Fairfax Symphony Orchestra Playbill May 2022

2021 - 2022 SEASON

Announcing the

65th Anniversary Season!

On Sale June 1st!

Saturday, October 15 | 8PM Capital One Hall Brahms Piano Concerto No. 2 Jeremy Denk, piano Sibelius Symphony No. 1

Tchaikovsky’s The Nutcracker Center for the Arts at George Mason University Saturday, December 17, 2022 | 4pm Sunday, December 18, 2022 | 4pm

Featuring the Fairfax Ballet

Saturday, February 11, 2023 | 8PM Center for the Arts at George Mason University Florence Price Violin Concerto No. 2 Rachel Barton Pine, violin Dvořák: Symphony No. 7

Tickets and more information at www.FAIRFAXSYMPHONY.org

Saturday, March 11, 2023 | 8pm GMU Harris Theatre Ives Country Band March Rodrigo Concierto de Aranjuez Jason Vieaux, guitar Ibert Divertissement Bodorová Bruromano (U.S. Premiere) Jason Vieaux, guitar and Aaron Clay, double bass

Saturday, April 22, 2023 | 8PM Center for the Arts at George Mason University Elgar Pomp and Circumstance, March No. 1 Rachmaninoff Piano Concerto No. 2 George Li, piano Elgar Symphony No. 1

Saturday, May 13, 2023 | 8PM Center for the Arts at George Mason University Dvořák Cello Concerto

Zuill Bailey, cello Nielsen Symphony No. 4 “The Inextinguishable”

REMEMBERING JIM MCKEEVER The FSO mourns the loss of its Chairman, James C. McKeever, Jr., who passed away Saturday, October 30, 2021. Mr. McKeever served as Chairman of the Fairfax Symphony Board of Directors since 2016 and had a long history of involvement with the organization.

“We are deeply saddened by the loss of our dear friend,” said Jonathan Kerr, Executive Director of the Fairfax Symphony Orchestra. “We are forever grateful for Jim’s leadership and support of the FSO. His unwavering commitment and dedication helped the FSO expand its programs to better serve our community. His love of the FSO was resounding, and his legacy lives on through the music and service of the Fairfax Symphony Orchestra to our region.”

l l l

The McKeever Legacy Fund Honoring Decades of Inspired Leadership The FSO honors Jim McKeever’s service and dedication with the creation of the McKeever Legacy Fund. The Fund will support Jim’s vision to further the FSO’s high-level artistry and expand its innovative education programs, while strengthening the FSO’s role as an invaluable cultural resource and artistic ambassador for our region.

Learn more and Support the McKeever Legacy Fund at www.FAIRFAXSYMPHONY.ORG

Christopher Zimmerman, music director and conductor Saturday, May 14 at 8pm Center for the Arts at George Mason University

JONATHAN LESHNOFF (1973) Symphony No. 4 “Heichalos” (Regional Premiere) Part 1: Fast: Binah Part 2: Slow —Intermission— LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 9 in D minor, Op. 125 I. Allegro ma non troppo; un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Presto - Allegro assai - Allegro assai vivace Fairfax Choral Society -Thomas Colohan, Artisic Director Morgan State University Choir -Eric Conway, Director Danielle Talamantes, soprano Daryl Freedman, mezzo-soprano Cameron Schutza, tenor Mark S. Doss, bass-baritone This performance is dedicated to the memory and inspirational leadership of Jim McKeever.

The Fairfax Symphony’s 64th Season is made possible with generous support by

Beethoven — Symphony No.9 in D minor, Op. 125 BASS: O Freunde, nicht diese Töne, sondern lasst uns angenehmere anstimmen, und freudenvöllere.

O friends, not these tones! instead, let us strike up more pleasing and joyful ones.

— Ludwig van Beethoven

Freude, schöner Götterfunken, Tochter aus Elysium, wir betreten, feuertrunken, Himmlische, dein Heiligtum!

Joy, lovely divine spark, daughter of Elysium, drunk with fire, we approach your sanctuary, O holy one!

BASS AND CHORUS: Deine Zauber, binden wieder was die Mode streng getheilt, alle Menschen werden Brüder, wo die sanfter Flügel weilt.

Your magic reunites those whom custom sternly separates; all men shall be brothers here ever your gentle wings tarry.

SOLOISTS: Wem der große Wurf gelungen eines Freundes Freund su sein, wer ein holdes Weib errungen, mische seine Jubel ein!

Who ever has the good fortune to be a friend to a friend, who ever has won a good wife, let him mingle his joy with ours!

SOLOISTS AND CHORUS: Ja, wer auch nur ein Seele sein nennt auf den Erdenrund!

Und wer’s nie gekonnt, der stehle weinend sich aus diesem Bund!

Yes, and also he who has only his soul To call his own on earth [should join us]!

And let he who cannot do so creep away weeping from this assembly.

SOLOISTS: Freude trinken alle Wesen an den Brüsten der Natur; alle Guten, alle Bösen folgen ihrer Rosenspur.

All creation drinks joy from the breasts of Nature; all the good and all the bad follows in her rosy path.

SOLOISTS AND CHORUS: Küsse gab sie uns und Reben, einen Freund, geprüft im Tod; wollust ward dem Wurm gegeben, und der Cherub steht vor Gott.

She gave us kisses and wine, and friend who is proven in death; even a worm is granted ecstasy, and even the cherub stands before God.

TENOR: Froh, wie seine Sonnen fliegen durch des Himmels prächt’gen Plan, laufet, Brüder, eure Bahn, freudig wie ein Held zum Siegen.

Just as gladly as His suns fly through the mighty paths of heaven, so, brothers, go on your way with joy, like a hero going to victory.

CHORUS: Freude, schöner Götterfunken, Tochter aus Elysium, wir betreten, feuertrunken, Himmlische, dein Heiligtum!

Joy, lovely divine spark, daughter of Elysium, drunk with fire, we approach your sanctuary, O holy one!

Deine Zauber, binden wieder was die Mode streng getheilt, alle Menschen werden Brüder, wo die sanfter Flügel weilt.

Your magic reunites those whom custom sternly separates; all men shall be brothers wherever your gentle wings tarry.

Seid umschlungen, Millionen!

Diesen Kuß der ganzen Welt!

Brüder, über’m Sternenwelt muß ein lieber Vater wohnen.

O you millions, let me embrace you!

Let this kiss be for the entire world!

Brothers—a loving Father must dwell above the tent of stars.

Ihr stürzt nieder Millionen?

Ahnest du den Schöpfer, Welt?

Such’ ihn über’m Sternenzelt! Über Sternen muß er wohnen.

Do you prostrate yourselves, O millions?

Do you sense your creator, O world?

Seek Him above the tent of stars!

He must dwell above the stars.

Seid umschlungen, Millionen!

Diesen Kuß der ganzen Welt!

O you millions, let me embrace you!

Let this kiss be for the entire world!

Freude, schöner Götterfunken, Tochter aus Elysium, wir betreten, feuertrunken, Himmlische, dein Heiligtum!

Joy, lovely divine spark, daughter of Elysium, drunk with fire, we approach your sanctuary, O holy one!

Ihr stürzt nieder Millionen?

Ahnest du den Schöpfer, Welt?

Such ihn über’m Sternenwelt!

Brüder, über’m Sternenwelt muß ein lieber Vater wohnen.

Do you prostrate yourselves, O millions?

Do you sense your creator, O world?

Seek Him above the tent of stars!

Brothers--a loving Father must dwell above the tent of stars.

SOLOISTS AND CHORUS: Tochter aus Elysium, deine Zauber, binden wieder was die Mode streng getheilt, alle Menschen werden Brüder, wo die sanfter Flügel weilt.

Daughter of Elysium, your magic reunites those whom custom sternly separates; all men shall be brothers where ever your gentle wings tarry.

CHORUS: Seid umschlungen, Millionen!

Diesen Kuß der ganzen Welt!

Brüder, über’m Sternenzelt muß ein lieber Vater wohnen.

O you millions, let me embrace you!

Let this kiss be for the entire world!

Brothers--a loving Father must dwell above the tent of stars.

Seid umschlungen, Millionen!

Diesen Kuß der ganzen Welt!

Freude, schöner Götterfunken, Tochter aus Elysium.

Freude, schöner Götterfunken!

O you millions, let me embrace you!

Let this kiss be for the entire world!

Joy, lovely divine spark, daughter of Elysium.

Joy, lovely divine spark!

— Friedrich Schiller

PROGRAM NOTES JONATHAN LESHNOFF Symphony No. 4 “Heichalos” (Regional premiere) Composer: born September 8, 1973, New Brunswick, NJ Work composed: 2017. Commissioned by the Nashville Symphony Orchestra and dedicated to its music director, Giancarlo Guerrero World premiere: Giancarlo Guerrero led the Nashville Symphony Orchestra in Nashville on March 22, 2018 Hailed by the New York Times as “a leader of contemporary American lyricism,” Grammy-nominated composer Jonathan Leshnoff is renowned for his music’s striking harmonies, structural complexity, and powerful themes. The Baltimore-based composer has been ranked among the most performed living composers by American orchestras in recent seasons, and his compositions have been performed by leading international orchestras and chamber ensembles around the world. Leshnoff has also worked as composer-in-residence with the Fairfax Symphony for the past several seasons.

Leshnoff’s Symphony No. 4, “Heichalos,” takes its subtitle from an ancient Jewish mystical text written approximately 2000 years ago. “It is one of a few texts that explicitly describes the way to attain a mystical encounter with the higher worlds,” Leshnoff explains. “Through the means outlined in the text, the initiate meditates himself into ‘rooms’ (in Hebrew, heicalos) where he advances, room by room, to a communion with the Divine.”

Leshnoff describes his fourth symphony as “a musical depiction of the initiate’s travels through these rooms.” The symphony consists of two large sections, simply titled “Fast” and “Slow,” which are unified by the massive tutti chords of the opening measures. “Fast” reflects Leshnoff’s musical interpretation of these Heichalos texts: “When one enters the [first] room, he knows everything that will happen in the terrestrial world … when he is on a higher level, he sees each person’s secret deeds … when he is on yet a higher level, he is separated from mankind; anyone who tries to harm him is rebuked by a Heavenly tribunal … and when he approaches the seventh room, the angelic Chayos glare at him each with their 512 eyes staring like a flash of lightning.” The tension, power, angst, and pent-up energy of this section builds as the initiate approaches the awe-filled union with the Divine.

“Slow” embodies an entirely different emotional and spiritual realm. Leshnoff characterizes it as “a love song between humanity and God,” and its sound world unfolds gradually in a poignant Adagio. This section features instruments from the “Violins of Hope” collection, which were owned by Jewish musicians and confiscated by the Nazis during the Holocaust. One violin, for example, came from a survivor who played in the Auschwitz Men’s

PROGRAM NOTES Orchestra. All the instruments were restored by Israeli violin-maker Amnon Weinstein and his son Avshalom. On the VOH website, the Weinsteins write, “Violins of Hope is … a private collection of violins, violas, and cellos all collected since the end of World War II. All instruments belonged to Jews before and during the war. Many were donated by or bought from survivors; some arrived through family members and many simply carry Stars of David as a decoration.”

The Violins of Hope sing expansive, drawn-out melodies at the beginning, and return towards the end of “Slow,” after a giant orchestral climax, accompanied by vibraphone, piano, and harp. For the players, Leshnoff includes the question “Who do you love?” at the beginning of “Slow,” and ends with the question, “Where are they now?” “I want the musicians to meditate on that phrase and to start thinking about who they love,” Leshnoff explains. “Then, at the end, what has happened to them – are they dead or alive, part of your life?” The Heichalos texts that inspire this music includes the phrases “the One who lives forever,” “might and faithfulness;” and “understanding and blessing.”

In an interview, Leshnoff says the most profound qualities of the Jewish people are their spirituality and steadfastness, or tenacity. “The Violins of Hope represent the physical embodiment of this tenacity, and the Heichalot texts represent the spiritual embodiment of that tenacity.”

LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, Op. 125 “Choral” Composer: born December 16, 1770, Bonn, Germany; died March 26, 1827, Vienna Work composed: Beethoven made preliminary sketches in 1817-18, but most of the music was composed between 1822–24. Beethoven finished his Ninth Symphony in February 1824, and dedicated it to King Frederick William III of Prussia.

World premiere: Beethoven conducted the first performance on May 7, 1824, at the Kärntnerthor Theater in Vienna.

The Ninth Symphony extends beyond the realm of the concert hall and has permeated Western culture on many levels, including socio-political and commercial arenas. The music of the Ninth, particularly the “Ode to Joy” melody of the final movement, is so familiar to us that it has lost its unique character and taken on the quality of folk music; that is, it has shed its “composed” identity as a melody written by Ludwig van Beethoven and simply exists within the communal ear of our collective consciousness.

PROGRAM NOTES While some classical works are inextricably linked to the time in which they were written, Beethoven’s profound musical statements about freedom, equality, and humanity resonate just as powerfully today as they did at the Ninth’s premiere. This was evident to the entire world just over 30 years ago, when Leonard Bernstein conducted an international assembly of instrumentalists and singers in a historic performance of Beethoven’s Ninth at East Berlin’s Schauspielhaus (now Konzerthaus) on December 22, 1989, three days after the fall of the Berlin Wall. To emphasize the historic event, Bernstein substituted the word “freedom” for “joy” in the famous lyrics by the poet Friedrich Schiller in the final movement. The performance was broadcast on television worldwide, attracting more than 200 million viewers.

By 1822, Beethoven was completely deaf and emotionally isolated. Five years earlier, at the age of 47, he had written in his journal, “Before my departure for the Elysian fields I must leave behind me what the Eternal Spirit has infused into my soul and bids me complete.” Alone and embittered, Beethoven focused almost exclusively on his musical legacy.

The lofty salute to the human spirit expressed in Schiller’s poem An die Freude (To Joy) had resonated with Beethoven for many years; in 1790 he set a few lines in a cantata written to commemorate the death of Emperor Leopold II; he also included portions of Schiller’s poem in his opera Fidelio.

“The search for a way to express joy,” as Beethoven described it, was the subject of his final symphony. To that end, Beethoven edited and arranged Schiller’s lines to suit his musical and dramatic needs, using a melody from the Choral Fantasy he had written 20 years earlier.

The symphony opens with the strings sounding a series of hollow open chords, neither major or minor, which are harmonically ambiguous – what key is this? The fifths build into a massive statement featuring a weighty dotted rhythmic theme. The power and intensity of this movement foreshadows the finale.

As was his wont, Beethoven broke with symphonic convention by writing a second-movement scherzo. The music bursts forth with dramatic string octaves and pounding timpani. The main theme, a contrapuntal fugue, gives way to a demure wind melody. Underneath its playful simplicity, the barely contained agitation of the scherzo pulses in the strings, like a racehorse pawing at the starting gate.

In a symphony synonymous with innovation, Beethoven’s most significant departure from convention is the inclusion, for the first time, of a chorus and vocal soloists in a formerly exclusively instrumental genre. The cellos and

PROGRAM NOTES basses play an instrumental recitative, later sung by the baritone, which is followed by the unaccompanied “Joy” melody. Beethoven then presents several instrumental variations, including a triumphal brass fanfare. The baritone soloist introduces Schiller’s poem with words of Beethoven’s: “O friends, not these tones; instead, let us strike up more pleasing and joyful ones.” The chorus repeats the last four lines of each stanza as a refrain, followed by the vocal quartet. A famous interlude, the Turkish March, follows (this music was considered “Turkish” because of the inclusion of the triangle, cymbals and bass drum, exotic additions to the orchestra of Beethoven’s time). After a number of variations, the chorus returns with a monumental concluding double fugue. © Elizabeth Schwartz

McKeever Services congratulates the FSO on 64 years of great performances.

A jewel in the cultural life of Fairfax County!

Bravo to Maestro Zimmerman for 13 years of directing the FSO to new heights of excellence!

MAY 14, 2022 MEET THE ARTIST Danielle Talamantes “It’s not often that a fortunate operagoer witnesses the birth of a star!,” critics hailed for Danielle Talamantes’ recent role début as Violetta in La traviata, a role she performed again in her Hawaii Opera Theatre début. 2020 engagements were to include a return to the Metropolitan Opera for Carmen along with over 10 concert engagements including two world premiere pieces. This past year she has appeared as a soloist in Washington Concert Opera’s Women’s Suffrage Virtual Concert, St. Petersburg Opera’s Virtual Concert Recital Series, in Close Encounters with Music’s Virtual Opera Gala, and in recital with Kerry Wilkerson for Opera Roanoke. Future engagements include the World Premiere of Henry Dehlinger’s The Love Song of Alfred Prufrock for the National Philharmonic, Henry Dehlinger’s Kohelet for the Santa Clara Chorale, Mosaic for Earth with the New River Valley Symphony Orchestra, Mimi in La bohéme for Jackson Symphony, and Beethoven’s 9th Symphony for Fairfax Symphony.

Most recent engagements for Ms. Talamanates also included the role of Mimì in La bohéme with Fairfax Symphony, made her Hawaii Opera Theater début as Violetta in La traviata, performed Beatrice in Il Postino with Virginia Opera, and returned to The Metropolitan Opera for their production of Carmen.

In addition, she appeared as a soloist in multiple classical masterworks including Beethoven’s Symphony No. 9 with DCINY, Verdi’s Requiem with the National Philharmonic, Fauré’s Requiem and Vaughan Williams’ Serenade to Music with Eugene Concert Choir, Brahms’ Requiem with Riverside Choral Society at Lincoln Center, Fauré’s Requiem and Mozart’s Missa brevis in C Major with MidAmerica Productions at Carnegie Hall, Mendelssohn’s Elijah with Choralis, Händel’s Messiah with La Jolla Symphony, and in the National Philharmonic’s Bernstein Choral Celebration concert.

Danielle first earned a spot on the Metropolitan Opera roster in the spring of 2011, covering the role of Najade in Ariadne auf Naxos, and was subsequently reengaged to cover the role of the Flower Maiden in Wagner’s Parsifal, joined the house for their production of The Exterminating Angel, the soprano in the quartet of lovers in the Baroque pastiche The Enchanted Island, and in Strauss’ Die Frau ohne Schatten. This rising star made her exciting stage début as Frasquita in Bizet’s Carmen in a return to The Metropolitan Opera and has since returned to perform the role of Anna in Nabucco.

Daryl Freedman Praised by Opera News for her “striking dark timbre” and “expansive, sumptuous” performances, mezzo-soprano Daryl Freedman begins the 21/22 season with a role/house debut at Virginia Opera in Das Rheingold (Fricka). Additional engagements include a role/house debut at The Atlanta Opera in the title role of Julius Caesar, returns to The Metropolitan Opera for The Magic Flute (Third Lady) and rehearsal cover in the new McVicar production of Don Carlos (Princess Eboli), and a return to Washington National Opera for the world premiere of Sankaram’s Rise (Powerful Woman/Adelaide Johnson).

In the summer of 2022, she will debut at the Salzburger Festspiele in a new Christoph Loy production of Suor Angelica (Suor Dolcina) conducted by Franz Welser-Möst. On the concert stage she debuts with the Erie Philharmonic in Mahler Symphony No. 2, and returns to the Fairfax Symphony for Beethoven Symphony No. 9.

Recent engagements include a debut with Fargo-Moorhead Symphony Orchestra for Das Lied von der Erde, Cavalleria Rusticana (Santuzza cover) in a new Robert Carsen production at the Dutch National Opera, and a role/house debut at Opera San José in Il trovatore (Azucena). Additional contracted productions of Il trovatore at Madison Opera and Portland Opera were postponed due to the pandemic, as well as engagements with the Cleveland Orchestra, Lyric Opera of Chicago, and Malmö Live Konserthus.

She debuted with The Metropolitan Opera in Die Walküre (Schwertleite), returned to The Cleveland Orchestra for staged performances of Ariadne auf Naxos (Dryad), covered in Cavalleria Rusticana (Santuzza) at San Francisco Opera, debuted in Die Walküre (Schwertleite) at the Théâtre du Capitole de Toulouse, and debuted in Aida (Amneris) with Opera Idaho. On the concert stage she debuted with the National Symphony Orchestra in Bernstein’s Songfest, Quad City Symphony Orchestra and Fairfax Symphony in Verdi Requiem, and returned to the Santa Fe Symphony and Boise Philharmonic for Handel’s Messiah.

Ms. Freedman is a graduate of the Cafritz Young Artist Program at Washington National Opera where she was seen in Don Carlo (Princess Eboli), Hansel and Gretel (Gertrude), Better Gods (Lili’uokalani), Der Ring des Nibelungen (Rossweisse), Dead Man Walking (Jade Boucher), and Le nozze di Figaro (Marcellina).

Cameron Schutza Praised by Opera Magazine for his “clarity of tone, ringing high notes and clear German diction,” tenor Cameron Schutza is in demand for his “expressive spinto voice” (Opera Warhorses) in concert and opera worldwide.

Last season, Mr. Schutza was awarded Second Prize and Orchestra’s Choice awards at the Lauritz Melchior International Singing Competition (LMISC) in Aalborg, Denmark.

He recently performed in Baltimore Concert Opera’s Madama Butterfly, about which the Maryland Theatre Guide stated, “Cameron Schutza as B. F. Pinkerton navigates the demanding role with professional aplomb. In his opening arias, he quickly establishes himself as a quintessential tenor, able to control the signature high notes of the role with color and nuance... he was outstanding.”

In 2019, Mr. Schutza was lauded for his company and role debut as Chairman Mao in the Princeton Festival’s production of Adams’ Nixon in China, with Bachtrack saying, “Cameron Schutza is the Heldentenor Adams imagined for Chairman Mao, a big voice with a ringing top,” and Parterre Box admiring the tenor’s “freaky tessitura” and “unearthly beauty.” He performed excerpts from the title role of Siegfried for The Metropolitan Opera Guild’s Wagner Ring Showcase at Lincoln Center’s Bruno Walter Auditorium, and was a soloist for the Lorin Maazel in Memoriam Concert with the Castleton Festival. In May 2020 he performs as soloist in Beethoven’s Symphony No. 9 with the Austin Symphony Orchestra.

Recent highlights for the tenor include his debut as Pollione in Norma with both Sarasota Opera and Opera in the Heights, and the role of Narraboth in Salome with the Orquesta Sinfònica Nacional at the Palacio de Bellas Artes in Mexico City with Carlos Prieto conducting. He has sung the role of Manrico in Il Trovatore with both Portland Summerfest and the Astoria Music Festival alongside soprano Angela Meade and Don José in Carmen with the Walla Walla Symphony. He performed the role of First Prisoner in Fidelio at the Caramoor International Music Festival, where he also covered the roles of Florestan, Danieli in Les vêpres Siciliennes, Rustighello in Lucrezia Borgia, the title role of Don Carlos and the Duca in Rigoletto.

Mr. Schutza joined the Metropolitan Opera roster for its productions of Die Meistersinger von Nürnberg, Tannhäuser, and Salome. His other credits include Jaquino in Fidelio with Michigan Opera Theatre and, on the concert stage, Beethoven’s Symphony No. 9 with the Park Avenue Chamber Symphony at Carnegie Hall, Verdi’s Requiem with Houston Masterworks, and Mozart’s Requiem with the Northeastern Pennsylvania Philharmonic. He has

sung in recital with Rockport Music in a program celebrating 150 years of Strauss with soprano Elizabeth Blancke-Biggs and performed concert arias with the New Jersey Festival Orchestra.

The Texas native is an alumnus of the young artist programs of Santa Fe Opera, Arizona Opera and Palm Beach Opera. A 2016 recipient of the top prize Robert Lauch Memorial Fund Endowment Award from the Wagner Society of New York, Schutza has also been a two-time winner of the Arizona District of the Metropolitan Opera National Council Auditions, and was awarded third place in the 2017 Lauritz Melchior International Singing Competition in Denmark for his interpretation of Wagner’s heroic tenor leads with the Aalborg Symphony Orchestra.

Mark S. Doss Grammy Award Winner, Mark S. Doss opened the 2021/22 season with a return to the Théâtre de la Monnaie as William Daley in the world premiere of Kris Defoort’s The Time of Our Singing, followed by concerts of Opera Highlights with Dallas Opera, Beethoven’s 9th with the Minnesota Orchestra, and in the roles of Creon and the Messenger in The Opera Company of Philadelphia’s Oedipus Rex by Stravinsky. After Houston he will make a return to La Fenice in Venice for Balstrode in Peter Grimes.

Mr. Doss’s recent engagements include Alfio (Cavalleria Rusticana) at the Royal Opera House, Nicholas Lens’ Shell Shock at The Philharmonie de Paris, Daland (Der fliegende Holländer) at Dallas Opera, Rigoletto and Scarpia (Tosca) with Welsh National Opera, and Cadmus in Henze’s The Bassarids in concert with the Spanish RTE Orchestra and Kent Nagano.

Mr. Doss’s illustrious career has taken the bass-baritone to the most prestigious houses worldwide, which include Milan’s La Scala, where he appeared as Escamillo (Carmen), Argante (Rinaldo), Jaroslav Prus (The Makropulos Case), Jochanaan (Salome), and Amonasro (Aida); the Staatsoper Berlin as Jochanaan, Mephistopheles in Gounod’s Faust at the Santa Fe Opera, Oper Frankfurt, and Opera de Oviedo; Premysl in Janáček’s Šárka with La Fenice, Jochanaan with Florence’s Maggio Musicale Fiorentino, the Arena di Verona as Escamillo, Balstrode with the Teatro Regio di Torino, Jochanaan, Balstrode, and the title role in The Flying Dutchman at the Teatro Comunale di Bologna, Macbeth at the Dorset Opera Festival; Amonasro, Jochanaan,

and Simone in Zemlinsky’s The Florentine Tragedy for Teatro Regio Torino; Escamillo, Amonasro, and the leading baritone role in Nicholas Lens’ Shell Shock for La Monnaie in Brussels. At the Opera di Roma he was Cadmus in Henze’s The Bassarids. At the Hyogo Performing Arts Center in Japan he took on Germont (La Traviata), and he sang the Four Villains (The Tales of Hoffmann) with the New National Opera in Tokyo.

A Grammy Award Winner for his participation in Handel’s Semele (Best Opera Recording), he also is a recipient of the National Institute for Music Theatre’s George London Opera Prize, and Planet Africa’s Entertainment Award.

The Morgan State University Choir The Morgan State University Choir (MSUC) has performed around the world to critical acclaim. Named “Best College Choir” in 2004 by Reader’s Digest magazine, the Choir has performed with several major symphony orchestras, including The Philadelphia Orchestra, Chicago Symphony, New York Philharmonic and the National Symphony Orchestra. Eric Conway is the Director of the Morgan State University Choir and Chairperson of the Fine Arts Department. During his tenure, Dr. Conway has led the choir to many acclaimed performances, including a special performance at the service honoring Rosa Parks, the first woman to lie in honor at our nation’s Capital Rotunda. In 2015, the choir performed for President Barack Obama during his Live at the White House Series. Most recently, the choir has travelled to the Austria, Spain, England and Scotland. MSUC has shared its musical gifts on many grand stages all over the world–with numerous dignitaries and celebrated performers–making them cultural ambassadors for Morgan State University, the City of Baltimore, the state of Maryland and the United States.

For further information, see www.msuchoir.org

CHRISTOPHER ZIMMERMAN, Music Director Named Music Director of the Fairfax Symphony Orchestra in 2009, Christopher Zimmerman celebrates his thirteenth season with the FSO. Under his leadership, the FSO has received consistent praise from the media. Former Washington Post arts critic, Anne Midgette, wrote: “the Bernstein was a note-perfect end to a very refreshing evening that spoke well for the programming vision of Zimmerman.” Washington Post reporter, Stephen Brookes, commented: “Zimmerman has been injecting adrenalin into this determined ensemble… (and has) made the Fairfax players a serious force to be reckoned with.”

Christopher Zimmerman graduated from Yale with a B.A. in Music and received his Master’s from the University of Michigan. He also studied with Seiji Ozawa and Gunther Schuller at Tanglewood, and at the Pierre Monteux School in Maine with Charles Bruck. Zimmerman served as an apprentice to Andrew Davis and the Toronto Symphony and in Prague, as assistant conductor to Vaclav Neumann and the Czech Philharmonic Orchestra.

A champion of contemporary music and commissioning new work, during his leadership with the FSO, Zimmerman has commissioned three new works and presented nine premieres. In 2023, Zimmerman and the FSO will present the U.S. premiere of “Bruromano,” a concerto for guitar, double bass, and string orchestra by Czech composer Sylvie Bodorova featuring renowned guitarist, Jason Vieaux. In 2022, the FSO presents the regional premiere of composer Robert Carl’s “White Heron” and composer Jonathan Leshnoff’s Symphony No.4 “Heichalos.” The FSO brought “Dances of the Yogurt Maker” by Turkish composer, Erberk Eryilmaz to Virginia for the first time in 2019, along with the 2018 Virginia premiere of Philip Glass’ “Piano Concerto No. 3,” with pianist Simone Dinnerstein, who commissioned the work and for whom it was written.

In 2017, the Fairfax Symphony in celebration of its 60th season commissioned “Resolutions” by composer Mark Camphouse in honor of the 275th Anniversary of Fairfax County. In 2016, the FSO presented the regional premiere of Martin Bresnick’s “The Way it Goes.” In 2013 premiered “Virtue” by composer Chris Theofanidis for soprano, actor, three voices and orchestra that it cocommissioned with the New Haven Symphony Orchestra, and in 2011, the FSO commissioned Concerto of “The Andes” for Guitar, Charango and orchestra by composer Javier Farias.

2021-2022 PHILANTHROPIC SUPPORT The Fairfax Symphony gratefully acknowledges the generosity of the following contributions received within the past twelve months as of May 1, 2022.

Thank you for dedicating these vital gifts to the music and education programs we work so passionately to create and share with our community.

GOVERNMENT ARTSFAIRFAX City of Fairfax Commission on the Arts County of Fairfax National Endowment for the Arts Virginia Commission for the Arts FOUNDATIONS AND CHARITABLE FUNDS Paul M. Angell Family Foundation Charles Delmar Foundation Clark-Winchcole Foundation Nelson J. & Katherine Friant-Post Foundation Mary & Daniel Loughran Foundation Northern Virginia Community Foundation CORPORATIONS Hilton Fairfax GEICO McKeever Services The Mather Dominion Energy NOVEC PNC Bank Priority One Services, Inc. SYMPHONY SOCIETY CONCERTO CLUB PLATINUM Mr. and Mrs. Thomas M. Brownell Pepe Figueroa Joyce L. Hanson

GOLD Steve and Debbie Cohen Mr. Sean Foohey John Lockhart Eric Moore In memory of Richard Benedict Sherman & Etta Mae Thomas Sherman Sally and Rucj Uffelman Laura and Ervin Walter SILVER Nina and David Breen Janine and Curt Buser Mr. and Mrs. Edward Caress Mr. and Mrs. C. David Hartmann Mr. and Mrs. Glenn A. Hemer Robert and Maryanne Jones David & Lenka Lundsten Mrs. R. Dennis McArver Ms. Joetta Miller Mr. William A. Nerenberg David and Bridget Ralston Mr. and Mrs. Robert Reid James and Miriam Ross Mr. and Mrs. David Seida Mr. and Mrs. David Siegel RHAPSODY CIRCLE Bill and Dorothy Brandel Lisa Baltzer Donald and Ruth Drees Carolyn Gayer Eric and Joyce Hanson Mr. Kurt P. Jaeger Mr. and Mrs. Anthony Kerr

Dr. and Mrs. Per Kullstam John and Jeanette Mason Mr. and Mrs. Matt Mattice Joetta Miller Judith Nitsche Dr. and Mrs. Eugene Overton Stephen and Mary Preston Michael Wendt SONATA CIRCLE William Bell Ms. Pamela Charin Donald Drees Christopher Forsberg Frank and Lynn Gayer Anthony and Lucy Griffin Christopher Gohrband Gareth and Tân Habel Mr. & Mrs. Eric Hanson Robert W. Henry Spencer Howell Mr. and Mrs. Keith Highfill Mr. and Mrs. Wade Hinkle Anje Kim Mr. and Mrs. David J. Lynch Helen Noyes Mr. Justice Percell Ms. C. Carole Richard Mary Jane Spiro Mr. Michael W. Stoltz Dr. Jack and Mrs. Jane Underhill Mr. William Walderman David and Deborah Winston, In Memory of May Winston

SERENADE CIRCLE Dr. Charles Allen Ms. Gay B. Baker Mr. and Mrs. Ronald Baker Ms. Esther Beaumont Mr. and Mrs. James Bland Donald Bieniewicz Ms. Patricia Boots Beverly Boschert Kathryn and Tony Bovill Patricia G. Brady Judith and Peter Braham Bill and Dorothy Brandel Louis and Monika Brenner David W. Briggs and John F. Benton Mr. Eric Brissman Mr. Robert Brown Judith Buchino Ms. Jane Arabian and Mr. James Bongarra Mary L. Burns Mr. and Mrs. Edward Caress Mr. W. Carlson Cedric Chang Ms.Tzu-yi Chen Mr. and Mrs. Brian H. Chollar Douglas Cobb Ms. Helen M. Conlon Ms. Sandy Cromp Mr. and Mrs. David Cross Karin and Michael Custy Ms. Barbara d’Andrade In honor of Ms. Sarah Daniel Ms. Alice DeKany Catherine Dettmer Dr. Karen Detweiler Ivan and Nancy Dietrich Dr. and Mrs. John S. Dillon Judy Donnelly Marilyn Dorn Jean Mitchell Duggan Karen Eaton Peggy and Arye Ephrath Jean Esswein Brian and Marian Ewell Mr. John A. Farris Ms. Jenifer Fisch Wilford Forbush Ms. Dorien Garman Carolyn Gayer Jennifer Gitner Allen S. Greenspan

Mr. and Mrs. Hardy Hargreaves Frederic Harwood In memory of R. Dennis McArver Robert and Whitney Henry Joan Lisante Hood and James Hood Mr. and Mrs.Ted Hudson Mr. and Mrs. Fredrick G. Hutchison Geraldine Inge Mr. Edward Jarett Mr. and Mrs. Christopher Jehn Nelson Joyner Benjamin Justesen Mr. and Mrs. Eugene Kaye Ms. Carol Kearns Mr. and Mrs. Philip Kieffer Anje Kim Bill and Priscilla Kirby Frank and Susan Kohn Greta Kreuz Dr. and Mrs. Frederick Kuhl Dara and William Laughlin Anne Loughlin Mr. and Mrs. David J. Lynch Catherine Lyon and Stuart Kantor Susan Manus Barrie March Alison Marr Mr. Scott Marschall Dr. and Mrs. Joseph Marshall Mr. and Mrs.Timothy J. McCarthy Joel Meyerson Mr. Robert L. Miller Mr. and Mrs. Kenneth P. Mittelholtz Bob and Judy Molseed Virginia and Marion Moser Jean Murphy Margaret A. Murphy Ms. Mary Murphy Peggy Newhall Ms. Judith A. Nitsche Diane Nolin Col. and Mrs.Tommy T. Osborne Anne and Jim Painter

Catherine Pauls Mr. and Mrs. Ron Petrie Mitzi and Dan Rak Mr. Richard L. Renfield Deborah Roudebush Rolland Roup Stephen Sanborn Mr. and Mrs. Robert E. Schaub Catherine Schifferli Ms. Roslyn Schmidt Mr. and Mrs. Karl W. Schornagel Michael Schwartz Ms. Doris Seaton Neil and Beverly Seiden Mr. and Mrs. Robert Seraphin Kathleen Shultz Mr. and Mrs. James Simpson Sydney Smith Nigel Smyth Mary Jane Spiro Dorothy Staebler John and Pamela Stark Kristina Stewart Sandra Lee Stoddard Agnes D. Stoertz Mr. John Strong Frederick and Marjorie Stuhrke Reede and Jane Taylor William Tompkins Alton P. and Alice W. Tripp Ms. Barbara Tuset Mr. and Mrs. Michael Twedt Jane Underhill Ms. Shelley Vance Janet Vanderveer Mr. and Mrs. Stephen Vandivere Mr. and Mrs. David Sukites Timothy N. Wade Roy and Margaret Wagner Andrew and Myrna Wahlquist Ms. Diane Wakely-Park Robert and Charlene Ward Mr. and Mrs. Egon Weck Mr. and Mrs. Larry N. Wellman Harry and Sandra Wilbur Ms. Jane Woods Gene and Gooloo Wunderlich Mr. Emile L. Zimmermann In-Kind Fairfax City Self Storage

FSO ARTISTIC AND ADMINISTRATIVE STAFF Christopher Zimmerman, Music Director

Suzy Dawson, Accountant

Jonathan Kerr, Executive Director

Cynthia Crumb, Personnel Manager

Lisa LaCamera, Chief Operating Officer

Wendi Hatton, Librarian

Susan Petroff, Director of Development

Timothy Wade, Stage Manager

Celeste Duplaa, Link Up Program Manager

Heather Rhine, Graphic Designer

The FSO is supported in part by the Virginia Commission for the Arts, the National Endowment for the Arts, ArtsFairfax and the County of Fairfax.

Fairfax Symphony Orchestra • 2667 Prosperity Avenue • Fairfax, VA 22031 703-563-1990 • www.fairfaxsymphony.org info@fairfaxsymphony.org

FAIRFAX SYMPHONY BOARD OF DIRECTORS Jose “Pepe” Figueroa, Chairman Priority One Services

Thomas Brownell, Secretary Holland & Knight LLP

John Lockhart, Treasurer PNC Bank

Eric Moore American University

Thomas Murphy, General Counsel Jackson Lewis P.C.

Dean Woods Players Committee Member

Nancy Bovill Players Committee Member

HONORARY BOARD The Honorable Sharon Bulova

The Honorable James W. Dyke

The Honorable Thomas M. Davis

Dr. Gerald L. Gordon

Sidney O. Dewberry

Julien Patterson

READY FOR HAPPY HOUR? Visit Hilton Fairfax!

Enjoy a quiet stay and lush locale in Fairfax. Just off I-66 in the tree-lined Fair Lakes and a short walk from retail and dining.

Centrally located near George Mason University’s Center for the Arts, offering plenty to do in Fairfax and the option to explore DC, Northern Virginia, and Maryland… just minutes away!

Plus, parking is free for all hotel guests.

Hilton Fairfax 12777 Fair Lakes Circle Fairfax, VA 22033 703.653.6000 For Reservations – www.Hilton.com