Charleston Gaillard Center Program

April 21 & 22, 2023

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April 29, 2023

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American Ballet Theatre Giselle with the Charleston Symphony

Los Angeles Master Chorale Lagrime di San Pietro

Providing exceptional wine selections to enhance your theatre experience.

WELCOME TO AMERICAN BALLET THEATRE'S GISELLE

With the Charleston Symphony

On behalf of the Charleston Gaillard Center, I would like to thank you for joining us for American Ballet Theatre’s Giselle accompanied by the Charleston Symphony. This evening, we will experience a beautiful and tragic masterpiece, the first storybook ballet of a company of this scale in Charleston in over a decade, performed by the exceptional dancers of ABT.

Tonight’s performance is also a part of the Gaillard Center’s Dance Initiative. Beginning with a magical ABT Across America performance at The Citadel in July 2020, and followed by the stunning performances of The Hip Hop Nutcracker, Alvin Ailey American Dance Theater, Mark Morris Dance Group’s Pepperland, and the Gaillard’s first dance commission Sounds of Hazel by Dance Theatre of Harlem, the Gaillard Center’s Dance Initiative brings some of the world’s best dance companies to the Lowcountry. The program includes free and paid performances, educational outreach to young dancers and their teachers, opportunities for adult education, and more. Support for this program is made possible by generous donors who have committed time and resources to the Charleston Gaillard Center’s Dance Initiative. To learn more and support the Dance Initiative, please contact the Vice President of Charitable Giving, Elizabeth Milhous, at (843) 718-1578 or emilhous@gaillardfoundation.org.

Please stay tuned for our 2023-2024 season announcement. We hope that our dynamic performances, robust education programs, and thoughtful community initiatives will continue to engage artists and audiences, create connection, and promote essential dialogue in our community. We cannot wait to share the incredible world-class artists who will join us next season.

As always, thank you for your support of the Charleston Gaillard Center as we find ways to inspire, educate, engage, and create exceptional artistic experiences. We hope you enjoy the performance.

Sincerely,

Lissa Frenkel President and CEO Charleston Gaillard Center

CHARLESTON GAILLARD CENTER'S EDUCATION & COMMUNITY PROGRAM

The Charleston Gaillard Center's Education and Community Program brings to life a magical world. Students explore their imagination, stretch their limits, and learn through innovative programs, school-series shows, incredible teaching artists, and in-school programs designed to complement the state curriculum.

Whether you are a teacher, parent, or student, the Charleston Gaillard Center provides different ways to experience the arts.

HOW WE HELP!

Our impact in the 2021-2022 season

9,457 students attended a live performance

73% of students attended barrier FREE

2,531 students worked with our Artists-In-Residence

165 in-school, arts-enhanced workshops

In six seasons, we've reached over 100,000 students in the Lowcountry!

CHARLESTON GAILLARD CENTER BOARD MEMBERS

Helen Hill* Chairman

OFFICERS

Edward Legasey* Vice Chairman

The Honorable Keith Waring* Secretary

Dr. Renée D. Anderson Ph.D.*

Nella Barkley*

Dr. P. George Benson

MEMBERS

David C. Bermingham*

Dr. Jeffrey DiLisi

Lissa Frenkel

Larry Gillespie

Stanfield Gray

Martha Rivers Ingram Chairman

Joyce Green

Mason Holland

Paul Hooker, Jr.*

Martha Rivers Ingram

Edward McKelvey

Charles Patrick, J.D.

Mayor John Tecklenburg ^

Jeffery Weingarten*

* Denotes Executive Commitee Member ^ Denotes Ex Officio Member

Dr. Renée D. Anderson Ph.D. Vice Chairman, President & CEO

Paul B. Galvani Secretary-Treasurer

Jeffrey M. Weingarten Director

Christopher S. White Director

CHARLESTON GAILLARD CENTER STAFF MEMBERS

EXECUTIVE OFFICE

Lissa Frenkel President & CEO

Dr. Renée D. Anderson Ph.D. Chief Advancement Officer

Tasha Gandy Chief Financial Officer

Stephanie Shipe Vice President of Marketing & Sales

Robert Mahon Vice President of Operations

Deidra Waymer Executive Assistant

ADVANCEMENT

Elizabeth Milhous Senior Vice President for Charitable Giving

Allison N. Millar Director of Information and Analytics

Jeff Dacy Associate Director of Membership and Annual Fund

Emily Heeke Associate Director of Institutional Relations

EDUCATION

Sterling deVries, M.Ed Director of Education

Stephanie Lancaster Education Manager

EVENT SERVICES

Dana Cole Performance Hall Event Services Manager

Brianna Morgan Performance Hall Event Services Coordinator

Stefi Tonrey Exhibition Hall Event Services Manager

Kelly Woods Exhibition Hall Event Supervisor

Nancy Paul Event Staffing Coordinator

Laurel Trzeciakiewicz Operations Administrative Assistant

EXCLUSIVE FOOD & HOSPITALITY PARTNERS

Nicole Garrand Hospitality General Manager

Jason Desimone Executive Chef

Nicole Bauman Catering Sales Manager

Grant Hawes Bar & Operations Manager

FINANCE

Jennifer Byrd Director of Finance & Human Resources

Holley Ainsworth Finance Manager

Jah'Mar Coakley Human Resources Coordinator

MARKETING & SALES

Kellie Lawson Director of Marketing & Communications

Jennifer Jessup Director of Venue Sales

Sarah Cochrane Marketing Manager

Stephanie Thomas Sales & Internal Events Coordinator

Amos Adams Marketing & Social Media Coordinator

FACILITY MANAGEMENT

Wesley Schneider Director of Facilities

Raymond Cervantes Facilities Event Manager

PROGRAMMING

Tessa Schultz Director of Programming

Sara Bennett Special Projects & Programming Manager

TECHNICAL

Eric Corriher Technical Director

Hunter Laird Exhibition Hall Technical Manager

Chip Fischesser Performance Hall Technical Manager

John Barry Head Audio

Steven Heyward Head Carpenter

David Kerr Master Electrician

Andrew Avila Lead Technician

Patrick Barley Lead Technician

TICKET OFFICE

Paul Cawood Director of Ticketing

Casey Warnick Ticketing Operations Manager

Macy Scarborough Lead Ticket Agent

MARTHA & JOHN M. RIVERS PERFORMANCE HALL FOUNDATION BOARD MEMBERS

SUPPORTERS & SPONSORS

GAILLARD CENTER PARTNERS

INSTITUTIONAL SUPPORT

the Kennedy-Herterich

Samuel Freeman Charitable Trust

National Endowment for the Arts

Peter Glenville Foundation

SUPPORTERS & SPONSORS

COMMUNITY PARTNERS

CORPORATE SPONSORS

Together, we dream.

Fall 2012: Gaillard Auditorium stage in demolition

The Martha

applauds charitable giving to the Charleston Gaillard Center's Dance Initiative:

Celeste and Charles Patrick

The Constant Trust

Celeste and Charles Patrick

The Constant Trust

Mrs. Martha R Ingram, Martha Rivers Ingram Advised Fund of The Community Foundation of Middle Tennessee

Ronda Dean

Mrs. Martha R Ingram, Martha Rivers Ingram Advised Fund of The Community Foundation of Middle Tennessee

Courtenay Fain

Ronda Dean

David and Helen Savard

Courtenay Fain

Tricia and Ted Legasey

David and Helen Savard

Herzman-Fishman Charitable Fund

Herzman-Fishman Charitable Fund

Kennedy-Herterich Foundation

Kennedy-Herterich Foundation

Susan and Jim Sullivan

Susan and *Jim Sullivan

South Carolina Arts Commission

Blevins Family Properties, LLC

Helene and Jim Rovito

South Carolina Arts Commission

The Donaldson Charitable Trust

Explore Charleston

Explore Charleston

Dr. Renée Dobbins Anderson

The Oliver S. and Jennie R. Donaldson Trust

Dr. Renée Dobbins Anderson

Helene and Jim Rovito

The Martha & John M. Rivers Performance Hall Foundation applauds charitable giving to the Charleston Gaillard Center’s Dance Initiative: theriversfoundation.org

Fran Griffiths

Elizabeth Mack and Weston Rice

& John M. Rivers Performance Hall Foundation

Coming this April: Mark Morris Dance Group (photo by Mat Hayward)

CHARLESTON GAILLARD CENTER

MEMBERS

The Charleston Gaillard Center is grateful for the generosity of our dedicated patrons whose gifts are a testament to the value of the performing arts in our lives. Please join us in thanking our loyal members. Annual memberships support our continued ability to bring world-class performances, develop and provide performing arts education, and provide a first-class event space for our world-renowned city. For more information about memberships, visit gaillardcenter.org or contact us at (843) 579-6468.

EMERALD

Ronda Dean

Thomas Dove

Kristin and Richard Ennis

Lucy & Lawrence Guffey

Karen and Gary Lindberg

Nedenia Rumbough

Mr. Theodore and Susan Soderlund

Stephanie and Gemo Yesil

SAPPHIRE

Mr. Charles Eggleton

Rear Admiral

Stephen Evans

Dr. Cara S. Ferguson

Robert Holt

Kip Hooker

Susan and Louis Kaufman

Mr. Edward Legasey

Ms. Amy Minella

Mr. David Savard

PLATINUM

Julia Andres

Richard Audette

Susannah Bailin

Steve Berry

Mona & Scott Buehler

Cynthia Chace

Kay Durst

Dr. Linda Edgerton

Mr. & Mrs. N. Keith

Emge, Jr.

Robyn Fisher

Dr. Patrick Flume

Ms. Anne Forrest

Marsha & Neil Gewirtzman

Mr. & Mrs. Paul and Bonnie Gormisky

Mr. and Mrs. Rajan and Suman Govindan

Mr. and Mrs. Howard & Elizabeth Guenther

Helen Hill

Sherry and Kenneth

Hirsch

Candice Kenan

Peter Key and Katy Chung

Mr. Michael Kirk

Laurence Ladue & Karen

A. Stephenson

Kelly Lance

Mrs. Cynthia Lett

Deborah Lindsay

Susan and Ed

Manganiello

Melonie Marchak

Heather Mcfarlin

Dr. Florence and Alan Medlin

Janet & Scott Millimet

Mr. & Mrs. William Moffitt

Mr. Douglas Montanaro

Scott Mullen

Melanie and Kevin Murray

Steve Pennington

Mary Prelack

MG Ret. Arthur Rooney Jr

Debra Ross

Michael Shalosky

Mrs. Betty Thalheimer

Mr. & Mrs. Ken and Anne Tidwell

Frances and Louis Vitale

Jennifer Way

Mrs. Maureen L. White

Peter Whitehouse

Desiree Woody

GOLD

Queen Adams

Mark Allen

Charles and Susan Altman

Iris and James Bennett

Barbara Berger

Mr. David and Debra

Bermingham

Matt Brendle

Mark & Vanja Broadwater

Nicole Brundage

Joseph Canino

Lisa Cappes

Mr. Michael Carmody

Sarah Chamberlain

Timothy Colbert

Ms. Elizabeth Cornwell

Katherine Cuppia

Sally Davis

Patricia DeGennaro

Sonya & David Dunn

Anna Ebeling

Nancy and Ralph Edwards

Ms. Patricia Fleming

Mr. and Mrs. Eugene & Paula Freed

Patricia Fylstra

Mr. Louis Gentry

Edward Glenn

Veronica D.* and Peter B. Goodrich

Mr. & Mrs. James

Goodwin

Thomas and Catherine

Gow

Mr. Stanfield Gray

Mary Dean Hall

Mr. and Mrs.

William Higley

Justin Hodges

Sarah Hunt

Ingrid Jager

Francie James

Vaughn Kailian

Mr. Richard Land

Stanley Landis

Daniel Limata

Thomas Lindstrom

Elizabeth Mack

Anne & Joe Michael

Robert Mullally

Laura Nea

Dr. & Mrs. Gary Neiman

Mr. Thomas O'Brien

Mr. Greg Padgett

Debbie Rice-Marko

Deborah Rickman

Amy Rogers

Mr. Joel G. Rosenblatt & Mrs. Teann S. Scoggins

Blane Ruschak & Baron L. McCaskill III

Nancy Rush

Doreen & Michael

Sanderson

Mr. Eugene Scherich

Christine Shippee

Mr. Ladd Shuford

Thomas Simmons

James Thompson

Karen Thompson

Barbara and Jock

Vincentsen

Ms. Michelle Wenz

Ann Wolf

CHARLESTON GAILLARD CENTER

MEMBERS

SILVER

Thomas Ammermann-

Sheppard V

Heather Antos

Daniel Arnold

Lee Bailey

Mr. James Beachell

Dan Beaman

Betty & David Breedlove

Lindsey Brown

Mr. & Mrs. Campbell

Dr. Manuel Casiano

Sheri Cesnek

Jennifer Chestnut Comer

Steve Cochran

Jeff Dacy

Linda Deeter

Paul Descoteaux

Maraja DiFazio

Janet DiGangi

Jill Drerup

Josh Drewry

Mr. Brian Fahey

Dave Falls

Tina Farrell

Steven Fisher

Mrs. Elizabeth Fort

Dr. Marla Franks

Christine &

Michael Friday

Geoff Fuller

Heather Fullerton

Edward Galaid

Karen Germond

Richard Gowe

Joyce Green

Robert Heller

Veronica Hinkson

Allen Hitchcock

Marilyn Horwath

Capt USN Ret.

Glen Jackson

Al Johnson

Dr. Raymond Jones

Christina Kaiser

Sherry Karetnick

Andrea Kindorf

Mr John King

Craig Knowlton

Dr Anthony Laneve

Susanne Lemke

Rick McGeorge and

Leslie Eglin

Ms. Margaret Lewis

Mrs Mindy Marshuetz

Sheila May

Michael Meador

Jon Michaels

Fernanda Nilson

Mr. James Olson

Mark Overton

Wayne Parker

Sharon Penny

Douglas Perkey

Ann Peterson

Jane Pilarski

Robert Francis Poh

Mrs. Donna Pomian

Jeff Porter

Dr. Elizabeth Rennick

Doug Richardson

Christine Schaub

Donna Schmidt

Dominic Scibilia

Mr. and Mrs. David and Ginger Scott

Dr. & Mrs. John Selhorst

Ann Shimer

Dr. Cheryl Shookman

Drew Showfety

Robert Siegel

Mrs. Leslie Smith

William Spaide

Mr. Art Sparks

Mrs. Carol Spitznas

Kimberly Starr

Mr. Fred Taccolini

Ms. Murrell Timmons

Abigail Walsh

Mr. Patrick Wamsley

Ashley Wenz

Marion Werner

Sophia Willis

Mr. John Winarchick

Suzanne Wright

Memberships as of January 2023

MARTHA & JOHN M. RIVERS PERFORMANCE HALL FOUNDATION

VISIONARIES, FOUNDERS, & BENEFACTORS

Recognizing extraordinary giving to the Capital Campaign and to the Endowment, securing the community’s founding investment in the Charleston Gaillard Center and the Martha & John M. Rivers Performance Hall.

VISIONARIES

Martha Rivers Ingram

LEGACY FOUNDERS

BlueCross BlueShield of South Carolina

Mr. & Mrs. John Chalsty

Cynnie & Peter Kellogg

Mr. & Mrs. Robert*

Cary McNair

Dr. Celeste Patrick & Mr. Charles Patrick, Jr.

J. Christopher & Anne N. Reyes

Foundation

Spaulding-Paolozzi Foundation

Anita Zucker

CORNERSTONE FOUNDERS

Anne & Ronald Abramson

Mark F. Dalton In Honor of Jeanne F. Dalton

Doc & Wendy Gilder

Lee Ann & Orrin Ingram

Tricia & Ted Legasey

The Speedwell FoundationJenny & Mike Messner

Post and Courier Foundation

Gene & Johnnie Reed

Dr. Suzan D. Boyd & Mr. M. Edward Sellers

Hans & Julie Utsch

FOUNDERS

Dr. Renée Dobbins & Mr. Ivan V. Anderson, Jr.

Dr. Bobby and Julie Baker

Christina & Robert Brinkman

Blanche & Frank Brumley

Margaret & Sam Carr

Billings & John Cay

Joyce & Charles Darby Family Foundation

Michael* & Betsy Dingman

Susan T. & Eric G.* Friberg

Richard Hampton Jenrette*

Robert & Scottie Johnson

Teresa and Roger Jones

In Honor of Betty Kellogg

Betsey & Rusty Kellogg

Gail & Jim* Kellogg

Kirk Kellogg

The Kennedy-Herterich Foundation

Linda G. Ketner

Elizabeth Rivers Lewine

Mr. & Mrs. Christopher J. Mettler

John & Norma* Palms / Exelon Corporation

Howard Phipps Foundation

John M. Rivers, Jr.

Lee & Justin Sadrian

The Samuel Freeman Charitable Trust

David Michael Savard

Terese T. & Joseph H. Williams

Greg Zerkel

BENEFACTORS

Jill & Richard Almeida

Mrs. Patricia Altschul

Charles Andrus

Mr. & Mrs. John J. Avlon

Nella Gray Barkley

Mary Lou & John Barter

Susan L. Beatty

Georgia C. Bell

Bobbi & Don Bernstein

Patricia B-P & Thomas*

H. Bliss

Mr. & Mrs. William Buckley

Virginia Bush & Warren Schwarzman

Barbara Campbell & Arnold Marcus

Susan & Van C. Campbell

Mr. & Mrs. Marc Chardon

L. John & Judy Clark

Coca-Cola Bottling Co.

Mr. & Mrs. Luther Cochrane

Mr. & Mrs. Bernard Cornwell

Gail & David Corvette

Croghan's Jewel Box

The Deering Family

Jennie L. & Richard K. DeScherer

The Dewberry Foundation

Sarah Lund Donnem

Mr. & Mrs. James T. Dyke, Jr.

East West Partners

ESa - Earl Swennson Associates, Inc.

Dr. & Mrs. Haskell Ellison

N. Keith & Susanne Riley Emge

Mr. & Mrs. Carlos Evans

ExploreCharleston.com

Courtenay Fain

Walter & Gerry Fiederowicz

William & Prudence Finn

First Citizens Bank

Carol H. Fishman

Karen & Chris Fraser

Mr. & Mrs. W. Foster Gaillard

Sheila D. & Paul B. Galvani

Stephen F.* & Laura D. Gates

Mr. & Mrs. Paul T. Gaynor

Mr. & Mrs. Mark Gernand

Mr. & Mrs. Lawrence W. Gillespie

Mr. & Mrs. Kevin L. Grooms

Peter & Shelley Hempstead

Holder Properties

Mary & Mason Holland

Ms. Russell Holliday & Mr. Hal Cottingham

Mr. & Mrs. Ozey K. Horton, Jr.

Mr. & Mrs. Benjamin P. Jenkins III

Mr. & Mrs. Manuel Jimenez, IV

Mr. & Mrs. Tapley O. Johnson

Nicholas C.L. Jones / Adam J. Platzner

Llewellyn Kassebaum* - Price R. & Flora A. Reid Foundation Trust

Mr. & Mrs. Louis J. Kaufman

Dr. & Mrs. George H. Khoury

Sharon & Rus Kingman

Shea & John Kuhn

Karin* St. & Karl H. Küster

Mr. & Mrs. Michael J. Laughlin

Lee & Associates

Ms. Karyn S. Lee

Lucinda K. & Benjamin F. Lenhardt, Jr.

Mr. & Mrs. Fulton D. Lewis, Jr.

David L. Lyle & Kelly Lyle

Mr. & Mrs. Edward Coke Mann III

Cathy & Ben* Marino

Joanne & Jack Martin

Dörte & Paul McManus

Mr. & Mrs. John Onslow McNairy

Ann & Antony Merck

Michael J. Meyer

Dr. & Mrs. Francis Gaillard Middleton

Gregory D. & Nancy L. Miller

Mr. & Mrs. Thomas Clark Munnell

Mr. & Mrs. J. Tradd Newton

Mr. & Mrs. Robert J. Novello

Palmetto Ford Lincoln

Mr. & Mrs. G. Richard Query

Mr. & Mrs. Andrew H. Radziwon

Sylvia & Bob Reitman

Mr. & Mrs. Edward L. Rieflin

Kathleen H. Rivers Family Fund

Carolyne J. Roehm

Joan & Arthur* Sarnoff

The Schady Family

Hugh T. Scogin, Jr.

Luke & Susan Simons

SKANSKA-Trident

Mr. & Mrs. Henry B.

Smythe, Jr.

Sunny & Samuel Steinberg

Laura & David Stone

SunTrust

Mr. & Mrs. Steve Swanson

Mr. & Mrs. Robert J. Tarr, Jr.

Jessica Brewer & Don Taylor

In Memory of W. Leigh Thompson, Jr.

Gregory & Lucienne*

Van Schaack

Mr. & Mrs. Robert E. Vingi, Jr.

Mr. & Mrs. Thomas Waring -

In Memory of Kate

Mr. & Mrs. J. Todd Watkins

Mr. & Mrs. Robert P. Watson

Mary Ellen & Charlie Way

Mr. Jeffrey M. Weingarten

Christopher & Ellen White

Mr. & Mrs. G. Bretnell Williams*

John Wohlstetter

Richard & Christine Yriart

Nicholas S. Zeppos & Lydia A. Howarth

MARTHA & JOHN M. RIVERS PERFORMANCE HALL FOUNDATION

CHRISTINE SHEVCHENKO AND ARAN BELL IN GISELLE

PHOTO: ROSALIE O’CONNOR.

Susan Jaffe

Artistic Director

Janet Rollé

CEO & Executive Director

Alexei Ratmansky Artist in Residence

JOO WON AHN · ARAN BELL · ISABELLA BOYLSTON · SKYLAR BRANDT

DANIEL CAMARGO · MISTY COPELAND · HERMAN CORNEJO · THOMAS FORSTER

CATHERINE HURLIN · GILLIAN MURPHY · CALVIN ROYAL III · HEE SEO

CHRISTINE SHEVCHENKO · CORY STEARNS · DEVON TEUSCHER

CASSANDRA TRENARY · JAMES WHITESIDE · ROMAN ZHURBIN

ZHONG-JING FANG · JOSEPH GORAK · BREANNE GRANLUND · SUNG WOO HAN

BLAINE HOVEN · BETSY MCBRIDE · CHLOE MISSELDINE · LUCIANA PARIS

SUNMI PARK · GABE STONE SHAYER · KATHERINE WILLIAMS

Alexei Agoudine · Nastia Alexandrova · Sierra Armstrong · Alexandra Basmagy · Leah Baylin

Lauren Bonfiglio · Kathryn Boren · Tristan Brosnan · Jacob Clerico · Zimmi Coker · Luigi Crispino

Jarod Curley · Claire Davison · Michael de la Nuez · Cy Doherty · Teresa D’Ortone · Camila Ferrera

Léa Fleytoux · Scout Forsythe · Patrick Frenette · Carlos Gonzalez · Kiely Groenewegen · Emily Hayes

Connor Holloway · Andrii Ishchuk · Anabel Katsnelson · Kanon Kimura · Jonathan Klein · Erica Lall*

Courtney Lavine · Melvin Lawovi · Virginia Lensi · Fangqi Li · Isadora Loyola · Duncan Lyle

Elwince Magbitang · Tyler Maloney · Joseph Markey · Abbey Marrison · Hannah Marshall

Cameron McCune · Duncan McIlwaine · João Menegussi · Garegin Pogossian · Lauren Post

Luis Ribagorda · Rachel Richardson · Andrew Robare · Jake Roxander · Jose Sebastian

Yoon Jung Seo · Courtney Shealy · Kento Sumitani · Eric Tamm · Ingrid Thoms · Olivia Tweedy

Nathan Vendt · Paulina Waski · Kotomi Yamada · Remy Young

Apprentices

Elisabeth Beyer · Tillie Glatz · Yuma Matsuura · Aleisha Walker

Clinton Luckett

Associate Artistic Director

Ormsby Wilkins Music Director

Charles Barker

Principal Conductor

Susan Jones Regisseur

David LaMarche Conductor

Irina Kolpakova Principal Répétiteur

Directors of Repertoire

John Gardner · Carlos Lopez · Amanda McKerrow · Nancy Raffa

*2023 Jennifer Alexander Dancer

ABT gratefully acknowledges:

Avery and Andrew F. Barth for their sponsorship of the Corps de Ballet in memory of Laima and Rudolph Barth and in recognition of former ABT Corps dancer Carmen Barth Fox.

ABT is supported, in part, with public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of The Office of the Governor and the New York State Legislature; and the New York City Department of Cultural Affairs in partnership with the City Council.

American Ballet Theatre’s performances of Giselle are generously supported through an endowed gift from Sharon Patrick.

PRINCIPAL DANCERS APPEARING THIS SEASON

Aran Bell

Bethesda, Maryland

Joined ABT 2016

Principal since 2020

Sponsored by Theo Ueng

Calvin Royal III

Tampa, Florida

Joined ABT 2010

Principal since 2020

Sponsored by Sharon Patrick

Devon Teuscher South Burlington, Vermont

Joined ABT 2007

Principal since 2017

Sponsored by Donna Calamari

Roman Zhurbin

Moscow, Russia

Joined ABT 2004

Principal since 2022

Sponsored by Mark Casey and Carrie Gaiser Casey

Christine Shevchenko

Odessa, Ukraine

Joined ABT 2007

Principal since 2017

Sponsored by Avery and Andrew

F. Barth

ABT extends deepest gratitude to our community of individual patrons and institutional grantors who help to propel the Company forward. Your optimism and generosity strengthen ABT’s tenacious and resilient spirit.

Today, we celebrate our recovery with all of you, and we proudly recognize the exceptional philanthropy and engagement that enables ABT to create, to innovate, and to perform safely with the highest artistry.

ABT’s Choreographic Innovation and Inspiration and Inclusion programs are generously supported by the Blavatnik Family Foundation. Additional major support of ABT’s Innovation and Inclusion programs is provided by Mark Casey and Carrie Gaiser Casey, the Ford Foundation, The Ted and Mary Jo Shen Charitable Gift Fund and through an endowed gift from The Toni and Martin Sosnoff New Works Fund.

Commissions and presentations of new works by women choreographers are supported by the ABT Women’s Movement. Champion support for the ABT Women’s Movement is provided by Jenna Segal. Additional leadership support is provided by the Virginia B. Toulmin Foundation.

Special thanks to Denise Littlefield Sobel for her leadership gifts to: ABT’s Media Fund, advancing the Company’s digital endeavors; and ABT RISE, fueling the Company’s commitment to diversity, equity, and inclusion.

Members of ABT's Global Council, Chairman's Council, ABT RISE Advisory Council, and Junior Council are dedicated ambassadors sharing our vision.

ABT is grateful to our many donors who generously give to the ABT Today Fund, Membership and Major Gifts Programs, ABT Jacqueline Kennedy Onassis School, Education and Community Engagement Programs, ABT RISE, ABT Studio Company, and the ABT Dancer Fund.

Today ABT honors our stalwart donors from across the country and around the world.

ACT I

SYNOPSIS

The ballet is set in the vineyard country bordering the Rhine. Hilarion, the village huntsman and a gamekeeper to the court, returns from his early morning chores and pauses before a neighboring cottage—the home of Giselle, with whom he is in love. Villagers pass by on their way to the vineyards, where they will harvest the last of the grapes before the Wine Festival.

Count Albrecht arrives with his squire and enters a cottage opposite Giselle’s. He emerges dressed as a peasant, submits his disguise to the squire’s inspection, and dismisses him. Hilarion has witnessed this exchange and is puzzled that the squire should show such deference to this youth, who is known to the villager as a fellow peasant named Loys. Loys excuses himself from joining the grape pickers so that he can be alone with Giselle. He swears eternal love, and she takes the traditional test with a daisy—“he loves me, he loves me not.” When it appears the answer will be “not,” she throws the flower away; Loys retrieves it and, by surreptitiously discarding a petal, comes up with the answer “he loves me.” Hilarion interrupts, protesting that he, and not Loys, truly loves Giselle. A quarrel ensues, and Hilarion’s suspicions deepen as Loys instinctively reaches for the sword that, as a nobleman, he is accustomed to wearing.

The villagers return, and Giselle invites them to join in a dance to celebrate the harvest. Her mother, Berthe, interrupts and warns her that her life may be endangered if she overexerts herself by dancing. She is struck by a momentary hallucination of her daughter in death. She sees her as a wili, a restless spirit who has died with her love unrequited.

A horn sounds in the distance, and Loys recognizes it as coming from the hunting party of the prince of Courland. As Loys hastily departs, Hilarion breaks into Loys’ cottage. Refreshments are served to the hunters, and the prince’s daughter, Bathilde, gives Giselle a gold necklace when she learns they are both engaged to be married. After the royal party has returned to the hunt, Hilarion emerges from Loys’ cottage with a hunting horn and a sword, further evidence that the supposed peasant is, in fact, a nobleman.

The villagers return and proclaim Giselle the queen of the Wine Festival. Hilarion interrupts to denounce Loys as an impostor. When Loys denies the charges and threatens the gamekeeper with his sword, Hilarion blows the hunting horn, a signal for the prince to return. Loys is exposed as an impostor when Bathilde reveals that he is her fiancé, Count Albrecht. The shock of learning of Albrecht’s duplicity is too great for Giselle’s frail constitution. Her mind becomes unhinged, and she dies of a broken heart—her love unrequited.

ACT II

The scene is laid in a clearing in the forest near Giselle’s grave. The wilis are summoned by their queen, Myrta, to attend the ceremonies that will initiate Giselle into their sisterhood. The wilis are maidens whose fiancés failed to marry them before their deaths. Their love unrequited, they can find no rest. Their spirits are forever destined to roam the earth from midnight to dawn, vengefully trapping any male who enters their domain and forcing him to dance to his death. Hilarion, in search of Giselle, meets his death at their hands. Albrecht arrives to leave flowers on Giselle’s grave. He too is trapped and commanded to dance until death. Giselle resolves to protect him. She dances with him until the clock strikes four, at which hour the wilis lose their power. Albrecht is rescued from death.

PRODUCTION HISTORY

The World Premiere of Giselle, the oldest continually-performed ballet, occurred at the Theare de l’Academie Royale de Musique in Paris on June 28, 1841, danced by Carlotta Grisi as Giselle and Lucien Petipa as Albrecht.

This ballet is in the repertoire of almost all of the major ballet companies in the world and was first presented by American Ballet Theatre (then Ballet Theatre) at the Center Theatre in New York City on January 12, 1940, with choreography by Anton Dolin and scenery and costumes by Lucinda Ballard. The leading roles were danced by Annabelle Lyon and Anton Dolin.

American Ballet Theatre’s second production of Giselle premiered on October 15, 1946, at the Broadway Theatre in New York City, with choreography by Dimitri Romanoff and scenery and costumes by Eugene Berman. The leading roles were danced by Alicia Alonso and Igor Youskevitch.

The third production of Giselle, directed by David Blair, received its first performance at the Carter Barron Amphitheatre in Washington, D.C. on July 4, 1968, with scenery by Oliver Smith and costumes by Peter Hall. The leading roles were performed by Lupe Serrano as Giselle and Royes Fernandez as Albrecht. The production’s New York City Premiere was given at the Metropolitan Opera House on July 10, 1968, with the same cast.

Using the Smith/Hall scenery and costumes, Mikhail Baryshnikov staged both the fourth and fifth productions of Giselle for ABT after choreography by Jean Coralli, Jules Perrot, and Marius Petipa. The first premiered at the Kennedy Center for the Performing Arts in Washington, D.C. on December 16, 1980, with Marianna Tcherkassky as Giselle and Baryshnikov himself as Albrecht; while the second, which featured additional staging by John Taras and Elena Tchernichova, received its first performance at the Filene Theatre at Wolf Trap Farm in Vienna, Virginia on August 28, 1985, danced by Miss Tcherkassky and Fernando Bujones.

American Ballet Theatre’s sixth production, featuring scenery by Gianni Quaranta and costumes by Anna Anni, was created for the film Dancers, produced in 1987 by Cannon Films. The film incorporates Giselle into its storyline. The production’s first public performance was given on March 20, 1987 at the Shrine Auditorium in Los Angeles, California, with Miss Tcherkassky as Giselle and Kevin McKenzie as Albrecht.

The current staging is by Kevin McKenzie, using the Quaranta and Anni designs.

BALLET THEATRE FOUNDATION, INC. BOARD OF GOVERNING TRUSTEES

Jacqueline Kennedy Onassis (1929-1994), Honorary Chairman Emerita

OFFICERS

Andrew F. Barth, Chairman

Sharon Patrick, Vice Chair

Sarah Arison, President

Stewart R. Smith, Treasurer

Melissa A. Smith, Secretary

EXECUTIVE COMMITTEE

Andrew F. Barth, Chairman

Sarah Arison, President

Sharon Patrick, Vice Chair

Beth Chartoff Spector, Chair, Audit Committee

Kara Moore, Chair, Development Committee

Angela H. Ho, Co-Chair, Education Committee

Shelly London, Co-Chair, Education Committee

Stewart R. Smith, Chair, Finance & Resources Committee

Douglas C. Wurth, Chair, Investment Committee

James Hexter, Chair, Strategic Planning Committee

Valentino D. Carlotti, Member-at-Large

Patricia R. Morton, Member-at-Large

Melissa A. Smith, Member-at-Large

TRUSTEES

Francesca Macartney Beale

Alison Bernstein

Hamish Bowles

Susan Fales-Hill Pamela Ford

Gwendolyn M. Fragomen

Yongsoo Huh

Susan Jaffe

CHAIRMEN EMERITI

Donald M. Kendall†

Melville Straus†

Charles H. Dyson†

Stephen J. Friedman

Peter T. Joseph†

Hamilton E. James

Lewis

S. Ranieri

Edward A. Fox

Donald Kramer

Wendy Evans Joseph

Alissa Hsu Lynch

Paula Mahoney

Nancy McCormick

Michael Paull

Richard Pepperman

Dmitri Potishko

TRUSTEES EMERITI

Andrew F. Barth, Co-Chair

Susan Fales-Hill, Co-Chair

Dr. Joan Taub Ades

Cheryl Bergenfeld

Arlene J. Blau

Amy R. Churgin

Susan Feinstein

Nancy Havens-Hasty

Brian J. Heidtke

Judith M. Hoffman

Christian Keesee

Anka K. Palitz

Cindy Sites

William Henry Told, Jr.

Jean Volpe

Ali E. Wamboldr

Janine Racanelli

Janet Rollé

Jenna Segal

Shari Siadat Sutton

Stracke Douglas

Tabish Rutger von Post

John L. Warden, Esq.

HONORARY TRUSTEES

Mildred C. Brinn†

Ricki Gail Conway

Deborah, Lady MacMillan

obin Chemers Neustein

Anne M. Tatlock

Blaine Trump

Nancy Zeckendorf

† In Memoriam

Artistic Director ............................................................................................................... Susan Jaffe

CEO & Executive Director ............................................................................................... Janet Rollé

ARTISTIC STAFF

ABT

MAIN COMPANY

Artist in Residence .............................................................................................. Alexei Ratmansky

Associate Artistic Director ......................................................................................Clinton Luckett

Director of Artistic Administration .......................................................................Cristina Escoda

Regisseur .............................................................................................................................. Susan Jones

Principal Répétiteur ...................................................................................................... Irina Kolpakova

Directors of Repertoire John Gardner, Carlos Lopez, Amanda McKerrow, Nancy Raffa

Rehearsal Planning Manager Miki Shintani La Rehearsal Coordinator........................................................................................................ Lilia Hamdy

Department Assistant, Artistic ................................................................................... Emily Lesorogol

Company Teachers

Stella Abrera,Nancy Bielski, John Gardner, Charla Genn, Espen Giljane, Carlos Lopez, Clinton Luckett, Duncan Lyle, Rubén Martín,Amanda McKerrow, Sascha Radetsky,Nancy Raffa,Craig Salstein, Sean Stewart

ABT STUDIO COMPANY

Artistic Director Sascha Radetsky

Rehearsal Director, ABT Studio Company...........................................................................Yan Chen

Contributing Rehearsal Director, ABT Studio Company ............................................ Luciana Paris

ABT Studio Company Faculty Stella Abrera, Evvie Allison, Alexander Anderson, Charles Barker, Gemma Bond, Hope Boykin, Katie Currier, Jeannette Delgado, Thomas Forster, Carmela Gallace, John Gardner, Amy Hall Garner, Jessica Lassiter, Carlos Lopez, Clarice Marshall, Rubén Martín, Kevin McKenzie, Luciana Paris, Sascha Radetsky, Gennadi Saveliev, Byam Stevens, Roman Zhurbin

ABT JACQUELINE KENNEDY ONASSIS SCHOOL

Acting Artistic Director. ABT JKO School.....................................................................Stella Abrera

Principal Teacher, ABT JKO School Pre-Professional Division .................................. Rubén Martín

Principal Teacher, ABT JKO School Pre-Professional Division Yan Chen

Artistic Director, ABT Summer Intensives.........................................................................Kate Lydon Director, ABT/NYU Master’s Degree Program in Ballet Pedagogy ............................ Pamela Levy

ABT National Training Curriculum Associates Emeriti ...........................................Franco De Vita, Raymond Lukens

ABT JKO School Training Faculty Evvie Allison, Sophie Alpern, Alexis Andrews, Charles Barker, Rodica Bordeianu, Yan Chen, Harriet Clark, Courtney Cochran, Franco De Vita, Sarah Deming, Elizabeth Ferrell, Thomas Forster, Carmela Gallace, John Gardner, Lesley Garrison, Paulina Guarieb, Cynthia Harvey, Adrienne Hurd, Mikhail Ilyin, Marianne dello Joio, Robert La Fosse, Jessica Lassiter, Kate Lydon, Caridad Martinez, Rubén Martín, Sascha Radetsky, Flavio Salazar, Adrienne Schulte, Sarah Smith, Kristen Stevens, Leann Underwood, Roman Zhurbin

ABT Training Programs Musicians

Michael Cherry, Stephanie Chun, John Epperson, Mikhail Golubitskiy, Ayako Hirasawa, Shimako Horii, Sofiya Leavsie, Alex Perry, Dmitry Polischuk, Tim Prepscius, Victor See Yuen, Matthew Sheridan, Mihoko Suzuki, Laura Tishchenko, Mira Tsidulko

MUSIC

Music Director

Principal Conductor

Conductor and Music Administrator David LaMarche

Concertmaster .....................................................................................................................Kobi Malkin

Orchestra Personnel Manager Matthew Dine

Company Pianists David LaMarche, Nuno Marques, Jacek Mysinski, Evangelos Spanos, Emily Wong

EXECUTIVE STAFF

BUSINESS OPERATIONS

Head of Business Operations ..............................................................................

Manager, Business Affairs

DEVELOPMENT

Chief Development Officer .....................................................................................

Senior Director, Development....................................................................................

Y. Ridaught

Gilchriest

Director of Membership Grey C. Johnson

Director, Major Gifts ........................................................................................................... Anna Hessa

Associate Director, Special Events ..........................................................................

Associate Director, Development Operations Jaclyn LaCamera

Development Operations Manager ........................................................................... Ebony Araman

Manager, Donor Relations ......................................................................................

Vecchione

Manager, Institutional Support Marisa Remez

Assistant Manager, Special Events...............................................................................

Uhrlass

Assistant Manager, Major Gifts ............................................................................ Josephine Smolsky

Membership Associate Lindsay Miller

Membership Assistant ..................................................................................................

Development Assistant.....................................................................................................

EDUCATION

AND TRAINING

Splawn

Managing Director, ABT Education....................................................................Dennis J. Walters

Dean of Faculty and Student Affairs and Co-Director of ABT Education ............................................................................... Aubrey Lynch II

Director, ABT JKO School Pre-Professional Division and Summer Intensives

Elizabeth Aymong

Director of Training Programs.....................................................................................Molly Schnyder

Director, Education Operations

Naomi Gewanter

Artistic Manager, ABT Engagement Richard Toda

Director, ABT JKO School Children’s Division

Ferris

Managing Director, ABT Studio Company Claire Florian

Manager, ABT Engagement ..................................................................................... Amanda Tomera

ABT JKO School Coordinator ............................................................................................ Katie Currier

Student Life Coordinator Lauren Wood

Assistant, Pre-Professional Division, ABT JKO School ........................................... Kathleen Oakley

Assistant, Children’s Division, ABT JKO School............................................................... Olivia James

Assistant, Summer Intensives Yesseña Whitfield

Assistant, National Training Curriculum

(continued to next page)

Harada

Teaching Artists

EDUCATION AND TRAINING (Continued)

Alexis Andrews, Dennis Ballard, Kelby Brown, Stephen Campanella, Linda Cholodenko, Wendy Clark, Melanie Coats, Roland Culler, Carrie Demos, Dominique Fontenot

Carmela Gallace, Paulina Guraeib, Adam Holms, Jeff Hopkins, Jae Young Jung, Niki Kapanka, Karen Lacy, Richard Latta, Deborah Lohse, Annastasia Mercedes, Ashley Newman, Richard Toda, Amanda Tomera

Interns ................................................................................. Madi Burak, Anna Cammi, Lydia Crozier, Katie Lewis, Jennifer MacIntyre, Olivia Rick, Caroline Riley, Shermaine Tay, Bella Wang

FINANCE AND INFORMATION TECHNOLOGY

Chief Financial Officer.......................................................................................... Shawn Davidson

Director of Payroll and Benefits Administration ........................................................ Bettina Pinter

Staff Accountant Leeann Minard

Technical Support Specialist ............................................................................................. Darrell Boxill

Bursar and Finance Assistant ........................................................................................ Joelann Salick

MARKETING AND COMMUNICATIONS

Chief Marketing Officer ................................................................................................ Lourdes Liz

Director of Communications and Media Affairs ......................................................Laura Miller

Director, Press and Web Development ........................................................... Susie Morgan Taylor

Director of Brand Partnerships and Business Development Dahomey Coleman

Associate Director, Box Office Strategy and CRM ................................................... Steven Koernig

Manager of Creative Services and Design Bethany Beacham

Press Coordinator Samantha Aaronson

Digital Marketing Coordinator ...................................................................................... Emma Zordan

Dancer and Social Media and Content Strategist Cy Doherty

Dancer and Social Media Assistant Content Editor/Producer Erica Lall

Marketing Assistant ......................................................................................................

Johanna Kepler

Associate Staff Photographer Rosalie O’Connor

OFFICE MANAGEMENT

Office Manager

Roseanne Forni

Receptionists ............................................................................ Marilou Cardona, Chrisbeth Medina

Custodian Humberto Donayre

PEOPLE & DEI (DIVERSITY, EQUITY, & INCLUSION)

Director of People and DEI Kira Simmons

PRODUCTION

Head of Production Vincent Roca Director of New Productions .......................................................................N. James Whitehill III

Technical Director ............................................................................................................. Richard Koch

Lighting Director Brad Fields

Production Stage Manager ................................................................................. Danielle Ventimiglia

Stage Manager .......................................................................................................... Jeremiah Bischoff

Assistant Stage Managers Claire Zurheide, Luke H.Woods

Assistant Lighting Director ..............................................................................................Kristina Kloss

Master Carpenter ................................................................................................................. Brian Kafel

Carpenters Javier Suarez, Shane Crittenden

Master Electrician ................................................................................................................ A.J. Jackson

Electrician/Board Operator .........................................................................................Stephen Weeks

Assistant Electrician Paul Frydrychowski

Property Master ..................................................................................................................... Paul Wells

Property Man.................................................................................................................. Steven Dunbar

Wardrobe Supervisor Tomoko Ueda-Dunbar

Wardrobe .................................................................... Vernon Ross, James Graber, Megan Quarles

Wig and Makeup Supervisor Rena Most

Assistant Hair and Makeup Supervisor Jill Haley

Resident Scenic Artist ............................................................................................... Christine Skubish

Warehouse Manager Bobby Godwin

Production Manager, ABT Studio Company Luke H. Woods

TOURING AND LIVE EVENTS

Head of Touring and Live Events ................................................................................ Kyle Pickles

Company Manager Ashley K. Baer

Assistant Company Manager Lizzy Melton

Coordinator, Touring and Live Events.......................................................................... Julie Solomon

PROFESSIONAL SERVICES

Consulting Orthopedist Dr. Philip Bauman

Physical Therapists ........................................................................... Peter Marshall, Julie Daugherty

Massage Therapists........................................................................... Olinda Cedeno, Charles Haack

ABT Studio Company and ABT JKO School Physical Therapist Jessica Lassiter

Medical Advisor ..........................................................................................................Dr. Robert Galvin

Labor and Immigration Counsel ...................................................... Kauff McGuire & Margolis LLP

Auditor Lutz & Carr LLP

Insurance Broker .................................................................................................. DeWitt Stern Group

890 Broadway Building Manager.................................................................................. Jason Walters

American Ballet Theatre is a member of the American Arts Alliance, the Arts and Business Council, Inc. and Dance/U.S.A.

American Ballet Theatre wishes to express its appreciation to Theatre Development Fund for its support of this season.

The dancers and stage managers of American Ballet Theatre are represented for the purpose of collective bargaining by the American Guild of Musical Artists, AFL-CIO.

ABT Crew is represented by IATSE.

Trucking by Clark Transfer Inc.

Tour booking for ABT Main Company is managed in house by Kyle Pickles, Head of Touring and Live Events, ABT and Jean-Jacques Cesbron, Columbia Artists Management, LLC.

Tour booking for ABT Studio Company in North America is managed by Theresa Vibberts, Columbia Artists Management, LLC.

International freight forwarding by Rock-It Global.

ABT alumna Gretchen Schumacher generously volunteers her time as Alumni Coordinator.

Harlequin is the official floor of American Ballet Theatre.

ABT would like to extend a sincere thank you to the ABT Barre Association for their continued and valued support with special thanks to Clifford Chance, Cahill Gordon & Reindel LLP, King & Wood Mallesons LLP, and Sullivan & Cromwell LLP.

The music for Giselle is used by arrangement with Theodore Presser Company, agents for Editions Mario Bois, publisher and copyright owner.

Borzois provided by Nirvanah Kennels, Aiken SC.

Support for this program is made possible by the Peter Glenville Foundation and other generous donors who have committed time and resources to the Charleston Gaillard Center’s Dance Initiative.

VOLUNTEERS

Susan Angermeier, Pamela Arenson, Meghan Bartley, Thomas Beatty, Carol Becker, Melvin Bernstein, Judi Chandon, Ken Dunn, Beverly Epstein, Margaret Fridecky, Bill Gerdes, Tania Hakkim, Honey Hilzen, Patricia Jaffarian, Lauren Kahn, Shelley and Stephen Limmer, Keiko Matsumura, Barbara Q. Myers, Eileen O’Neill, Beth Shapiro, Marianne Stegeland, Steven Toback, Barbara Trommer, Johanna Weber, Hermine Weiss, Anthony Yazzetti, Catherine Yeiser.

ABOUT THE CHARLESTON SYMPHONY

The Charleston Symphony (CSO) serves the greater Charleston community by presenting over 150 events annually featuring Masterworks and Pops series at the world-class Charleston Gaillard Center, outreach events, a range of education and family experiences, and free performances. Founded in 1936, the artistic vision of the CSO is to perform and present the highest quality music, and to engage and enrich people of all ages, race, or economic status by exploring, experiencing, and creating classical music.

The Charleston Symphony has grown into one of the largest full-time performing arts organizations in South Carolina and serves close to 50,000 adults and children every year. Charleston Symphony musicians are uniquely accessible and engage with audience members after performances, host gatherings, and participate as active members of the greater community. The CSO offers enriching educational programs for students and teachers that inspire, challenge, and educate students through musical experiences. These programs range from introductory performances for children that are experiencing music for the first time, to mentoring the region’s top student instrumentalists of the Charleston Symphony Youth Orchestra.

The Charleston Symphony is committed to advancing diversity, equity, and inclusion in the arts. Even before the CSO was officially founded in 1936, the volunteer orchestra came together to serve our community. CSO members partnered with the Avery Normal School (the first secondary school for African American students) to perform a concert of unity in response to the 1919 Charleston Race Riots. In June 2020, the CSO presented “Call and Response: A Concert for Equality” to leverage the power of music and spoken word to promote unity, love, and understanding. This was the first conversation of an ever-growing and expanding discussion about racial prejudice in Charleston that is filled with meaningful reflection and empathy for others.

With an annual budget exceeding $4 million, the CSO relies on philanthropic support to cover 55% of annual operating expenses. The Charleston employs 24 full-time salaried musicians and supplements the core with a robust selection of the highest caliber professional musicians from around the country.

For more information and for a list of upcoming concerts, please visit the CSO online at www.charlestonsymphony.org.

Violin 1

Yuriy Bekker

Alexander Boissonnault

Frances Hsieh

Tomas Jakubek

Karel Abo

Megumi Terry

Stephanie Silvestri

Liviu Onofrei

Corey Mike

Seth Gangwer

Violin 2

Asako Kremer

Mayumi Nakamura

Shr-Han Wu

Sofia Schutte

Catherine Hazan

David Edwards

Christian Zamora

Mary Ann Mumm

Viola

Jan-Marie Joyce

Ben Weiss

Craig Mumm

Kathryn Dark

Alex Agrest

Rachel Gangwer

MUSICIAN ROSTER

Cello

Damian Kremer

Najette Abouelhadi

Daniel Pereira

Ryan Donohue

David Caplan

Bass

Christian Hales

Luis Primera

Paul Sharpe

Roman Pekar

Flute

Jessica Hull-Dambaugh

Lauren Kavanaugh

Regina Yost

Oboe

Kelly Mozeik

Marissa Lucadano

English Horn

Kari Kistler

Clarinet

Gretchen Roper

Anastasia Christofakis

Bassoon

Jordan Brokken

Morgan Davison

Horn

Richard Williams

Mike Daly

Alex Lane

Aaron Jophlin

Trumpet

Tony Marti

Kyle Lane

Bill Anonie

Trombone

Chris Lindgren

Ben Dickinson

Bass Trombone

Tom Joyce

Tuba

Justin Clarkson

Harp

Jacqueline Marshall

Timpani

Beth Albert

Percussion

Ryan Leveille

Denis Petrunin

Diana Sharpe

Life without Compromise

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PHOTO BY JAMIE PHAM

WELCOME TO LOS ANGELES MASTER CHORALE’S LAGRIME DI SAN PIETRO

Thank you for joining us for Los Angeles Master Chorale’s Lagrime di San Pietro (Tears of St. Peter). One of America’s best regarded choral groups, Los Angeles Master Chorale brings to life a stunning choral piece. The a cappella Renaissance masterpiece Lagrime depicts the seven stages of grief that St. Peter experienced after disavowing his knowledge of Jesus. Renowned opera director Peter Sellars translates the work for a contemporary audience into an allegory about taking personal responsibility and facing regrets head-on to forge a more fulfilling future. Experiencing a choral work of this scale within the acoustically-stunning Martha & John M. Rivers Performance Hall will be a magical experience.

As you turn the pages of this program book, I invite you to learn more about the world-class artists who will bring this piece to life, as well as explore the opportunities available to become more involved with the Gaillard Center. Making a donation, buying tickets, or becoming a member, all valuably contribute to our mission to create unforgettable experiences through the transformational power of the arts.. Thank you for your continued support. Stay tuned for more exciting announcements!

Sincerely,

Lissa Frenkel President and CEO Charleston Gaillard Center

Lagrime di San Pietro

(TEARS OF ST. PETER)

GRANT GERSHON........................................................... Conductor

SATURDAY, MARCH 17, 2018 · 8PM

SUNDAY, MARCH 18, 2018 · 7PM

WALT DISNEY CONCERT HALL

PETER SELLARS ................................................................... Director

GRANT GERSHON

JAMES F. INGALLS ............................................... Lighting Designer

Kiki & David Gindler Artistic Director

DANIELLE DOMINGUE SUMI Costume Designer

LOS ANGELES MASTER CHORALE

PAMELA SALLING

Stage Manager

GRANT GERSHON conductor

PETER SELLARS director

SUSIE MCDERMID Director of Production

JAMES F. INGALLS lighting designer

ADAM NOEL Production Assistant

Danielle Domingue Sumi, costume designer · Pamela Salling, stage manager

ROBERT HEATH ............................................... Company Manager

LAGRIME DI SAN PIETRO (TEARS OF ST. PETER) ORLANDO DI LASSO (C.1530–1594)

LAGRIME DI SAN PIETRO (TEARS OF ST. PETER) ORLANDO DI LASSO (C. 1530-1594)

I. Il magnanimo Pietro (When the generous Peter realized)

I. Il magnanimo Pietro (When the generous Peter realized)

II. Ma gli archi (The bows, however)

II. Ma gli archi (The bows, however)

III. Tre volte haveva (Three times he had sworn)

IV. Qual a l’incontro (As he encountered the gaze)

III. Tre volte haveva (Three times he had sworn)

V. Giovane donna (A young woman looking in the mirror)

VIII. Nessun fedel trovai (I found none faithful)

VIII. Nessun fedel trovai (I found none faithful)

IX. Chi ad una ad una (He who could recount one by one)

XV. Vattene vita va (Go away life, go)

XVI.

XV. Vattene vita va (Go away life, go)

O vita troppo rea (O life, too wicked)

IX. Chi ad una ad una (He who could recount one by one)

X. Come falda di neve (Like a snowflake)

XI.

X. Come falda di neve (Like a snowflake)

E non fu il pianto suo (And his weeping)

XII. Quel volto (That face)

IV. Qual a l’incontro (As he encountered the gaze)

VI. Così talhor (Sometimes it happens)

VII. Ogni occhio del Signor (The eyes of the Lord)

V. Giovane donna (A young woman looking in the mirror)

VI. Così talhor (Sometimes it happens)

VII. Ogni occhio del Signor (The eyes of the Lord)

XIII. Veduto il miser (When the wretch saw)

XI. E non fu il pianto suo (And his weeping)

XIV. E vago d’incontrar (And longing to find someone)

Tonight’s concert will be performed without intermission.

XII. Quel volto (That face)

XIII. Veduto il miser (When the wretch saw)

XIV. E vago d’incontrar (And longing to find someone)

A quanti già felici (To how many, happy in youth)

XVI. O vita troppo rea (O life, too wicked)

XVII.

XVIII.

Non trovava mia fé (My faith would have not failed)

XIX.

XVII. A quanti già felici (To how many, happy in youth)

Queste opre e più (These works and more)

XX.

Negando il mio Signor (By denying my Lord)

XVIII. Non trovava mia fé (My faith would have not failed)

XXI. Vide homo (See, O man)

XIX. Queste opre e più (These works and more)

XX. Negando il mio Signor (By denying my Lord)

XXI. Vide homo (See, O man)

Tonight’s concert will be performed without intermission.

SPECIAL THANKS TO THE LOVELACE FAMILY TRUST

This production of Lagrime di San Pietro is made possible with generous underwriting from the Lovelace Family Trust and is dedicated to the memory of Jon Lovelace in honor of the special friendship he shared with director Peter Sellars. The touring production is also supported by lead sponsors Kiki Ramos Gindler and David Gindler; patron sponsors Philip A. Swan, and Laney and Tom Techentin; and contributing sponsors Jerrie and Abbott Brown, Cindy and Gary Frischling, Marian H. and John+ Niles, Frederick J. Ruopp+, and Eva and Marc Stern. + In memoriam

What’s musical Lasso? sometimes option of across in This Netherlandish Belgium) and north then an settled still latest Such, stick of di became right disseminated two traveled Venice by

LOS LOS ANGELES MASTER CHORALE

SPECIAL THANKS TO THE LOVELACE FAMILY TRUST

This production of Lagrime di San Pietro is made possible with generous underwriting from the Lovelace Family Trust and is dedicated to the memory of Jon Lovelace in honor of the special friendship he shared with director Peter Sellars.

A SAINT'S REMORSE

LASSO’S HIGH RENAISSANCE MASTERPIECE

by Thomas May

What’s the correct way to refer to one of the most extraordinary musical minds in history: Orlande/ Orlando/Roland de Lassus/di Lasso? There’s a Franco-Flemish form and an Italianized one; sometimes the two get mixed together. There’s even a Latin option intended to standardize the situation. The very profusion of variants points to the internationalism and cross-pollination across borders that marked the era of the High Renaissance in Europe.

This was a time in which a young musician born in the Netherlandish part of the Habsburg Empire (in what is nowadays Belgium) could find himself posted to positions at major courts and churches in Italy while still in his early twenties, travel back north for a brief spell (possibly in France and even England), and then be lured at around age 26 to join the ambitious court of an aristocrat in Munich (the Duke of Bavaria), where he happily settled for almost four decades until his death in 1594 — while still undertaking trips to Vienna and Italy and picking up on the latest developments in musical style.

Such, in brief outline, is the life story of Lasso. (Let’s simplify and stick to the Italian spelling, the one used on the title page of many of his published works, including the first edition of Lagrime di San Pietro.) During his long, productive years in Munich, he became an international celebrity. Lasso was

What’s the correct way to refer to one of the most extraordinary musical minds in history: Orlande/Orlando/Roland de Lassus/di Lasso? There’s a Franco-Flemish form and an Italianized one; sometimes the two get mixed together. There’s even a Latin option intended to standardize the situation. The very profusion of variants points to the internationalism and cross-pollination across borders that marked the era of the High Renaissance in Europe.

This was a time in which a young musician born in the

born at just the right time to benefit from the new technology of printing, which disseminated his prolific output at an astonishing rate (about two publications of his music a year). Hopeful young composers traveled far and wide to learn from him — the Gabrielis from Venice may have been among them — and Lasso was honored by emperor and pope alike.

“What you have is the iTunes of the High Renaissance: Everyone is hearing each other’s releases, in different languages, some in pirate versions, and mixing them together,” says director Peter Sellars. “All these versions of Orlando’s name evolved because he was active in different music centers. It feels like today, when there isn’t a single way music has to happen, and everyone is listening to everyone else.”

Lasso was particularly revered for the variety and extent of his output across vocal genres (curiously, instrumental music is missing from his vast extant oeuvre), as well as for the depth of his knowledge of the grand tradition of Renaissance polyphony that was just about to reach its end. In the century that dawned a few years after Lasso’s death, the new genre of opera would flourish, and its champion Claudio Monteverdi would pioneer a dramatically different musical language — a language from which modern Western music emerged.

“What you have is the iTunes of the High Renaissance: Everyone is hearing each other’s releases, in different languages, some in pirate versions, and mixing them together,” says director Peter Sellars. “All these versions of Orlando’s name evolved because he was active in different music centers. It feels like today, when there isn’t a single way music has to happen, and everyone is listening to everyone else.”

Lasso was particularly revered for the variety and extent of his output across vocal genres (curiously, instrumental music is

PHOTO BY TAO RUSPOLI & MARIE NOORBERGEN

Another contemporary artist, the French poet Pierre de Ronsard, raved: “The more-than-divine Orlando … like a bee has sipped all the most beautiful flowers of the ancients and moreover seems alone to have stolen the harmony of the heavens to delight us with it on earth, surpassing the ancients and making himself the unique wonder of our time.”

VISUALIZING THE POLYPHONY — Into his swan song, Lagrime di San Pietro, Lasso distilled all of that wisdom, experience, and complexity. “Polyphony of this kind of depth and detail is totally sculptural,” observes Sellars. He notes that Lagrime was composed only 30 years after the death of another towering artist of the High Renaissance: Michelangelo.

“You also get this muscular intensity in Lasso’s writing that is reminiscent of this expressive language we know so well, visually, from Michelangelo.” Both artists convey visions of an “embodied spirituality: the muscle of spiritual energy and striving against pain to achieve selftransformation.” “The genesis of this project began in 2011 when Peter and I were working together on Vivaldi’s Griselda at the Santa Fe Opera,” recalls Los Angeles Master Chorale’s Kiki & David Gindler Artistic Director Grant Gershon.

“I’ve always been especially moved by the way that he guides singers to connect their deepest and most complex emotions to the music.” Gershon imagined the potential that could be tapped by having Sellars stage an entirely a cappella work, “where there is no buffer between the singers and the audience. The pure sound of the human voice would convey all of the structure, the colors, the textures, and the feeling of a major work.”

And Lagrime di San Pietro presented “the perfect piece” with which to try out this approach — but also a set of formidable challenges. Explains Gershon: “The problem that the piece has had over the years is that this highly emotional, even anguished music has historically been performed in a very buttoned down, extremely reverential style. (Frankly, there are several perfectly lovely recordings of the work that are also unbelievably dull.) Peter and I felt that the truth of this music could be unlocked with movement and with an intense focus on the poetry.”

Lasso’s creation of this complex vocal cycle clearly stands apart within his oeuvre with regard to chronology and purpose. Widely admired and imitated by his contemporaries, that oeuvre encompasses on one side sacred works that are both traditional (masses) and wildly original (the celebrated motet cycle Prophetiae Sibyllarum) and, on the other, heartily profane compositions in multiple languages.

Lagrime di San Pietro comes at the very end — he

completed the score with a dedication to Pope Clement VIII on May 24, 1594, and died in Munich on June 14. In that dedication, Lasso remarks that “these tears of Saint Peter … have been clothed in harmony by me for my personal devotion in my burdensome old age.”

A SPECIAL KIND OF MADRIGAL — In terms of genre, the numbers comprising Lagrime are classified not as motets but as madrigale spirituali — a term that straddles the usual distinction between vocal compositions for the sacred (motet) and secular (madrigal) spheres. Motets, composed in Latin, were suitable for use in liturgy; madrigals set words in the vernacular language, frequently involving erotic and pastoral topics, and were intended for private courtly or academic gatherings (much as the first, court-produced operas) or, when the topic related to a public figure or occasion, for ceremonial contexts. Yet while taking advantage of the innovations (and lack of restrictions) of the secular madrigal, “spiritual madrigals” were devoted to religious topics. They were not suitable for liturgical usage, however — by definition, such madrigals set vernacular rather than Latin texts.

For Lagrime, Lasso found his text in a devotional epic by the Italian Renaissance poet Luigi Tansillo (1510-1568), who came out of the great Petrarchan tradition. (Like Lasso, incidentally, the humanist Petrarch devoted his art to secular and sacred causes — his poetry praising the Virgin Mary inspired Lasso’s contemporary Palestrina to write a famous set of madrigale spirituali.) Tansillo, curiously, had been on the Vatican’s Forbidden Index. His Lagrime obtained an official pardon from the Pope. Although Tansillo died before managing to complete the epic, the published Lagrime is a lengthy collection of eight-line stanzas in ottava rima (the rhyming scheme ABABABCC), from which Lasso chose 20 for his madrigal cycle.

PETER’S THREEFOLD DENIAL — The dramatic content centers around a topic that will be familiar to anyone who knows J.S. Bach’s Passions, where it occurs as just one episode within the long sequence of the Passion story (though it inspires one of the most moving moments in the St. Matthew Passion — the alto aria “Erbarme dich”). It’s the topic of several masterpieces in painting as well, by such artists as Rembrandt and Caravaggio. The Gospel narratives of the Passion recount the Apostle Peter’s fearful reaction to the terror of the night of Jesus’ arrest. Three times he denies knowing the accused — exactly as Jesus during the Last Supper had predicted Peter would do, “this very night, before the rooster crows.” This is of course the very Peter who would be claimed as the founder of the Catholic Church, the first in its succession of popes. Tansillo’s poem unfolds as a highly wrought, emotional sequence

of self-accusation and remorse for what cannot be undone, as the elderly Peter attempts to come to terms with his anguish. The imagery is elaborate, its references to mirrors and reflections revealing a characteristic Renaissance preoccupation, and boldly figures what transpires in the central image — the communication through Jesus’ transfixing glance on the Cross — to the unspoken knowledge shared by lovers.

The cycle Lasso fashions from this resembles a psychodrama, a kind of psychological Stations of the Cross Peter endures internally: the eternally present moment of betrayal and the recollections of a man approaching and longing for death intersect as he seeks reconciliation, realizing he can never forgive himself but can rely only on divine grace. Lasso gives Peter — and us — no easy answers, and no easy way out. He concludes the cycle of 20 stanzas from Tansillo’s poem with a 21st number [madrigal] from another source: a Latin motet by the 13th-century French poet Philippe de Greve representing the final word from Jesus himself (“Vide Homo, quae pro te patior” — “See, O man, how I suffer for you”). Here Jesus only reaffirms what has been tormenting Peter: the knowledge that his betrayal has caused more “inner agony” for the savior than his outward suffering on the cross. Even the repetitive rhyme scheme for all eight lines enhances the sense of recursive entrapment. Through his overall tonal scheme using the old church (i.e., Gregorian) modes, Lasso further underscores the sense of irresolution by omitting some of those eight modes as he progressively cycles through them; for this final motet he shifts to a mode outside the normal system. You don’t have to understand the musicological jargon to hear the remarkably austere impact of the final number.

Structurally, Lagrime also reflects the kind of theological numerological symbolism that is so all-pervasive in Bach’s masterpieces. Each stanza is written for seven separate parts. (Some performers opt to complement the voices with instruments, citing performance practice of Lasso’s era.) Seven is the number of perfection and creation, but also a number with a dark side, as in the Seven Deadly Sins. Three is the number of the Trinity, but it, too, has a negative shadow in the three times Peter denies Jesus. Lasso’s overall cycle comprises 3 x 7 stanzas (yielding 168 lines of poetry, a sum evenly divisible by 7).

PARED DOWN SIMPLICITY — For this staging, Gershon and Sellars decided to perform with three singers on a part resulting in an ensemble of 21. “We wanted the size of the ensemble to balance the need for clarity and transparency of the individual voices with the idea of this also being a community coming together,” explains Gershon. “We also talked about keeping a real simplicity to

the whole look and feel, without any set or props or extra performers. Peter’s work with the singers would be complemented by Jim Ingalls’ lighting and some chairs onstage; the wardrobe is basically shades of grey — clothes that look like they could come out of anyone’s closet.”

“This is music that has a real austerity,” Gershon adds. “Lagrime is old composer’s music, like the late Beethoven string quartets or the Adagio from Mahler’s Ninth or Tenth. Things are stripped away, until there is nothing extraneous: there are very few melismatic passages.” For Sellars, Lagrime is composed “with an incredible concision, with sheer essence and focus. There’s a harmonic density but at the same time it’s stated as simply as possible, without a single extra note."

We know that in his final years Lasso had been ailing, seeking relief for a condition described as “melancholy,” and he even dedicated one set of his madrigals to the court physician who took care of him.

“At this point in his life,” according to Sellars, Lasso “does not need to prove anything to anyone. He is [composing Lagrime] because this is something he has to get off his chest to purify his own soul as he leaves the world. It’s a private, devotional act of writing, but these thoughts are now shared by a community — by people singing to and for each other.”

While the Lagrime project represents his first time staging an entirely a cappella performance, Sellars considers it a continuation of themes he has been recently revisiting in his collaborations with conductor Esa-Pekka Salonen involving choral works by Igor Stravinsky. For the conclusion of Salonen’s tenure with the Los Angeles Philharmonic in 2009, Sellars staged Stravinsky’s Symphony of Psalms and Oedipus Rex as a double-bill, and the conductor and director reprised it just last month to crown a Stravinsky series with the Philharmonia Orchestra in London.

So it’s not surprising that Sellars suggests parallels with his new staging of Lasso’s work in the “cathedral-like space” of Walt Disney Concert Hall. As in the Stravinsky double-bill, in Lagrime the chorus “carries the drama forward” — drama according to the ancient Greek understanding of tragedy, says Sellars, “which I could also call an African understanding, where an individual crisis is also a crisis of the community. Even though we hear one man’s thoughts, it is the community that absorbs them and has to take responsibility: a collective takes on this weight of longing and hope.”

INNER DIALOGUE, LIGHT, AND DARKNESS — That interplay between the individual and the collective has suggested thrilling possibilities for staging. For Sellars, “the voice is not something disembodied but is part of the body which is

testifying. The sheer physical intensity of the singing joins with this collective dawning through the inner dialogue of the composition, as these voices have their moments of revelation.”

And beyond the Stravinsky, Lagrime can be viewed as a continuation of Sellars’ engagements with the Passion story, from his acclaimed stagings of the classic Bach Passions to his work on contemporary variants by John Adams (The Gospel According to the Other Mary, in whose world premiere the Master Chorale and Gershon took part) and Kaija Saariaho (La Passion de Simone, recently reintroduced in a chamber version as part of this past summer’s Ojai Festival).

“Lagrime has one foot in this world and one foot in the next world — it’s music written by somebody who is in pain,” says Sellars. “It shares the giant discovery of lighting in Renaissance painting that was echoed in poetry and music: this understanding that light and darkness are deeply intertwined in God’s creation and are necessary for each other. Taken together, they create chiaroscuro. That’s how we perceive depth.”

Through all of its pain, says Sellars, the challenge in Lagrime “is directed towards oneself. Instead of challenging the world, you challenge yourself — that is the real meaning of jihad in Islam, the war within yourself. In an analogous act to Michelangelo’s and Rembrandt’s self-portraits, Lasso has created this host of recording angels who can detail the fluctuations and razor-edge refinements of his art, his moral quandaries, and

lifelong regret for failed moments. That crystal clear, relentlessly honest moment is a crisis known to every human being on earth. In the case of Lasso, he can’t forgive himself, but the music is suffused with a divine compassion and illumination that reaches the very heart of hell.”

The result of this powerful collaboration turned out to make a milestone in the history of the Master Chorale. “What neither Peter nor I could fully anticipate was the overwhelming emotional vulnerability that our singers would bring to this project,” says Gershon. “Ostensibly this piece is about Peter the Apostle and his lifelong sense of remorse over denying Jesus before the crucifixion. What we came to realize as we all worked together is that Lasso was delving into much more universal themes surrounding growing old, losing the things and people that we care about, experiencing extreme shame and regret but also some possibility of benediction. We all came away from the initial performances of this work convinced of two things: that Lagrime di San Pietro is one of the towering masterpieces of Western music, and that this project represents for each of us some of the most important work that we have ever embarked upon. This is a piece that people need to hear, to see, and to experience.”

Thomas May, program annotator for the Los Angeles Master Chorale, writes about the arts and blog at memeteria.com.

PHOTO BY TAO RUSPOLI & MARIE NOORBERGEN

CANTUS I

Claire Fedoruk

Elissa Johnston

Holly Sedillos

CANTUS II

Hayden Eberhart

Beth Peregrine

Andrea Zomorodian

ALTO I

Michele Hemmings

Shawn Kirchner

Niké St. Clair

ALTO II

Callista HoffmanCampbell

Michael Lichtenauer

Adriana Manfredi

TENOR I

Matthew Brown

Charlie Kim

Luc Kleiner

TENOR II

Dermot Kiernan

Brett McDermid

Shuo Zhai

BASSO

Scott Graff

Chung Uk Lee

Ben Lin

The singers of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO; Leanna Brand, AGMA Delegate.

LOS ANGELES MASTER CHORALE

The Los Angeles Master Chorale is the “the finest by- far major chorus in America” (Los Angeles Times) that turns “precision into wonder” (The New Yorker). Hailed for its powerful performances, technical precision, and artistic daring, the Chorale is led by Grant Gershon, Kiki & David Gindler Artistic Director; Associate Artistic Director Jenny Wong; and Interim President & CEO Terry Knowles. Its Swan Family Artist-in-Residence is Reena Esmail.

The Los Angeles Master Chorale is widely recognized as the country’s leading professional choir and one of Southern California’s most vibrant cultural treasures. Hailed for its powerful performances, technical precision, and artistic daring, the Master Chorale is led by Kiki and David Gindler Artistic Director Grant Gershon and President and CEO Jean Davidson. Founded by legendary conductor Roger Wagner in 1964, it is a founding resident company of The Music Center and choir-inresidence at Walt Disney Concert Hall. Chorister positions are highly sought-after and the fully professional choir is a diverse and vocally dynamic group showcasing the many voices of L.A. Presenting its own concert series each season, the Los Angeles Master Chorale performs choral music from the earliest writings to contemporary compositions striking a balance between innovation and tradition. It also frequently performs with the Los Angeles Philharmonic at Disney Hall and the Hollywood Bowl. The Master Chorale has been awarded three ASCAP/Chorus America Awards for Adventurous Programming

directed by Peter Sellars, it earned rave reviews across the globe. Süddeutsche Zeitung called the 2019 Salzburg Festival performance “painfully beautiful,” while the Sydney Morning Herald praised Lagrime di San Pietro as “stunning…Their voices soared to the heavens.” After the Chorale performed in London, The Stage called Lagrime a “balm for the soul.”

as well as Chorus America’s prestigious Margaret Hillis Award for Choral Excellence. In 2017 it was inducted into the American Classical Music Hall of Fame. The Master Chorale has appeared frequently on film scores and soundtracks, most recently Star Wars: The Last Jedi at the request of composer John Williams. Committed to community engagement and fostering music education in schools, the Los Angeles Master Chorale’s education programs include Voices Within residencies that encourage students to write and perform their own songs, and an expansive Oratorio Project for high school students. The Master Chorale also presents an annual High School Choir Festival, which brings teenagers from around the Southland to perform in Walt Disney Concert Hall. In June 2016, the Master Chorale hosted Big Sing L.A., bringing people of all ages and abilities to Grand Park for a communal singing event. In 2018, this initiative will expand with Big Sing California engaging singers from throughout the state. lamasterchorale.org

Committed to increasing representation in the choral repertoire, the Chorale announced in 2020 that it will reserve at least 50% of each future season for works by composers from historically excluded groups. This commitment to inclusion runs through the entire organization, which recently ratified a five-year plan to improve representation at the staff and board levels, to build a more diverse roster of singers, and to reach a wider audience.

CANTO PRIMO

Claire Fedoruk

Elissa Johnston

Anna Schubert

CANTO SECONDO

Hayden Eberhart

Bethanie Peregrine

Andrea Zomorodian

ALTO PRIMO

Shawn Kirchner

Nike St. Clair

Michele Hemmings

ALTO SECONDO

Callista Hoffman-Campbell

Michael Lichtenauer

Adriana Manfredi

Created by legendary conductor Roger Wagner in 1964, the Chorale is a founding resident company of The Music Center and choir-in-residence at Walt Disney Concert Hall. The fully professional choir is a diverse and vocally dynamic group that reaches over 175,000 people a year through its concert series at Walt Disney Concert Hall, its international touring of innovative works, and its performances with the Los Angeles Philharmonic and others. In 2022, the Chorale won a Best Choral Performance Grammy for the Los Angeles Philharmonic’s Deutsche Grammophon recording of Mahler’s Symphony No. 8 (with the National Children's Chorus, Los Angeles Children’s Choir, and Pacific Chorale). Other recordings include The Sacred Veil by Eric Whitacre (Signum Records) and national anthems / the little match girl passion by David Lang (Cantaloupe Records). The Chorale is featured on the soundtracks of many major motion pictures, including Jungle Cruise, and the Star Wars films The Last Jedi and The Rise of Skywalker.

Throughout 2018, 2019, and 2022 the Chorale toured its production of Lagrime di San Pietro;

TENOR PRIMO

Matthew Brown

Charlie Kim

Luc Kleiner

TENOR SECONDO

Jon Lee Keenan

Brett McDermid

Shuo Zhai

BASSO

Scott Graff

James Hayden Chung Uk Lee

The Chorale’s education programs include Voices Within residencies that encourage students to write and perform their own songs, and an expansive Oratorio Project for high school students. The Chorale also presents an annual High School Choir Festival, which brings teenagers from around Los Angeles to perform in Walt Disney Concert Hall. In May 2019, the High School Choir Festival celebrated 30 years as one of the longest-running and widest reaching arts education programs in Southern California. The Chorale returned to Grand Park last July for the first time in three years to host Big Sing 2022, the cherished group-sing event enjoyed from people throughout Los Angeles.

The singers of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO; Leanna Brand, AGMA Delegate.

LAGRIME DI SAN PIETRO

GRANT GERSHON

GRANT GERSHON

Hailed for his adventurous and bold artistic leadership, Grant Gershon celebrated his 20th anniversary season in 2021-22 with the Los Angeles Master Chorale, which he has turned into the "finest-by-far major chorus in America.”

(Los Angeles Times)

Gershon, who elicits technically precise and expressive performances from musicians, is committed to increasing representation in the choral repertoire, and in 2020 he announced that the Chorale will reserve at least 50% of each season for works by composers from historically excluded groups in classical music. For his career-spanning leadership in the field of choral music, Gershon received Chorus America’s 2022 Korn Founders Award. Gershon was named Outstanding Alumnus of the USC Thornton School of Music in 2002 and received the USC Alumni Merit Award in 2017.

In July 2019, Gershon and the Chorale opened the famed Salzburg Festival with Lagrime di San Pietro, directed by Peter Sellars. The Salzburg performances received standing ovations and rave reviews by such outlets as the Süddeutsche Zeitung, which called Lagrime “painfully beautiful.” In 2022–23, Gershon will collaborate again with Sellars in the Chorale’s production of Music to Accompany a Departure

Daniel Variations (Nonesuch), A Good Understanding (Decca), Miserere (Decca), and the national anthems (Cantaloupe Music). He has also led the Chorale in performances for several major motion pictures soundtracks, including, at the request of John Williams, Star Wars: The Last Jedi and The Rise of Skywalker

As resident conductor of LA Opera, Gershon conducted the West Coast premiere of Philip Glass’s Satyagraha in November 2018. He made his acclaimed debut with the company with La Traviata in 2009 and subsequently conducted Il Postino, Madama Butterfly, Carmen, Florencia en el Amazonas, Wonderful Town, The Tales of Hoffmann, and The Pearl Fishers. In 2017, he made his San Francisco Opera debut conducting the world premiere of John Adams’s Girls of the Golden West, directed by Peter Sellars, who also wrote the libretto, and made his Dutch National Opera debut with the same opera in March 2019.

Hailed for his adventurous and bold artistic leadership and for eliciting technically precise and expressive performances from musicians, Grant Gershon is currently in his 17th season as the Kiki & David Gindler Artistic Director of the Los Angeles Master Chorale. The Los Angeles Times has said the Master Chorale "has become the most exciting chorus in the country under Grant Gershon,” a reflection on both his programming and performances.

Gershon’s discography includes Grammy-winning Best Choral Performance for Mahler: Symphony No. 8, “Symphony Of A Thousand”, Grammynominated recordings of Sweeney Todd (New York Philharmonic Special Editions) and Ligeti’s Grand Macabre (Sony Classical), and commercial recordings with the Chorale that include GlassSalonen (RCM), You Are (Variations) (Nonesuch),

In New York, Gershon has appeared at Carnegie Hall and at the historic Trinity Wall Street, and he has performed on the Great Performers series at Lincoln Center and the Making Music series at Zankel Hall. Other major appearances include performances at the Ravinia, Aspen, Edinburgh, Helsinki, Salzburg, and Vienna festivals, the South American premiere of the LA Opera’s production of Il Postino in Chile, and performances with the Baltimore Symphony and the Coro e Orchestra del Teatro Regio di Torino in Turin, Italy. He has worked closely with numerous conductors, including Claudio Abbado, Pierre Boulez, James Conlon, Gustavo Dudamel, Lorin Maazel, Zubin Mehta, Simon Rattle, and his mentor, Esa-Pekka Salonen.

“rhythmic buoyancy and vigor” (Classical Voice North America). Girls of the Golden West was directed by Peter Sellars. In New York, Gershon has appeared at Carnegie Hall and at Trinity Wall Street, as well as on the Great Performers series at Lincoln Center. Other major appearances include performances at the Ravinia, Aspen, Edinburgh, Helsinki, Salzburg and Vienna Festivals. He has worked closely with numerous conductors, including Claudio Abbado, Pierre Boulez, James Conlon, Gustavo Dudamel, Lorin Maazel, Zubin Mehta, Simon Rattle, and his mentor, Esa-Pekka Salonen.

his adventurous and bold artistic leadership and for technically precise and expressive performances from Grant Gershon is currently in his 17th season as

During his tenure Gershon has led more than 200 Master Chorale performances at Walt Disney Concert Hall. A fervent champion of new music, he has led world premiere performances of major works by John Adams, Esa-Pekka Salonen, David Lang, Louis Andriessen, Christopher Rouse, Steve Reich, Morten Lauridsen, Ricky Ian Gordon, Gabriela Lena Frank, Shawn Kirchner, and Chinary Ung, among many others.

His discography includes two Grammy Award-nominated recordings: Sweeney Todd (New York Philharmonic Special Editions) and Ligeti’s Grand Macabre (Sony Classical); six commercial recordings with the Master Chorale and two live performance albums. He has also led the Master

“rhythmic buoyancy and vigor” (Classical Voice North Girls of the Golden West was directed by Peter Sellars.

LAGRIME DI SAN PIETRO

Chorale in

KIKI AND DAVID GINDLER ARTISTIC DIRECTOR

LAGRIME DI SAN PIETRO

York, Gershon has appeared at Carnegie Hall and at Trinity

KIKI AND DAVID GINDLER ARTISTIC DIRECTOR

PHOTO BY TAO RUSPOLI & MARIE NOORBERGEN

GRANT GERSHON

PETER SELLARS

Peter Sellars has gained international renown for his groundbreaking and transformative interpretations of artistic masterpieces and for collaborative projects with an extraordinary range of creative artists. He has staged operas at the Canadian Opera Company, Dutch National Opera, English National Opera, Lyric Opera of Chicago, Opéra National de Paris, and the Salzburg Festival, among others.

He has collaborated on the creation of many works with composer John Adams, including Nixon in China, The Death of Klinghoffer, El Niño, Doctor Atomic, A Flowering Tree, and The Gospel According to the Other Mary. Inspired by the compositions of Kaija Saariaho, Sellars has guided the creation of productions of her work that have expanded the repertoire of modern opera.

Recent projects include an acclaimed production of La Clemenza di Tito at the 2017 Salzburg Festival, a concert staging of The Cunning Little Vixen with the Berlin Philharmonic Orchestra, and the premiere of the latest Adams/Sellars collaboration, Girls of the Golden West, at San Francisco Opera. This summer Sellars will create a new production of Doctor Atomic for the Santa Fe Opera.

Sellars has led several major arts festivals, including the 1990 and 1993 Los Angeles Festivals and the 2002 Adelaide Arts Festival. In 2006 he was Artistic Director of New Crowned Hope, a monthlong festival in Vienna for which he invited artists from diverse cultural backgrounds to create new work in the fields of music, theater, dance, film, the visual arts and architecture for the celebration of Mozart’s 250th birth anniversary. He served as the Music Director of the 2016 Ojai Music Festival. He is a Distinguished Professor in the Department of World Arts and Cultures at UCLA, a resident curator of the Telluride Film Festival, and was a Mentor for the Rolex Arts Initiative. Sellars is the recipient of a MacArthur Fellowship, the Erasmus Prize for contributions to European culture, the Gish Prize, and is a member of the American Academy of Arts and Sciences. In 2014 he was awarded the prestigious Polar Music Prize and named Artist of the Year by Musical America.

LAGRIME DI SAN PIETRO

KIKI AND DAVID GINDLER ARTISTIC DIRECTOR

PHOTO BY RUTH WALZ

LAGRIME DI SAN PIETRO

Peter Sellars has gained international renown for his groundbreaking and transformative interpretations of artistic masterpieces and for collaborative projects with an extraordinary range of creative artists. He has staged operas

Sellars will create a new production of Doctor Atomic for the Santa Fe Opera.

Sellars has led several major arts festivals, including the 1990

DIRECTOR

guest artists

James F. Ingalls makes his debut with the Los Angeles Master Chorale. His work in Los Angeles includes Carmen de Lavellade’s As I Remember It (Wallis Annenburg Center), The Price and A Parallelogram (Mark Taper Forum), The Gospel According to the Other Mary, Canata Criolla, Oedipus Rex/Symphony of Psalms , and El Niño (LA Philharmonic); and Tribu , choreographed by Melanie Rios Glaser (REDCAT).

guest artists

F. INGALLS

LIGHTING DESIGN

Recent designs for dance include Layla and Majnun (Mark Morris Dance Group), The Weight of Smoke, Dilly Dilly and Sullivaniana (Paul Taylor’s American Modern Dance), George Balanchine’s The Nutcracker (Pacific Northwest Ballet/Seattle), The Sleeping Beauty, choreographed by Alexi Ratmansky (Teatro alla Scala Ballet and American Ballet Theatre) and Twyla Tharp’s 50th Anniversary Tour. Recent design for opera includes Iolanta and Persephone (Opera Lyon) and the world premiere of Kaija Saariaho’s Only the Sound Remains (Dutch National Opera), both directed by Peter Sellars. Recent theatre includes The Beauty Queen of Leenane (to be seen at the Taper in November) and Waiting for Godot, both directed by Garry Hynes (Druid Theatre/Galway). He often collaborates with The Wooden Floor dancers in Santa Ana, California.

guest artists

Danielle Domingue Sumi is native to New Orleans, Louisiana, and a Los Angeles-based apparel artist and art psychotherapist. Danielle’s artistic expression is inspired by spirituality and humility with elements of multicultural diversity and social justice. She is committed to promoting social well-being through expressive arts including increased understanding, recognition, and response to multi-ethnic heritage. Danielle is treasured for her creativity and leadership skills in theatrical costume production. Since 2005, she has worked on staff and independently with fashion, theaters and opera companies including FIDM, Los Angeles Opera, Kirk Douglas Theater, Los Angeles Philharmonic, Perm Opera and Ballet Company, Teatro Real Madrid, English National Opera, and Music Academy of the West. She was previously assistant head of wardrobe with Los Angeles Opera.

DANIELLE DOMINGUE SUMI COSTUME DESIGN

DANIELLE DOMINGUE COSTUME DESIGN

James F. Ingalls makes his debut with the Los Angeles Master Chorale. His work in Los Angeles includes Carmen Lavellade’s As I Remember It (Wallis Annenburg Center), The Price and A Parallelogram (Mark Taper Forum), The Gospel According to the Other Mary, Canata Criolla, Oedipus Rex/Symphony of Psalms , and El Niño (LA Philharmonic); and Tribu , choreographed by Melanie Rios Glaser (REDCAT). include Layla and Majnun (Mark The Weight of Smoke, Dilly Dilly Taylor’s American Modern Dance), Nutcracker (Pacific Northwest Sleeping Beauty, choreographed by alla Scala Ballet and American Ballet 50th Anniversary Tour. Recent design and Persephone (Opera Lyon) and Saariaho’s Only the Sound Remains both directed by Peter Sellars. Recent Beauty Queen of Leenane (to be seen at and Waiting for Godot, both directed

James F. Ingalls made his Los Angeles Master Chorale debut with Lagrime di San Pietro, with which he has toured internationally. His work for the LA Philharmonic includes last season’s Fidelio with Deaf West Theatre and previous season’s Canata Criolla, El Niño and The Gospel According to the Other Mary. Designs for Mark Taper Forum/Center Theatre Group include The Beauty Queen of Leenane, The Price and A Parallelogram. Most recently for Peter Sellars he designed Monochromatic Light (Afterlife) (Park Avenue Armory/NYC), Oedipus Rex/Symphony of Psalms (San Francisco Symphony) and Le Roman de Fauvel (Theatre du Chatelet/Paris). Recent designs for dance include Ibsen’s House (Singapore Ballet and Charlotte Ballet), Raymonda (Dutch National Ballet) and Twyla Now! (New York City Center). Recent theatre includes Once Before I Go (Gate Theatre/Dublin) and The Seagull and Three O’Casey Comedies (Druid Theatre/Galway). He often collaborates with The Wooden Floor dancers in Santa Ana, California.

James F. Ingalls makes his debut with the Los Angeles Master Chorale. His work in Los Angeles includes Carmen de Lavellade’s As I Remember It (Wallis Annenburg Center), The Price and A Parallelogram (Mark Taper Forum), The Gospel According to the Other Mary, Canata Criolla, Oedipus Rex/Symphony of Psalms , and El Niño (LA Philharmonic); and Tribu , choreographed by Melanie Rios Glaser (REDCAT).

Danielle finds great joy in collaborating with director, Peter Sellars including designing Lagrime di San Pietro with Los Angeles Master Chorale and bringing life to other projects including Desdemona at CAP UCLA, The Indian Queen, and The Gospel According to the Other Mary on tour with Los Angeles Philharmonic. Recently, she was assistant costume designer for Los Angeles Philharmonic’s production of Bernstein’s Mass Currently, Danielle is supervising Allegiance, a broadway musical production with East West Players (EWP) and the Japanese American Cultural Center (JACC) in Los Angeles.

Recent designs for dance include Layla and Majnun (Mark Morris Dance Group), The Weight of Smoke, Dilly Dilly Sullivaniana (Paul Taylor’s American Modern Dance), George Balanchine’s The Nutcracker (Pacific Northwest Ballet/Seattle), The Sleeping Beauty, choreographed by Alexi Ratmansky (Teatro alla Scala Ballet and American Ballet Theatre) and Twyla Tharp’s 50th Anniversary Tour. Recent design opera includes Iolanta and Persephone (Opera Lyon) and world premiere of Kaija Saariaho’s Only the Sound Remains (Dutch National Opera), both directed by Peter Sellars. Recent theatre includes The Beauty Queen of Leenane (to be seen at Taper in November) and Waiting for Godot, both directed

LAGRIME ON TOUR — DATES AND INFO

COPY TK

Danielle Domingue Sumi is a visual artist inspired by culture, spirituality, and humility. She is committed to promoting social wellbeing through costume design and expressive arts. Her creativity is explicated through diversity and social justice principles with an increased understanding, recognition, and response to multiethnic heritage. A graduate of Clark Atlanta University, FIDMLA and Loyola Marymount University; with degrees in both design and art psychotherapy, Danielle is treasured for ingenuity and leadership skills in theatrical, fashion, dance, and opera costume production. Danielle has created for The Fashion Institute of Design (LA), Theatre Forty, Los Angeles Opera, Music Academy of the West, Los Angeles Philharmonic, Perm Opera and Ballet, Los Angeles Master Chorale, East West Players, Japanese American Community and Culture Center, Halau Hula Moani’a’ala Anuhea, and Company One Theatre. Danielle worked as Resident Costume Designer with Nobles Theatre Collective. She is currently Costume Director with New Orleans Opera Association.

Danielle Domingue New Orleans, Angeles-based psychotherapist. expression and humility cultural diversity She is committed well-being including increased recognition, multi-ethnic

treasured for her creativity and leadership costume production. Since 2005, she independently with fashion, theaters including FIDM, Los Angeles Opera, Kirk Angeles Philharmonic, Perm Opera and Real Madrid, English National Opera, West. She was previously assistant head Angeles Opera.

Danielle Domingue Sumi is native to New Orleans, Louisiana, and a Los Angeles-based apparel artist and art psychotherapist. Danielle’s artistic expression is inspired by spirituality and humility with elements of multicultural diversity and social justice. She is committed to promoting social well-being through expressive arts including increased understanding, recognition, and response to multi-ethnic heritage. Danielle treasured for her creativity and leadership skills in theatrical costume production. Since 2005, she has worked on staff and independently with fashion, theaters and opera companies including FIDM, Los Angeles Opera, Kirk Douglas Theater, Los Angeles Philharmonic, Perm Opera and Ballet Company, Teatro Real Madrid, English National Opera, and Music Academy of the West. She was previously assistant head of wardrobe with Los Angeles Opera.

Danielle finds great joy in collaborating with director, Peter Sellars including designing Lagrime di San Pietro with Los Angeles Master Chorale and bringing life to other projects including Desdemona at CAP UCLA, The Indian Queen, and

Danielle finds great joy in collaborating Sellars including designing Lagrime Angeles Master Chorale and bringing including Desdemona at CAP UCLA, The

LAGRIME DI SAN PIETRO

JAMES F. INGALLS LIGHTING DESIGN

LAGRIME DI SAN PIETRO

LAGRIME DI SAN PIETRO

DANIELLE DOMINGUE SUMI COSTUME DESIGN

JAMES F. INGALLS LIGHTING DESIGN