Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
May 12/13/14 Beethoven: Violin Concerto Augustin Hadelich, violin May 15 Family Lemony Snicketâ€™s The Composer is Dead May 19/21/22 Mendelssohn: Suite from A Midsummer Nightâ€™s Dream Robert Spano, conductor Jessica Rivera, soprano Atlanta Symphony Orchestra Chorus
May 27/28 SuperPOPS! Patti LUpone
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contents May 2011
18 The Making of a DYNASTY
23 The concert’s program and notes
James Oliverio wrote DYNASTY: Double Timpani Concerto for Mark and Paul Yancich, who perform the world premiere at Symphony Hall.
44 A League of Her Own
Broadway Legend Patti LuPone Coulda, Woulda, Shoulda… and Does in a One-Woman SuperPOPS! show May 27-28.
departments 10 President’s Letter 12 Orchestra Leadership 14 Robert Spano 16 Musicians 33 Contributors 50 Calendar 52 Administration 54 General Info 56 Ticket Info 58 Gallery ASO
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Welcome to May! I assumed responsibilities as president of the Atlanta Symphony Orchestra in May 2010, so this is something of an anniversary letter. Let me say, at the outset, how happy I am to be here. My family and I have been made to feel welcomed and loved and celebrated, and for that I am profoundly grateful. From my first days in Atlanta — a place I have grown to love quickly — I challenged my colleagues to focus less on talking about what we do and to think more about the difference we make by doing those things. The Atlanta Symphony Orchestra presents an exciting, well-balanced, 24-concert series each classical season. We invite world-renowned guest artists — Itzhak Perlman, Midori, Wynton Marsalis, Roberto Abbado, Jennifer Higdon, Dawn Upshaw and their peers — to share the stage with our own world-class, 27 Grammy Award-winning Orchestra. What difference does it make to the people of this community that we present memorable live performances of great art by great artists? Our Atlanta Symphony Orchestra Chorus, which this year celebrates its 40th anniversary, is the envy of choral music loving audiences across America and around the globe. Their artistry, which we will hear in two concert series this month alone, inspires us and transports us. What difference does it make to this community that we are home, to such a superb Chorus? Through nationally respected initiatives like our Talent Development Program and the Atlanta Symphony Youth Orchestra, we nurture the talents of young musicians. We position them to reach beyond themselves, to hone their abilities and realize their dreams. Does that make a difference? I’ve asked my colleagues to think about and to talk with me about the difference we make by the things we do, and now I’d like to ask you to do the same: What difference does the Atlanta Symphony Orchestra make in your life? How do you see our impact in this community? I hope you’ll let me hear from you: email@example.com. Thank you so much for supporting your Atlanta Symphony Orchestra.
Stanley E. Romanstein, Ph.D. President
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leadership Atlanta Symphony Orchestra League 2010-2011 Board of Directors Officers Ben F. Johnson, III Chair Vice Chairs Clayton F. Jackson Finance Chair/ Treasurer
Meghan H. Magruder Jeff Mango Belinda Massafra * ASA President Penny McPhee
Stanley E. Romanstein, Ph.D. * Chilton Davis Varner Joni Winston Secretary
Directors Jim R. Abrahamson Pinney L. Allen Joseph R. Bankoff * Jason A. Bernstein Paul Blackney Janine Brown Donald P. Carson Ann W. Cramer Cari K. Dawson Richard A. Dorfman David Edmiston Gary P. Fayard Dr. Robert Franklin Paul Garcia Carol Green Gellerstedt Jim Henry
Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson D. Kirk Jamieson Ben F. Johnson, III Steve Koonin Carrie Kurlander Mike Lang Donna Lee Lucy Lee Karole F. Lloyd Meghan H. Magruder Jeff Mango Belinda Massafra * Darrell J. Mays Penny McPhee
Galen Oelkers Victoria Palefsky Leslie Z. Petter Suzanne Tucker Plybon Patricia Reid Martin Richenhagen John D. Rogers Stanley E. Romanstein, Ph.D.* Dennis Sadlowski Ms. Lynn Schinazi William Schultz Tom Sherwood John Sibley Hamilton Smith Lucinda B. Smith
Thurmond Smithgall Gail R. Starr Mary Rose Taylor Joseph M. Thompson Liz Troy Chilton Davis Varner S. Patrick Viguerie Rick Walker Thomas Wardell Mark Wasserman John B. White, Jr. Richard S. (Dick) White, Jr. Joni Winston Patrice Wright-Lewis Camille Yow
Board of counselors Mrs. John Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge John Donnell Jere Drummond Carla Fackler Arnoldo Fiedotin
Ruth Gershon Charles Ginden John T. Glover Frances B. Graves Dona Humphreys Aaron J. Johnson Herb Karp Jim Kelley
George Lanier Patricia Leake Mrs. William C. Lester Mrs. J. Erskine Love Carolyn C. McClatchey Bertil D. Nordin 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
Life Directors Howell E. Adams, Jr. Bradley Currey, Jr.
Mrs. Drew Fuller Mary D. Gellerstedt
* ex officio
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Robert M Spano music Director
usic Director Robert Spano, beginning his 10th season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Since 2001, he 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 — and 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 Orchestra have performed over 100 concerts featuring contemporary works (composed since 1950), including 13 Atlanta Symphony-commissioned world premieres and three additional world premieres.
Mr. Spano has a discography with the Atlanta Symphony Orchestra of nine recordings — six of which have been honored with Grammy® awards. He has led the Orchestra’s performances at Carnegie Hall and Lincoln Center, as well as the Ravinia, Ojai and Savannah music festivals. He has led the New York and Los Angeles Philharmonics, San Francisco, Boston, Cleveland, Chicago and Philadelphia symphony orchestras, as well as Orchestra Filarmonica della Scala, BBC Symphony and Amsterdam’s Royal Concertgebouw Orchestra. In addition, he has conducted for Covent Garden, Welsh National Opera, Lyric Opera of Chicago, Houston Grand Opera, and the 2005 and 2009 Seattle Opera Ring cycles. Mr. Spano was Musical America’s 2008 Conductor of the Year. In March 2010, Mr. Spano began a threeyear tenure as Emory University’s Distinguished Artist in Residence, for which he spends three weeks each year leading intensive seminars, lecturing, and presenting programs on science, math, philosophy, literature and musicology throughout the university’s campus.
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The Color Purple
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Rock of Ages
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Robert Spano, Music Director, The Robert Reid Topping Chair * Donald Runnicles, Principal Guest Conductor, The Neil and Sue Williams Chair * FIRST VIOLIN
David Coucheron Concertmaster The Mr. and Mrs. Howard R. Peevy Chair*
William Pu Associate 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
John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich
Sharon Berenson David Braitberg Noriko Konno Clift Judith Cox David Dillard Eleanor Kosek Raymond Leung Ruth Ann Little Thomas Oâ€™Donnell Ronda Respess Sanford Salzinger Frank Walton VIOLA
Reid Harris Principal The Edus H. and Harriet H. Warren Chair*
Paul Murphy Associate Principal The Mary and Lawrence Gellerstedt Chair *
Catherine Lynn Assistant Principal
Wesley Collins Marian Kent Yang-Yoon Kim Yiyin Li
David Arenz Principal The Atlanta Symphony Associates Chair*
Sou-Chun Su Associate Principal The Frances Cheney Boggs Chair*
Jay Christy Assistant Principal
Lachlan McBane Jessica Oudin Ardath Weck
Principal The Marcia and John Donnell Chairâ€‚ *
Principal The Miriam and John Conant Chair*
Daniel Laufer Associate Principal The Livingston Foundation Chair
Jane Little Assistant Principal Emeritus
Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson
Assistant Principal Emeritus
Joel Dallow Jere Flint Jennifer Humphreys Larry LeMaster Brad Ritchie Paul Warner
Christina Smith Principal The Jill Hertz Chair*
Robert Cronin Associate Principal
Paul Brittan The Georgia Power Foundation Chair
Carl David Hall
michael Krajewski, Principal Pops Conductor 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 PICCOLO
Carl David Hall
Principal The Madeline and Howell Adams Chair*
Principal The Julie and Arthur Montgomery Chair*
Assistant Principal William A. Schwartz Chair*
rincipal P The George M. and Corrie Hoyt Brown Chair *
Yvonne Powers Peterson Associate Principal Ann Lillya † Patrick McFarland
Carl Nitchie Principal The Walter L. “Buz” Carr, III Chair
Elizabeth Burkhardt Associate Principal
Michael Myers Joseph Walthall TROMBONE
Colin Williams Principal The Wachovia Chair
The Pricewaterhouse Coopers Chair
Juan de Gomar
Associate Principal The Patsy and Jere Drummond Chair
George Curran Edmon Nicholson
Laura Ardan Principal The Robert Shaw Chair*
Juan de Gomar
Principal The Sandra and John Glover Chair
The Alcatel-Lucent Chair
Susan Welty Associate Principal
Thomas Witte Richard Deane
Michael Moore Principal The Georgia-Pacific Chair
The UPS Community Service Chair
Principal The Walter H. Bunzl Chair*
William Wilder Assistant Principal
Charles Settle HARP
Elisabeth Remy Johnson Principal The Delta Air Lines Chair
KEYBOARD The Hugh and Jessie Hodgson Memorial Chair*
Peter Marshall † Beverly Gilbert † Sharon Berenson LIBRARY
Rebecca Beavers Principal
Steven Sherrill Assistant Principal Librarian
John Wildermuth Assistant Librarian *C hair named in perpetuity †Regularly engaged musician Players in string sections are listed alphabetically.
Atlanta’s Performing Arts Publication 17
The Making of a Dynasty “I am the luckiest guy in the world,” says Mark Yancich, Atlanta Symphony Orchestra principal timpanist since 1981. “I found a voice and followed it.” A fourth-generation musician, he grew up in a musical household brimming with instruments and a world of sound. He took french horn lessons and tried out classical guitar before discovering in high school that “playing timpani sent a shiver up and down my spine.”
James Oliverio (above, left) wrote DYNASTY: Double Timpani Concerto for Mark and Paul Yancich (above, right) who perform the world premiere at Symphony Hall, June 2/4
By Margaret Shakespeare
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A few years earlier, older brother Paul Yancich, principal timpanist of the Cleveland Orchestra, had had his own percussion epiphany. Their father taught french horn at the Eastman School of Music. “I saw someone at Eastman with a pair of drumsticks in his back pocket. And that was it,” remembers Paul, who got a practice pad and percussion lessons for his ninth birthday. “Then in high school the band director said ‘Can you tune these two notes?’ I could. Then he said, ‘So you’re going to play timpani.’”
“I’ve known James forever,” says Paul Yancich of the prolific composer who got a start composing a timpani piece for Paul’s senior recital at the Cleveland Institute. Oliverio’s works include the virtuosic Timpani Concerto No. 1 (The Olympian), which Paul premiered in 1990 with the Cleveland Orchestra. Mark later performed with the ASO and in the opening work for Atlanta’s Cultural Olympiad in 1996.
Timpani soloists have a slim repertory. And for two timpanists, the list is not much beyond a piece by Philip Glass. “James, Mark and I had been talking about doing something together,” Paul says. The talking continued for a few years, with ideas for a double concerto emerging and winning a nod from Maestro Spano. Oliverio actually started to sketch and shape the work, which is in five movements, two summers ago, at the Yancich family summer home in Lake Placid, N.Y. And he has — studying, as did Mark later, with the revered Cloyd Duff at the Cleveland Institute of Music, as a member of the Atlanta Symphony from 1976 to 1981 and, since then, the Cleveland Orchestra.
“In my book, these two guys are the best timpanists in the world,” Oliverio says. “And the notion that they come from a musical family that dates way back was one of the paths to Dynasty. I wanted to honor that.”
As far as anyone knows, Mark and Paul Yancich own the universal title and territory of timpanist-brothers who are members of major orchestras. At least it is a pretty nifty rarity. But for them — and for the Atlanta audience — there is more rarified distinction to come next month when the two world-premiere DYNASTY: Double Timpani Concerto composed for them and the Orchestra by James Oliverio. Music Director Robert Spano will conduct the June 2 and 4 concerts at Atlanta Symphony Hall.
How to execute the piece? “My quest was for melodic and harmonic timpani writing,” Oliverio says. “And that has become the hallmark of this piece — melodic and harmonic structure that grows organically. It was a challenge to feature two soloists, to allow both to shine equally. And, as with any composition, ideally I want to search out through sound vibration and take the listener to a different mental or psychological space where they want to stay or revisit.”
Continued on page 42
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program Robert Spano, Music Director Donald Runnicles, Principal Guest Conductor
Delta Classical Series Concerts Thursday, Friday and Saturday, May 12, 13 and 14, 2011, at 8 p.m.
Kazushi Ono, Conductor Augustin Hadelich, Violin ˇák (1841-1904) Antonín Dvor Carnival Overture, Opus 92 (1891) Ludwig van Beethoven (1770-1827) Concerto for Violin and Orchestra in D Major, Opus 61 (1806) I. Allegro ma non troppo II. Larghetto
III. Rondo. Allegro Augustin Hadelich, Violin INTERMISSION Maurice Ravel (1875-1937) Suites Nos. 1 and 2 from Daphnis et Chloé (1912) Suite No. 1 I. Nocturne
II. Interlude III. Danse guerrière Suite No. 2
I. Lever du jour II. Pantomime III. Danse générale
“Inside the Music” preview of the concert, Thursday at 7 p.m., presented by Ken Meltzer, Atlanta Symphony Orchestra Insider and Program Annotator. The use of cameras or recording devices during the concert is strictly prohibited.
Atlanta’s Performing Arts Publication 23
is proud to sponsor the Delta Classical Series of the Atlanta Symphony Orchestra. Delta is proud to be celebrating our 70th anniversary as Atlanta’s hometown airline. 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 Symphony Orchestra is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council. Solo pianos used by the Atlanta Symphony Orchestra are gifts of the Atlanta Steinway Society and in memory of David Goldwasser. The Hamburg Steinway piano is a gift received by the Atlanta Symphony Orchestra in honor of Rosi Fiedotin. The Yamaha custom six-quarter tuba is a gift received by the Atlanta Symphony Orchestra in honor of Principal Tuba player Michael Moore from The Antinori Foundation. This performance is being recorded for broadcast at a later time. Atlanta Symphony concert broadcasts are heard each week on Atlanta’s WABE FM-90.1 and Georgia Public Broadcasting’s statewide network. The Atlanta Symphony records for ASO Media. Other recordings of the Orchestra are available on the Argo, Deutsche Grammophon, New World, Nonesuch, Philips, Telarc and Sony Classical labels. Media sponsors: Atlanta Journal-Constitution and WSB 750 AM. Trucks provided by Ryder Truck Rental Inc.
program Notes on the Program By Ken Meltzer Carnival Overture, Opus 92 (1891) ˇák was born in Mühlhausen, Bohemia (now Nelahozeves, the Antonín Dvor Czech Republic), on September 8, 1841, and died in Prague on May 1, 1904. The first performance of the Carnival Overture took place in Prague on April 28, 1892, with the composer conducting the National Theater of Prague Orchestra. The Carnival Overture is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, tambourine, triangle, harp and strings. Approximate performance time is ten minutes. First ASO Classical Subscription Performance: December 7, 1950, Henry Sopkin, Conductor Most Recent ASO Classical Subscription Performances: October 30, 31 and November 1, 1997, Jesús López-Cobos, Conductor.
he Carnival Overture is the second of three Overtures that Antonín Dvorˇák wrote between 1891 and 1892. Dvorˇák envisioned this trilogy of relatively brief works as an orchestral cycle he titled “Nature, Life, and Love.” Later, Dvorˇák renamed the three Overtures, In Nature’s Realm, Carnival, and Othello, Opus Nos. 91-3. Dvorˇák worked on the Carnival Overture while staying at his summer home at Vysoká, sketching the piece between July 29 and August 14, 1891, and completing the score on September 12. On April 28, 1892, Dvorˇák led the National Theater of Prague Orchestra in the world premieres of the three Overtures. That September, Dvorˇák and his family traveled to New York City, where the composer assumed the directorship of the newly formed National Conservatory of Music of America. On October 21, Dvorˇák conducted the American premiere of the trilogy at a concert in New York’s Carnegie Hall. Dvorˇák narrates the story of his Carnival Overture in a sonata-form work, adding a slow interlude between the exposition and development sections. The Carnival Overture opens with a boisterous episode (Allegro), featuring a wealth of attractive and vibrant melodies. The protagonist of In Nature’s Realm has departed the seclusion of Nature and now finds himself in the midst of a festive carnival. At first, the hero enjoys being part of the bustling activity. But after a while, he becomes more reflective, trying to divine the source of this energy and happiness. A brief horn call inaugurates a contrasting, pastoral episode (Andantino con moto), where quotations of In Nature’s Realm provide the answer to his question. The flurry of activity resumes, at first confusing to the hero, but finally proving a source of great satisfaction and joy. This final conflict and resolution are portrayed in the development (Tempo I. Allegro) and recapitulation sections, leading to the Carnival Overture’s brilliant close (Poco più mosso). Atlanta’s Performing Arts Publication 25
Concerto for Violin and Orchestra in D Major, Opus 61 (1806) Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna, Austria, on March 26, 1827. The first performance of the Violin Concerto took place in Vienna on December 23, 1806, with Franz Clement as soloist. In addition to the solo violin, the Concerto is scored for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Approximate performance time is forty-four minutes. First ASO Subscription Performance: October 31, 1948, Robert Harrison, Violin, Henry Sopkin, Conductor. Most recent ASO Subscription Performances: November 15, 16 and 18, 2007, Leila Josefowicz, Violin, Kwamé Ryan, Conductor.
eethoven composed his only Concerto for Violin and Orchestra in 1806, a year of extraordinary productivity. In addition to the Violin Concerto, 1806 featured the creation of Beethoven’s Fourth Piano Concerto, the three Razumovsky String Quartets, the Leonore Overture No. 3, and his Fourth Symphony.
Today, the Beethoven Violin Concerto — along with those by Mendelssohn, Brahms and Tchaikovsky — represent the pinnacle of 19th-century compositions for solo violin and orchestra. And yet, like many works now celebrated as masterpieces, the Beethoven Violin Concerto received a decidedly mixed reception at its premiere. The writer for the Zeitung für Theater, Musik und Poesie observed after the first performance: A division of opinion exists about Beethoven’s Concerto; some acknowledge much beauty in it, others feel that its continuity seems frequently to be torn apart and that needless repetition of a few commonplace passages proves fatiguing. It is said that Beethoven could employ his admittedly great talents better to give us works like his first symphonies in C and D, as well as several others of his earlier compositions, that place him in the rank of foremost composers. One fears that if Beethoven will pursue his present path, he and the public will come to no good end. It is always tempting when reading such reviews to assume that the contemporary critics were incapable of recognizing obvious genius. But perhaps, an examination of the circumstances surrounding the premiere of the Beethoven Violin Concerto offers some perspective.
The Premiere of the Beethoven Violin Concerto Certainly the soloist for that first performance was among the finest available. The Austrian violinist, Franz Clement (1780-1842), himself a composer, was an acclaimed virtuoso and leader and director of the orchestra of the Theater-an-der-Wien. Clement was particularly renowned for the grace and lyricism of his playing, as well as his impeccable intonation. Still, there are indications that the first performance of the Violin Concerto left much to be desired. Beethoven composed the work at breakneck speed, in order for the Concerto to
program be presented as part of a December 23, 1806, benefit concert for Clement. While the tale that Clement sight-read the score at the Concerto’s premiere is, in all likelihood, apocryphal, there is no doubt that Beethoven penned revisions almost until the day of the performance. Certainly those circumstances had to contribute an atmosphere of uncertainty to the premiere. The structure of the concert itself also put such a profound and organic work as the Beethoven Violin Concerto at an extreme disadvantage. After the opening movement, Clement interrupted the performance of the Concerto to offer one of his own sonatas, played on one string, with the violin held upside down! The final two movements of the Beethoven followed. The critic from the Zeitung für Theater quoted above reported: “The educated part of the audience marveled how Clement could have lowered himself to indulge in the sorts of tricks and stunts that might amuse the plebs, since he is capable of expressing beauty and nobility in music. We do not disagree with this opinion.” Of course, the fortunes of Beethoven’s Violin Concerto improved considerably, although not in the composer’s lifetime. In fact, it appears the work did not receive its proper due until a London concert on May 27, 1844, led by Felix Mendelssohn, in which Joseph Joachim (a month shy of his 13th birthday) stunned the audience with his rendition of the Concerto. Joachim and his successors have been paying homage to this extraordinary work ever since.
Musical Analysis I. Allegro ma non troppo — Despite the genial mood of the Concerto’s first movement, it is in many ways as revolutionary as its counterpart in Beethoven’s 1803 Third (“Eroica”) Symphony. It is as long as the entirety of many violin concertos of the time. There is also an extraordinary sense of interplay between the soloist and orchestra. The opening movement is based upon three principal themes. The first is introduced in dramatic fashion: after four ominous timpani beats, the oboes sing the dolce melody. The oboes, clarinets and bassoons offer the ascending second theme in the major key, to which the strings respond with a minor-key version. A related ascending theme, played by the violins and woodwinds, serves to close the orchestral exposition. After a cadenza-like passage for the soloist, the principal themes are reprised, often in the form of a dialogue between violin and orchestra. The development section takes on a decidedly melancholy air, but the soloist ushers in the joyous recapitulation. The brief coda is also sheer magic. After a cadenza, the soloist softly intones the ascending second theme. The bassoon, with obbligato by the soloist, sings the closing motif. Finally, the soloist takes over with a grand flourish to bring the movement to a thrilling close. II. Larghetto — The lyrical second movement is a theme and set of variations. The muted violins softly introduce the principal melody, soon embellished by the soloist. Again, the keen sense of rapport between solo violin and orchestra gives this movement special depth and poignancy. The generally serene mood is interrupted by the strings’ curt statement of a portion of the main theme. A brief flourish by the soloist leads without pause to the finale. III. Rondo. Allegro — The concluding Rondo is one of Beethoven’s most joyous creations, overflowing with spirit and humor. The soloist introduces the tripping main theme on the deep Atlanta’s Performing Arts Publication 27
G-string, before ascending two octaves to offer a delicate and highly playful repetition. Once again, the violinist and orchestra frequently exchange roles of principal and accompanist. After a cadenza, the soloist reprises the main theme, and launches into one of the most virtuoso passages in the entire Concerto. The sense of play continues when an orchestral diminuendo is punctuated by the soloist’s mischievous repetition of the main theme. The orchestra has no choice but to join the violinist in the fun with two resounding fortissimo chords.
Suites 1 and 2 from Daphnis et Chloé (1912) Maurice Ravel was born in Ciboure, Basses-Pyrénées, France, on March 7, 1875, and died in Paris, France, on December 28, 1937. The first performance of Daphnis et Chloé took place at the Théâtre du Châtelet in Paris on June 8, 1912, with Pierre Monteux conducting the Ballets Russes. Daphnis et Chloé is scored for two piccolos, three flutes, alto flute, two oboes, English horn, E-flat clarinet, two clarinets, bass clarinet, three bassoons, contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, crotales, tam-tam, wind machine, orchestral bells, snare drum, military drum, tambourine, triangle, castanets, cymbals, suspended cymbal, bass drum, two harps, celeste and strings. Approximate performance time of Suites 1 and 2 is thirty minutes. These are the first ASO Classical Subscription Performances of Suite No. 1. First ASO Classical Subscription Performances of Suite No. 2: March 5, 1963, Henry Sopkin, Conductor. Most Recent ASO Classical Subscription Performances: January 18, 19 and 20, 2001, Roberto Abbado, Conductor. ASO Recording (Complete Ballet)—Telarc CD: 80352, Yoel Levi, Conductor.
Ravel, Diaghilev and the Ballets Russes
n the summer of 1909, Sergey Diaghilev’s spectacular Ballets Russes burst upon the Paris artistic scene. Diaghilev’s brilliant and controversial productions inspired audience and critical reaction that ranged from adulation to violent rebellion. During his early years in Paris, Diaghilev made the acquaintance of several young composers with whom he would collaborate on some of his company’s greatest triumphs. For example, a meeting with Igor Stravinsky led to such works as The Firebird (1910), Pétrouchka (1911) and the infamous The Rite of Spring (1913).
Around that same time, Diaghilev met French composer Maurice Ravel. It was not long before Diaghilev, greatly impressed by Ravel’s talent and affinity for the theater, commissioned a ballet based upon the story of Daphnis and Chloe, a pastoral romance attributed to the fourth century Greek writer, Longus. Choreographer Michel Fokine adapted the story for Ravel’s composition. Ravel began work on Daphnis in 1910 and finished the piano score that year. However, the composer, dissatisfied with the finale, continued to make revisions. Ravel finally completed the fully-orchestrated score on April 5, 1912, just two months before the work’s premiere.
program The preparations and rehearsals for the Daphnis premiere were fraught with tension. Ravel conceived of his score as “a large fresco painting, less in keeping with antiquity than with the Greece of my dreams, which was more closely related to a Greece such as French artists had portrayed at the end of the eighteenth century.” Choreographer Michel Fokine and Léon Bakst (who designed the staging and costumes) shared a more revolutionary view that contemplated modern dance movements and garish color schemes. There were also arguments between Fokine and the legendary Vaslav Nijinsky, who danced the role of Daphnis in the premiere. To further complicate matters, the members of the corps de ballet had difficulty with the rhythms of some of Ravel’s dances, particularly the 5/4 setting of the Danse générale in the ballet’s Third Part. The dancers finally solved that problem by constantly repeating the name of their director, which conveniently divided into five syllables — SER/GEY/DIA/GHI/LEV. The first performance of Daphnis et Chloé took place in Paris at the Théâtre du Châtelet on June 8, 1912. Despite the incredible assemblage of talent (including Nijinsky and Tamara Karsavina in the title roles, conductor Pierre Monteux, choreographer Fokine and designer Bakst), the lack both of sufficient rehearsal time and unanimity of artistic vision produced a rather lackluster premiere. In truth, full productions of Daphnis on the ballet stage have been rare. The work requires the talents of a virtuoso orchestra and (wordless) chorus that most ballet companies are hard-pressed to assemble. On the other hand, the score Ravel termed “a choreographic symphony in three movements” has enjoyed tremendous success in the concert hall. The Orchestral Suites Ravel fashioned from the complete work are staples of the concert repertoire — particularly the Second Suite, containing the majestic Sunrise and thrilling Danse générale from the ballet’s Third Part. The shepherd Daphnis is in love with Chloe. At the conclusion of the ballet’s First Part, pirates kidnap Chloe. The score for Daphnis et Chloé includes a synopsis of the ballet’s plot. Below is the portion that coincides with the Suites 1 and 2: Suite 1 Nocturne. An unnatural light suffuses the landscape. A little glow shines suddenly from the head of one of the statues. The Nymph comes to life and descends from her pedestal. The second Nymph. The third Nymph. They consult together and begin a slow and mysterious dance. They notice Daphnis. They bend down and dry his tears. They revive him and lead him toward the large rock. They invoke the god Pan. Gradually the form of the god is outlined. Daphnis prostrates himself in supplication. The stage goes dark. 2nd Part. Interlude. Voices are heard from offstage, at first very distant. Distant trumpet calls. The voices come nearer. A dull glimmer. We are in the pirate camp. Very rugged seacoast. In the background, the sea. To Atlanta’s Performing Arts Publication 29
the right and left, a view of large crags. A trireme is seen near the shore. Cypresses here and there. Pirates are seen running to and fro carrying plunder. Danse guerrière (War Dance). More and more torches are brought, which finally illuminate the scene violently. Bryaxis commands that the captives be brought. Chloe, her hands tied, is led in by two pirates. Bryaxis orders her to dance. Suddenly, Pan appears, and rescues Chloe. Suite 2 3rd Part. The scene seems to dissolve. It is replaced by the landscape of the 1st Part at the end of the night. No sound but the murmur of rivulets produced by the dew that trickles from the rocks. Daphnis is still stretched out before the grotto of the Nymphs. Gradually, the day breaks. Lever du jour (Sunrise). The songs of birds are heard. Far off, a shepherd passes with his flock. Another shepherd crosses in the background. A group of herdsmen enters looking for Daphnis and Chloe. They discover Daphnis and wake him. Anxiously he looks around for Chloe. She appears at last, surrounded by shepherdesses. They throw themselves into each other’s arms. Daphnis notices Chloe’s wreath. His dream was a prophetic vision. The intervention of Pan is manifest. The old shepherd Lammon explains that, if Pan has saved Chloe, it is in memory of the nymph Syrinx, whom the god once loved. Daphnis and Chloe mime the tale of Pan and Syrinx. Pantomime. Chloe plays the young nymph wandering in the meadow. Daphnis as Pan appears and declares his love. The nymph rebuffs him. The god becomes more insistent. She disappears into the reeds. In despair, he picks several stalks to form a flute and plays a melancholy air. Chloe reappears and interprets in her dance the accents of the flute. The dance becomes more animated and, in a mad whirling, Chloe falls into Daphnis’s arms. Before the altar of the Nymphs, he pledges his love, offering two sheep. A group of girls enters dressed as bacchantes, shaking tambourines. Daphnis and Chloe embrace tenderly. A group of youths rushes onstage. Joyful commotion. Danse générale. (General Dance).
program kazushi ono, Conductor
escribed as “one of the most fascinating musical minds of our era” and “a phenomenon” (Le Figaro), Kazushi Ono has held the position of principal conductor of the Opéra de Lyon since the start of the 200809 season. His first season included new, award-winning and critically acclaimed productions of Prokofiev’s The Gambler and Berg’s Lulu. Productions for the 09-10 season included Puccini’s Manon Lescaut and the world premiere of Emilie by Saariaho.
Kazushi Ono’s career has included a number of high-profile positions, most notably principal conductor of the Tokyo Philharmonic Orchestra (1992-2001) and general music director of the Badisches Staatstheater (1996-2002). In 2002, Mr. Ono succeeded Antonio Pappano as music director of La Monnaie, Brussels, where his debut production of Strauss’ Elektra was described by the Suddeutsche Zeitung as “the miracle of Brussels.” He enjoyed six highly successful seasons at La Monnaie before moving to the Opéra de Lyon in September 2008. He is also conductor laureate of the Tokyo Philharmonic Orchestra. In addition, Mr. Ono has been guest conductor with such leading international orchestras as the Boston Symphony, Israel Philharmonic, Leipzig Gewandhaus, City of Birmingham Symphony, London and Oslo philharmonics and Academia Santa Cecilia. In collaboration with Orchestre Philharmonique de Radio France, Vienna Radio Symphony and Danish and Finnish Radio, he has conducted German radio orchestras in Hamburg, Freiburg, Stuttgart, Frankfurt and Cologne, as well as the BBC Symphony and BBC National Orchestra of Wales — with whom he made his BBC Proms debut in 2006. Mr. Ono has conducted almost all the Wagner operas, most notably the complete Ring cycle at the Karlsruhe Opera during his tenure there from 1996-2002, as well as operatic world premieres of Luca Francesconi’s Ballata, Toshio Hosokawa’s Hanjo and Philippe Boesmans’ Julie. Guest opera appearances include Elektra at the Deutsche Oper Berlin, Verdi’s Macbeth at La Scala, Hänsel and Gretel at Glyndebourne and a new production of Szymanowski’s King Roger at the Opéra de Paris. Mr. Ono has a strong affection for the theater and works not only with such established opera directors as Luc Bondy, Peter Stein, Laurent Pelly and David McVicar but also visual artist Jan Fabre, choreographer Anne Teresa de Keersmerker and film director Francois Girard. His varied catalog of CD recordings demonstrates his wide repertoire, ranging from Chin (Deutsche Grammophon), Gubaidulina, Britten, Turnage and Rihm, to Shostakovich, Mahler, Strauss and Tchaikovsky. Other recordings include a 2009 Decca DVD of the acclaimed production of Humperdinck’s Hänsel and Gretel filmed with the London Philharmonic Orchestra at Glyndebourne, as well as releases from the Opus Arte label featuring productions of Aida and The Rake’s Progress, both with La Monnaie, Brussels.
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augustin hadelich, Violin
ith his poetic style and dazzling technique, Augustin Hadelich has established himself as a rising star among the new generation of violinists. Winner of the 2009 Avery Fisher Career Grant and gold medalist at the 2006 International Violin Competition of Indianapolis, his versatility across the spectrum of the violin repertory is astounding. At the international competition, he also received special awards for best performance of a Romantic concerto, Augustin Hadelich classical concerto, Beethoven sonata, violin sonata other than Beethoven, a Bach work, a commissioned work, an encore piece and a Paganini caprice. In August 2009, Mr. Hadelich made a sensational debut with the Cleveland Orchestra playing Lalo’s Symphonie espagnole. He has made other recent debuts with the Colorado, Houston, Pacific and Tokyo symphonies and the Los Angeles and Rochester philharmonics as well as recitals at Kioi Hall (Tokyo), Clark Memorial Library (Los Angeles), the La Jolla Music Society and the Kennedy Center in Washington, D.C. Mr. Hadelich made his Carnegie Hall orchestral debut in January 2008, performing the Brahms Double Concerto under Miguel Harth-Bedoya with cellist Alban Gerhardt and the Fort Worth Symphony; he returned to Stern Auditorium in March 2008 for his captivating, highly acclaimed recital debut. In his third appearance at Carnegie Hall in 2008, he performed Mozart’s Violin Concerto No. 5 with the New York String Orchestra under Jaime Laredo on Christmas Eve. Other orchestral engagements include the symphonies of Alabama, Charlotte, Columbus (Ohio), Fort Worth, Indianapolis, Jacksonville, Kansas City, Louisville, New Orleans, Santa Barbara, Syracuse and the IRIS Chamber Orchestra in Memphis. Outside the United States, Mr. Hadelich has performed with the Capetown Philharmonic, Deutsche Radio Philharmonie Saarbrucken-Kaiserslautern, Dresden Philharmonic, Orchestre Philharmonique de Monte-Carlo, Museumsorchester Frankfurt, Nuremberg Symphony, Orquesta Sinfónica Nacional de México, Staatsorchester Stuttgart, and the chamber orchestras of Bavaria, Berlin, Budapest, Cologne, Hamburg, Kiel, Lucerne and Toulouse. He has collaborated with such renowned conductors as Miguel Harth-Bedoya, Günther Herbig, Justin Brown, Yakov Kreizberg, Hannu Lintu, Christof Perick, Christoph Poppen, Carlos Miguel Prieto, Stefan Sanderling, Michael Stern and Mario Venzago. Mr. Hadelich has recorded two highly acclaimed CDs for Naxos: Haydn’s complete violin concerti with the Cologne Chamber Orchestra, and Telemann’s complete Fantasies for Solo Violin. A CD of masterworks for solo violin (including the Bartók solo sonata) was released by AVIE in October 2009. Born in Italy in 1984 to German parents, Mr. Hadelich holds a diploma (summa cum laude) from the Istituto Mascagni in Livorno, Italy, as well as a graduate diploma and Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. As first-prize winner of the Indianapolis Competition, Augustin plays on the 1683 ex-Gingold Stradivari violin.
Meghan H. Magruder, Appassionato Chair
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
The Reiman Foundation
Susan & Thomas Wardell
Mark & Rebekah Wasserman
$25,000+ Madeline & Howell E. Adams, Jr. Susan & Richard Anderson Stephanie & Arthur Blank Mr. & Mrs. Bradley Currey, Jr. Marcia & John Donnell Catherine Warren Dukehart
Lucy R. & Gary Lee, Jr. Terence L. & Jeanne P. Neal* Victoria & Howard Palefsky Printpack Inc. & The Gay & Erskine Love Foundation Mrs. Charles A. Smithgall, Jr.
Mr. Thurmond Smithgall Mr. & Mrs. K. Morgan Varner, III Adair & Dick White Ann Marie & John B. White, Jr.* Sue & Neil Williams*
Mr. Donald F. Fox Mr. & Mrs. Paul R. Garcia Charles & Mary Ginden Jim & Pam Henry InterContinental Hotels Group Clay & Jane Jackson Ann A. & Ben F. Johnson III Mr. & Mrs. James C. Kennedy Eydie & Steve Koonin Mr. & Mrs. Brian Kurlander Michael & Cindi Lang Donna Lee & Howard C. Ehni
Karole & John Lloyd Meghan & Clarke Magruder Jeff Mango-Verizon Wireless Mr. Kenneth & Dr. Carolyn Meltzer Mr. & Mrs. William T. Plybon Patty & Doug Reid Ms. Lynn Schinazi Gail & Loren Starr Irene & Howard Stein Alison M. & Joseph M. Thompson Ray & John Uttenhove Camille W. Yow
Carol & Larry Gellerstedt Mary D. Gellerstedt Nancy D. Gould Mr. & Mrs. Robert D. Grathwohl The Graves Foundation Robert Hall Gunn, Jr. Fund Joe Guthridge & David Ritter* Tom & Jan Hough Mr. Tad Hutcheson Roya & Bahman Irvani Robert J. Jones* Anne Morgan & Jim Kelley* Philip I. Kent Mr. & Mrs. Donald R. Keough Amy & Mark Kistulinec Mr. & Mrs. John M. Law Massey Charitable Trust
Morgens West Foundation Lynn & Galen Oelkers Mr. & Mrs. Solon P. Patterson* Bob & Margaret Reiser Stanley & Shannon Romanstein Dennis & JoAnne Sadlowski Bill & Rachel Schultz Joyce & Henry Schwob Mr. John A. Sibley III John Sparrow Mary Rose Taylor Carol & Ramon Tome* The Michael W. Trapp Family Mike & Liz Troy Turner Foundation, Inc. Mr. & Mrs. Edus H. Warren, Jr. Neal & Virginia Williams
$15,000+ AGCO Corporation, Martin Richenhagen Pinney L. Allen & Charles C. Miller Mr. & Mrs. Paul J. Blackney Janine Brown & Alex J. Simmons, Jr. Mr. & Mrs. C. Merrell Calhoun Mary Helen & Jim Dalton Mr. & Mrs. David Edmiston In memory of Polly Ellis by Admiral James O. Ellis, Jr. Gary & Nancy Fayard* $10,000+ Anonymous (2) Ron & Susan Antinori Mark & Christine Armour The Balloun Family* Lisa & Joe Bankoff Barnes & Thornburg LLP Kelley O. & Neil H. Berman The John & Rosemary Brown Family Foundation The Walter & Frances Bunzl Foundation Cynthia & Donald Carson Shannon & Philip Cave Dr. John W. Cooledge Cari Katrice Dawson Eleanor & Charles Edmondson Rosi & Arnoldo Fiedotin
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
Atlantaâ€™s Performing Arts Publication 33
Judy Hellriegel, Chair
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 Orchestra family through their institutional leadership and financial support.
$5,000+ John & Helen Aderhold* Aadu & Kristi Allpere* Anonymous (3) Mr. David Boatwright Mrs. Suzanne Dansby Bollman & Mr. Brooks Bollman Breman Foundation Dr. Robert L. & Lucinda W. Bunnen Ann & Jeff Cramer* Triska Drake & G. Kimbrough Taylor, Jr. Dr. & Mrs. Carl D. Fackler Mr. David L. Forbes
Mr. James F. Fraser Betty Sands Fuller Sally & Carl Gable Dick & Ann Goodsell C. Tycho & Marie Howle Foundation The Jamieson Family Family of Thomas B. Koch James H. Landon George H. Lanier Pat & Nolan Leake Linda & John Matthews Penelope & Raymond McPhee* Brenda & Charles Moseley
Dr. & Mrs. Mark P. Pentecost, Jr. Margaret H. Petersen John & Kyle Rogers Hamilton & Mason Smith Lynne & Steven Steindel* Peter James Stelling Charlie Wade & M.J. Conboy Gertrude & William C. Wardlaw Fund, Inc. Russell Williamson & Shawn Pagliarini Suzanne Bunzl Wilner
Dr. & Mrs. James T. Laney* Mr. & Mrs. William C. Lester* Deborah & William Liss* Dr. & Mrs. James T. Lowman Gino & Belinda Massafra* Walter W. Mitchell Mr. & Mrs. Rezin Pidgeon, Jr. Mr. & Mrs. Joel F. Reeves
S. A. Robinson Nancy & Henry Shuford Sandy & Paul Smith Mrs. C. Preston Stephens Burton Trimble T & H Yamashita*
Sally & Larry Davis Gregory & Debra Durden Ms. Diane Durgin Mr. & Mrs. Christopher S. Edmonds Ellen & Howard Feinsand John & Michelle Fuller Mr. & Mrs. Edward T. Garland Peg Gary Dr. Mary G. George & Mr. Kenneth Molinelli Carol & Henry Grady Ben & Lynda Greer Dr. & Mrs. Alexander Gross Herbert & Marian Haley Foundation Mr. Lewis H. Hamner III Steven & Caroline Harless Sally W. Hawkins Mr. & Mrs. John E. Hellriegel
Darlene K. Henson Mr. & Mrs. Jesse Hill, Jr. In Memory of Carolyn B. Hochman Mr. & Mrs. Daniel H. Hollums Mr. & Mrs. Harry C. Howard Richard & Linda Hubert Dr. William M. Hudson Mr. & Mrs. William C. Humphreys, Jr. Dr. & Mrs. James M. Hund Dorothy Jackson Ms. Cynthia Jeness Mr. & Mrs. W. F. Johnston Dr. Maurice J. Jurkiewicz Hazel & Herb Karp Paul & Rosthema Kastin Mr. & Mrs. John H. Kauffman Mr. & Mrs. L. Michael Kelly Dick & Georgia Kimball*
$3,500+ Julie M. Altenbach Anonymous Mr. & Mrs. Dennis Chorba Ms. Carol F. Comstock & Mr. James L. Davis* Jere & Patsy Drummond Dr. & Mrs. C.R. Harper JoAnn Hall Hunsinger $2,250+ Mr. & Mrs. Phillip E. Alvelda* Marian & Paul Anderson Anonymous Jack & Helga Beam Ms. Laura J. Bjorkholm & Mr. John C. Reece II Rita & Herschel Bloom Margo Brinton & Eldon Park Jacqueline A. & Joseph E. Brown, Jr. Maj. Gen. & Mrs. Robert Bunker Dr. Aubrey M. Bush & Dr. Carol T. Bush The Buss Family Charitable Fund Charles Campbell & Ann Grovenstein-Campbell Mrs. Thalia N. Carlos Mr. & Mrs. Beauchamp Carr Lucy & John Cook Robert Cronin & Christina Smith
support $2,250+ (continued) Dr. Fulton D. Lewis III & Mr. Stephen Neal Rhoney Mr. & Mrs. J. David Lifsey Mr. & Mrs. Paul A. Lutz* Mr. & Mrs. Frederick C. Mabry Ruth & Paul Marston The Devereaux F. & Dorothy McClatchey Foundation, Inc. Mr. & Mrs. Albert S. McGhee Birgit & David McQueen Judy & Gregory Moore Ms. Lilot S. Moorman & Mr. Jeffrey B. Bradley Dr. & Mrs. R. Daniel Nable
Ms. Rebecca Oppenheimer Mr. & Mrs. Andreas Penninger Susan Perdew Mr. & Mrs. David M. Ratcliffe Realan Foundation, Inc. Mr. & Mrs. Richard L. Rodgers Mr. & Mrs. George P. Rodrigue Mrs. William A. Schwartz Elizabeth S. Sharp Angela & Morton Sherzer Dr. Kay R. Shirley Beverly & Milton Shlapak In memory of Willard Shull Helga Hazelrig Siegel Lewis Silverboard
Baker & Debby Smith Amy & Paul Snyder Mr. & Mrs. Raymond F. Stainback, Jr. John & Yee-Wan Stevens Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Mark Taylor Mr. William C. Voss Dr. & Mrs. James O. Wells, Jr. Mr. & Mrs. Peter L. Whitcup Ms. Mary Lou Wolff Jan & Beattie Wood Mr. & Mrs. John C. Yates The Zaban Foundation, Inc.
Representative Pat Gardner & Mr. Jerry Gardner Paul B., Paul H. & M. Harrison Hackett Carol & Thomas J. Hanner Thomas J. High Mr. Thomas Hooten Mary & Wayne James Aaron & Joyce Johnson Veronique & Baxter Jones Lana M. Jordan Mr. Thomas J. Jung Dr. Rose Mary Kolpatzki Mr. & Mrs. David E. Krischer Thomas C. Lawson Dr. Leslie Leigh Levenson Foundation Barbara & Jim MacGinnitie Mr. & Mrs. Craig P. MacKenzie Mr. & Mrs. James H. Matthews, Jr. Martha & Reynolds McClatchey Captain & Mrs. Charles M. McCleskey John F. & Marilyn M. McMullan Virginia K. McTague Angela & Jimmy Mitchell* Mrs. Gene Morse** Mr. & Mrs. Robert Olive Sanford & Barbara Orkin Dr. & Mrs. Keith D. Osborn Dr. & Mrs. Bernard H. Palay
Mr. & Mrs. Emory H. Palmer Leslie & Skip Petter Dr. & Mrs. Frank S. Pittman III The Reverend Neal P. Ponder, Jr. Provaré Technology Dr. & Mrs. W. Harrison Reeves, Sr. The Gary W. & Ruth M. Rollins Foundation John T. Ruff Dr. & Mrs. Rein Saral Alida & Stuart Silverman Sydney Simons Alex & Betty Smith Foundation, Inc. Johannah Smith Mr. & Mrs. Gabriel Steagall Kay & Alex Summers Elvira Tate Mr. & Mrs. William M. Tipping Ms. Kimberly Tribble & Mr. Mark Lange Robert F. Tuve* Drs. Jonne & Paul Walter Drs. Julius & Nanette Wenger David & Martha West Mr. & Mrs. William White* Hubert H. Whitlow, Jr. Mrs. Frank L. Wilson, Jr. Dorothy & Charlie Yates Family Fund Grace & Herbert Zwerner
$1,750+ Anonymous (2) Mrs. Kay Adams* & Mr. Ralph Paulk Mr. & Mrs. John Allen Mr. & Mrs. Stephen D. Ambo Dr. David & Julie Bakken Betty & Robert Balentine Mr. & Mrs. Ron H. Bell Leon & Linda Borchers Mr.** & Mrs. Eric L. Brooker Dr. & Mrs. Anton J. Bueschen Mr. & Mrs. Russell E. Butner* Mr. & Mrs. Walter K. Canipe In Memory of Dr. Richard A. Carroll, Sr. Susan & Carl Cofer Mr. & Mrs. R. Barksdale Collins* Ralph & Rita Connell Jean & Jerry Cooper Mr. & Mrs. Douglas C. Curling Mrs. H. Frances Davis Brant & Kathy Davis* Mr. & Mrs. Peter T. de Kok Drs. Carlos del Rio & Jeannette Guarner Elizabeth & John Donnelly Cree & Frazer Durrett Dr. Francine D. Dykes & Mr. Richard Delay Mary Frances Early Judge & Mrs. Jack Etheridge George T. & Alecia H. Ethridge
*We are grateful to these donors for taking the extra time to acquire matching gifts from their employers. **Deceased.
Atlanta’s Performing Arts Publication 35
Corporate Support $100,000+
Classical Title Sponsor Classic Chastain Title Sponsor Family and SuperPOPS Presenting Sponsor
Holiday Title Sponsor Muhtar Kent Chairman, Board of Directors and Chief Executive Officer
Richard Anderson Chief Executive Officer
jerome j. byers, II Atlanta Regional President
Atlanta School of Composers Presenting Sponsor Philip I. Kent Chief Executive Officer
$50,000+ AGCO Corporation and Vendors AT&T The Real Yellow Pages GE Energy UPS
$35,000+ Georgia Natural Gas InterContinental Hotels Group Porsche Cars North America Publix Super Markets & Publix Super Markets Charities, Inc.
Delta Classic Chastain Presenting Sponsor
Supporter of the Atlanta Symphony Orchestra Chorus
Ralph de la Vega President & CEO of Mobility and Consumer Markets
Jerry Karr Senior Managing Director GE Asset Management
$20,000+ Nalley Cars Ryder System, Inc. Sutherland Asbill & Brennan LLP SunTrust Foundation
AlixPartners, LLP Four Seasons Hotel Atlanta The Boston Consulting Group
Foundation and Government Support $250,000+ The Mabel Dorn Reeder Foundation Wells Fargo The Zeist Foundation, Inc.
$100,000+ The Halle Foundation Abraham J. & Phyllis Katz Foundation The Vasser Woolley Foundation, Inc
Major funding for this organization is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council.
$25,000+ Anne & Gordon Getty Foundation John H. & Wilhelmina D. Harland Charitable Foundation, Inc. Hellen Ingram Plummer Charitable Foundation The Charles Loridans Foundation, Inc. MetLife Foundation The Sara Giles Moore Foundation SunTrust Bank Trusteed Foundation- Walter H. and Marjory M. Rich Memorial Fund
Major support is provided by the City of Atlanta Office of Cultural Affairs.
The Aaron Copland Fund The ASCAP Foundation For Music, Inc. Irving Caesar Fund The Arnold Foundation, Inc. The Blonder Family Foundation, Inc. Livingston Foundation, Inc. $5,000+ Reiman Charitable The Fraser-Parker Foundation Foundation Robert S. Elster Foundation William Randolph Hearst Endowed Fund JBS Foundation William McDaniel The Sartain Lanier Charitable Foundation Family Foundation
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.
support Henry Sopkin Circle 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* W. Moses Bond Robert* & Sidney Boozer Elinor A. Breman William Breman* James C. Buggs, Sr. Mr. & Mrs. Richard H. Burgin Hugh W. Burke 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 Kenneth P. Dutter 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 Miss Alice Ann Hamilton* John and Martha Head 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 Calvert Johnson 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* Dr. Michael S. McGarry 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 The Reiman Foundation 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 Margaret* & Randolph Thrower Kenneth & Kathleen Tice Steven R. Tunnell Mary E. Van Valkenburgh Mrs. Anise C. Wallace* Mr. & Mrs. John B. White, Jr. Adair and Dick White Hubert H. Whitlow, Jr. Sue & Neil Williams Mrs. Frank L. Wilson, Jr. Elin M. Winn* George & Camille Wright Mr.* & Mrs. Charles R. Yates Anonymous (12)
Education & Community Engagement Atlanta Symphony Youth Orchestra, Talent Development Program, Talent Development Program Endowment, Concerts for Young People, Family Concerts, Conversations of Note
Wells Fargo The Zeist Foundation, Inc.
GE Energy Abraham J. & Phyllis Katz Foundation
The Coca-Cola Company Mr. & Mrs. Jesse Hill, Jr. MetLife Foundation Monica & John Pearson Hellen Ingram Plummer Charitable Foundation Publix Super Markets & Publix Super Markets Charities, Inc. Jay & Arthur Richardson
SunTrust Bank Trusteed Foundation - Walter H. and Marjory M. Rich Memorial Fund SunTrust Foundation
Links Inc., Azalea City Chapter Victoria & Howard Palefsky Ms. Margaret H. Petersen Ms. Joni Winston Elise T. Phillips $2,500+ Alison Rand Elinor Rosenberg Breman** Mr. & Mrs. Johnathan Mr. & Mrs. Charles B. Ginden H. Short InterContinental Suzanne & Willard* Shull $10,000+ Hotels Group The Society, Inc., Edith H. & James E. Bostic, Greater Atlanta Chapter Jr. Family Foundation $1,000+ Isaiah & Hellena Huntley Cree & Frazer Durrett Anonymous Tidwell Livingston Foundation, Inc. Mr. & Mrs. Henry Aaron Annie-York Trujillo Primerica Sharon, Lindsay & Raul F. Trujillo Mr. & Mrs. Robert A. Yellowlees & Gordon Fisher Mr. Mack Wilbourn Drs. John O. & Gloria S. Gaston Dr. Blenda Wilson $5,000+ Aaron & Joyce Johnson & Dr. Louis Fair Dr. Margo A. Brinton Ms. Malinda C. Logan & Mr. Eldon Park Mr. & Mrs. Howatt E. Cynthia & Donald Carson Mallinson Mrs. Mary C. Gramling Dr. Joanne R. Nurss *Deceased
** Scholarships for Atlanta Symphony Youth Orchestra tuition are made possible through the Elinor Rosenberg Breman Fellowship.
Atlantaâ€™s Performing Arts Publication 37
support Atlanta Symphony Associates The volunteer organization of the Atlanta Symphony Orchestra
2010-2011 board Belinda Massafra President Suzy Wasserman, Leslie Petter & Camille Yow Advisors Leslie Petter Parliamentarian Elba McCue Secretary Janis Eckert Treasurer
Ellie Kohler Historian Alison Mimms VP Adminstration Corrie Johnson Nominating Chair Sylvia Davidson ASA Spring Luncheon Sheila Richards & Juanita Jones ASA Night at the Symphony Co-Chairs
Liz Troy ASA Night at VWA (Verizon) Camille Kesler Newsletter Editor Pat King Directory Editor Suzy Smith VP Public Relations Faye Popper VP Youth Education Glee Lamb VP Membership
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gold Global Payments Verizon Wireless
Adele & Jim Abrahamson Lisa & Joe Bankoff Mr. & Mrs. Paul Blackney Marcia & John Donnell Lucy & Gary Lee Patty & Doug Reid Mr. & Mrs. Thomas Wardell Mrs. Judy Zaban
2010 airtran classic golf tournament Global Payments Inc. The Coca-Cola Company Deloitte & Touche Mr. & Dr. Kenneth H. Reception Meltzer Sponsor Alston & Bird LLP Crowne Plaza Ernst & Young LLP InterContinental Team Sponsors Hotels Group Mr. & Mrs. Howard L. SunTrust Robinson Feinsand Humphrey Mr. & Mrs. Paul Kastin Presenting Sponsor AirTran Airways
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JUNE 3–5 Robert Spano Music Director Donald Runnicles Principal Guest Conductor Michael Krajewski Principal Pops Conductor
ThE FabulouS FoX ThEaTrE
bravo! Celebrating Robert Spano’s 10th Anniversary Season
LIVE ON STAGE hE AT T
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July 16, 2010
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APRIL 9,I2,I5,I7(M), 2OII October 20 – November 14, 2010 Series on the Alliance Stage
dennis hanthorn - Zurich General Director Pictured Enisha Brewster. Photo by Greg Mooney.
Patron Circle of Stars By investing $15,000 or more in The Woodruff Arts Center and its divisions — the Alliance Theatre, Atlanta Symphony Orchestra, High Museum of Art and Young Audiences — these outstanding Annual Corporate Campaign donors helped us raise more than $8.4 million last year. Thank you! Chairman’s Council ★★★★★★★★★★★★ $500,000+ Georgia Power Foundation, Inc. UPS ★★★★★★★★★★★ $450,000+ The Coca-Cola Company ★★★★★★★★★★ $300,000+ Cox Interests Atlanta Journal-Constitution, WSB-TV, Cox Radio Group Atlanta, James M. Cox Foundation The Honorable Anne Cox Chambers ★★★★★★★★★ $200,000+ AT&T The Community Foundation for Greater Atlanta, Inc. Deloitte LLP, its Partners & Employees Ernst & Young, Partners & Employees The Home Depot Foundation Jones Day Foundation & Employees The Klaus Family Foundation PricewaterhouseCoopers Partners & Employees Mabel Dorn Reeder Foundation Turner Broadcasting System, Inc. ★★★★★★★★ $150,000+ Alston & Bird LLP Equifax Inc. & Employees The Rich Foundation, Inc. SunTrust Bank Employees & Trusteed Foundations Harriet McDaniel Marshall Trust
Walter H. & Marjory M. Rich Memorial Fund Thomas Guy Woolford Charitable Trust Greene-Sawtell Foundation Wells Fargo ★★★★★★★ $100,000+ AirTran Airways Bank of America Delta Air Lines, Inc. Kaiser Permanente King & Spalding LLP KPMG LLP, Partners & Employees The Marcus Foundation, Inc. The Sara Giles Moore Foundation Novelis, Inc. Regions Financial Corporation Wal-Mart Stores, Inc. The David, Helen & Marian Woodward Fund ★★★★★★ $75,000+ Holder Construction Company The Sartain Lanier Family Foundation, Inc. Patty & Doug Reid Family Foundation ★★★★★ $50,000+ AGL Resources Inc. Lisa & Joe Bankoff Cisco Coca-Cola Enterprises Doosan Infracore International Frank Jackson Sandy Springs Toyota and Scion GMT Capital Corporation Beth & Tommy Holder ING Mr. & Mrs. M. Douglas Ivester
Kilpatrick Townsend & Stockton LLP Newell Rubbermaid Primerica Sutherland Asbill & Brennan LLP The Zeist Foundation, Inc. ★★★★ $35,000+ Accenture & Accenture Employees Katharine & Russell Bellman Foundation Mr. & Mrs. Bradley Currey, Jr. GE Energy The Imlay Foundation, Inc. Invesco PLC Norfolk Southern, Employees & Foundation SCANA Energy Siemens Industry, Inc. Harris A. Smith Troutman Sanders LLP Frances Wood Wilson Foundation, Inc. ★★★ $25,000+ Assurant Atlanta Companies Assurant Solutions Assurant Specialty Property BDO USA, LLP Laura & Stan Blackburn Brysan Utility Contractors, Inc. Chartis Cousins Properties Incorporated Crawford & Company Drummond Company, Inc. Eisner Family Foundation First Data Corporation Genuine Parts Company Georgia-Pacific Jack & Anne Glenn Foundation, Inc. IBM Corporation
Philip I. Kent Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. LexisNexis Risk Solutions The Blanche Lipscomb Foundation Livingston Foundation, Inc. Macy’s Foundation McKinsey & Company, Inc. Katherine John Murphy Foundation Piedmont Charitable Foundation, Inc. J. Marshall & Lucile G. Powell Charitable Trust Mary & Craig Ramsey Rock-Tenn Company Richard D. Shirk Southwire Company Spectrum Brands Towers Watson Waffle House, Inc. Gertrude & William C. Wardlaw Fund Waste Management Charitable Foundation Yancey Bros. Co. ★★ $15,000+ 22squared, inc. A. E. M. Family Foundation ACE Charitable Foundation Acuity Brands, Inc. AGCO Corporation Alix Partners Arnall Golden Gregory LLP The Partners & Employees of Atlanta Equity Investors Atlanta Foundation Atlanta Marriott Marquis Julie & Jim Balloun BB&T Corporation Beaulieu Group, LLC Susan R. Bell & Patrick M. Morris
The Arthur M. Blank Family Foundation Catherine S. & J. Bradford Branch George M. Brown Trust Fund of Atlanta, Georgia Bryan Cave LLP Buck Consultants The Capital Group Companies Charitable Foundation Talela & Beauchamp Carr Roxanne & Jeffrey Cashdan CB Richard Ellis Center Family Foundation Mr. Charles Center Mr. & Mrs. Fred Halperin Ms. Charlene Berman The Chatham Valley Foundation, Inc. Ann & Jeff Cramer DLA Piper Duke Realty Corporation Exide Technologies Mr. & Mrs. Frank L. Fernandez Fifth Third Bank Ford & Harrison LLP Robert Fornaro John & Mary Franklin Foundation, Inc. Gas South, LLC Georgia Natural Gas Grant Thornton LLP Harland Clarke HD Supply The Howell Fund, Inc. ICS Contract Services, LLC Infor Global Solutions Jenny & Phil Jacobs Mr. & Mrs. Tom O. Jewell Weldon H. Johnson Family Foundation David & Jennifer Kahn Family Foundation Sarah & Jim Kennedy Kurt P. Kuehn & Cheryl Davis Lanier Parking Solutions
Bryan Latham Karole & John Lloyd Lockheed Martin Aeronautics Company McKenna Long & Aldridge LLP Mohawk Industries, Inc. Mueller Water Products, Inc. Noonan Family Foundation Gail & Bob O’Leary Vicki R. Palmer The Sally & Peter Parsonson Foundation, Inc. Paul, Hastings, Janofsky & Walker LLP Printpack Inc./The Gay & Erskine Love Foundation David M. Ratcliffe J. Mack Robinson Interests Frances & Jesse A. Sasser, Jr. Emily Winship Scott Foundation Selig Enterprises, Inc./ The Selig Foundation Spencer Stuart Karen & John Spiegel Superior Essex Inc. TriMont Real Estate Advisors, Inc. United Distributors, Inc. WATL/WXIA/Gannett Foundation John Wieland Homes and Neighborhoods Mr. & Mrs. James B. Williams Sue & Neil Williams Womble Carlyle Sandridge & Rice, PLLC Carla & Leonard Wood The Xerox Foundation Mr. & Mrs. Robert A. Yellowlees *As of February 8, 2011
Atlanta’s Performing Arts Publication 41
Continued from page 20
“James knows what to do idiomatically with the kettles,” Mark says of the composer’s technique. “I think the audience will be able to hear some really good music that happens to be for timpanists. They should sit back and enjoy the sound of what a timpani can do. And have fun watching us — up front for a change.” Timpani — also called kettledrums, after their appearance — have been part of the orchestral family since the Baroque era. While timpani are among the few percussion instruments that have definite pitch, each kettle has a limited range of less than an octave. Scores call for various numbers of drums, usually in pairs with complementary tunings, up to about five for one player. Foot pedals allow the player to change pitches. “And then there are stick choices for articulation or mellowness [or other sound qualities],” Mark explains, “often not indicated by the composer [Oliverio excepted, of course]. So it becomes the artistic choice of the player or conductor. Some schools of thought say just a few pair are enough; some have a palette of dozens of pairs. Paul and I are in the middle. Usually we use about eight pairs of sticks, ranging from the hardest to softest.” Still, Paul points out physical limitations: “With a violin you have a huge range at your fingergtips, while we change the notes with our feet. A pianist uses 10fingers, while we play with two sticks. Our instruments are slow mechanically and big to get around.” Oliverio had these constraints and others to factor in. He says, “Each player can only play so many notes without changing the 42 EncoreAtlanta.COM
“I want to…take the listener to a different mental or psychological space…” — James Oliverio foot pedal. The two soloists have to share certain notes of a melody.” Composer and soloists have had a few in-progress sessions to rehearse together and exchange ideas. “Paul will be driving his instruments to Atlanta for the premiere,” says Mark, who will return the favor when the brothers perform DYNASTY with the Cleveland Orchestra in September at the Blossom Music Festival. The score calls for each player to use five drums. “Mr. Spano heard us read through initial sketches and gave us some input. And James has incorporated some things that Paul and I asked for.” One being the use of two harps. “He had the solo timpani with harp in his first concerto, and we thought it was really neat. Writing for two timpanists is extremely challenging territory. It’s tricky. It passes back and forth. James has ingeniously combined two players’ parts to sound as one.” “I think once the piece starts, until the last note, people will think, ‘Wow,’” says Paul.“We happen to be musicians who play timpani. We are hoping this opens up a new appreciation for what timpanists do in general.” Mark adds, “And playing with my brother — it doesn’t get any better than this!” Margaret Shakespeare writes often about music and musicians. She lives in New York and the farmlands of Long Island.
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In an era where the biggest story on Broadway is the abysmal failure of the accident-plagued Spider-Man: Turn Off The Dark, the legendary Patti LuPone stands apart as (to borrow a line from composer Marvin Hamlisch) one singular sensation.
a league of her own
By Bret Love
Broadway Legend Patti LuPone Coulda, Woulda, Shouldaâ€Ś and does in a One-Woman SuperPOPS! show, May 27-28
Our Professional Ensemble 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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Born in 1949, LuPone came by her vocal talent honestly — her great-grand aunt was celebrated 19th-century opera singer Adelina Patti. She started out performing on Long Island in the LuPone Trio with older brothers William and Robert, the actor/dancer/director who later originated the role of Zach the choreographer in A Chorus Line. She went on to become part of the first graduating class of Julliard’s Drama Division, eventually following acting professor John Houseman when he formed the influential theatre company, The Acting Company, with whom she worked regularly from 1972 to 1976. By 1973 she’d made her Broadway debut playing Irina in Chekhov’s The Three Sisters, and two years later she received her first Tony Award nomination — Best Featured Actress in a Musical — for her role as Rosamund in The Robber Bridegroom. But it was her work as Argentinean first lady Eva Perón in Andrew Lloyd Webber’s Evita that truly established LuPone as a star, earning her a Tony for Best Actress in a Musical and leading to major roles in The Cradle Will Rock, an Oliver! revival, the original London production of Les 46 EncoreAtlanta.com
A Broadway veteran with nearly 40 years of experience; two Tony Awards (for 1979’s Evita and 2008’s Gypsy revival); and numerous Tony, Laurence Olivier and Drama Desk award nominations under her belt, LuPone remains one of musical theater’s most celebrated talents. And though she may venture into TV (“LBJ: The Early Years,” “Oz,” “30 Rock”) and film (City By The Sea, State and Main, Driving Miss Daisy) from time to time, her solo show Coulda, Woulda, Shoulda proves that the Long Island native remains most at home on the stage.
Misérables and Cole Porter’s Anything Goes (for which she earned another Tony nod). LuPone’s latest solo show, Coulda, Woulda, Shoulda, offers Broadway’s greatest diva since Ethel Merman a chance to perform songs from musicals in which she could’ve played, would’ve played, did play or will play, including beloved favorites from Evita and Gypsy. The set list is filled with songs from classic musicals such as Hair; Bye, Bye Birdie; Funny Girl; West Side Story; and Peter Pan, all of them born anew thanks to LuPone’s depth of emotion, dramatic gestures and signature knack for the dynamic knockout punch. While the Great White Way may be floundering, searching for new ways to “turn off the dark,” Patti LuPone reveals herself to be in peak form as Broadway’s reigning Grande Dame. And if Coulda, Woulda, Shoulda is any indication, she has no intention of relinquishing that crown anytime soon. Atlanta-based freelancer Bret Love has been covering arts, entertainment, restaurants and travel for 17 years and recently launched his own website, GreenGlobalTravel.com.
when I play music… I have more confidence
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Help provide one hour of music lessons for one child. Text “ASO” to 50555 to make a $5 donation.
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calendar June 2/4 Thur/Sat: 8pm Delta Classical Rachmaninov: Symphonic Dances Oliverio: Double Timpani Concerto Robert Spano, conductor Mark Yancich, timpani Paul Yancich, timpani
Hear for the first time a virtuosic concerto by James Oliverio for the brothers Yancich, Mark of the ASO and Paul of the Cleveland Orchestra. The Symphonic Dances of Rachmaninov swirl and twirl with passionate intensity.
June 9/11/12 Thur/Sat: 8pm/ Sun: 3pm Delta Classical Puccini: Madama Butterfly Robert Spano, conductor James Alexander, stage director Shu Ying Li, soprano (Butterfly) Russell Thomas, tenor (Pinkerton) Mika Shigematsu, mezzo-soprano (Suzuki) Steven Cole, tenor (Goro) Dwayne Croft, baritone (Sharpless) ASO Chorus
This “Butterfly” soars as never before! A signature “Theater of a Concert” presentation vividly underscores Puccini’s immortal story of an ill-fated marriage. With glorious writing and a celebrated score, and spot-on casting, the tragic masterpiece breathes new fervor as it closes a season of riches.
404.733.5000 aso.org Woodruff Arts Center Box Office @15th and Peachtree Make it a group! 404.733.4848 Presented by:
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staff Administrative Staff Executive Stanley E. Romanstein President Aysha H. Siddique Manager of Board & Community Relations Brien Faucett Administrative Assistant to the Presidentâ€™s Office Evans Mirageas Director of Artistic Planning ADMINISTRATION John Sparrow Vice President for Orchestra Initiatives & General Manager Mala Sharma Assistant to the Vice President for Orchestra Initiatives & General Manager Julianne Fish Orchestra Manager Nancy Crowder Operations/Rental Events Coordinator Kelly Oâ€™Donnell Artist Assistant 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 Richard Carvlin Stage Manager Lela Huff Assistant Stage Manager Education & Community Engagement Mark B. Kent Senior Director of Education & Community Engagement Melanie Darby Director of Education Programming Ahmad Mayes Community Programs Coordinator
FINANCE & ADMINISTRATION Donald F. Fox Executive Vice President for Business Operations & Chief Financial Officer Shannon McCown Assistant to the Executive Vice President for Business Operations & Chief Financial Officer Susan Ambo Vice President of Finance Kim Hielsberg Director of Financial Planning & Analysis April Satterfield Senior Accountant Peter Dickson Staff Accountant Michael Richardson Venues Analyst Stephen Jones Symphony Store Manager Galina Rotbakh Symphony Store Sales Associate
DEVELOPMENT Sandy Smith Vice President for Development Tammie Taylor Assistant to the VP for Development Stephanie Malhotra Director of Development & Education Services Rebecca Abernathy Development Services Coordinator
MARKETING & CONCERT PROMOTIONS Charles Wade Vice President for Marketing & Symphony Pops Alesia Banks Director of Customer Service & Season Tickets Nellie Cummins Group & Corporate Sales Associate Meko Hector Major & Planned Giving Office & Marketing Jessica Langlois Coordinator Director of Leadership Gifts Jennifer Jefferson & Planned Giving Director of e-Business Andrea Welna & Interactive Media Major Gifts Officer Melanie Kite Meredith Schnepp Subscription Prospect Research Officer Office Manager Shelby Moody Annual, Institutional Group & Corporate & Volunteer Services Sales Coordinator Corey Cowart Seth Newcom Director of Database Administrator Corporate Relations Kimberly Nogi Toni Paz Director of Individual Giving Publicist ASO Presents Robert Phipps Barbara Saunders Clay Schell Publications Director Director of Vice President, Programming Foundation Relations Melissa A. E. Sanders Trevor Ralph Senior Director, General Manager and Senior Maya Robinson Communications Patron Partnership Director of Operations Gifts Officer Travis Sari Holly Clausen Marketing Manager Zachary Brown Director of Marketing Director of Christine Saunders Keri Musgraves Volunteer Services Group & Corporate Promotions Manager Sales Assistant Sarah Levin Lisa Eng Volunteer Project Manager Karl Schnittke Graphic Artist Publications Editor Ashley Krausen Chastain Park Amphitheater Special Events Coordinator Robin Smith Tanner Smith Subscription Sarah Williams Program Director & Education Sales Individual Giving Coordinator Rachel Trignano Verizon Wireless Manager of Amphitheatre at Melissa Donalson Broad Based Giving Encore Park Development Coordinator Russell Wheeler Katie Daniel Group & Corporate VIP Sales Manager Sales Manager Jenny Pollock Christina Wood Operations Manager Director of Marketing Rebecca Simmons Box Office Manager
Photos: Iris Feinberg
What will you pass down? Ensure that you will be remembered and that your charitable giving and lifelong values will continue for generations to come. For more information, visit www.AtlantaJewishLegacy.org. Create a Jewish Legacy is an initiative of the Jewish Federation of Greater Atlanta.
general info LATE SEATING Latecomers are seated at the discretion of house management. Reserved seats are not guaranteed after the performance starts. Latecomers may be initially seated in the back out of courtesy to the musicians and other patrons. SPECIAL ASSISTANCE All programs of the Atlanta Symphony Orchestra are accessible to people with disabilities. Please call the box office (404.733.5000) to make advance arrangements. SYMPHONY STORE The ASOâ€™s gift shop is located in the galleria and offers a wide variety of items, ranging from ASO recordings and music-related merchandise to t-shirts and mugs. Proceeds benefit the Atlanta Symphony Orchestra.
THE ROBERT SHAW ROOM The ASO invites donors who contribute at least $1,750 annually to become members of this private salon for cocktails and dining on concert evenings â€” private rentals available. Call 404.733.4860. IMPORTANT PHONE NUMBERS Concert Hotline 404.733.4949 (Recorded information) Symphony Hall Box Office 404.733.5000 Ticket Donations/Exchanges 404.733.5000 Subscription Information/Sales 404.733.4800 Group Sales 404.733.4848 Atlanta Symphony Associates 404.733.4865 (Volunteers) Educational Programs 404.733.4870 Youth Orchestra 404.733.5038 Box Office TTD Number 404.733.4303 Services for People 404.733-5000 with Special Needs 404.733.4800 Lost and Found 404.733.4225 Symphony Store 404.733.4345
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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. SINGLE TICKETS Call 404.733.5000 Mon.–Fri., 10 a.m.–8 p.m.; Sat.–Sun., Noon–8 p.m. Service charge applies. Phone orders are filled on a bestavailable basis. www.atlantasymphony.org Order any time, any day! Service charge applies. Allow two to three weeks for delivery. For orders received less than two weeks
prior to the concert, tickets will be held at the box office. Woodruff Arts Center Box Office Mon.–Fri., 10 a.m. – 8 p.m.; Sat.–Sun., noon– 8 p.m. 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. GROUP DISCOUNTS Groups of 10 or more save up to 15 percent on most ASO concerts, subject to ticket availability. Call 404.733.4848. GIFT CERTIFICATES Available in any amount for any series, through the box office. Call 404.733.5000.
“Thrilling performances of the world’s greatest music – along with beautiful cool mountains, fine dining, golf, art, shopping and more – all await you at the 30th anniversary “Dream Season” of the Highlands-Cashiers Chamber Music Festival! Paradise is just a short 2 hour drive from Atlanta.”
HIGHLANDS-CASHIERS CHAMBER MUSIC FESTIVAL July 8 - August 14
(828) 526-9060 • Highlands, NC
fanfare, fiddle, friend
DIZZYING WORK Orchestra double bassist Michael Kurth (on right), also a composer, discussed May Cause Dizziness, his world premiere fanfare honoring Robert Spano’s 10th anniversary, with ASO Insider and Program Note Annotator Ken Meltzer prior to its performance last month.
2 VOILÀ! Partnering with WXIA-TV and its Random Acts of Kindness program, the Orchestra welcomed Miranda Cantrell, a local student and violinist, to Atlanta Symphony Hall for an open rehearsal, a “meet-andgreet” with Robert Spano, and a lesson from Concertmaster David Coucheron.
WELCOME BACK! The eminent conductor Roberto Abbado, a longtime friend of the Orchestra, returned to lead a program of Haydn and Brahms, with guest pianist Peter Serkin in Bartok’s Piano Concerto No. 3.
SUNDAY, MAY 22 at 7 PM Join friends of UNICEF to experience our organization’s global influence on the lives of children without leaving Atlanta. Interactive exhibits. Heavy hors d’oeuvres and cocktails. Wishing well. CO-CHAIRS
John Terracino Vern Yip, UNICEF Ambassador The Lenox Square Luxury Wing
3393 Peachtree Road Northeast, Atlanta (mall entrance between Neiman Marcus and Lenox Square Grill)
Individual tickets start at $250. Proceeds will support UNICEF’s work in over 150 countries. Reservations (404) 881-2700 ext. 208
unicefusa.org/experience Portions of the showcase will remain viewable within the Lenox Square Luxury Wing through May 31.
FIRST BAG FREE ON EVERY DELTA FLIGHT. THE GOLD DELTA SKYMILES ® CREDIT CARD.
DELTA .COM/FIR STBAGFREE Benefit is limited to Basic Cardmembers (not Additional Cardmembers) with the Gold, Platinum, or Reserve Delta SkyMiles Credit Cards. Reservation must include the Basic Cardmember’s SkyMiles number. Fee waiver also available for passengers traveling in the same reservation as the Basic Cardmember. Maximum nine waivers per reservation. New Cardmembers and Cardmembers upgrading from another Delta SkyMiles Credit Card product will be eligible for the checked baggage fee waiver benefit after receiving their Card from American Express. Benefit available only on Delta and Delta Connection® carrier flight segments. Waiver does not apply to overweight or oversized bags. Additional terms, conditions and restrictions may apply. See delta.com/firstbagfree for details.
Encore Atlanta is the official show program for The Fox Theatre, Atlanta Symphony Orchestra (at Woodruff Arts Center and Verizon Wireless Am...