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SIGNIFICANT PRODUCTIONS BOARD
President .................................................................................................. Elliot Sussman, MD, MBA
Vice President ..................................................................................................... Marcus Bridgewater
Treasurer ...................................................................................................................... Donna Taylor
Secretary .............................................................................................................. Elizabeth Constant
Board Member ............................................................................................................ Jason Goedken
WHITNEY
The Sharon®L. Morse
PERFORMING ARTS CENTER
Dear Patron of the Arts,
Welcome to The Sharon L. Morse Performing Arts Center!
This year marks a very special milestone—10 years since The Sharon first opened its doors. What began in 2015 as a bold dream has grown into a vibrant home for live performance, rooted in the adventurous and artistic spirit of my grandmother, Sharon L. Morse.
Over the past decade, we’ve been honored to earn your trust, show by show, standing ovation by standing ovation. Whether you’re here tonight to experience a beloved Broadway tour, a favorite artist, or something entirely new, know that every performance has been thoughtfully curated by our passionate team of artists and arts administrators.
As we celebrate our first ten years, we’re also stepping into an exciting new chapter: The Sharon is now proudly powered by Significant Productions, a registered nonprofit dedicated to creating meaningful, memorable arts experiences in our community. With this new foundation, we’re not only preserving what makes The Sharon special, we’re building toward a future filled with bold ideas, diverse stories, and even more opportunities to surprise and delight you.
Thank you for being part of this journey. We’re so glad you’re here. Enjoy the show, and here’s to the next ten years of discovery, connection, and applause.
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.
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MESSAGE FROM THE MAESTRO
Dear Friends and Supporters,
The concert we are presenting this evening is extraordinarily beautiful and versatile, ranging from Canidide Overture Bernstein, to Rhapsody in Blue Gershwin, to Tchaikovsky Symphony with one of the most iconic symphonies, particularly dear to the composer!
A warm welcome back to The Villages for Francesco Maria Navelli, a pianist of extraordinary talent and skill. Thank you for being here with us to experience the extraordinary emotions that only music can bring to our hearts.
Maestro Pasquale Valerio Founder, Director, and Chair of The Villages Philharmonic Orchestra
In Loving Memory of
A long time friend and supporter of The Villages Philharmonic
Mary Jane Moeller
AUG 31-MAY16
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Sat, Feb 14 ............................. American Music: Celebration of Love
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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. 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
GEORGE GERSHWIN RHAPSODY IN BLUE
Rhapsody in Blue is a 1924 musical composition for solo piano and jazz orchestra by George Gershwin. Commissioned by conductor Paul Whiteman, the work combines elements of classical music with jazz-influenced effects and was first performed at a concert titled “An Experiment in Modern Music” on February 12, 1924, at Aeolian Hall in New York City. Whiteman’s band performed the rhapsody with Gershwin at the piano. Whiteman’s arranger, Ferde Grofé, orchestrated the rhapsody several times, including the original 1924 score, the 1926 pit orchestra score, and the 1942 symphonic score.
The rhapsody is one of Gershwin’s most recognizable creations and a key composition that defined the Jazz Age. Gershwin’s piece ushered in a new era in American musical history, solidified his reputation as a prominent composer, and became one of the most popular concert works ever. In American Heritage magazine, Frederic D. Schwarz argues that the famous opening clarinet glissando became instantly recognizable to concert audiences, much like the opening of Beethoven’s Fifth Symphony.
Following the success of an experimental classical-jazz concert held with Canadian singer Éva Gauthier in New York City on November 1, 1923, conductor Paul Whiteman decided to attempt a more ambitious undertaking. He asked composer George Gershwin to write a concert-style piece for an all-jazz concert in honor of Lincoln’s birthday, to be held at Aeolian Hall. Whiteman focused on having Gershwin compose such an extended piece after collaborating with him on The Scandals of 1922. He had been particularly impressed by Gershwin’s one-act “jazz opera.”
PYOTR ILYICH TCHAIKOVSKY
SYMPHONY N.5 IN E MINOR OP.64
On June 10, 1888, from the country house thoughtfully rented for him by his brother Anatol, Pyotr Ilyich Tchaikovsky wrote to his generous patron Nadezhda von Meck: “I want to get down to work diligently;
I feel a very strong urge to prove not only to others but to myself that my ability to compose is not exhausted.
I don’t know if I’ve already written to you that I’m working on a Symphony.
At first, I proceeded with difficulty, but now it seems that inspiration has descended upon my spirit.” He was referring to Symphony No. 5 in E minor, Op. 64, composed rapidly between May and August 1888, after a period of depression and creative stagnation. Conducted by the composer himself on November 5 in Saint Petersburg, it achieved some public success but was harshly criticized by the press, with the consequence that Tchaikovsky once again fell prey to melancholy and despair. The letter of December 2nd to von Meck therefore has a completely different tone
PROGRAM
from the previous one: “After conducting my new Symphony twice in St. Petersburg and once in Prague, I have become convinced that it is unsuccessful. There is something unpleasant in this music, a certain disparity of colors, a certain insincerity, a certain artificiality. Even without realizing it, the public perceived this. I clearly felt that the applause and approval were actually directed at my previous compositions and that this Symphony failed to please: a realization that causes me bitter pain and profound self-dissatisfaction. Yesterday I leafed through the Fourth, our Symphony, what a difference! How much higher it stands! It’s a very, very sad thing!”
Today we know that the Fifth Symphony is far superior to the Fourth and that, on a strictly musical level, it is even better than the Sixth, the very popular “Pathetique.” Moreover, Tchaikovsky himself would later change his mind, thanks to the successes achieved by the Fifth in the concerts he conducted during his European tour of 1889-1890, when even Brahms praised it, expressing only a few reservations about the finale.
Continuing the principle of the Fourth Symphony, written eleven years earlier, the Fifth is also marked by the theme of fate. Tchaikovsky did not express in a detailed program the ideas that guided him in the composition, but he did jot down some thoughts on the subject: “Introduction: total submission before destiny or, which is the same, before the inescapable predestination of providence. Allegro. I: Murmurs, doubts, accusations against XXX. II: Isn’t it better then to throw oneself headlong into faith? The program is excellent, provided I can realize it.” Another note relating to the second movement alludes to the contrast between a theme indicated as “consolation” and “ray of light” and a theme entrusted to the low instruments, which would respond: “No, no hope.”
The Fifth Symphony also takes up the cyclical principle of the recurring idea, or motto, from the Fourth, making even greater use of it, because the same theme, linked to destiny, returns here in all four movements: it is already heard in the introduction, Andante, entrusted to the clarinets and low strings, dark and heavy, with a movement that has something of both a march and a chorale. The Allegro con anima opens with a new theme, which maintains the atmosphere of underlying unease, despite the relatively lively rhythm. Harsh interventions of the brass instruments explode the tension, which quickly subsides and allows a second theme to emerge, in a major key, simple and pastoral, bringing a ray of light after the previous shadows. A lyrical and ethereal waltz rhythm then appears. The development is based not on thematic elaboration but on the superposition and juxtaposition of themes by association or contrast. In the coda, the initial motif of the Allegro is resumed, but the conclusion is still under the sign of the fate theme, which now resounds in the trumpets.
The splendid Andante cantabile, with some liberties taken, is one of the pinnacles of Tchaikovsky’s symphonic writing. Against the backdrop of the low strings, the first horn sings “sweetly with much expression” a long, noble, and pathetic melody. The oboe enters delicately and dialogues with the horn, proposing a new melody, which is then taken up by the strings and then the entire orchestra: it is a majestic and serene
moment, perhaps corresponding to the “ray of light” mentioned by Tchaikovsky. A new melody from the clarinet, graceful and melancholic, adorned with a trill, is suddenly interrupted by the irruption of the recurring theme, entrusted to the trumpets. The movement concludes, however, in a rediscovered serenity, disturbed but not annihilated by the threat of fate, which resonates with the gloom and violence of the trombones.
The Allegro moderato is an elegant and light waltz, barely rippled by a shadow of unease due to the rapid and insistent “staccato” passages of the woodwinds and strings. Here too, a few bars from the end, the theme of fate returns, without violence but equally impressive for its funereal tone.
It is this same theme that opens the fourth movement, but now it appears totally transfigured, similar to a majestic chorale in a major key. The Allegro vivace is extremely rich in ideas and reaches a powerful and theatrical expressive intensity, but suffers from a certain formal imbalance, acknowledged by Tchaikovsky himself. It is also not without pomposity and triumphalism, particularly in the conclusion, when the theme of destiny asserts itself as a grandiose and imposing chorale, and the main theme of the Allegro con anima also returns transformed into a song of victory. “What happened,” commentators ask, “that the tendency towards resignation changed so completely?
For the first time, a note of falsity and overexcitement is felt at the heart of the music; although everything is brought to a successful conclusion with skill, the final triumph does not escape its emptiness.”
FEATURED ARTISTS
FRANCESCO MARIA NAVELLI
Born in 2003, Francesco Maria Navelli began studying piano at a very young age. At the age of 13, he was admitted to the International Piano Academy “Incontri col Maestro” in Imola, where he studied with Maestro Leonid Margarius. He later continued his studies at the Accademia Nazionale di Santa Cecilia under the guidance of Maestro Benedetto Lupo. He has won numerous national and international competitions, including, at just 16 years old, the prestigious 29th International Piano and Orchestra Competition “Città di Cantù.” He has been awarded two scholarships by the Rotary Club: a three-year scholarship in Imola, being selected among the best young pianists of the International Piano Academy “Incontri col Maestro,” and another in Siena, chosen by Maestro Lilya Zilberstein for the Masterclass at the Accademia Chigiana. In 2021, he was also awarded the “Matilde Neri Sclavo” scholarship.
Navelli regularly performs in major theaters and for renowned associations in Italy and abroad, including: Teatro San Carlo in Naples, Società del Quartetto di Milano, Accademia Filarmonica Romana, Emilia Romangna Festival, Settimane Musicali at Teatro Olimpico in Vicenza, Accademia Filarmonica di Bologna, Associazione Scarlatti, Teatro dei Rozzi in Siena, Teatro “Ebe Stignani” in Imola, Festival “Liszt Albano,”” William Walton Foundation in Ischia, OperaBarga Festival, Cristofori Piano Festival, Teatro Italia in Istanbul, Steinway Hall in Florida, the Opera and Ballet Theater of Tirana, the “Kammersaal’ of the Estonian Academy of Music and Theater in Tallinn, and the Italian Cultural Institute in Cairo.
Invited as a soloist to the 34th Tagliacozzo Festival, he performed Beethoven’s Piano Concerto No. 3 with the State Orchestra of Georgia. In December 2019, he performed at the Teatro dei Rozzi in Siena with the Italian Youth Orchestra conducted by Maestro Daniele Rustioni. In July 2021, he was invited as a soloist with the Bologna Youth Orchestra, conducted by Maestro Anna Handler, performing Mozart’s Piano Concerto K. 537 at the Teatro “Ebe Stignani” in Imola.
In November 2021, he performed Liszt’s Malediction for piano and strings with the Roma Tre Orchestra, conducted by Maestro Sieva Borzak, at the Teatro Apollo in Mogliano, the Teatro Palladium in Rome, and during the 34th edition of the “Liszt Albano Festival.” In February 2020, he performed Gershwin’s I Gor Rhythm Variations with The Villages Philharmonic Orchestra in Florida, and in February 2023, he played Addinsell’s Warsaw Concerto. Honored by the collaboration, he was invited once again–for the third time– to perform Gershwin’s Rhapsody in Blue under the baton of Pasquale Valerio.
Alongside his solo career, he is also active in chamber music, performing in a pianocello duo with Eleonara Testa. In April 2024, he performed Schumann’s Piano Quintet with Sonig Tchakerian at the Auditorium Parco della Musica. In July, he played in a quintet with Oleksandr Semchuck at the Trecastagni International Music Festival.
FLUTE
Nicolas Real, Principal
Geraldine Barazarte
OBOE
Amy Collins, Principal
Chanmi Kim
CLARINET
Jason Gibbs, Principal
Asher Carlson
BASS CLARINET
Raúl Marcano
BASSOON
Christian Eberle, Principal
Patrick Broder
FRENCH HORN
Joseph Lewinsky, Principal
Dann O’Donnell
Gabriella Ibarta
Alexandrer Hellhake
TRUMPET
John De Paola, Principal
Andree Cordova
Luis Burke
TROMBONE
Jeremy Fielder, Principal
Richard Brady
BASS TROMBONE
Anthony Hill
TUBA
Paul Mungall
TYMPANI
Christopher Nolin
PERCUSSION
Simon Ramos
Joseph Cassidy
ORCHESTRA ROSTER
FIRST VIOLIN
Eugene Komarnitskiy Concertmaster
Stewart Kitts, Marius Tabacilia
José Guedez
Elena Komarnitskiy
David Daijang
Jerry Weiss
Carlos Jaquez
Scott Inopf
Iryna Usova
SECOND VIOLIN
Gregory Carreño, Principal
Israel Mendez
Luisamar Navarro
Ivette Ferreira
Marialejandra Vásquez
Yasmary Márquez
Yenifer Laurens
Daniel Herrera
Ariel Eliot
VIOLA
Richard Urbano, Principal
Juan Carlos Siviero
Oana Potur
Andrea Oliveira
Aine Munn
Maria Victoria Albornoz
Joseph Villagomez-Correa
CELLO
David Calhoun, Principal
Olga Beliaieva
Roy García
Scott Crowley
George Alexander
Helen Lewis
DOUBLE BASS
Kevin Gallagherz, Principal
Leniot Hernandez
John Di Mura
Jonathan Ingram
Michael Anthony McCabe
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VPO DONORS 2025-26 CONCERT SEASON
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MEMORIAL DONATIONS
Bill Barnes: Susan Escobedo
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Fred Boyd:
Mr. & Mrs. Manning
Fred Boyd: Don & Janet Schiegel
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BUSINESS PARTNERS
Blackston Financial Advisory Group
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Fross & Fross Wealth Management
Havana Country Club & Legacy Restaurant at Nancy Lopez Country Club by Suleiman Family Restaurants
Royal Décor Company
Great theatre requires talent, passion, and the support of our community. The Villages values the power of art and recognizes Significant Productions’ role in enriching our lifestyle. Join them, as we have, in ensuring that live theater continues to thrive.
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