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 Business .................... Sean Graham
Director of People,
Projects & Culture Leslie Becker
Development Director Yasmeen Stogden
Marketing Director Monica Berdecio, MA
Booking & Contracts Manager Sierra Weiss
Production Manager Mike Giovinco
Assistant Production Manager .......... Madi Carr
Audiovisual Supervisor .................... Luke Bezio
Audiovisual Technician ................. Roel Cavazos
Desk & Facility Director ........... Tony Fairchild
Lighting Supervisor ................... Ally Southgate
Associate Lighting Supervisor ..... Dio Raquel Jr.
Production Swing ..................... Nichole Pollack
House Manager ............................... Alec Speers
Assistant House Manager .............. Tina Carroll
Lead Housekeeper ....................... Victoria Doss
Analyst, Sales & Customer Support Kristin Fortuna
Marketing & Media Coordinator Jessica Nix
Marketing Account Manager Erika Nelson
Graphic Designer ......................... Krissi Kugler
Web Designer ......................... David Sponseller
Ad Sales ... marketing@significantproductions.org
SIGNIFICANT PRODUCTIONS BOARD
Goedken
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
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
JUST ONE SHOWS LEFT!
Tuesday, May 10 ... Opera Gala: Magical Moments of Opera Scenes
ON SALE NOW // SUBSCRIPTION RENEWALS WITH NO CHANGES
APRIL 16 // SUBSCRIPTION RENEWALS WITH CHANGES MAY 7 // NEW SUBSCRIPTIONS ON SALE
CHOOSE AT LEAST 4 SHOWS & GET 10% OFF GET ALL 9 SHOWS & GET 15% OFF
Sunday, Aug 31.................................... Labor Day Celebration Pops
Tuesday, Oct 14 .................................. American Italian Celebration
Friday, Nov 21 ................................................................... Messiah
Monday, Dec 16-17 ......................................... Holiday Celebration
Wednesday, Jan 28 ..... Rhapsody in Blue and Dvorak Symphony #8
Saturday, Feb 14 .................... American Music: Celebration of Love
Tuesday, Mar 10 .................... Mozart & Beethoven Piano Concertos
Thursday, Apr 2 ..................................... Schumann Piano Concerto
Saturday, May 16 ...... Opera Gala: Magic Moments of Opera Scenes
MESSAGE FROM THE MAESTRO
Dear friends and supporters of The Villages Philharmonic,
It is with great joy that we exhibit our New Steinway D Grand Piano for a wonderful concert, a program of great intensity and beauty. Mozart-BeethovenBrahms.
This concert marks the beginning of an artistic collaboration with a prestigious music academy, “London Performing Academy of Music,” the triple concert of L. V. Beethoven will feature three extraordinary talents: Anastasiia Rud, Pianist of the London Performing Academy of Music, Fabrizio Falasca, Violin, associate leader of Philharmonic Orchestra of London, and David Calhoun, Principal Cello of The Villages Philharmonic.
We also welcome with great joy the visit of Ms. Stefania Passamonte, Executive Director of London Performing Academy of Music.
Music is a precious gift that speaks to people’s hearts.
Please don’t miss our end of season concert series, May 10th, that will be held at The Sharon L. Morse Performing Arts Center.
Maestro Pasquale Valerio Founder, Director, and Chair of The Villages Philharmonic Orchestra
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”.
Part One (60 minutes)
W. A. Mozart Overture “La Clemenza Di Tito”
L. V. Beethoven Triple Concerto for Piano Violin and Cello
~ Intermission (15 minutes) ~
Part Two (45 minutes) J. Brahms Symphony N. 2
W. A. Mozart Overture “La Clemenza Di Tito”
La clemenza di Tito K. 621, is an opera seria in two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Metastasio. It was started after the bulk of The Magic Flute, the last opera that Mozart worked on, was already written (Mozart completed The Magic Flute after the Prague premiere of Tito on 6 September 1791).
Wolfgang Amadeus Mozart
(German name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 -- 5 December 1791), was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that “posterity will not see such a talent again in 100 years…
L. V. Beethoven Triple Concerto for Piano Violin and Cello
The Great Concerto in C major for piano, violin and cello, better known as the Triple Concerto, was written in 1803-1804, but was published three years later, in 1807, as op. 56.
1803 was a fruitful year for Beethoven: after intense work on the opera Leonora, he
PROGRAM
devoted himself to revising the Eroica Symphony, completed the Triple Concerto and composed the Piano Sonatas op. 53 and op. 54, as well as drafting large parts of op. 57, the Appassionata.
Some commentators suggest that the work was originally conceived for the cello alone, given the virtuosic preponderance of this instrument over the other two soloists. It should be noted, however, that the first performance of the work, which took place in Vienna in the summer of 1808, featured the famous virtuoso Anton Kraft on the cello, the modest Carl August Seidler on the violin, and Archduke Rudolf, little more than an amateur, on the piano. The cellist was therefore the only one who could handle the weight of a technically demanding piece of writing. Although it presents some timid analogies with the contemporary Fourth Concerto for piano and orchestra, the Triple Concerto is a score lacking in thematic elaboration, inclined to effective and emphasis; a piece of occasional work, in which Beethoven’s genius winks at the brilliant and drawing-room genre.
The orchestral exposition of the first movement, Allegro, opens with a theme announced in pianissimo by the cellos and basses and then taken up by the whole orchestra in a gradual crescendo. A series of impetuous ascending scales (basses and cellos) lead to the dominant key, in which first the strings and immediately after the woodwinds present the second theme. A short coda, based on the head of the second theme, concludes the orchestral exposition. It is now the turn of the soloists, who in regular succession expose the first theme: first the cello in its high register, followed by the violin and the piano in the octave. A new theme, solemn and a little rhetorical, exposed by the whole orchestra in fortissimo, precedes a further reprise of the first theme, entrusted to the cello and immediately elaborated and varied by the three soloists in a serene and carefree episode. The second theme, exposed in A major, is once again entrusted to the cello and is followed by a new episode of motivic development conducted mainly by the three soloists. Again the third theme, now in F major, with the full orchestra in fortissimo, precedes the final appearance of the first theme, again in the cello-violin-piano sequence.
The development is rather conventional and does not highlight the dramatic tensions typical of Beethoven. It is essentially made up of two episodes: the first based almost exclusively on the head of the first theme and conducted on energetic ascending and descending arpeggios of the three solo instruments, the second consisting of a new singable motif, exposed by the cello and immediately doubled by the violin. The reprise is regular and includes the return of all the themes heard in the exposition, plus the new singable motif that appeared for the first time in the development; an emphatic coda then concludes the movement.
The second movement, Largo, is a delicate, very lyrical page, in which the extraordinary singable abilities of the cello emerge in all their power. A few orchestral bars (Tutti), then the word passes to the solo cello, which exposes the main theme using its high register; a brief transition conducted by the horns and piano leads to
PROGRAM
the reprise of the main theme. The melody is now entrusted to the solo cello and violin, while the piano and horn support harmonically. The previous serene musical discourse then breaks abruptly: minor tonality, harmonic suspension, long pedals prepare the arrival of the last movement, Rondo alla Polacca, a light and carefree page, one of the few concessions by Beethoven to the fashion of the time. Its structure is typical of the rondo, with a refrain (main theme) that alternates with various couplets (episodes).
The main theme, exposed by the cello and immediately taken up by the violin, is a simple and captivating motif, which immediately circulates in the orchestra with ease and fluency, often varied and embellished. The first couplet, based on flowing ascending scales, is entrusted to the three soloists and presents itself as an ideal continuation of the main theme; the second couplet, on the other hand, has the typical rhythmic attitude of the Polonaise and shares the minor tonality with the third couplet. A fast and frenetic Allegro, a sort of “perpetual motion” conducted by the three soloists on the delicate punctuations of the strings, precedes the finale, in which the main theme reappears for the last time.
Johannes Brahms Symphony N.2
Johannes Brahms (1833-1897)
Symphony No. 2 in D major for Orchestra, Op. 73
Allegro non troppo
Adagio non troppo
Allegretto grazioso
Presto ma non assai
Allegro con spirito
On December 30, 1877, just over a year after the public presentation of Brahms’s First Symphony, Hans Richter conducted the first performance of his Symphony No. 2 in D major, Op. 73, with the Vienna Philharmonic.
While the composition of his previous large-scale symphonic works had been tormented and full of hesitations and second thoughts and had required very long periods (ten years for the First Piano Concerto, almost twenty years for the First Symphony), Brahms wrote his Second Symphony in the summer of 1877, during the always fruitful vacation periods spent in Pörtschach, in Carinthia. The final word, however, came towards the end of September in Lichtental, near Baden-Baden, where Brahms had gone for the birthday of Clara Schumann, who in a letter to the famous conductor Levi described her composer friend as “in excellent form and enthusiastic about his summer stay”.
This spiritual situation (although one must be very careful in establishing a relationship between Brahms’ biography and his work) and the spontaneity and rapidity of the composition seem to be reflected in the character of the Symphony. Contemporary audiences and critics attempted to define this character, so evident
PROGRAM
but at the same time elusive, in various ways: some, for its eminently melodic and “singing” spirit, called it “Schubert’s last symphony”, thus updating the denomination of “tenth symphony” (by Beethoven) created by Bülow for Brahms’ First Symphony; others judged it “Mozartian” for the transparency of its orchestration; the Viennese wanted to believe that it was inspired by the grace and charm of their city and nicknamed it “Viennese symphony”; still others called it “pastoral”. The author himself once defined it as “a suite of waltzes”, since two movements are in 3/4 rhythm (and let us remember that the happy nonchalance of Johann Strauss Jr. was always the secret worry of the meticulous Hamburger); another time Brahms spoke of it as “a small, cheerful and innocent symphony”. But perhaps the spirit of this symphony is revealed, more than by all these definitions, by a piece of advice the author gave to the Viennese orchestra: “For a month beforehand, play nothing but Berlioz, Liszt and Wagner: only in this way will you understand its tender cheerfulness”. These definitions, however, seem to be contradicted by what Brahms himself had said during the composition about the first movement to Clara Schumann and Elizabeth von Herzogenberg: to the first he wrote that it had a “completely elegiac” tone, to the second that he had never composed such a sad piece and that “the score must be in mourning”. This first movement, to which Brahms refers, is an Allegro non troppo. It begins with an apparently simple theme in which the warm timbre of the horns predominates: in reality, despite its simplicity, it is composed of three sections, each of which will have its own development. The first is made up of the three notes with which the cellos and double basses open the Symphony, a “motto” that will also have a fundamental role in the last movement; a phrase by the horns and bassoons follows (which will then split into two separate motifs) and then the third element, entrusted to flutes, clarinets and bassoons. Solemn chords of the trombones shortly introduce a soft and pleasant transitional theme, derived from the “motto” and presented by the violins. The second theme proper is encountered later: it is a very charming, waltz-like melody, exposed by the violas and cellos, followed by two more marked and vigorous motifs. A very strong chord of the orchestra marks the transition to an episode in which the violins, cellos, double basses and bassoons converse in canon over a syncopated accompaniment of violas, clarinets and horns; then the exposition is concluded by a recall of the waltz motif of the second theme, this time accompanied by a countermelody of the flute. Although the movement follows only very freely the canons of sonata form, Brahms at this point provides for the complete repetition of the exposition, according to classical rules. This is followed by the development, broad and complex but clear, based mainly on the initial theme (in particular on the “motto”), the transitional theme and the canonical episode; the serenity of the exposition is now replaced by a more lively expressive tone, culminating in a dazzling episode, characterized by syncopated rhythms and threatening interventions of the brass. In the reprise the initial part is proposed again with numerous modifications, which concern above all the orchestration and the accompaniment of the themes of the exposition. Finally a “solo” of the horn starts the coda, in a quiet tempo.
PROGRAM
The second movement is an Adagio not too clearly divided into three parts, of almost identical size. It opens with one of the most beautiful themes to have come from Brahms’s pen: a “tender, melancholic, subtly sorrowful” song (Rostand), which can be divided into a first introductory part with a descending design, accompanied by an ascending counterpoint of the bassoons, and a second more melodic part, which introduces a more confident and serene tone after the plaintive descent of the first two bars. This theme passes to the violins, while the horns introduce the second theme, a call evoking alpine atmospheres. The second part of the movement (L’estesso tempo, ma grazia, ma con un cambio di tempo da 4/4 a 12/8) is also based on two themes: the first, entrusted to the winds, is serene and calm; the second, entrusted to the violins, is more lyrical and expressive. And this theme leads to more dramatic and choppy developments, with modulations to minor keys and expressive crescendo effects: at the climax, the violins re-propose (varied) the melancholic initial theme, which is also the basis of the coda, with which the movement concludes in the same sober and calm tone with which it began.
The Allegretto grazioso, quasi andantino is a scherzo with two trios (both Presto ma non assai) and develops from a single thematic idea, the pastoral motif exposed at the opening of the movement by the oboes over the accompaniment of the clarinets and bassoons and the pizzicato of the cellos. In the first trio the rhythm changes from 3/4 to 2/4, but the dancing “staccato” theme of the violins and violas, with its lively shifts of accent, is clearly derived from the opening theme: it begins calmly and lightly, then takes on a more impetuous pace but soon returns to its initial character. After a brief reprise of the scherzo, the second trio (in 3/8) also harks back to the opening theme, with a melody alternating between strings and winds, to which frequent syncopations give a vaguely Hungarian flavour. The scherzo returns, slightly altered, and finally the movement concludes with an expressive cadence, described by Brahms as “very sweet”.
The Allegro con spirito, in sonata form, harks back to the beginning of the Symphony: it opens with the “motto”, although rhythmically altered. An unexpected and darting intervention of the clarinet and a static passage of the wind instruments on the “pizzicato” of the strings introduce the broad and noble second theme, exposed by the first violins and violas. The exposition concludes with the presentation of some secondary motifs and the return of the first theme, and a relatively brief but exceptionally elaborate development begins, in which Brahms uses the most sophisticated techniques, such as inversion, augmentation, polyphonic superposition, rhythmic counterposition, in which the love and careful study of the Flemish Renaissance masters and Bach is revealed: this severe and rigorous treatment of a not particularly rich thematic material is transformed, however, into a manifestation of vigorous and tumultuous joy. After having symmetrically resumed, with numerous but not decisive variations, the exposition of the themes, Brahms begins the coda by triumphantly reintroducing the second theme, supported by the trombones, and concludes with the explosive irruption of the first theme.
FEATURED ARTISTS
LAURA HAMILTON, CONCERTMASTER
Laura Hamilton was 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.
ANASTASIIA RUD, PIANO
Anastasiia is a 19 years old pianist from Kharkiv, Ukraine. She was finishing the 11th grade at the Kharkiv State Musical Lyceum when the war started. Anastasiia is a laureate and diploma winner of various all-Ukrainian and international competitions and has performed both as soloist and in chamber music formations.
After LPMAM managed to help Anastasiia to leave Ukraine and found a sponsor to host get the UK Refugee Visa, she moved to London to continue her studies at the London Performing Academy of Music. Highlights of her new music life in UK include recitals at the National Musicians Church, the Royal Albert Hall for the Youth PROMS, the Lady Mayoress Festival for the City of London at Mansion House, the Music Education Awards and Conway Hall among others.
“Since I moved to London my life has changed for the better. I am very grateful to everyone involved for the amazing opportunity to study at the London Performing Academy of Music, attend interesting classes and events. I was particularly inspired by the opportunity to audition for one of the best labels in the world, Decca, and to participate in the amazing Q&A that followed. It was a dream experience for me and I’m very happy that I got this opportunity. With great anticipation and joy, I look forward to my American debut with the wonderful Maestro Pasquale Valerio and The Villages Philharmonic Orchestra!”
FEATURED ARTISTS
FABRIZIO FALASCA, VIOLIN
Fabrizio Falasca is considered among the leading Italian violinists of his generation. He regularly performs as soloist in the most prestigious theaters and festivals throughout the world, such as the Royal Festival Hall in London, Brahms Saal of the Musikverein in Vienna, Salle Garnier in Montecarlo, Teatro Carlo Felice in Genova and the Teatro San Carlo in Napoli, to name a few. He is in demand as a guest concertmaster with world class orchestras including the Philharmonia of London, Orchestre de la Suisse Romande, BBC Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra, and regularly leads the Teatro Lirico di Cagliari Orchestra, Maggio Musicale Fiorentino Orchestra, Teatro dell’Opera Orchestra in Rome, Petruzzelli Orchestra in Bari. In 2016, he won the Concertmaster position of the Tyroler Symphonie Orchester Innsbruck, and in the same year he joined the Philharmonia Orchestra in London as Assistant Leader, position currently held. In 2022 he won the Concertmaster position of the Teatro Lirico of Cagliari Orchestra. He regularly performs chamber music with his string quartet, the Philharmonia Chamber Players, and with musicians such as B. Canino, F. Petracchi, J. Ju, and A. Pompa-Baldi among others. Falasca is often featured on the Italian national broadcasting Radio RAI, as well as on BBC Radio, and is a prolific recording artist for various labels such as Centaur Records, CPO, Aulicus Classics, Amadeus and Brilliant Classics. He is a laureate of the Vittorio Veneto and the Postacchini International Violin Competitions. Fabrizio studied with Salvatore Accardo at the Stauffer Academy, with Felice Cusano at the Fiesole Music School, and Dora Schwarzberg. After his studies in Italy, he was rewarded a scholarship and graduated with Master of Music at the Royal Academy of Music in London under So-Ock Kim. His teachers includes M.Vengerov and L.Kavakos. He is currently violin professor at the Conservatory of Potenza, Italy and at the London Performing Academy of Music. He plays a J.Guarneri 1727 violin and a Francesco Rugeri 1690 violin both gifted by the Barison’s family.
FEATURED ARTISTS
DAVID CALHOUN, CELLO
David Calhoun was appointed principal cellist of South Florida Symphony by Sebrina María Alfonso in 2017. Calhoun has appeared as principal cellist with the American Symphony Or-chestra at Lincoln Center, American Ballet Theatre at the Metropolitan Opera House, the Brooklyn Philharmonic at the Brooklyn Academy of Music, the American Composers Or-chestra and the New York City Opera on tour.
He has also given performances of chamber music with artists such as Ani Kavafian, Sidney Harth, Eric Friedman, Menahem Pressler, the Shanghai Quartet, tours with Orpheus Cham-ber Orchestra and the Metropolitan Opera, and a 15-year-residence with the Orion Music Piano Quartet at The Metropolitan Museum of Art.
Calhoun has been the soloist on live broadcasts for radio stations WQXR and WNYC in New York, and invited by Philip Glass to make the first solo recording of his cello concer-to Naqoyqatsi at Looking Glass Studios.
ORCHESTRA ROSTER
FLUTE
Nicolas Real, Principal
Geraldine Barazarte
OBOE
Amy Collins, Principal
Chanmi Kim
CLARINET
Jadon Gibbs Principal
Dominique Keller
BASSOON
Christian Eberle, Principal
Patrick Broder
FRENCH HORN
Ector Rodriguez, Principal
Dann O’Donnell
Klae Peak
Alexander Hellake
TRUMPET
John De Paola, Principal
Luis Mora
TROMBONE
Andrea Rowlison, Principal
Jeremy Fielder
BASS TROMBONE
Anthony Hill
TUBA
Paul Mungall
TYMPANI
Christopher Nolin
FIRST VIOLIN
Laura Hamilton, Concertmaster
Stewart Kitts
Evgeny Komarnitskiy
Elena Komarnitskaia
Jose Guédez
Marius Tabacila
Michael De Jesus
Carlos Jaquez
Jerry Weiss
Baoling Xu
David Qi
Dina Fedosenko
SECOND VIOLIN
Gregory Carreño, Principal
Yasmary Marquez
Israel Méndez
Elizabeth Kitts
Luisamar Navarro
Ivette Ferreira
Marialejandra Vasquez
Fernando Tirado
Yenifer Laurens
VIOLA
Richard Urbano, Principal
Juan Carlos Siviero
Francia Laurens
Andrea Oliveira
Aine Munn
Oana Potur
Maria Victoria Albornoz Sanchez
Angelo Iollo
CELLO
David Calhoun, Principal
Lanny Paykin
Olga Beliaieva
Helen Lewis
George Alexander
Scott Crowley
DOUBLE BASS
Kevin Gallagher, Principal
Leniot Hernandez
John Di Mura
Jonathan Ingram
Michael Anthony McCabe
VPO DONORS 2024-25 CONCERT SEASON
ORCHESTRA CIRCLE
$10,000+
Dennis & Melinda Barker
Joseph & Marlene Borda
Dr. Robert & Karen Chaikin
Carolyn Cottrell
Margaret M. Dick
Linda Ferens
Peter & Mary Jane Moeller
Dean & Audrey Throndsen
MAESTRO CIRCLE
$5,000 – $9,999
Bonnie Carnes
Whitney Morse & Jason Goedken
Sarah Jordan
Stefano & Karen
Marcuard/Shaw
The Garden Worship Center
SYMPHONY
CIRCLE
$2,500 – $4,999
David & JoAnne Kelch
Joyce Oberlander
CONCERTO CIRCLE
$1,000 – $2,499
Dennis R. Carney
David Colvin
Mr. & Mrs. Joseph DeVuono
Patrick & Kim DiSalvo
Stuart & Susan Feinberg
Lois Fisch
Charlotte & John Gates
Richard & Jeanne
Geoffrion
Ralph Gingery
Jay & Lesly Ginsberg
Carol Guglielm
Diane Kupchak
Robert Lonergan
Ted & Carol Mervosh
Dr. & Mrs. Winfred
Stringer
Dr. Laurie Ullery
OVERTURE CIRCLE
$500 – $999
Avrum Abramowitz
Robert Becker
Steve & Donna Bell
Charlotte Conway
David Derenzo
Barbara Dipol
William & Judith Doran
Doris Goodwin
George Guarino
Richard & Estella Hoag
Marilyn Martin
Clint & Michelle
Newman
Robert A. Phillips
Richard & Charlotte Rahm
Henry Safford
Ken & Mary Shutts
Kathy Sumner
Yvonne Tepsick
Kirk Thompson
Paul & Jilleen Throndsen
Holly Tobin
Richard & Grace Waller
Abbott & June Webber
Andrea Ziccarelli
SUITE CIRCLE
$100 – $499
Deborah Achtenberg
Kathy Aiello
Gail Lanphere Bailey
Sara Barger
Jeff & Ursula Bergman
John Blassick
Frank & Linda Blews
Jeff & Lisa Boduch
Linda Boese
Donna Bracchi
Dora Bryan
Stephanie Calareso
Thomas & Linda Casey
Ed Christian
Danny Cibas
Dr. & Mrs. James Coe
Irene Coen
Marie Connolly
Glenda Crandall
Jill Cummings
Robert & Lorraine
Dibartolo
Marjorie & Reginald
Dodrill
VPO DONORS 2024-25 CONCERT SEASON
Caroline Doran
Louise Elwood
Baerbel Engel
David Fancher
Robert Faucett
Greg & Mary Feichtel
Sandra Fennell
Jay & Carol Force
Mary Ann Garback
Richard & Camille
Gehnrich
Dr. Robert & B. Gold
Sheldon & Shelley Goldseker
David Guinther
Richard Hall
Kent & Sarah Hamdorf
Carol Joyce Harrison
Joseph & Marcia Harvey
Mark Hawke
Christine Heaton
Joan Jamieson
Dan & Carol Johns in Honor of Ann Whipple
John & Alexsandra Kirby
Brad Koozman
James Langendorfer in Honor of Anna Whipple
Steven & Jayne Lewin
Eileen McCabe
Shirley McHugh
Nick & Donna Meister
Harold & Roberta Messenheimer
Diane Mezzanotte
Joanne Michalski
Kathleen Miller
Ted Miller
John & Jeanne Nickelson
Bob & Georgann Ozbolt
Robert Perkinson
Kathi Renman
Jeremy & Barbara
Reynolds
Edmund Ricci
Michele Santoro
Norman Lee & Terri
Schaffer
Arthur Sindoris
Erik St Pierre
Jeffrey Stierlen
Ronald Streib
Tony & Joanne Sutylo
Nancy Tuccillo
John Van Dyke
Antonio Velardi
Theresa R. White
Mike Whitfield & Darlene Pruett
Ellen Wilcox
Carole Williamson
Jerry & Judy Wise
Mary Yankowski
Stuart & Barbara Yowell in Honor of Anna Whipple
ARIA CIRCLE
Up to $99
Robert Burns
Robert & Anna Deeter
Diane Duffett
Thomas Galen
Calasha Gish
Melody Highman
Phineas & Ilene Hyams
David Kizale
Margaret Mecheski
Gary Perlick
Janice Porter
Robert & Charlene Soos
Dale Stier
Robert & Glenda Supino
Murial Trulson
Joy Turpie
John Voorhes
Lukas West
Anna Whipple
Bonnie Williams
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
BUSINESS PARTNERS
Blackston Financial Advisory Group
FMK Restaurant Group
Francesco’s Ristorante
Fross & Fross Wealth Management
Havana Country Club & Legacy Restaurant at Nancy Lopez Country Club by Suleiman Family Restaurants
Royal Décor Company
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.
