VPO Jan Program 2025

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CLASSICAL CONCERT SERIES

THEATRE STAFF

Executive Director .......................................................................... Jason Goedken

Artistic Director ............................................................................ Whitney Morse

Associate Artistic Director ................................................................. Angel Creeks

Director of Operations ......................................................................... Jon Cronin

Director of People, Projects & Culture ...............................................Leslie Becker

Development Director ................................................................ Yasmeen Stogden

Marketing Director ..................................................................... Monica Berdecio

Production Manager ....................................................................... Mike Giovinco

Booking Manager ................................................................................ Sierra Weiss

Senior Business Manager ................................................................... Sean Graham

Lighting Supervisor ......................................................................... Ally Southgate

Associate Lighting Supervisor .......................................................... Dio Raquel Jr.

Senior Production Coordinator ..............................................................Madi Carr

Audio Visual Director ........................................................................... Luke Bezio

Production Coordinator ................................................................ Nichole Pollack

Production Manager ...............................................................Mark Kirschenbaum

House Manager .................................................................................... Alec Speers

Assistant House Manager ....................................................................Tina Carroll

Assistant House Manager ........................................................... Savannah Wagner

Marketing & Media Coordinator .......................................................... Jessica Nix

Marketing Account Manager .............................................................. Erika Nelson

Graphic Designer ...............................................................................Krissi Kugler

Web Designer .............................................................................. David Sponseller

Ad Sales ..................................................... marketing@significantproductions.org

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

ART.

ARTISTS.

AUDIENCE.

SIGNIFICANT PRODUCTIONS (SIGPRO) is a Non-Profit arts organization that operates The Sharon L. Morse Performing Arts Center (The Sharon) & The Studio Theatre Tierra del Sol (The Studio).

OUR MISSION; SigPro cultivates a diverse collaborative community with a focus on artists' well-being that strives to provoke thought and spark conversation through high quality performing arts.

OUR TEAM MEMBERS

We believe that fostering an inclusive and supportive workplace is essential for the creation of exceptional art. Our commitment to diversity, equity, and inclusion extends to our employees. This ensures every individual who contributes to our productions feels valued and empowered. We actively promote a workplace culture that embraces differences and encourages collaboration among our diverse team of artists, technicians, administrators, and volunteers.

Thank You

FOR SUPPORTING SIGNIFICANT PRODUCTIONS

MULTI-DONORS

Mary Homko

Giuseppina (Jo) Jones

Russell Jones

Donna Taylor

Jennifer Velez

Jim Ward

INDIVIDUAL DONORS

Stan Ackerman

Marge Alder

David Burns

Marie Connolly

Jon Cronin

Sharon Curry

Fidelity Charitable

Carol Floros/Koszola

Nancy Garrison

Lynn & Kathy Glassock

Brian Grode

Roger & Karen Kass

Bob Kendi

Honey & David Kirk

Ron Kravet

Edward & Gale Labuda

Chuck & Bev Levy

Sarah Lindmeier

April & David Linscott

John McAuley

Xiomara Guevara Mendoza

Jan & Tom Miller

Marianne Niesen

Rosemary Pacenta

Patricia Schlemmer

Diann Sherwin

Donna Silver

Jan & Dave Thomas

Muriel Trulson

John Van Dyke

Liza Diana Walters

Melissa Warner

Peter Webb

Attendees at The Sharon 9th Birthday Lunch

DONATIONS IN HONOR OF Ursula Becker

Peg Fiore

Alice Stogden

Thank you to our anonymous donors.

SEP 1-MAY 10

Friday, February 14 ............... American Music: Celebration of Love

Sunday, March 9 ........................................ Classical Concert Series

Tuesday, April 8.......................................... Classical Concert Series

Tuesday, May 10 ... Opera Gala: Magical Moments of Opera Scenes DONATE

ANNUAL FUNDRAISING EVENT PRESENTS

THE GRECIAN GALA

Music By Orchestra Ensemble

Silent Auction • Live Auction

Dinner • Dancing

Wed, FEB 26, 2025 • 5-9pm

$175 • On Sale Now!

CONCERT SPONSORS

MARGARET M. DICK

At age six, Maggie’s parents took her to her first live symphony in Chicago. She was enchanted by the by the magical sound, the orchestra, and the instruments. While she doesn’t remember the program, she vividly remembers the very large harp! Back home she often went to see Eugene Ormandy and the Philadelphia Orchestra. When in her teens, she and her sister went together and sat in the very top of the balcony…no seats, just wooden benches! The life-long love of orchestral music was established. After retirement, the pull of year-round golf brought her to The Villages. Upon learning of the existence of The Villages Philharmonic Orchestra, and meeting Maestro Pasquale Valerio, she became involved with the guild. She feels very privileged to have watched the extraordinary development of the VPO into a world-class orchestra under the baton of the maestro.

MESSAGE FROM THE MAESTRO

Dear friends and supporters of The Villages Philharmonic,

As we embark on this new year, we do so with a heartfelt wish for love and serenity to fill the world. Music, as the universal language of emotions, speaks directly to our hearts, fostering connection and understanding.

This evening’s symphonic concert features timeless masterpieces by Benjamin Britten, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. We are honored to welcome the esteemed Maestro Renato Balsadonna—conductor and concert pianist—to The Sharon L. Morse Performing Arts Center. It is with great anticipation that we look forward to his performance of Mozart’s Piano Concerto No. 20 in D minor, K. 466.

A special note of gratitude goes to our cherished friend and longtime supporter, Margaret M. Dick. For over 15 years, Margaret has shown unwavering dedication and love for your Orchestra, and we are deeply thankful for her contributions.

Lastly, thank you to all of you, our audience, for joining us tonight. Your presence and support mean the world to us.

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.

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”.

PROGRAM

Piano Concerto N.20 in D minor K.466

The Piano Concerto K.466 was composed by Mozart in 1785, and is the tenth of the Concertos written after his move to Vienna in 1781. In the four years following his break with the Salzburg court, Mozart had rapidly established himself among the public of the capital of the empire, but not so much as a composer as a pianist, as a fashionable virtuoso. The small circle of aristocrats and wealthy bourgeois who honoured with their presence the “academies” organised by the young Salzburger were irresistibly attracted by the novel aspects of Mozart’s pianism, by the brilliant and non-cembalist fluidity, by the new dynamic excursions, by the controlled percussive effects of the touch. These characteristics in fact responded perfectly to the ephemeral and disengaged taste of the majority of listeners; and the Piano Concerto was considered the genre of entertainment and relaxation par excellence.

It should not be surprising, then, that in the first Viennese Concertos the composer’s primary concern was to create products in which he himself could appear, as a soloist, in the most captivating way possible; but then, gradually, Mozart transformed the genre of the Concerto into a true laboratory of formal, linguistic and content experimentation. The result was a new conception of the relationship between piano and orchestra as a comparison of different individualities, in a perspective that anticipates that of the Beethovenian and then Romantic Concerto.

It is precisely in this perspective that the Concerto K. 466, performed and conducted by the composer on 11 February 1785, opens new frontiers, forcing virtuosity towards a “dramatization” that tends to involve the listener emotionally (and it is certainly no coincidence that this Concerto was the only one of Mozart’s to remain in the repertoire during the last century). The minor key itself excludes a priori the most easily brilliant and external component of virtuosity. The entire piece is marked by an almost theatrical tragedy, splendidly calibrated on a dialectic of internal, formal, tonal contrasts between “solo” and “tutti”. In the first movement, the drama of the first theme, immediately highlighted by the syncopated rhythm that agitates the orchestral introduction, is attenuated by a second cantabile theme; the piano’s entrance, however, occurs with a third theme that, over time, will be taken up only by the solo instrument; the conflict between the latter and the orchestra thus also takes on a thematic aspect (the cadence which, as usual, precedes the coda of the movement, was not left to us by the author; by tradition, the cadence written by Beethoven specifically for his own performances of the score is performed). There is a strong contrast with the second movement, a Romance based on a very simple melody, intoned by

the piano and taken up by the orchestra; and a new contrast is created with the central section of the movement which, rich in dramatic outcomes and complex instrumental balances, achieves the effect of highlighting the character of the main theme when it recurs. With the Finale, in the form of a Rondo, we return to the initial setting, accentuated by the pressing rhythm and the frequent oscillation between minor and major; this climate is converted, however, in the coda, which seals the Concerto with a surprising D major. This is a conclusion which has been variously interpreted, and even harshly criticized as a concession to the public; but it actually constitutes, with extreme coherence, the last response to that logic of oppositions which animates the drama of the entire score.

L. V. Beethoven

Symphony N.4 in B-flat Major Op.60

After completing the “Eroica” Symphony at the beginning of 1804 - performed in August of the same year and published in October 1806 - Beethoven almost immediately set about writing a new symphonic score in C minor, which would not be completed until the beginning of 1808. Full of doubts and second thoughts, the gestation of this masterpiece (the future Fifth Symphony) would therefore constitute a burdensome and almost obsessive commitment for a period of four years, without however preventing the composer not only from completing the Fourth Piano Concerto, the Violin Concerto, the first two versions of Fidelio, but also from writing another entire Symphony, the “Fourth”, and from sketching out the outline of yet another, the Pastoral.

The Symphony op. 60 was thus born in the shadow of the major work almost as a diversion from it, as the very circumstances of its genesis lead one to believe. It was in the autumn of 1806 that Beethoven, in the company of one of his first patrons, Prince Lichnowsky, paid a visit to the castle of Count Franz von Oppersdorf, in Upper Silesia. A lover of the arts, Oppersdorf maintained an orchestra under his command which, on the occasion of the visit of the maestro from Bonn, performed the Second Symphony; the master of the house asked the composer to write another symphonic score for him and the composer, certainly cheered by economic considerations, agreed; at first he thought of assigning the Symphony in C minor to Oppersdorf, but evidently the completion of this would have taken too long. Hence the idea of a totally new score; and, in fact, the “Fourth” was born in a truly short period of time; the absence of the usual extensive preliminary drafts, which has often been attributed to misplacement, is more likely to be attributed to the fact that such drafts were not drawn up at all. Dedicated, of course, to Oppersdorf, the Symphony in B flat was performed on 5 March 1807 in the Viennese palace of Prince Lobkowitz, and was published the following year.

PROGRAM

The almost parenthetical nature of the composition of the “Fourth” is also reflected in its musical content, alien to titanic ambitions and inspired instead by aesthetic principles of pure entertainment, in some ways still eighteenth-century; so much so that, crushed between the massive monuments of the “Eroica” and the “Fifth”, the Symphony in B flat has often embarrassed romantic critics. Liked by Schubert (who on the other hand, in his first Symphonies followed the Haydnian path), it was defined by Schumann as “a slender Greek girl between two Nordic giants”, with a compliment that is only apparently such; and in fact to fully accept the Symphony the romantics needed to seek the usual union between the man and the artist, attributing the “serene” content of the score to the “serene” moment experienced by the musician, in love with Teresa Brunswik.

But, if it lacks a strong commitment to content, this does not mean that the “Fourth” marks a retreat in Beethoven’s symphonic style. The awareness achieved by the author with the “Eroica” in symphonic writing and in the technique of thematic dialectic marks an unbridgeable gap compared to the “eighteenthcentury” Symphonies, the “First” and the “Second”. In its own way, the “Fourth” pushes its entertainment tasks towards limits that are difficult to cross; the timbral experiments that run through the entire score do not have a decorative character, but undermine from within the traditional structure, apparently respected in the scansion in four movements that hark back to Haydn’s modules: first movement in sonata form with slow introduction, contemplative second movement, Minuet with Trio and Finale with “perpetual motion” in sonata form.

The introductory Adagio unfolds in a mysterious climate of expectation, which culminates in the abrupt orchestral “blows” that open the Allegro vivace; here the characteristic traits of irony that pertain to the entire score immediately emerge: the rhythmic aggressiveness, the contrast between instrumental groups, the sweet expressive relief of the woodwind group, the chamber-like refinement of the timbre games, evident above all in the period that concludes the Development, before the Resumption. The Adagio, the second movement, is animated by singable ideas with an ill-defined profile, cemented together by an iambic rhythmic principle that immediately appears as an accompaniment figure and then takes on the most diverse functions in the course of the movement. Another rhythmic principle is at the basis of the Minuet (a binary rhythm set in a ternary measure), which is then clearly contrasted with the Trio, with the cantilena of the wind instruments; this is the movement where the logic of contrast between strings and wind instruments appears most openly. The Symphony ends with an Allegro ma non troppo estremo brillante, similar in its approach to certain Haydn Finales, but with a rhythmic roughness and dynamic contrasts that are entirely peculiar; and an effective conclusion decisively reaffirms the playful content of the score.

PROGRAM

Benjamin Britten - Simple Symphony

Composed at the age of twenty-one in 1934, Britten’s Simple Symphonytogether with the Sinfonietta, and the Phantasy Quartet of 1932 - contributed significantly to the international affirmation of the English composer. Britten had indeed been a precocious musical talent and at only fourteen years old he could already boast a catalogue of compositions of great respect. Certainly it was only the apprenticeship with Frank Bridge and then, at the Royal College of Music, with John Ireland that made him a true composer, very skilled in handling the most diverse materials - he too, like Hindemith, an authentic craftsman of music. In the dialectic, sometimes heated, between avant-garde and tradition that has dominated the musical culture of this century, Britten decidedly oriented himself towards tradition by which, however, he was absolutely not crushed due to his indisputable compositional intelligence and inventive freshness. These peculiarities of his make him one of the rare composers of the twentieth century in whom the use of traditional tonality appears completely natural and necessary.

More than the much-talked-about eclecticism, the common thread of his conspicuous compositional work seems to be the scrupulous and constant study of the great English musical tradition from the Elizabethan age to Purcell. The languid melancholic vein of John Dowland - present with original themes and reworkings in more than one of Britten’s works - like the splendid “expressive” art and full of “affects” of the Baroque Purcell have left the deepest and most lasting mark on his creative spirit.

A powerful communicative instinct also pushes him towards musical theatre and teaching. Theatrical works - the first in chronological order and in terms of quality is Peter Grimes from 1945 - constitute the backbone of his production. Among the didactic works, those for children’s choir stand out.

The Simple Symphony is divided into four movements.

The initial Boisterous Bourrée (impetuous Bourrée) alternates sections in agile double counterpoint with others in which a popular theme from a very young Suite for piano prevails.

The subsequent Playful Pizzicato (playful Pizzicato) is a light Scherzo contrasted by the rustic and heavy Trio.

An austere atmosphere pervades the Sentimental Saraband, while the Frolicsome Finale (Finale scherzoso), which takes its catchy folk-flavoured theme from a 1926 Piano Sonata, is a brilliant example of compositional ease and light-heartedness so rare in the music of our century.

FEATURED ARTISTS

LAURA HAMILTON

Laura Hamilton was Principal Associate Concertmaster for the Metropolitan Opera Orchestra, where she led hundreds of performances over a tenure of 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 Georg Solti. Her first orchestral position was with the New Jersey Symphony, where she was Principal Second Violinist for two years. Laura is currently Concertmaster for the conductorless chamber orchestra CityMusic Cleveland, as well as Artistic Director and Concertmaster for the summer festival Classical Tahoe in Incline Village, Nevada. As a chamber musician, she has performed with Berkshire Bach and other New England festivals including Marlboro, Manchester, and Bard; in summer festivals in Norway and Greece; and on the Met Chamber Ensemble series at Carnegie Hall. She appeared as guest concertmaster for the Seattle Symphony, the American Symphony Orchestra, the Welsh National Opera, and the Adelaide Symphony in Australia. 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 studio violin, orchestral repertoire and chamber music at New York University. She has been a visiting instructor at New World Symphony, Manhattan School of Music (Orchestral Performance), and Bel Canto Institute in Florence, Italy. In 2021, she was a juror for the 14th International Henryk Wieniawski Violin Making Competition in Poznan, Poland.

As Artistic Director of Classical Tahoe, Laura Hamilton curates the musical content of PBSReno’s 6-part series “Classical Tahoe,” now in its third season. “Classical Tahoe” has been distributed nationally by American Public Television. Laura and her husband, cellist Lanny Paykin, reside in New Jersey.

FEATURED ARTISTS

I was born in Venice and began playing the piano at the age of six. I pursued my musical education at the Conservatory of Padua and later graduated from the Giuseppe Verdi Conservatory in Milan. I further attended masterclass courses with Virginio Pavarana and composition course with Bruno Coltro. I won several prizes in national and international competitions, including Osimo and Barcelona. Subsequently, I delved into expanding my repertoire by focusing on chamber music, vocal, and operatic repertoire. That marked the beginning of my activity as an accompanist and collaborative pianist, leading to work as an assistant to Peter Maag at the Teatro di Treviso and later at the Basel Opera House, where I gained valuable experience as an assistant and chorus master.

An invitation to join the Theatre de la Monnaie in Brussels provided me with the opportunity to work alongside one of the most influential musical personality, Antonio Pappano, who played a pivotal role in my musical development. Following nearly a decade as chorus master in Brussels, I accepted to take the same position at the Royal Opera House Covent Garden in London. There, I continued to prepare productions for esteemed conductors such as Antonio Pappano, Colin Davis, Bernard Haitink, Charles Mackerras, Daniel Barenboim, Simon Rattle, Semyon Bychkov and many others.

In 2012, I embarked on a new chapter in my career as a conductor, gradually expanding my reach to lead prestigious orchestras in London, Royal philharmonic Orchestra, London Philharmonic, and renowned opera houses worldwide. My engagements have included performances at Teatro La Fenice in Venice, Teatro Regio Turin, Teatro Maestranza Sevilla, Opera Frankfurt, Mariinsky in St. Petersburg, New National Theater Tokyo as well as the Royal Opera House Covent Garden itself, where I have been a regular guest conductor since 2017. Despite my success as a symphonic and opera conductor, I have maintained a strong connection with my first instrument, the piano. It is essential for me to continue exploring the piano repertoire, as it provides me with a unique perspective on orchestral music, as well as playing the piano with an ear and the vision of the orchestra. Collaborating closely with instrumentalists and singers in chamber music remains a fundamental aspect of my musical journey, and also allowing me to shape and mold the material sound through the piano.

ORCHESTRA ROSTER

FLUTE

Nicolas Real, Principal

OBOE

Amy Collins, Principal

Chanmi Kim

CLARINET

Jadon Gibbs Principal

Dominique Keller

BASSOON

Christian Eberle, Principal

Patrick Broder

FRENCH HORN

Dann O’ Donnell, Principal

Klae Peek

TRUMPET

John De Paola, Principal

Matthew Piper

TYMPANI

Jordan Holley

FIRST VIOLIN

Laurie Hamilton, Concertmaster

Marius Tabacila

José Guedez

Jerry Weiss

Michael De Jesus

Baoling Xu

Mark Lambert

Scott Knopf

Fernando Tirado

Maria Chirinos

SECOND VIOLIN

Gregory Carreño, Principal

Israel Méndez

Luisamar Navarro

Isabella Diaz

Luis Navarro

Marialejandra Vasquez

Yenifer Laurens

Alejandro Quilarque

VIOLA

Richard Urbano, Principal

Juan Carlos Siviero

Angelo Iollo

Oana Potur

Joshua Cordoba

Francia Laurens

Andrea Oliveira

CELLO

David Calhoun, Principal

Olga Beliaieva

Roy García

Helen Lewis

George Alexander

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Leniot Hernandez

Michael Anthony McCabe

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MEMORIAL DONATIONS

Bill Barnes: Susan Escobedo

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Fred Boyd: Mr. & Mrs. Manning

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ENJOY YOUR NEXT SHOW AT THE SHARON LIKE A VIP!

• Exclusive experience for up to 15 guests.

• Private lounge for the evening, including home-like furnishings, restroom, and direct access to the auditorium box for comfortable viewing of your show.

• Upgrades available such as a private bartender or personalized celebratory furnishings.

WE LOOK FORWARD TO CREATING AN EXPERIENCE TO REMEMBER!

To explore accommodations and availability, please contact Yasmeen@SignificantProductions.org

The Villages® Community Sarasota Plaza | 352-775-1772 312 Heald

The Villages® Community Southern Trace | 352-461-1740 3433 Wedgewood Lane handandstonesoutherntrace.com

Membership Program Available

*Introductory offers valid for first-time visit only and not valid towards gift cards. Sessions include time for consultation and dressing. Limited time offer. Rates and services may vary by location. Independently Owned & Operated. ©2024 Hand & Stone Corp. Franchises Available. MM39256/ CE10017237, MM43233/CE10034642

ADVERTISE

Increase your visibility by marketing your message to The Sharon L. Morse Performing Arts Center’s local, engaged audience, as well as advertise in The Studio Theatre Tierra del Sol’s Programs and our monthly Digital Newsletter, The Scoop!

For information on prices, ad sizes, and availability, please email us at marketing@significantproductions.org.

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VPO Jan Program 2025 by Significant Productions, Inc - Issuu