VPO Jan Classical Program 2024

CLASSICAL CONCERT SERIES

CONTENTS Theatre Staff.......................................................................................................... 2 Whitney Morse on The Sharon® L. Morse Performing Arts Center........................ 3 Program...........................................................................................................5-10 Maestro Note...................................................................................................... 11 Maestro..........................................................................................................12-13 Featured Artists..............................................................................................14-15 Orchestra Roster................................................................................................. 16 VPO Donors..................................................................................................17-18 Business Partners................................................................................................. 19 Coming Soon.................................................................................................20-21

THEATRE STAFF Executive Director.......................................................................... Jason Goedken Artistic Director.............................................................................Whitney Morse Associate Artistic Director..................................................................Angel Creeks Director of Operations..........................................................................Jon Cronin Production Manager........................................................................Mike Giovinco Booking Manager.................................................................................Sierra Weiss Marketing Director.......................................................................... Taylor Adkins Senior Business Manager................................................................... Sean Graham Lighting Supervisor..................................................................... Alison Southgate Associate Lighting Supervisor...........................................................Dio Raquel Jr. Senior Production Coordinator.............................................................. Madi Carr Audio Visual Director...........................................................................Luke Bezio House Manager.....................................................................................Alec Speers Assistant House Managers..........................Mark Kirschenbaum, Nichole Pollack Director of Ticketing & Customer Relations............................... Yasmeen Stogden Ad Sales............................................................................................ Taylor Adkins marketing@significantproductions.org All shows produced by SignificantProductions.org Significant Production, Inc. is a nonprofit production company that operates The Sharon L. Morse Performing Arts Center and The Studio Theatre Tierra del Sol in The Villages.

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©2024 The Sharon L. Morse Performing Arts Center. ©2024 Significant Productions, Inc. 600

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WHITNEY MORSE on

The Sharon®L. Morse

PERFORMING ARTS CENTER

Dear Patron of the Arts, Welcome to The Sharon® L. Morse Performing Arts Center!

Much like the building’s namesake, my grandmother, Sharon L. Morse, we love all varieties of the performing arts here. It is in her memory that I, along with my amazing team of artists and arts administrators, strive to bring many different types of the highest quality entertainment here to The Sharon.

Since opening in 2015, we have strived to establish your trust, that a show at The Sharon is a show worth seeing. Perhaps you find yourself here today to see a concert of one of your favorite musicians, or to take in the national tour of a Broadway show. Either way, we encourage you to consider trying out a new show that perhaps you haven’t heard of before, knowing that it has been intentionally curated by our team.

We welcome you to The Sharon: a place for you to see an old favorite, but also a place to discover your new favorite. I sincerely hope you enjoy the show today, and I look forward to seeing you here again soon!

See You at The Sharon,

Whitney Morse Artistic Director

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~ 20TH ANNIVERSARY ~

Fundraiser Gala THE VILLAGES PHILHARMONIC

presents

AN EVENING OF COCKTAILS, DINNER, & DANCING This Gala is the yearly fundraiser to help support our fantastic Villages Philharmonic Orchestra's ongoing purpose which is to nourish hearts, minds and souls with glorious orchestral music!

Featuring • Music from The Villages Philharmonic Ensemble • Silent Auction • Live Auction Dancing Until 9:00pm

Dinner Served in The Sharon L. Morse Performing Arts Center Historic Lobby Suggested Attire Black Tie or Cocktail

PURCHASE GALA TICKETS NOW

at any of The Villages Box Offices in person or by calling 352-753-3229 AFTER TICKET PURCHASE, YOU MUST CALL Darlene Pruett at 1 (901) 628-8233 FOR YOUR TABLE ASSIGNMENT & MEAL SELECTION

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PROGRAM EDWARD ELGAR Serenade for Strings Orchestra in E minor Op. 20 ––––––––––––– Elgar is considered among the most representative English composers of the late Romantic period and very sensitive to the influences of German-derived symphonism. Two significant works of the musician’s noble and artistic personality are still remembered today: the airy and elegant Enigma Variations or Variations on an original theme, called Enigma, and The Dream of Gerontius, a work of great choral commitment and much admired by several German composers, including Richard Strauss. Nor should his two concertos for violin and for cello and orchestra be underestimated, particularly appreciated for the frankness of the inspiration and the intimacy of the musical thought, always guided by a sobriety and dignity of conception, typical of the true English country gentleman. His contribution to the evolution of British music in the Victorian and Edwardian era was notable, as Bernard Shaw noted at the time in a pertinent study on the figure of this artist, endowed with an instinctive orchestral temperament of exemplary balance and far from instrumental thrills of Berlioz and Wagner. Elgar’s musical talent, focused on a fresh melodic vein with persuasive modulations, is present in the Serenade for strings op. 20, composed in 1892 and characterized by a cordial and affectionate lyricism, revealing a creative style with refined and aristocratic tastes, in the context of a fluid, flowing speech and according to a type of writing that is formally clear and sentimentally communicative.

Elgar’s Serenade for Strings in E minor, the piece, written in 1892, was performed under the direction of the author in private performances at the Worcester until 1896 (the year of the first public performance in Antwerp). Ladies’ Orchestral Class, to whom the composed, refined and aristocratic language lends itself well.

In the Allegro pleasant the repeated dotted rhythm, with a noble echo, marks the interventions of an elegant melody, late-romantic music of controlled melancholy.

Even the lyrical opening of the Larghetto is made of measured emotion. A long and suspended note announces an elegiac song, broadening the horizon of the initial cues, when suddenly the texture thins out (the low strings fall silent), leaving the upper voices suspended in an immaterial dialogue. When the bass returns, a new melody unfolds, until the opening climate resumes.

The final Allegretto presents a theme of composed elegance, on which the first part is built. A very sensitive modulation calms the music, and after the reappearance of the dotted rhythm of the first movement the piece ends on long held notes.

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PROGRAM SERGEI RACHMANINOFF Rhapsody on a theme of Paganini Op. 43 ––––––––––––– Rachmaninov was a musician with innate talent. His studies began early and ended quickly, delivering to the Russian musical world on the threshold of the 20th century, a young piano virtuoso with aspirations as a composer, in the best tradition of that musical romanticism which the Petersburg and Moscow Conservatories had been inspired by since since their birth by the brothers Anton and Nikolaj Rubinstein.

And it is precisely a late romanticism made of lyrical abandonment and acrobatic virtuosity that Rachmaninov looks to in his first compositions, in which the free creative streak of the melodist shines and the excellent qualities of the pianist are amply highlighted.

The Second and Third Concertos for piano and orchestra (the famous and fearsome Rach. 3), written respectively in 1901 and 1909, undoubtedly his masterpieces, made him one of the favorites of the European and American public, satisfied with a music with an immediate communicativeness that contrasted with the “cerebral” one of the new twentieth century trends of Debussy, Ravel, Skrjabin, and further still, of Strauss, Stravinsky, Prokofev and Shostakovic.

The events of the Revolution of 1717 made him leave Russia and reach the United States in 1918, his new adopted homeland, where he was already known for a previous tour in 1910; the break with the motherland was clear, but in the Soviet Union his music was never banned, perhaps because it often echoes the nostalgic vein of Slavic taste, and the tribute of adoration towards the great masters such as Tchaikovsky and Rimsky-Korsakov.

What made his music attractive was also what his detractors reproached him for: an ease that can border on banality, pre-packaged musical structures with little connection to a personal identity, often used as a container for an expressiveness so rich that it becomes redundant. , a grandiloquence, finally, which perhaps hides the difficulty of dealing with musical material with discipline, especially orchestral one.

Even the three Symphonies (1905, 1907, 1944) did not escape the same censorship, but Rachmaninoff, a man with a firm and surly character, did not give too much weight to the criticisms, certainly not blaming himself for an artistic “disengagement” which he preferred to a complexity, in his opinion, too often ideologically sought by his fellow composers. The Concerto for piano and orchestra n. 4, op. 40, of 1927 (revised in 1941) began, however, to introduce some innovations into Rachmaninov’s musical discourse; greater timbric dryness, less melodic complacency, a more sincere intimacy demonstrate that the composer was nevertheless following an evolutionary path of his style, within which the work 43, the Rhapsody on a Theme by Paganini, is situated as a moment of particular interest.

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PROGRAM Divided into 24 variations, Paganini’s Rhapsody on a Theme from 1934 is unanimously considered one of Rachmaninoff’s most successful works. In it, in fact, the composer has skilfully combined virtuosic flair with the rigor of formal construction, creating a piece that harmonizes the taste of the general public, attentive to melodic ease and chromatic brilliance, with the expectations of the more expert , capable of grasping the original solidity of this work. The theme of the variations is Capriccio n. 24 in A minor from the 24 Capricci op. 1 written in 1805 by the Italian violinist, but, contrary to what it would be obvious to think, the Rhapsody is not a tribute to Paganini, but to Franz Liszt, who in turn, in 1838, worked on the same Capriccio in his Études d’éxécution trascendante after Paganini. A tribute, therefore, between great piano virtuosos and composers who, ideally, passed the baton between two centuries.

It goes without saying that in this context Rachmaninov shoots all the arrows he has in his quiver, fascinating the listener with every type of sound game, in a sort of melodic and timbral illusionism, thanks to which the Paganini theme appears and disappears between the folds of a creative imagination that is never complacent, and always aimed towards an expressive result inserted within a non-random discursive structure. From this perspective, in fact, we can read the first eleven variations as a sort of Allegro, in which all the thematic ideas typical of the first movement of a meta-concert unfold, which has its central Largo in the variations from 12 to 18, marked by a warm lyricism typical of the composer’s style, and the final Presto in numbers 19-24, in which the rhythmic and timbral dynamism forcefully returns to the foreground in the rhapsodic revival of the melodic ideas treated in the first group of variations.

Thus, what at first sight might seem merely an exercise in virtuosity as an end in itself is enriched in an unexpected way, and is the result of a conscious structuring desire.

Furthermore, this Rhapsody is part of Rachmaninov’s thematic-reflexive path, linked to the highly symbolic use of the Gregorian melody of the Dies Irae which appears here from the seventh variation onwards. In addition to being a further reference to Liszt’s musical world (the Totentanz for piano and orchestra is a paraphrase), this theme seems to run across some of Rachmaninov’s works, highlighting in the composer an unsuspected tragic feeling of human existence. The first hint of this gloomy and painful vision was in the 1904 melodrama The Avaricious Knight based on a text by Pushkin, which then materialized in the use of the Dies Irae melody for the symphonic poem op.29, The Island of the Dead, of 1908 , directly inspired by the very famous painting by Bòcklin; the cantata Le bells, to a text by E. A. Poe, written between 1913 and 1936, the Rhapsody op. 43 of 1934, the Third Symphony op. 44, from 1936, and, finally, the Symphonic Dances op. 45, from 1940. are the places of the subsequent appearances of the disturbing theme of death, certainly a sincere legacy of a Romanticism poised between angels and demons to which, by tradition and emotional affinities, Rachmaninov can be traced back.

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PROGRAM ~ Intermission ~

ANTONÌN DVORAK Symphony No. 9 in E minor Op. 95 B.178 ––––––––––––– On 16 December 1893 Anton Seidl conducted the first performance of Symphony No. at Carnegie Hall in New York. 9 in E minor op. 95 by Antonìn Dvorak, in the presence of the author. It was probably the highlight of Dvorak's three-year stay in the United States, between October 1892 and April 1895.

Dvorak had been invited in June 1891 to move to New York, to take over the artistic direction of the local Conservatory , by Jeannette Thurber, wife of a wealthy colonial goods merchant; invitation accepted after some hesitation and the assurance of understandable guarantees (among other things the considerable salary of 15 thousand dollars per year).

The enormous developments in New York musical life in the last part of the century thus found a logical outcome in the strengthening of educational structures, with the presence of an eminent European composer. It is no coincidence that the choice fell on Dvorak.

Coming from a lower-middle-class family and given an early introduction to music, Dvorak achieved his first real success in 1873, at the age of 31, with a patriotic hymn that fit fully into the irredentist current of Bohemian cultural circles. The following year a prestigious recognition, with the victory of a scholarship from the Austrian government, awarded by a jury composed of, among others, Eduard Hanslick and Johannes Brahms. Following was the international launch: the first personal triumph in England dates back to 1884 - where the composer went a total of nine times - which led to his nomination as an honorary member of the London Philharmonic Society; in 1890 he was to receive an honorary degree from Cambridge University.

These stages of Dvorak's career also closely followed the personal evolution of the composer's style. If his creative beginnings took place under the banner of the neo-German school of Liszt and Wagner, whose modernism seemed more suitable for conveying the peculiar nationalistic contents of Czech culture, it was precisely around 1873 that Dvoràk's style underwent a sharp turn towards pure symphonism and the ideals of classic balance of form, ideals that found new life in popularly inspired melodies. It is precisely this peculiar mixture between formal balance and Slavic melodiousness that led to recognizing in Dvoràk a musician with an unmistakable personality, neither conservative nor radical, capable of 8

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PROGRAM appearing to the Bohemian bourgeoisie as an incarnation of national identity, or even of being admired in front of the whole of Europe for the refinement of his writing and the constructive solidity of his works.

The invitation to America therefore had the meaning of a consecration; but the contact with a composite musical culture, evolving and so dissimilar to the European one could not fail to have repercussions on the new creative results of the Bohemian master. Some black students put the master in contact with the music of black Americans, with spirituals and plantation songs. In Spilville, Iowa, the composer had the opportunity to listen to songs from the Indian community.

The Symphony in E minor is the first important response to these stimuli, and it is no coincidence that it bears the famous title "Z Nového svéta" (From the new world); precisely the discussed influence of the new world constitutes the central point of the various evaluations that have been made of the score.

Dvorak illustrated the title of the work by explaining that it simply referred to "impressions and greetings from the new world"; still during the writing he stated that "America's influence can be felt by anyone with 'nose'". And many composers wondered if, with the new Symphony, Dvorak intended to inaugurate a new manner, marked by the presence of melodies inspired by composite American folklore. And indeed the presence of such melodies is undeniable; in the first half the spiritual «Swing low, sweet chariot» appears, while some melodies of the central movements have a generic "Indian" inspiration. However, pentatonic melodies and modal harmony, rhythmic vitality, are characteristic of all Dvorak's music; Furthermore, the score does not lack clear traits of Bohemian folklore.

If anything, the whole melodic invention of the Symphony in E minor presents a "primitive" extraction, more clearly highlighted than in the author's previous symphonic experience.

In short, if we want to find a "turning point" in Dvorak's Ninth Symphony, this will have to be identified, more than in the melodic invention, in the process of simplification and clarification of the form which gives these ideas plastic evidence, distancing the score from the sweet seriousness of the Seventh and the independent experimentalisms of the Eighth. Even the development sections of the material - which generally constitute the weak point of the Bohemian author's symphonism, due to a certain verbosity and dialectical poverty - are addressed with greater ease than in previous symphonic works.

Precisely the formal aspect is one of the traits that most guarantees the Symphony its coherence, and therefore its undoubted and engaging effectiveness in performance. The score in fact makes use of an accumulative process of the material, with increasingly greater thematic returns with the succession of movements (among other things, the affinities between the different pentatonic melodies emerge clearly because these are mainly entrusted to the woodwind soloists). Furthermore, each of the four movements opens with a short, slow introduction.

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PROGRAM In the first movement the introductory Adagio progressively rises, exploiting a rhythmic cue, towards the characteristic theme that opens the Allegro tanto; this entire first half, animated by secondary themes of iconic evidence, is influenced by a wealth of episodes and plots, of sudden expressive transitions, which give the page a continuously renewed freshness.

In the Largo a succession of large chords leads to the pentatonic melody which informs the entire lyrical and suffused setting of the movement, not contradicted even in the most animated central section (the culminating moment presents a fragment of the main theme of the first movement).

In the Scherzo we find Dvorak's taste for rhythmic vitality and color variety, supported by the infallible hand of the orchestrator, by the sure invention of the characteristic themes. The ending is more complex, opened by the peremptory statement of the theme that ensured the Symphony its celebrity, and which is then reiterated at the end, in an extreme peroration. Furthermore, as the movement continues, the main melodic ideas already heard in previous movements accumulate; procedure already used in central times. But Dvorak is not satisfied with restating these ideas; he elaborates them and intertwines them with the main theme of the finale, so that the final movement presents itself as a synthesis of the content of the entire Symphony, and of the composer's own symphonic art.

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MESSAGE FROM THE MAESTRO Dear friends and supporters of The Villages Philharmonic, The Villages Philharmonic begins the new year with a program of great musical depth with three extraordinary composers: Elgar, Rachmaninoff, and Dvorak.

It is with great joy that we welcome a new guest artist, Elena Ulyanova. Elena is an extraordinary concert pianist who will perform Rachmaninoff Op. 43 for Piano and Orchestra. Thank you for your support and we wish everyone a 2024 full of prosperity and well-being.

Musically yours Pasquale Valerio Music Director and Founder

23/24 SEASON SEPT 3 / MAY 6

Wednesday, February 14 ...................... American Music Celebration of Love Monday, March 18......................................................Classical Concert Series Sunday, April 21..........................................................Classical Concert Series Monday, May 6 ................... Opera Gala Magical Moments of Opera Scenes NEXT SEASON DON’T MISS A PERFORMANCE WITH A SUBSCRIPTION

CHOOSE AT LEAST 4 SHOWS & GET 10% OFF GET ALL 9 SHOWS & GET 15% OFF 352-751-7799

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MAESTRO PASQUALE VALERIO, MAESTRO Pasquale Valerio is an internationally acclaimed Orchestral Conductor. In 2004 he founded The Villages Philharmonic Orchestra, became its musical director, and is still engaged in concerts and tours throughout Florida and worldwide.

Maestro Valerio was also the founder of the Lake Sumter Chamber Orchestra as well as co-founder and conductor of the Florida Lakes Symphony from 2005 to 2006.

He collaborates with various European orchestras such as the Philharmonic Orchestra ‘900 of the Teatro Regio Opera in Turin, the Philharmonic Orchestra of Prague, the Virtuosi of the Accademia di Santa Cecilia, the Virtuosi of the Philharmonic of Bacau, the “A. Scarlatti” Symphony Orchestra of Naples, Orchestra Accademia Nazionale di Santa Cecilia.

In 2006 had the opportunity to assist Sir Antonio Pappano, current Music Director of the Royal Opera House in London This collaboration represented a great point of reference for maestro Valerio and indelibly marked his experience of conducting growth. From 2007 to 2009 he collaborated with the internationally known Viotti music festival in Vercelli, Italy and in May 2018 he began an ongoing cooperation with the North California Music Festival as guest conductor.

Pasquale Valerio was born in Naples to a family linked to cultural traditions and founding religious values. The great passion for music was evident from the first years of his life, but, only towards the tenth year of age did he begin his musical studies, first with the piano, and subsequently, at the age of thirteen years, when he began studying trumpet. It is in this period that Pasquale met Maestro Filippo Veniero, an important musical guide for subsequent studies. He studied trumpet at the school of Maestro Francesco Lentini, Bari Conservatory, with whom he obtained the middle completion and, subsequently under the guidance of Maestro Diego Benedusi, he obtained the superior completion of trumpet.

After completing his trumpet studies, he collaborated as an instrumentalist with orchestras of major opera and symphonic institutions including the Opera House “Teatro di San Carlo in Naples “and with other major opera orchestras and symphonic institutions. Simultaneously he studied Composition and Score Reading at the School of Maestro Filippo Veniero.

The meeting with two conductors, J Withney and Gunther Smidth (United States) conditioned the musical journey and made it possible that in 1998 Pasquale resumed his studies started in Naples with F. Veniero. Also important was the meeting with the famous conductor Anton Coppola in 1999, who became Pasquale’s mentor and guide.

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MAESTRO Pasquale is a guest collaborator at festivals and international competitions, including: International Piano Competition “F. Schubert” in San Cristoforo Virtuosi of the Bacau Philharmonic, Romania, Viotti Music Festival, Camerata Ducale, Italy, Piano Festival of Carrara/Arezzo Orchestra 900’ of the Teatro Regio of Turin, Oída Symphony Orchestra (Arezzo) Philharmonic Orchestra of Benevento, New Orchestra Scarlatti and Florida Philharmonia In the academic year 2023 he was appointed Visiting Professor of Conducting Studies at the “London Performing Arts Academy” and at the end of 2023, appointed Honor Roll of “ALTAMURA MERCADANTE FEST”.

This Concert is sponsored by:

Ms. Margaret M. Dick

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FEATURED ARTISTS ELENA ULYANOVA, CONCERT PIANIST & STEINWAY ARTIST At the age of 5, Elena Ulyanova began to study piano with her mother, Larisa Ulyanova, in Saki, Ukraine. After winning several first prizes in Ukrainian and Russian competitions, she was awarded full scholarships for study in Moscow at Gnessin College of Music, Gnessin Academy of Music, and Moscow Tchaikovsky Conservatory. While at Gnessin Academy, she won the Momontov competition, which also resulted in tours of Russia, Bulgaria, and Romania. She was also awarded a tour of Austria, along with the best students representing Gnessin Academy, which included Alexander Kobrin. Shortly after entering Moscow Conservatory, she became a prizewinner in the second Rachmaninov International Piano Competition. After receiving the Master of Music degree from Moscow Conservatory, she pursued postgraduate study with Victor Merzhanov, while performing many concerts for the Moscow Philharmonic Concert Association (Mosconcert). Elena has also taken master classes with Emanual Krasovsky, Victor Derevianko, John O’Connor, Howard Shelley, and Leslie Howard.

Elena recorded her first solo CD in 2004, with music of Franz Liszt, and it is available from Classical Records. Shortly afterwards, she immigrated to Washington, DC. In 2005, she studied with Howard Shelley, who has recorded all of Rachmaninoff’s works, to prepare for recording of the Rhapsody on a Theme of Paganini.

The Rhapsody and Piano Concerto no. 2 are featured on her CD with the Russian Philharmonic Orchestra and released in July, 2006 by Bel Air Music . Elena’s music has been heard on radio stations WFMT in Chicago, CKWR in Ontario, and WQED in Pittsburgh.

Elena performed orchestra, chamber, and solo concerts throughout Russia, Ukraine, Great Britain, Ukraine, Austria, Korea, Netherlands, China, Poland, United Kingdom, Bulgaria, and Romania. Her performances with orchestras include the Vienna Musikverein Orchestra, the Moscow Radio Symphony Orchestra, the Crimea State Symphony Orchestra in Yalta, State Russian Orchestra “Boyan”, and the Omsk Philharmonic. With the Rachmaninoff White Lilacs Festival orchestra in 2001, Elena masterfully performed the Rachmaninoff second concerto on only four hours notice! Among her appearances since immigrating to the United States, she has performed with the Scottsdale Symphony Orchestra in Arizona, City of Fairfax Band, American Balalaika Symphony, Landon Symphonette, the Chamber Music Society of Greater Johnstown Pennsylvania, the Dame Myra Hess Series and Fazioli Salon Series in Chicago, the Las Vegas Philharmonic’s Connoisseur Series, concerts in Washington DC, Orlando Florida, and New York – Carnegie Hall’s Weill Recital Hall, Yamaha Pianos Concert Series, and Bargemusic.

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FEATURED ARTISTS LAURA HAMILTON, GUEST CONCERTMASTER Principal Associate Concertmaster for the Metropolitan Opera Orchestra, where she led hundreds of performances over 33 years. She was concertmaster for many of the MET’s popular “Live in HD” videocasts, including Carmen, Parsifal, Turandot, Faust, Salome, and Madama Butterfly. Previously a member of the Chicago Symphony, she appeared with that orchestra as concerto soloist with Maestro Sir Georg Solti. She is currently Artistic Director and Concertmaster for the summer festival Classical Tahoe in Nevada, and Concertmaster for CityMusic Cleveland and Festival Napa Valley. In 2014, while on leave from the MET, Laura served for one season as concertmaster at the Sydney Opera House. A highlight of her Sydney experience was a gala concert with famed tenor Jonas Kaufmann; her rendition of Massenet’s Meditation from Thais garnered rave reviews praising her “radiant,”“serenely beautiful interpretation.” Born and raised in the San Francisco Bay Area, Laura is a graduate of Manhattan School of Music, where she was the Nathan Milstein Scholarship recipient. She teaches violin and chamber music at New York University. Her instrument was made in Venice in 1732 by the golden-age luthier, Carlo Tononi.

KEVIN GALLAGHER, PRINCIPAL DOUBLE BASS Twenty years ago Maestro Pasquale Valerio invited me to perform with The Villages Philharmonic at the Church on Square. I had never been to The Villages and really didn’t know what to expect. The way The Villages community supported us and Maestro’s ability to get the orchestra to sound its best every time impressed me immediately and still does to this day. I knew this was a special opportunity for me.

Now, twenty seasons later, I am so thankful for that opportunity from a great musician and friend. I look forward to the next twenty years of performing beautiful music together for the wonderful audiences at The Sharon L. Morse Performing Arts Center.

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ORCHESTRA ROSTER FLUTE Nicolas Real, Principal Tanja Agretier OBOE Chanmi Kim, Principal Joshua Hall ENGLISH HORN Joshua Hall CLARINET Jason Gibbs, Principal Dominique Snider BASSOON Chris Eberle, Principal Ashley Geer Hedrick FRENCH HORN Joseph Lowinsky, Principal Nicholas Real Dann O’Donnell Klae Peek TRUMPET John De Paola, Principal Nicholas Elliott TROMBONE Andrea Rowlison Jeremy Fielder BASS TROMBONE Anthony Hill TUBA Paul Mungall HARP Elizabeth Roberts TYMPANI Chris Nolin PERCUSSION Jordan Holley Simon Ramos Christian Snedeker

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FIRST VIOLIN Laura Hamilton, Concertmaster Mark Lambert Marius Tabacilia Jose Guédez Baoling Xu Cindy Qi Michael De Jesus Elena Cook Iryna Usova Isabella Diaz SECOND VIOLIN Gregory Carreño, Principal Elizabeth Kitts Israel Mendez Luisamar Navarro Yenifer Laurens Eduardo Castro Luisa Maria Zambrano Daniel Herrera Marialejandra Vasquez VIOLA Angelo Goderre, Principal Juan Carlos Siviero Rafael Ramirez Joshua Cordova Andrea Oliveira Francia Laurens Oana Potur Milica Bunjevac CELLO David Calhoun, Principal Olga Beliaieva Helen Lewis George Alexander Valentina Hernandez DOUBLE BASS Kevin Gallagher, Principal John Di Mura Jonathan Ingram Michael Antony McCabe Leinot Hernandez

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VPO DONORS 2023-24 CONCERT SEASON Mia Ford

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Up to $99

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Barbara Athanasiou Susan Escobedo

MEMORIAL DONATIONS Bill Barnes: Susan Escobedo Fred Boyd: Frank & Janet Argenziano Fred Boyd: Mr. & Mrs. Manning Fred Boyd: Don & Janet Schiegel Carolyn Johnson: Richard Johnson

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COMING SOON

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COMING SOON

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