The Marcia and John Donnell Chair *

The Pricewaterhouse ­Coopers Chair

Juan de Gomar

Gloria Jones

T  he Hugh and Jessie Hodgson Memorial Chair *

CONTRABASSOON Juan de Gomar

Peter Marshall † Beverly Gilbert † Sharon Berenson

Associate Principal

Jane Little

Assistant Principal Emeritus

Joseph Conyers• Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson FLUTE Christina Smith

P  rincipal The Jill Hertz Chair *

Robert Cronin

AssociatePrincipal

Paul Brittan

The Georgia Power Foundation Chair

Carl David Hall

14 Encore Atlanta

PICCOLO Carl David Hall

HORN Brice Andrus

Principal TheSandra and John Glover Chair

LIBRARY Rebecca Beavers Principal

Susan Welty

Steven Sherrill

Thomas Witte Richard Deane

John Wildermuth

Associate Principal

Assistant

TheUPS Community Service Chair

Bruce Kenney TRUMPET Thomas Hooten

P  rincipal The Madeline and Howell Adams Chair* * Chairnamed in perpetuity • New this season Kevin Lyons **Leave of absence AssociatePrincipal † Regularly engaged musician Joseph Walthall TheSunTrust Bank Chair Players in string sections are listed alphabetically. Michael Tiscione


Meet the Musicians of the Atlanta Symphony Orchestra

H

ere’s a handy Who’s Who of Atlanta Symphony Orchestra players, so you can say hello the next time you spot one out and about at the amphitheatre. As Associate Principal Cellist Daniel Laufer says, “I enjoy getting to know our patrons.”

16 Encore Atlanta


Join the Alliance Theatre for our 2009-10 Season!

Oct. 28 - Nov. 15

Nov. 6 - Dec. 13

Mar. 31 - May 2

Feb. 24 - Mar. 21

SUBSCRIPTIONS START FOR AS LITTLE AS $80 Call 404.733.4600 or visit alliancetheatre.org for full season ticket information.


18 Encore Atlanta


SIZZLIN’ S U M M E R

Summer is the perfect time to experience Château Élan.

Summer Concert Series

Join us on select weekends for beach music and oldies in the Winery Pavilion. Tickets and packages now available. 7/3: Swingin’ Medallions - 7/25: The Tams - 8/8: The Embers 8/15: The Jesters - 9/5: Swingin’ Medallions

13th Annual Vineyard Fest 2009, August 30th Celebrate our harvest with over 100 wines from around the world to taste. Plus Cooking & Wine Seminars, Live Music, Food, and Grape Stomping.

Cooking Classes

Meet our Chefs for an educational and engaging evening of wine and cuisine. Each month features a new style of cooking; June is Cajun, July is French, and August is Cooking with Wine. Overnight packages available. Check website for schedule.

Weekend Getaways & “Encore” Special

Spa, Golf, and Weekend Getaways available this Summer. Call and mention “Encore” when booking for a complimentary bottle of wine delivered to your room when you stay overnight. Visit www.chateauelan.com for details, tickets, and booking. Or, call 678-425-0900 x 41. Chateau Elan | 100 Tour De France, Braselton, Georgia 30517 North Atlanta’s Premier Winery & Resort, I-85 North Exit 126.


20 Encore Atlanta


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Atlanta Symphony Orchestra Chorus Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair

Jeffrey Baxter, Choral Administrator Todd Skrabanek, Accompanist

A

cclaimed for the beauty and expressiveness of its singing, the 200-member ATLANTA SYMPHONY ORCHESTRA CHORUS and CHAMBER CHORUS has been directed by Norman Mackenzie since 1999, following the death of the legendary Robert Shaw, who founded the Atlanta Symphony Orchestra Chorus and Chamber Chorus. Mr. Mackenzie had worked closely with Mr. Shaw for 14 years, and under his current direction, the Chorus has won two Grammy Awards for Vaughan Williamsâ&#x20AC;&#x2122;s A Sea Symphony and the Berlioz Requiem, and he conducted the ASO Chamber Chorus in its own Telarc recording. Mr. Mackenzie recently prepared the Chorus for performance with the ASO at Carnegie Hall in April 2008, as well as its Berlin Philharmonic debut in 2003 (and return in 2008) under Principal Guest Conductor Donald Runnicles. In December 2009, the Chorus returns with Mr. Runnicles to Berlin for an unprecedented third engagement with the acclaimed German orchestra. Auditions for the 2009-2010 ASO Chorus will be held August 16-17, 2009. Please visit www.asochorus.org for more information. Soprano 1 JoAnn Alexander Olivia Balcom Michelle Belle Isle Erin Bourg Liz Dean Amy Dowis Kelly Eggers Cristina Herrera Celia Jacobs Victoria Kolterman Arietha Lockhart Mindy Margolis Courtney Stanley Brianne Turgeon Soprano 2 Sloan Atwood Chantrice Barnes Pamela Barnette Claudia Corriere Ellen Dukes Zelda Johns Kathleen KellyGeorge Natalie Lee

Eda Mathews Vickie Orme Sherri Ozcomert Lydia Peterson Linda Searles Sydney SmithRikard Anne-Marie Spalinger Camilla Springfield Tommie Storer Cheryl Thrash Alto 1 Ana Baida Christa Joy Chase Laurie Cronin Lisa Foltz Beth Freeman Pamela Griffin Beverly Hueter Janet Johnson Virginia Little Staria Lovelady Allison Lowe Paige Mathis

Frances McDowell Linda Morgan Dominique Petite Kathleen Poe Norma Raybon Cheri Lee Snyder Diana Strommen Alto 2 Nancy Adams Stefanie Cash Marcia Chandler Meaghan Curry Nicole Khoury Nancy Llamazales Cynthia Martin Lynda Martin Julie Northup Brenda Pruitt Laura Rappold Debra Samuelson Sharon Simons Patricia Sinback Virginia Thompson Sarah Ward Diane Woodard

Tenor 1 Jeffrey Baxter David Blalock Jack Caldwell Daniel Cameron Clifford Edge Steven Farrow Wayne Gammon Kirt Greenburg Leif Hansen James Jarrell Sean Mayer Jamie Mells Christopher Patton Stephen Reed David Ritter Keith Smith Mark Warden Tenor 2 Curtis Bisges Nicholas Cavaliere Phillip Crumbly Jeffrey Daniel Joseph Few Hamilton Fong

Earl Goodrich John Goodson Keith Jeffords Steven Johnstone John Kenemer Nathan Osborne Clifton Russell Scott Stephens Wesley Stoner Robert Wilkinson Bass 1 Michael Arens Robert Bolyard Richard Brock John Clanton Trey Clegg Steven Darst David Forbes David Hansen Bradley Hood Gregory Hucks Nick Jones Robert Lower Charles McClellan Jason Perkins

Mark Russell Kendric Smith John Stallings Ike Van Meter Edward Watkins Bass 2 Brian Brown John Cooledge Rick Copeland Andrew Gee Ben Howell Sam Marley Owen Mathews Stephen Ozcomert Eckhart Richter John Ruff John Smith Jonathan Smith Timothy Solomon David Webster Gregory Whitmire Keith Wyatt

Gwinnett Young Singers Lynn Urda, Conductor & Music Director Carol Wyatt, Associate Music Director Martha Umphrey Clay, Accompanist Rebekah Rihner, Reheasal Accompanist Amanda Dodd, Assistant Director

N

ow entering its 19th season, the Gwinnett Young Singers are frequent guests of the ASO. Under the direction of founder and Music Director Lynn Urda, and Associate Director Carol Wyatt, the Gwinnett Young Singers rapidly became a nationally recognized childrenâ&#x20AC;&#x2122;s chorus, best noted for its mastery of challenging repertoire and exceptionally high musical standards. The faculty and staff are dedicated to professionalism in music education and strive to share the power and beauty of a wide variety of choral music. Katie Adcock Katie Addison Kristen Blanda Kylie Brown Elizabeth Burns Emma Crist Colleen Curlee Devon Drew

22 Encore Atlanta

Elizabeth Driver Whitney Duffie Sarah Dunham Nikki Edwards Natalie Gambrell Sindhu Giedd Elizabeth Grogan Jennifer Grogan

Lauren Hann Ana Haynes Chris Honeychurch Katie Huntington Molly Huntington Leigh Johnson Imani Joseph Lydia Kelley

Kristy Lay Nicole Lay Trent Lopez Amanda Massey Paul Massey Anna Moore Tanner Moore Ashley Morgan

Emma Pattillo Summer Peabody Amanda Pitts Keri Pomeroy Abbey Santulli Elizabeth Shannon Kathene Stinson Helene Treu

Cecilia Trode Andie Tucker Maddie Turnbull Jacqueline Wytanis


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Atlanta’s Arts Community


“A Dream Come True”

The ASO’s inaugural season at Verizon Wireless Amphitheatre provided a rush of excitement for new audiences throughout North Fulton County By Karl Schnittke

L

ate on the evening of May 10, 2008, well after the grand opening concert had ended and the audience, musicians and most of the staff had headed home, Atlanta Symphony Orchestra Music Director Robert Spano proclaimed loudly to the remaining handful of colleagues and friends that “Tonight was one of the greatest nights of my life.” The ASO’s new summer home at Verizon Wireless Amphitheatre at Encore Park in Alpharetta was in fact one of the greatest nights in the Orchestra’s 64-year history. Mr. Spano led an unforgettable performance, featuring Gershwin’s Rhapsody in Blue, the finale of Beethoven’s Symphony No. 9, and the Tchaikovsky 1812 Overture, with a cast of hundreds including the Orchestra’s Chorus, Youth Orchestra, and two marching bands from Alpharetta and Milton high schools.

26 Encore Atlanta

Table seating for patrons was a popular feature and will be available for all ASO concerts this season.


H I G H

HIGH MUSEUM OF ART ATLANTA

Monet Water Lilies

Claude Monetâ&#x20AC;&#x2122;s garden. Now in your own backyard.

Purchase tickets at High.org or call 404-733-HIGH.

Monet Water Lilies is a collaboration between The Museum of Modern Art, New York, and the High Museum of Art, Atlanta.

The exhibitions and programs of the MoMA Series are made possible by

Planning Partner

Experience Monetâ&#x20AC;&#x2122;s Water Lilies in an intimate exhibition that includes a breathtaking 42-foot-wide painting â&#x20AC;&#x201D;one of the largest outside of France.

Also on view Richard Misrach: On the Beach

Through August 23, 2009

WOODRUFF ARTS CENTER | 1280 PEACHTREE STREET, N.E. | MEMBERS ALWAYS FREE

Claude Monet (French, 1840â&#x20AC;&#x201C;1926), Reflections of Clouds on the Water-Lily Pond (detail), ca. 1920, oil on canvas, The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund. Š The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

The Rich Foundation

A ThAnk you To The people who mAde EncorE Park hAppen:

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“We knew we had a lot of friends in North Fulton,” confided ASO President and Chief Executive Officer Allison Vulgamore. “And it was tremendously gratifying to see the turnout, not just for the grand opening, but all summer long.” Fulton County Commissioner Lynne Riley vividly remembers the inaugural concert. “It was a magnificent experience, vibrating with enthusiasm for the phenomenal musical performance,” she said. “The audience was treated to an evening of sensory stimulation — wonderful sights, sounds, aromas, flavors, and applause were all part of the event.” Emphasizing the ASO’s impact on the region, Brandon Beach, President and Chief Executive Officer of the Greater North Fulton Chamber of Commerce, said, “The inaugural season was a true celebration for all of North Fulton. Fine arts and culture are important to our families and business community, and the new venue is an exciting place for those interests to converge.”

WSB-AM Radio’s Scott Slade chatted with concertgoers and conveyed text-messages to artists.

seen an ASO concert. “Reaching such a large number of new audience members is deeply encouraging for our future,” said Ms. Vulgamore. The new venue was hit with its neighbors, particularly the location. “It’s great to have such a venue on this side of town, and my family enjoys hearing the ASO in an outdoor setting,” enthused Frank Chu of Alpharetta. For Sharon Morgan it meant she could enjoy the Orchestra more than ever. “I simply would not attend ASO concerts as often if I had to go downtown,” she admitted, adding, “The amphitheater being right here changes everything.”

The Atlanta Symphony Orchestra, the Woodruff Arts Center New traditions flourished during the inaugural season, sparked and the North Fulton community had come together to creby the venue’s open spaces and rolling landscape. ASO Insider ate a landmark summer, exploring and ultimately achieving and Program Annotator Ken Meltzer seamlessly moved his novel methods to stretch the boundaries of the classical music popular concert previews to the “Top of the Lawn,” where experience. Over the course of the summer more than 40,000 he and ASO musicians held court before a rapt audience. people came to hear the Orchestra Intermissions became lively quesperform, with 34 precent coming from tion-and-answer forums. Patrons a wide stretch of counties across North text-messaged questions for the artGeorgia, as well as bordering states. In ists, who responded to as many as addition, an audience survey revealed time permitted on the big screens that fully one-third had never before overlooking the stage. – Robert Spano

Tonight was one of the

greatest nights of my life

28 Encore Atlanta


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ASO Insider and Program Annotator Ken Meltzer’s “Top of the Lawn” pre-concert previews, with ASO musicians and audience Q & A sessions, return this season.

The inaugural season 

Quality food was a major new tradition. Attending an ASO performance became Concertgoers could order from a variety an experience unlike any other. “The of food and beverage choices, including music is great, and hearing it in a beaupicnic baskets, laden with freshly made tiful setting is really a huge bonus,” – Brandon Beach appetizers, entrees, and desserts precommented Lee Waring of Vinings. President and CEO, Greater North pared by the venue’s on-site caterer. A Added Duluth’s Rob Perryman, “You Fulton Chamber of Commerce special basket, themed to each evening’s can’t beat the atmosphere and music programming, also was available offering under the stars.” Jody Lovell, visittreats such as Wild Rice Kiev Salad and Russian Tea Cakes to ing from Highlands, N.C., found the venue “lovely, and the seating is perfect … you’re so close to the performance.” accompany works by Rachmaninov and Rimsky-Korsakov. Virginia-Highland’s Becky Shaw summed it up in one The venue’s operational amenities, from the proximity of word: “Fabulous!” concession stands and parking to ample signage and an invit-

was a true celebration

ing VIP Club, pleased Verizon Wireless Amphitheatre General Manager Trevor Ralph, who came to the ASO from Northern California. But there is always room for improvement. “In our business if you stand still you fall behind,” he explained. “We know there is more work to be done. We have used an extensive survey program to measure our performance and to push ourselves to higher levels of guest satisfaction. We are proud to know that we have one of the best buildings and many of the best people in our business right here in North Georgia.” 

30 Encore Atlanta

The Symphony Hall faithful, eager to see their hometown orchestra at its new summer residence, had an easy-does-it drive from Buckhead, Midtown, and points east, west, north and south. “I can’t believe how fast we got there!” said Clay Jackson of Ansley Park in downtown Atlanta. “We were pleasantly surprised, and realized the drive back wouldn’t be a problem.” The dawning of the Verizon era was particularly gratifying to Alpharetta’s honorable mayor, Arthur Letchas, a staunch supporter of a new park for his constituents from day one. “It was a dream come true after many years of hard work,” he said. “Every time I attended an event it seemed as if everyone there appreciated having such an incredible venue in Alpharetta.”


Mei-Ann Chen

Assistant Conductor

You can’t beat the atmosphere and music under the stars

– Duluth patron

Robert Spano

Music Director

Atlanta’s Performing Arts Publication 31


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location is determined when you purchase your event ticket. Please review the parking pass issued with your ticket for your parking lot. Please go only to your pre-assigned lot. All lots are accessed via different roadways.

32 Encore Atlanta

Covered Seating

First Aid Station

ATM

issued ADA identification (tag, hang tag or decal) will allow you access to these areas.

Lawn Chair Rental

Concessions

Presented by North Fulton VENUERegional Hospital

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Encore Atlanta June ASO Verizon