GUEST ARTIST CO-SPONSOR
GUEST ARTIST IN RESIDENCE SPONSORS - Audrey
PRINCIPAL PIANIST SPONSOR - Allen Batchelder
In transforming lives through innovative programming, artistic excellence, educational outreach and service to the community.
Each one of us has the potential to impact a person, a cause, a community. For 45 years, the Community Foundation of Sarasota County has been key to unlocking possibilities for all who call our area home. You can be the one to make a difference.
Key Chorale was founded in Spring 1985 by Ann Stephenson-Moe, Organist and Choirmaster of the Church of the Redeemer and Don B. Ryno, Minister of Music at St. Boniface Church. For 21 years, Daniel Moe served as Artistic Director of Key Chorale. Referred to as the “Dean of Choral Conductors” by the NewYorker, Dr. Moe previously conducted the internationally renowned Oberlin College Choir. He announced his intended retirement in October 2005, which allowed the Chorale to conduct a nationwide search for a new Artistic Director. Dr. Moe’s last concert was April 30, 2007, with a performance of Verdi’s acclaimed Requiem. His tenure with Key Chorale established a standard of choral excellence continued by current Artistic Director Joseph Caulkins, appointed in 2007.
Collaborating with the Sarasota Orchestra under the baton of Leif Bjaland, the Chorale performed such masterworks as Poulenc’s Gloria, Mahler’s Symphony No. 2, Beethoven’s Choral Fantasy, and Haydn’s The Creation. Key Chorale appeared with the National Symphony Orchestra under the direction of Leonard Slatkin presenting Beethoven’s Ninth Symphony.
The commissioning of new choral music has always been a priority of the Chorale. Notable commissions include Three Days by the Sea by Gwyneth Walker, Invocations – Prayers for the Earth by Dale Warland, The Lake Isle and Arise by Ola Gjeilo, and others. Key Chorale has also released several recordings including ARISE, Choral Music of Ola Gjeilo released in 2017, and INVOCATIONS released in 2010.
Key Chorale has taken its music to Europe on several occasions. In 2001, the Chorale toured Prague, Vienna, and Budapest. In 2009 they presented concerts in France and Italy, including a concert in Asolo, Sarasota’s Sister City, and a memorable Mass at the historic San Marco Basilica in Venice. In 2012, Key Chorale toured Ireland and Scotland, including performing in Saint Giles’ Cathedral.
MISSION STATEMENT: Key Chorale, the Suncoast’s premier symphonic chorus, is dedicated to transforming lives through innovative programming, artistic excellence, educational outreach and service to the community.
VISION STATEMENT: A Suncoast community that is engaged and enriched by the power of our music and outreach.
Executive Committee
Bob Wennberg
President
Larry D Patton
Ex Officio
Carol Myers Vice-President
Alix Giannini
Secretary
Elizabeth Meltz
Treasurer
Board of Directors
Allen Batchelder
Elizabeth Behnke
Lydia Johnston
David V. Patrick
Heather Stearns
J. Alvin Stout
Sarah Walcutt-Febish
Artistic Team
Joseph Caulkins, Artistic Director
Glenn Priest, Principal Keyboardist
Administrative Team
Ellen Rowe, Director of Operations
Johnette Cappadona, Director of Community Engagement
Trish Ivey, Director of Marketing and Patron Services
Alice Byrne, Finance Manager
Ellen Schaller, Community Outreach Specialist
Zachery Stockman, Production Manager
Kaela Coye, Education Support/Chorus Librarian
Lori Maxwell, Administrative Assistant
Thomas Tryon, Event Manager
Betsy Dane, Grants Consultant
ARTISTIC DIRECTOR AND CONDUCTOR FUND BENEFACTOR
SALLY ARTHUR
COMMUNITY OUTREACH INITIATIVE FUND BENEFACTOR
CHARLIE ANN & JIM SYPRETT
PROFESSIONAL CORE FUND BENEFACTOR
MICHAEL V. CORRIGAN
*Of blessed memory
STUDENT SCHOLAR LEADERSHIP FUND BENEFACTOR
COMMUNITY FOUNDATION OF SARASOTA COUNTY
SEASON SPONSOR FUND BENEFACTOR THE EXCHANGE
ORCHESTRAL FUND BENEFACTOR
ERNEST KRETZMER
*Of blessed memory
PRESENTING CO-SPONSORS - Gulf Coast Community Foundation; Charlie Ann & Jim Syprett
GUEST ARTIST CO-SPONSOR - Gulf Coast Community Foundation
GUEST ARTIST IN RESIDENCE SPONSORS - Audrey Robbins & Harry Leopold
PRINCIPAL PIANIST SPONSOR - Allen Batchelder
Cordelia Lee Beattie Foundation
Community Outreach Underwriters: Katherine & Frank Martucci, Phil Butler & Nadine Thomas, Don & Pat Clem
Season Hospitality Underwriters - Given in appreciation of Maestro Joseph Caulkins: Deborah & Sean Mahony and Larry D Patton
Adventurous is a fitting descriptor for Joseph Caulkins. It has been used to describe his reputation for bold programming, world premieres and unique collaborations on the conductor’s podium, to his knack for vibrant storytelling as a freelance writer, to his pursuits as an experienced alpinist.
As a guest conductor, Maestro Caulkins has led The Sarasota Ballet, The Venice Symphony, Space Coast Pops, and The Southwest Florida Symphony where he was also Associate Conductor/Director of Choruses from 2001-2010. Prior to his arrival in Florida, he was Artistic Director/Conductor of the Bach Chamber Choir (Rockford, IL) and directed the St. Procopius Chamber Orchestra and Choirs at Benedictine University (Lisle, IL). With his choruses, Mr. Caulkins has produced numerous CDs, led European concert tours, conducted world and regional premieres and commissioned new works from Dale Warland, Eric Whitacre and Ola Gjeilo among others.
In 2019, Maestro Caulkins received the “Arts Leadership Award for Artistic Achievement” from the Arts and Cultural Alliance of Sarasota County for his many seasons as Artistic Director of Key Chorale. His performances of new and rarely heard works in styles as diverse as masterworks, pops, contemporary, Baroque – even ballet – have become his trademark. Joseph’s passion for education and community outreach have shaped much of the chorale’s programming and mission during his 17-year tenure.
Joseph’s book “Developing Choral Sound Through the Warm-Up,” 200+ tried and true vocal exercises for solo singers, teachers, conductors and choirs has taken his 30+ years of experience and turned it into a highly regarded resource used by teachers and singers all over the country. It is available through Amazon and on his website.
An experienced alpinist, Mountain Joe has been fortunate to summit many iconic peaks: The Matterhorn (14,692’), Mont Rainier (14,411’), Grand Teton (13,770’), Cathedral Peak (10,911’) in Yosemite’s Tuolumne Meadows, Canada’s Mount Sir Donald and Bugaboo Spire, and Mont Blanc (15,782’) the highest mountain in the Alps. He’s climbed in the deserts of Zion National Park and Red Rocks Canyon, the snowy volcanoes and steep ridges of Washington’s remote North Cascades, to Colorado’s famous 14ers, and the icy glaciers and snowy pinnacles of the French, Swiss and Italian Alps. It is the remoteness, great friendships, sense of accomplishment, solitude, grandeur, and beauty that brings him back to the mountains whenever not on the podium.
For more information, visit www.josephcaulkins.com
Conductor, singer, organist, and minister, Jamal Sarikoki can be found wearing any number of hats in a given day. Whether he is found in a sanctuary or performing hall, Jamal strives for excellence in all aspects of his performing. Jamal’s love of music began at age 5, when his mother enrolled him in the violin and viola program at Sherwood Conservatory in Chicago, Illinois.
As a conductor, Jamal received his first conducting position at age 16 and has been conducting ever since. Known for his vocal agility and beautiful legato line, Jamal has sung the operatic roles of Eisenstein in Die Fledermaus and Gianni Schicchi in Gianni Schicchi. As an oratorio singer, Jamal has sung the baritone roles in Bach’s Mass in B Minor, Beethoven’s Mass in C Major, Bruckner’s Te Deum, Handel’s Messiah, Haydn’s Creation, Mendelssohn’s Elijah and many other larger works.
Currently, Jamal lives in Chicago, Illinois with his beautiful wife, Genna and their three children. Jamal is the Director of Classic Worship at Christ Church of Oakbrook.
Blake Friedman has been cited by the New York Times for the “plummy fullness and dusky hue” of his voice and by the New York Classical Review for his voice’s “buttery top.” Blake’s notable performances include his Carnegie Hall – Stern Auditorium debut singing Anatol in the quintet from Barber’s Vanessa conducted by Leonard Slatkin, his Chicago Opera Theater Debut singing the role of Marc in the World Premiere of Freedom Ride by Dan Shore, and his Chautauqua Opera debut singing the role of Almaviva in both Il Barbiere di Siviglia by Rossini and Ghosts of Versailles by John Corigliano.
On the concert stage, he has performed soloist engagements with New York Choral Society, New York City Ballet, Ensemble for the Romantic Century, Canterbury Choral Society of New York, Key Chorale, Tampa Oratorio Singers, and York Symphony.
The Armenian American soprano, Tatev Baroyan joined the Metropolitan Opera in the 24-25 season for the Met’s premiere of Golijov’s Ainadamar and made her European debut at the Salzburger Landestheater, creating the role of Iolante in a unique combination of Tchaikovsky’s Iolante and Nutcracker, crafted into an opera-ballet fantasy. She has been invited back in 2026 to sing the role of Tatiana in Tchaikovsky’s Eugene Onegin.
During the past season she received the second prize in the Southeast Region of the Metropolitan Opera Laffont Competition, the first prize in the Florida District competitions, the second prize in the Vero Beach Rising Stars Competition, the second prize in the Opera at Florham Competition, the Metropolitan Opera National Council South Carolina District, Georgia District, the Premiere Opera Foundation International Vocal Competition, and the Gerda Lissner Vocal Competition and has attended master classes offered by sopranos Erin Morley, Maria Gulegina, and Carol Vaness.
Mezzo Soprano, Amy Jo Connours is a prominent soloist and is active in many of Sarasota’s finest organizations. She is currently the Alto section leader for Key Chorale, the Alto lead for Choral Artists of Sarasota, and a featured soloist for both Choral Artists and Key Chorale, Sarasota’s symphonic chorus. She is a frequent guest artist for the Artist Series Concerts of Sarasota, and has toured through Europe in Spain, Ireland, and Scotland, and the Baltic States. She holds a B.A. in Music from FSU, and also plays viola. An accomplished Oratorio singer, she easily crosses over from Baroque counter tenor sounds to perform heartfelt Gospel and the Blues. Ms. Connours began her career with Mozart’s The Magic Flute and has amassed an eclectic repertoire that features her silky mezzo tones which cross over multiple genres from opera, oratorios and the classics, to jazz and contemporary composers.
As an artist Glenn Priest has appeared as concert pianist, organist, choral conductor, clinician, adjudicator, and national conference speaker. Glenn has worked extensively in Tennessee, Ohio, and Florida. He has performed master classes with conductor Leonard Bernstein, composers Aaron Copeland and Norman Dello Joio, and accompanied trumpeter Rolf Smedvig, the Empire Brass Quintet and violinist In-Hong Cha, to mention a few. Glenn graduated Boston University with a BMus and MMus in piano. While in Boston, he studied piano with Bela Nagy, Anthony di Bonaventura, organ with Douglas Marshall, voice performance and choral conducting with Joseph Huszti and vocal accompanying with Allen Rogers. At age 22, Glenn made his piano debut with Arthur Fiedler and the Boston Pops Orchestra, performing three seasons. He served as staff in BU’s Young Artists Tanglewood Institute for seven years. He is also an ordained Minister of Music, with course study at Gordon Conwell Seminary. He has several CDs of both choral and keyboard music. Glenn partnered with concert organist Christopher Garven to create their duo-organ and piano concert business entitled Musical Benches.
Ella Alley*
Sophia Cano*
Michelle Caulkins+
Kaela Coye
Patti Eastep
Lisa Fudge-Schustik
Alix Giannini
Victoria Guenther
Linda Guran
Lauren Haggard*
Pamela Huelster
Stephanie Jabre
Skylar Jandula*
Jodi Kaupla
Deborah Mahony
Makenna Mamazza*
Reese Martin
Charlene McClain
Catherine Milne
Sandra Montrone
Lorraine Murphy
Karen Olson
Emese Percy
Tricia Raiken
SiesRavestijn
Esther Rivera-Pouls
Debbie Rostad+
Ellen Schillay
Tara Schroeder*
June Sturdy
Kei Sulhi
Melissa Sullivan
McKenna Vogt
Hannah Williamson*
Nancy Wittner
Lily Wohl
Andrea Bearcroft
Leanna Briggs
Emily Brinks
Julie Ciulla
Linda Cohn
Amy Jo Connours
Ann Ferraro+
Kay Fraser
Kristin Gehrke
Alexandra Guiler*
Lydia Johnston
Gayle King
Lynne Lash
Kristin Lee
Carmen Letelier
Lori Maxwell
Cecilia McEnaney
Deborah Morris
Evelyn Ortega*
Marilyn Parry
Ellen Rivera
Ellen Rowe+
Kristen Stanton
Becky Tracy
Catherine Vernon
Jennifer Weinstein
Blake Biggs+
Hans Brinks
Dari Celio+
Don Clem
Matthew Crawford*
Erick Crow
Rick Hayman
Matt Jarvis
Fred Jones
Daniel Michener
Linda Quarles
Rob Quarles
Stephen Remis
Zachery Stockman
Daniel Tavares
Thomas Tryon
Caden Vogt*
Gabriel Welch+
Bold - Section Leader + Core Singer * Student Scholar
Bass
Allen Batchelder
Stuart Bischoff
Jon Chabra
John Daniels
John Habbert
Bryce Jandula*
Richard Lilley
David Loy
Stuart Lurie+
Jesse Martin
Grant Miller*
Leon Miller
Larry Patton
River Rogers*
Jan Rosenbaum
Francis Roxby
Michael Rubin
Troy Samuels
John Schweig
Kevin Steele+
J. Alvin Stout
James Taylor
Mark Wagstrom
Bob Wennberg+
David Wicentowski
Kurt Wiskow
PRESENTING CO-SPONSORS - Gulf Coast Community Foundation; Charlie Ann & Jim Syprett
GUEST ARTIST CO-SPONSOR - Gulf Coast Community Foundation
GUEST ARTIST IN RESIDENCE SPONSORS - Audrey Robbins & Harry Leopold
PRINCIPAL PIANIST SPONSOR - Allen Batchelder
Saturday, May 10, 2025 • 4 PM
Sarasota Opera House
Joseph Caulkins, Artistic Director
Glenn Priest, Principal Keyboardist
Featuring Tatev Baroyan, Soprano
Amy Jo Connours, Mezzo-Soprano
Blake Friedman, Tenor
Jamal Sarikoki, Baritone
Zachery Stockman, Tenor
Lily Wohl, Soprano
(Fantasia for Piano, Chorus & Orchestra), Op. 80
Glenn Priest, Piano
Tatev Baroyan, Lily Wohl, Amy Jo Connours, Blake Friedman, Zachery Stockman & Jamal Sarikoki, Soloists
Founder of Distinction Award Presentation
Ann Stephenson-Moe
und glückliche Fahrt
(Calm Sea and Prosperous Voyage), Op. 27
Symphony No. 9 in D minor, Op. 125
IV. Presto – Allegro assai – Allegro assai vivace
Tatev Baroyan, Amy Jo Connours, Blake Friedman & Jamal Sarikoki, Soloists
85minutes,performedwithoutintermission
Violin 1
Daniel Jordan
Michael Turkell
Katherine Baloff
Leah Latorraca
Sean O’Neil
Violin 2
Jennifer Best Takeda
Meghan Jones
Anne Chandra
Sangeun Han
Marcus Ratzenboeck
Viola
Stephanie Block
Nathan Frantz
Peter Ayuso
Paul Reynolds
Cello
Christopher Schnell
Nadine Trudel
Vivian Chang
Bass
Gil Katz
Amy Nickler
Flute
Allison DeFrancesco
Carmen Bannon
Deena Reedy
Oboe
Bobby Nunes
Nick Arbolino
Clarinet
Bharat Chandra
Daniel Parrette
Bassoon
Eddie Rumzis
Alexander Onieal
Scott Radloff
Horn
Josh Horne
Melvin Jackson
Hugo Bliss
Shea Kells-Murphy
Trumpet
Morgen Low
Alan Evans
Trombone
Brad Williams
Casey Maday
Chris Lundquist
Timpani
Matthew Kibort
Percussion
Marcelina Suchocka
Hanna Kim
George Nickson
Music Librarian
Paul Greitzer
Schmeichelnd hold und lieblich klingen With grace, charm and sweet sounds unsres Lebens Harmonien, the harmonies of our life, und dem Schönheitssinn entschwingen and the sense of beauty engenders Blumen sich, die ewig blühn. the flowers which eternally bloom. Fried und Freude gleiten freundlich Peace and joy advancing in perfect accord, wie der Wellen Wechselspiel. like the alternating play of the waves; Was sich drängte rauh und feindlich, all harsh and hostile elements ordnet sich zu Hochgefühl. render to a sublime sentiment.
Wenn der Töne Zauber walten
When the magic sounds reign und des Wortes Weihe spricht, and the sacred word is spoken, muss sich Herrliches gestalten, that strongly engender the wonderful, Nacht und Stürme warden Licht. the night and the tempest divert light. Äuss’re Ruhe, inn’re Wonne Calm without, profound joy within, herrschen für den Glücklichen. awaiting the great hour. Doch der Künste Frühlingssone Meanwhile, the spring sun and art lässt aus beiden Licht entstehn. bathe in the light.
Großes, das ins Herz gedrungen,
Greatness pressed into the heart blüht dann neu und schön empor. then blooms forth, new and lovely; Hat ein Geist sich aufgeschwungen, when a spirit soars aloft hallt ihm stets ein Geisterchor. a chorus of spirits resounds forever to it. Nehmt denn hin, ihr schönen Seelen, Then, ye lovely souls, accept froh die Gaben schöner Kunst: with gladness the gifts of beautiful art. Wenn sich Lieb und Kraft vermählen, When love and strength unite, lohnt den Menschen Göttergunst. divine grace rewards mankind.
Please take 5 minutes to complete a survey regarding the performance.
The survey information is part of our grant requirements for the Sarasota County Tourist Development Tax Grant that funds, in part, our season of performances.
Tiefe Stille herrscht im Wasser, Ohne Regung ruht das Meer, Und bekümmert sieht der Schiffer
Glatte Fläche rings umher. Keine Luft von keiner Seite!
Todesstille fürchterlich! In der ungeheuern Weite Reget keine Welle sich.
Die Nebel zerreißen, [Der Himmel ist]1 helle Und Aeolus löset
Das ängstliche Band. Es säuseln die Winde, Es rührt sich der Schiffer. Geschwinde! Geschwinde! Es theilt sich die Welle, Es naht sich die Ferne, Schon seh’ ich das Land!
Deep stillness rules the water Without motion lies the sea, And worried the sailor observes Smooth surfaces all around. No air from any side! Deathly, terrible stillness! In the immense distances Not a single wave stirs.
The fog is torn, The sky is bright, And Aeolus releases The fearful bindings. The winds whisper, The sailor begins to move. Swiftly! Swiftly! The waves divide, The distance nears; Already I see land!
O Freunde, nicht diese Töne!
Sondern laßt uns angenehmere anstimmen, und freudenvollere.
Freude, schöner Götterfunken
Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!
Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.
Wem der große Wurf gelungen, Eines Freundes Freund zu sein; Wer ein holdes Weib errungen, Mische seinen Jubel ein!
Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund!
Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund!
Freude trinken alle Wesen
An den Brüsten der Natur; Alle Guten, alle Bösen
Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.
Froh, wie seine Sonnen fliegen
Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.
Seid umschlungen, Millionen!
Diesen Kuß der ganzen Welt! Brüder, über’m Sternenzelt Muß ein lieber Vater wohnen. Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt? Such’ ihn über’m Sternenzelt! Über Sternen muß er wohnen.
O friends, no more of these sounds! Let us sing more cheerful songs, More songs full of joy!
Joy, bright spark of divinity, Daughter of Elysium, Fire-inspired we tread Within thy sanctuary. Thy magic power re-unites
All that custom has divided, All men become brothers, Under the sway of thy gentle wings.
Whoever has created An abiding friendship, Or has won
A true and loving wife, All who can call at least one soul theirs, Join our song of praise; But those who cannot must creep tearfully Away from our circle.
All creatures drink of joy
At natures breast.
Just and unjust Alike taste of her gift; She gave us kisses and the fruit of the vine, A tried friend to the end. Even the worm can feel contentment, And the cherub stands before God!
Gladly, like the heavenly bodies
Which He set on their courses through the splendor of the firmament; Thus, brothers, you should run your race, Like a hero going to victory!
You millions, I embrace you. This kiss is for all the world!
Brothers, above the starry canopy There must dwell a loving father. Do you fall in worship, you millions? World, do you know your creator? Seek Him in the heavens; Above the stars must he dwell.
By Lynne Woodman
The Choral Fantasy is often called a precursor to the Ninth Symphony. But the two pieces are more like siblings.
The musical themes are very similar; but more importantly, there are vital affinities in the texts. The theme of the Choral Fantasy text – universal brotherhood meeting with the arts – evokes the same images as the “Ode to Joy” text.
The work includes a sequence of variations on a theme that is widely felt to be an early version of a far better known variation theme, namely the one to which Beethoven set the words of Friedrich Schiller’s “Ode to Joy” in his Ninth Symphony. The two themes are compared below.
Beethoven himself acknowledged the kinship of the two works. When he was writing the Ninth Symphony, he described his project as “a setting of the words of Schiller’s immortal ‘Lied an die Freude’ in the same way as my pianoforte fantasia with chorus, but on a far grander scale.”
The Fantasia was first performed at the Akademie of 22 December 1808, a benefit concert which also saw the premieres of the Fifth and Sixth Symphonies and the Fourth Piano Concerto as well as a performance of excerpts of the Mass in C major. (!!)
To conclude this memorable concert program, Beethoven wanted a “brilliant finale” that would unite in a single piece the different musical elements highlighted in the concert night: piano solo, mixed chorus and orchestra. The Fantasia, Op. 80, written shortly before, was thus composed expressly to fulfill this role. Beethoven played the piano part and the opening solo offers an example of his talent.
When Beethoven premiered his final full symphony – his ninth – he could see the performance of this groundbreaking work. But he couldn’t hear it: by that time, he was totally deaf. He could only listen to it in his head.
Ninth Symphony
Even people who don’t know classical music know the “Ode to Joy” hymn of the final movement.
Why is the Ninth Symphony important?
It’s the first choral symphony. The final movement uses both soloists and a chorus, which prepares the way for future compositions that would combine instruments and vocals. Until this piece, those were absent.
It breaks away from traditional symphony structures. Beethoven’s orchestration is particularly innovative, using a large orchestra with unusual and powerful sound combinations. It’s longer and more complex than previous symphonies, pushing the boundaries of what a symphony could be.
Symbolism
The final movement, with its setting of Schiller’s “Ode to Joy,” became a symbol of unity, joy, and brotherhood, resonating deeply with audiences and inspiring generations.
“Ode to Joy” has been the official anthem of the European Union since 1985. According to the European Union, the anthem is meant to symbolize the “European ideals of freedom, peace, and solidarity.” None of the original German words are used in the anthem—only the melody—so that the listener can experience the “universal language of music.”
When the Berlin Wall Fell
Hundreds of orchestra musicians and even more hundreds of singers — all unpaid volunteers — dropped everything and went to the wall. They knew that the Ninth would have to be performed there, and they wanted to be part of it. Leonard Bernstein was on a plane over the Atlantic, to conduct.
Key Chorale is delighted to present these exceptional works to you.
As of April 22, 2025
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Joan and David Hawk
Jennifer Holtzman
Judith Hunter+
Mark Lee Taylor and Steve Alan Hyman
Trish and David Ivey
Dr. Pamela J. Letts+
Debra Jacobs
Brett and Sommer Jandula
Karen Johnston
Frederick Jones
Carl Jordan
Dan Jordan and CY Hong
Steven Richard Kalt
Matt Kane
Doug Kapp
Jodi Lynn Kaupla
Elizabeth Kimberly
Jeffery Kin
Gayle King
Connie Knapp
Carla and TK Kortendick
Mary Ellen Krautter
Thomas Kubik
Carol Lackey
Julie and Brock Leach
Bruce Lehman
Mark-Alan Lillibridge
Stuart Lurie
Judy Lutes
Stephen Lynerd
Sybil MacBeth
Joseph Mallof
Makenna Mamazza
Rob Masserini
Faye Maxwell
Lori Maxwell
Matthew B. Mayper
Charlene McClain
Mary McEnery
Susan K. McGivern
Jennifer Meltz
Jonathan Meltz
Daniel Michner
Leon Miller
Beckie Miller
Jorge Morfin+
Bobette Morgan
Hester Mulak
Letitia Murphy
Connie Nelson
Katherine and John Nelson
Kent Noel
Nancy Yost Olson
Joanna Pace
Jacqueline Partin
Emese Percy
Robert and Linda Quarles
Sies Ravestijn+
Kristen Mary Read
Ken Rear
Mr. Gary Remmen
Jan H. Rosenbaum
Alexis Rosenberg
Margaretta Rower
Jan Rubinstein
Josh Ingojo and Sue Rupp+
Linda Ruppert
Sarasota Manatee Alumnae Chapter SAI
Paola Scalabrin
Gail Schimel+
Maxine R. Sclar and Robert J. Yamartino
Kevin Shank
Phyllis Siskel
Michelle Smith
Bill and Janet Smith
Lucinda Spaney
Martin Joseph Spinelli
Heather Stearns
Camille Stephens+
Zachery Stockman
Melinda Sutter+
Barbara Tagg
Marcia Jean Taub Fund
Daniel Tavares
Lora and Sig Tobias
Diane Jean Tufaro
Sandra Vanlangen
Catherine and Dave Vernon
Sarah Walcutt-Febish
Joseph and Cat Waldron+
Bob and Diane Walls
Jennifer Weinstein+
Gabriel Welch
Martha Wells
Karen White
David Wicentowski
John Zokovitch
+ Igniting Our Future - 2025 Spring Campaign Donor
*Of Blessed Memory
In Memory of Susan Brainerd
William and Debra Buttaggi
William Kraus
In Honor of Dennis Brett
Jane Epstein
In Honor of Peter Gray
Marge Flynn and Bob Metzger
In Memory of Ralph Karau
Tim Karau
In Memory of Sylvia Kaufman
Claudette Mayer
In Memory of Rae Jean McCall
Larry D Patton
In Memory of Richard Raatz
Kyle and Marge Bevers
In Honor of Debbie Rostad
Camille Stephens
In Memory of Kay Semrod
Semrod Family Foundation
Key Chorale’s success relies largely upon the generosity and support of our donors, sponsors, community partners, foundations, local businesses, and YOU! There are many ways to give to Key Chorale. Every gift is appreciated and contributes to our success now and in the future.
For more information about becoming a Presenting Sponsor, Guest Artist Sponsor, and more please contact Johnette Cappadona, Director of Community Engagement at 941-921-4845 or development@key.chorale.org.
