Bolero and Don Juan

Inspired by a 1935–36 Orchestra program cover

APRIL 2026

0426_PhilOrch_Cover.indd 1

3/10/26 7:25 PM

CONTENTS April 2026

Page 4

From the President and CEO Page 8

Marian Anderson Hall Page 9

Musicians Behind the Scenes Page 10

Witness to History: Joan Stern and a Lifetime of Musical Storiest Page 19

The Program On the Cover: A program book cover (left) from the 1935–36 season that was the inspiration for this month’s cover

®

President & CEO: Chief Financial Officer: Chief Operating Officer & SVP: Director of Manufacturing: Executive Assistant to CEO and COO:

Philip S. Birsh Shamindra Jagnanan Alex Birsh Robert Cusanelli Dalconerys Reyes

Managing Editor, Classic Arts: Art Director: Production Manager: Prepress Manager: Prepress Specialist: Creative Services Manager: Managing Program Editor: Program Editors:

Stephen Vrattos Kesler Thibert Jenna Perrino Sean Kenny Benjamin Hyacinthe Dean Greer Matt Bonanno Amy Asch Silvia Figueroa Scott Hale Dave Porello Khadijah Rentas

Publisher: Jolie Schaffzin Vice President of Sales: Joshua Stone Senior Revenue Officer: Glenn Shaevitz Head of Theatrical Sales: National Sales Director: National Sales Director: Advertising Sales Associate:

Sales and Marketing Specialist:

Nicholas Foster Clara Barragán Grace Simpson Katie Clooney-Gainey Franchesca Reese Chris Kateff

Advertising Sales 729 Seventh Avenue, 4th Floor New York, New York 10019 (212) 557-5757 Chairman: Philip S. Birsh Editor in Chief Emeritus: Joan Alleman Secretary/Treasurer: Shamindra Jagnanan

PLAYBILL® is published by PLAYBILL Incorporated, 729 Seventh Avenue, 4th Floor, New York, NY 10019 Copyright 2026 by PLAYBILL Incorporated.

All Rights Reserved. PLAYBILL® is a Registered Trademark of PLAYBILL Incorporated.

0426_Phil_TOC.indd 2

3/10/26 7:29 PM

FROM THE PRESIDENT AND CEO

Jeff Fusco

Dear Friends: Just four days after its very first concert in November 1900, The Philadelphia Orchestra was already on the road, performing at the Academy of Music in Reading. From the beginning, sharing music beyond our hometown has been part of who we are. By the following season, we were visiting other cities across Pennsylvania and neighboring states. In 1902 we made our Carnegie Hall debut, and in 1918 we gave our first international performance, in Toronto. More than a century later, the Orchestra has become one of the mosttraveled ensembles in the world. This past February Music and Artistic Director Yannick NézetSéguin led the Orchestra on a weeklong tour in Florida, and last month Principal Guest Conductor Marin Alsop led four concerts in the Midwest. Touring allows us to share the great “Philadelphia Sound” far and wide and shows the best of Philadelphia and Pennsylvania to the rest of the country and the world.

As much as we love touring, there is nothing like performing at home. And it is so gratifying to see the response we have received to our recently announced 2026–27 season from our most loyal audiences, especially our subscribers, some of whom have been attending Orchestra concerts for over 75 years. The upcoming season reflects the three pillars of our artistic vision: to bring forward the great masterworks of the orchestral repertoire, to showcase new premieres, and to highlight overlooked works that deserve a place on our concert stage played by one of the top ensembles in the world.

We are also excited about our upcoming Broadway season, which was announced last month and includes such classics as The Phantom of the Opera and Tommy and more recent Tony Award winners like Maybe Happy Ending and The Great Gatsby. Broadway has been an important part of our offerings for more than 20 years, and we are so pleased to be able to present these shows on our stages and make Broadway accessible to our entire community.

If you haven’t yet explored all we have planned, I invite you to have a look and to join us for what will surely be a season to remember. We can’t wait to share it with you.

Best regards,

Ryan Fleur President and CEO

4

0426_Phil_Letter.indd 4

3/10/26 7:30 PM

MUSIC AND ARTISTIC DIRECTOR

Landon Nordeman

Canadian-born conductor and pianist Yannick Nézet-Séguin is currently in his 14th season with The Philadelphia Orchestra, serving as music and artistic director. An inspired leader, Yannick is both an evolutionary and a revolutionary, developing the mighty “Philadelphia Sound” in new ways. His collaborative style, deeply rooted musical curiosity, and boundless enthusiasm have been heralded by critics and audiences alike. The Philadelphia Inquirer has said that under his baton the Orchestra is “at the top of its considerable form”; the Associated Press has called it “a premier orchestra at its peak”; and The New York Times wrote, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling and sought-after talents of his generation. He became the third music director of New York’s Metropolitan Opera in 2018. In addition, he has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000. In 2017 he became the third-ever honorary member of the Chamber Orchestra of Europe. He served as music director of the Rotterdam Philharmonic from 2008 to 2018 (he is now honorary conductor) and was principal guest conductor of the London Philharmonic from 2008 to 2014. He has made wildly successful appearances with the world’s most revered ensembles and at many of the leading opera houses.

Yannick has shown a deep commitment to expanding the repertoire by embracing an evergrowing and diverse group of today’s composers and by performing and recording the music of underappreciated composers of the past, including Florence Price, Clara Schumann, William Dawson, Lili Boulanger, Louise Farrenc, and William Grant Still. In 2018 he signed an exclusive recording contract with Deutsche Grammophon. Under his leadership The Philadelphia Orchestra returned to recording with 15 releases on that label, including Florence Price Symphonies Nos. 1 & 3, which won a GRAMMY® Award for Best Orchestral Performance in 2022.

A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductors, most notably Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada; Companion to the Order of Arts and Letters of Quebec; an Officer of the Order of Quebec; an Officer of the Order of Montreal; an Officier de l’Ordre des Arts et des Lettres; Musical America’s 2016 Artist of the Year; ECHO KLASSIK’s 2014 Conductor of the Year; a Royal Philharmonic Society Award; Canada’s National Arts Centre Award; the Prix Denise-Pelletier; the Oskar Morawetz Award; and honorary doctorates from the University of Quebec, the Curtis Institute of Music, Westminster Choir College of Rider University, McGill University, the University of Montreal, the University of Pennsylvania, Laval University, and Drexel University.

To read Yannick’s full bio, please visit philorch.org/conductor.

5

0426_Phil_MusicDirector.indd 6

3/10/26 7:33 PM

THE PHILADELPHIA ORCHESTRA 2025–2026 Season Yannick Nézet-Séguin Music and Artistic Director Walter and Leonore Annenberg Chair Marin Alsop Principal Guest Conductor Ralph and Beth Johnston Muller Chair Joe Hisaishi Composer-in-Residence Naomi Woo Assistant Conductor Joseph Conyers Education and Community Ambassador Mark and Tobey Dichter Chair Charlotte Blake Alston Storyteller, Narrator, and Host Osagie and Losenge Imasogie Chair First Violins David Kim, Concertmaster James and Agnes Kim Foundation Chair Juliette Kang, First Associate Concertmaster Joseph and Marie Field Chair Christine Lim, Associate Concertmaster Marc Rovetti, Assistant Concertmaster Dr. James F. Dougherty Chair Barbara Govatos Robert E. Mortensen Chair Jonathan Beiler Hirono Oka

Richard Amoroso Robert and Lynne Pollack Chair Yayoi Numazawa Jason DePue Larry A. Grika Chair Jennifer Haas Miyo Curnow Elina Kalendarova Daniel Han Julia Li William Polk Mei Ching Huang Second Violins Kimberly Fisher, Principal Peter A. Benoliel Chair Paul Roby, Associate Principal Sandra and David Marshall Chair Dara Morales, Assistant Principal Anne M. Buxton Chair Philip Kates Peter A. Benoliel Chair Davyd Booth Paul Arnold Joseph Brodo Chair, given

by Peter A.Benoliel Amy Oshiro-Morales Volunteer Committees Chair Yu-Ting Chen Jeoung-Yin Kim Willa Finck John Bian MuChen Hsieh Eliot Heaton

Violas Choong-Jin Chang, Principal Ruth and A. Morris Williams, Jr., Chair Kirsten Johnson, Associate Principal Kerri Ryan, Assistant Principal Burchard Tang Renard Edwards Anna Marie Ahn Petersen* Piasecki Family Chair David Nicastro Che-Hung Chen Rachel Ku Marvin Moon Meng Wang Hsiang-Hsin Ching Cellos Hai-Ye Ni, Principal Priscilla Lee, Associate Principal Yumi Kendall, Assistant Principal Elaine Woo Camarda and A. Morris Williams, Jr., Chair Richard Harlow Kathryn Picht Read John Koen Derek Barnes Alex Veltman Jiayin He Michael Katz Eugene Lin Basses Joseph Conyers, Principal Carole and Emilio Gravagno Chair

6

0426_Phil Roster.indd 4

3/10/26 7:35 PM

Gabriel Polinsky, Associate Principal Tobias Vigneau, Assistant Principal David Fay Duane Rosengard Nathaniel West Michael Franz Christian Gray

Samuel Caviezel, Associate Principal Sarah and Frank Coulson Chair Socrates Villegas Paul R. Demers, Bass Clarinet Peter M. Joseph and Susan Rittenhouse Joseph Chair

Some members of the string sections voluntarily rotate seating on a periodic basis.

Bassoons Daniel Matsukawa, Principal Richard M. Klein Chair Mark Gigliotti, Co-Principal Angela Anderson Smith Holly Blake, Contrabassoon

Flutes Jeffrey Khaner, Principal Paul and Barbara Henkels Chair Patrick Williams, Associate Principal Rachelle and Ronald Kaiserman Chair Olivia Staton Erica Peel, Piccolo Oboes Philippe Tondre, Principal Samuel S. Fels Chair Peter Smith, Associate Principal Jonathan Blumenfeld Edwin Tuttle Chair Elizabeth Starr Masoudnia, English Horn Joanne T. Greenspun Chair Clarinets Ricardo Morales, Principal Leslie Miller and Richard Worley Chair

Matthew Vaughn, Co-Principal Jack Grimm Blair Bollinger, Bass Trombone Drs. Bong and Mi Wha Lee Chair Tuba Carol Jantsch, Principal Lyn and George M. Ross Chair Timpani Don S. Liuzzi, Principal Don S. Liuzzi Chair, given

by Linda and David Glickstein Angela Zator Nelson, Associate Principal

Horns Jennifer Montone, Principal Jeffrey Lang, Associate Principal Hannah L. and J. Welles Henderson Chair Victoria Knudtson, Assistant Principal Christopher Dwyer Chelsea McFarland Ernesto Tovar Torres

Percussion Christopher Deviney, Principal Charlie Rosmarin, Associate Principal Angela Zator Nelson

Trumpets (position vacant) Principal Marguerite and Gerry Lenfest Chair Anthony Prisk Sam Huss

Librarians Nicole Jordan, Principal Holly Matthews

Trombones Nitzan Haroz, Principal Neubauer Family Foundation Chair

Keyboards Davyd Booth Harp Elizabeth Hainen, Principal

Stage Personnel Dennis Moore, Jr., Manager Francis “Chip” O’Shea III Aaron Wilson *On leave

7

0426_Phil Roster.indd 6

3/10/26 7:35 PM

Adrian Siegel Collection/Philadelphia Orchestra Archives

MARIAN ANDERSON HALL

Marian Anderson with Music Director Eugene Ormandy during a Philadelphia Orchestra rehearsal at the Academy of Music in December 1938

On June 8, 2024, Verizon Hall at the Kimmel Center for the Performing Arts was officially rededicated as Marian Anderson Hall in honor of the legendary Black contralto, civil rights icon, and Philadelphian. The first major concert venue in the world to honor Marian Anderson—85 years after she was barred from performing at Constitution Hall in Washington, D.C., because of her race—the hall is a permanent monument to its namesake’s artistry and achievements, a reflection of the inclusive future she helped to engender, and an active testament to the intersection of music, art, and positive social impact. We look forward to honoring Marian Anderson in perpetuity with a venue that reflects the ideals by which she lived her life: equity, justice, freedom, and the belief that the arts are for everyone.

Marian Anderson Hall was named in her honor by a visionary $25-million philanthropic gift from Richard Worley and Leslie Miller. Worley has been a member of The Philadelphia Orchestra’s Board of Trustees since 1997 and served as board chair from 2009 to 2019. Miller is a former Kimmel Center trustee and previous acting president of the Kimmel Center. They are among the largest donors in Philadelphia Orchestra history. Additional generous support for Marian Anderson Hall was given by Sidney and Caroline Kimmel.

8

0426_Phil_MarianAnderson.indd 8

3/10/26 7:39 PM

MUSICIANS BEHIND THE SCENES John Koen Cello Where were you born? I was born in Dallas, Texas.

What piece of music could you play over and over again?

Prokofiev’s Fifth Symphony.

What is your most treasured possession? Rather than a thing, my treasured possession is a connection to human emotion through music.

What’s your favorite food? Traveling lets me indulge my interest in cuisines around the world. I can only narrow it down to Chinese, Italian, Mexican, Vietnamese, and French!

Tell us about your instrument. It was made in 1890 in Munich by the Bolognese luthier Giuseppe Fiorini.

I borrowed it from a shop for an audition I was taking and fell in love with it, so I managed to buy it!

What piece of music never fails to move you? The Sarabande from Bach’s Cello Suite No. 4.

What is the most challenging piece you have ever played? Schubert’s Arpeggione Sonata. It’s more difficult than Prokofiev’s Sinfonia concertante or Dutilleux’s Tout un monde lointain … (both cello concertos).

When did you join the Orchestra? In 1990. I won the audition in January, and I was hired as a sub to play Brahms’s Fourth Symphony the following week. Since it had been on the audition, I knew it very well and essentially played the entire Symphony from memory. [Music Director Riccardo] Muti was looking over at the back of the cellos from time to time and I always returned his gaze without looking down at the notes. That piece always has a special place in my heart.

Do you play any other instruments? I play piano sometimes in my students’s lessons (very badly).

I can also play the double bass decently, although it’s tiring! I can play violin and viola to some degree, and if I hold them like a tiny cello I do okay! I’ve sometimes demonstrated on violin and viola when coaching chamber music.

What do you like to do in your spare time? I’m the music director of the Philadelphia Chamber Ensemble, which gives three series of concerts a year. Planning the pieces for the season, who will play when, and details for the venues takes a substantial time commitment, but it is rewarding to carry on the legacy left from [former Principal Clarinet] Donald Montanaro who founded the ensemble 48 years ago! I also read, play with my cats, and cook. I have a large class of cello students at Temple University and have been arranging music for them to play, or for me to accompany them so that I don’t have to play piano.

Is there a piece of music that isn’t in the standard orchestral repertoire that should be? Dvořák’s Third Symphony. I think I’ve only played it once here, with [Erich] Leinsdorf in the early ’90s.

What advice would you give to aspiring young musicians? Work efficiently on technique and control, but don’t neglect your artist’s soul. I’ll repeat advice Muti gave me after my audition when I thanked him for giving me the job: “It is yourself you must thank, for you have done the work. I just want you to have the same passion for the music in 40 years that you have now.” And this from former Principal Cello Bill Stokking: “There are a million people who will tell you what you can’t do. I want to be one who tells you what you CAN.” To read the full set of questions, please visit www.philorch.org/blog.

9

0426_Phil_MBS.indd 17

3/10/26 7:41 PM

Narrator Michael Boudewyns portrays each of the characters in Prokofiev’s Peter and the Wolf on the Orchestra’s Family Concert in October 2022.

Eugene Ormandy during a rehearsal.

WITNESS TO HISTORY: JOAN STERN AND A LIFETIME OF MUSICAL STORIES

Part of a season-long series of oral histories

By Judith Kurnick

Joan Stern

If you’ve ever doubted that history is in the details, just spend some time listening to Joan Stern’s recollections. As a successful public finance attorney (at a time when few women were in that field), Stern represented the Commonwealth of Pennsylvania under every governor from Milton Shapp to Tom Wolf, and the City of Philadelphia from Frank Rizzo’s time as mayor until her retirement in 2023. Her projects ranged from Jeffrey Lurie’s purchase of the Eagles to the bond issue for the Kimmel Center.

Passionate about education, Stern remains active on the board of the School District of Philadelphia.

But her passion for music, and especially The Philadelphia Orchestra, dates from before she started school. She has the stories to prove it.

10

0426_JoanStern.indd 10

3/10/26 7:47 PM

“I was two when we started coming on Saturday nights,” Stern recalls. “My sister was three. My parents had seats in the Family Circle [at the Academy of Music], and they figured out that it was cheaper to buy a subscription for my sister and me than it was to hire a babysitter. So, my father would take us all the way up to the Amphitheatre. He and the ushers would put us on piles of telephone books. We were on a level with the chandelier, which we loved. And the ushers would buy us the only thing that was for sale to eat during a concert, Hershey bars. We thought it was magical.”

Didn’t they disturb other concertgoers? “My father would say the same thing to us every week: ‘If I hear a noise, I will know it’s you. And I will come and get you, and we won’t come back.’ We were certain that he was telling us the absolute truth. We sat very still the whole time, and he would come at the end and take us back downstairs.”

Of course, they wore their best clothes. “I thought everybody in the city was in the Academy on Saturday night. I had never seen that many people in one place. So, I was sure that was the entire population. I was very surprised to discover there were people who had never been to the Academy.”

11

0426_JoanStern.indd 11

3/10/26 7:47 PM

Jessica Griffin

The Academy of Music in the 1960s with the Amphitheatre at the top.

Former Music Director Leopold Stokowski leading a rehearsal during his return to The Philadelphia Orchestra in 1960.

Photos: Adrian Siegel Collection/Philadelphia Orchestra Archives

Music Director Eugene Ormandy, pianist Sviatoslav Richter, and The Philadelphia Orchestra performing at the Academy of Music in 1960.

Many young children might be turned off by such strict rules. But Stern came from a family of Russian Jewish immigrants who prized music. “My grandfather Stern, who had emigrated from the The Philadelphia Orchestra’s Russian Empire to the United States in 1895, was a cantor. He had been trained at a cantorial academy first commercial recording, in Riga, which was a possession of the Tsar of Russia. My grandparents had a Victrola, the kindNo. you Brahms’s Hungarian Dance 5 cranked. And 78 [rpm] records. We had beautiful music to listen to all the time. My father studied piano, and he taught my sister and me.”

12

0426_JoanStern.indd 12

3/10/26 7:47 PM

Her parents had four seats in a Balcony box.

“They told us stories about the world premieres they heard, about seeing Rachmaninoff debut his piano works.” And then there are the stories about Stokowski. “I was lucky enough to see him because he was invited as a guest conductor when I was in high school. He was amazing. And he taught the audience to come to concerts on time. He did it by closing the doors to the hall.

People had to stand outside. So they learned.”

Stern’s father had his own way of helping Stokowski keep the audience quiet. “My father always carried two handkerchiefs in his jacket.

One in his hip pocket and one in his breast pocket. They were big, 22 inches square. And if there was someone sitting near him who was wearing noisy bracelets, he would give that lady his spare hanky to tie up her arm so she didn’t jangle. They used to hold out their wrist, and he would tie up the handkerchief so they didn’t make any noise.”

Joan soon learned her way around the concert hall. “You always sat on the keyboard side of the hall. That way, you see the pianist, the keyboard, the pedals, and you can see that the person uses his or her entire body for the performance. You appreciate it in ways that you couldn’t possibly appreciate it if you sat in the wrong spot. I was lucky. I always sat in the right spot.”

Young Joan decided she wanted to be in the school orchestra. “I looked at the orchestra at school very carefully, and thought, ‘If I can play a wind instrument, I’ll get to be in the orchestra.’”

She joined as a flutist, and from then on, she paid particular attention to the flutes at Orchestra performances. “I still do.”

Stern’s family especially loved Russian composers like Rachmaninoff and Shostakovich, and Soviet artists. “I remember when Ormandy was the conductor. The violin was his instrument. He was a wonderful accompanist.

He had guests who were significant figures in the music world. I loved [violinist David] Oistrakh, [pianist Emil] Gilels, [pianist Sviatoslav] Richter.

Later, [Mstislav] Rostropovich, the cellist, came to play. He was magnificent.”

Your Brand Hand Delivered to Your Target Audience!

Contact us today to reserve space in PLAYBILL. Your Sales Representative: Michael Gagliardi mgagliardi@playbill.com 215.840.7628 ®

PLAYBILL 13

0426_JoanStern.indd 13 edit ads .indd 1

3/10/26 12:59 7:47 PM 3/11/26

The Robin Hood Dell

Stern has a special memory about Oistrakh. “The Soviet Union had a great collection of musical instruments that were taken during military conquests, especially World War II. They allowed their top musicians to play them. But Oistrakh was so successful that he was allowed to buy a violin in Philadelphia to take home.” One of her parents’ friends, a Russian cellist who had emigrated to escape the Russian Revolution, went with him to the shop, the renowned William Moennig & Son, to translate, and he invited Stern’s father to go along.

“Moennig had found him a Guarneri violin,” Stern recalls. “My father told me Oistrakh wept tears of joy.”

It was a shock for Joan when Riccardo Muti succeeded Ormandy as music director. “I couldn’t imagine the Orchestra without Ormandy. But then you always saw the conductor from the back. And here was this exciting vigorous young conductor with great hair. He did wonderful performances of Prokofiev’s score for the film Alexander Nevsky, and other Eisenstein films.”

As a regular audience member, Stern formed strong opinions. She has fond memories of hearing pianist André Watts. “He studied at the Philadelphia Musical Academy. Ormandy had him guest many times.” Vladimir Horowitz? “Yes, he was born in Kyiv, Ukraine; he was a magician of a pianist.

The closest thing we have to him today is Evgeny Kissin.”

And when Arthur Rubinstein played Chopin, “it was like perfume coming from the piano.” Van Cliburn? Although he became a sensation after winning the Tchaikovsky Competition, he was “not my favorite. People who win competitions are not great heroes of mine.”

Stern recalls when Fredric R. Mann had the idea to start “free” concerts at what was then the Robin Hood Dell. “He was the one who instituted the summer concerts when he was city representative.

And he said, ‘People don’t value what they don’t pay for.’ So, it cost a quarter to get a ticket. You had The Philadelphia Orchestra’s to buy the newspaper—The Bulletin, The Inquirer, and the Daily News. You had cut the coupon firstto commercial recording, Brahms’s Dance 5 out. You’d have to send in your quarters. And the Orchestra played at what was Hungarian then called theNo. Robin Hood Dell. Now, we still have the Dell, but the Orchestra plays at the Mann Center.”

14

0426_JoanStern.indd 14

3/10/26 7:47 PM

Chris Lee

Yuja Wang with Yannick Nézet-Séguin and The Philadelphia Orchestra performing the Rachmaninoff Marathon at Carnegie Hall in January 2023.

When her father died, in 1979, Stern inherited her parents’ Orchestra subscription at the Academy. “I may have been the last person allowed to inherit a subscription,” she says. “And I have maintained it. The only time we had to move was if Great Performances was being taped for television. Our seats were where the TV cameras went.” She is happy to have similar seats now at Marian Anderson Hall.

Even as an octogenarian, Stern notes, “I don’t get tired of hearing the Orchestra and new music.

I like that [Yannick] unveils music that was brought to our attention by people like Stokowski, and composers who were underrepresented by the traditions.” In fact, she has traveled with the Orchestra on patrons’ trips and to Carnegie Hall. A recent highlight was hearing Curtis alumna Yuja Wang perform the entire Rachmaninoff orchestra/piano cycle in one day. Another: “I went to hear Sting with the Orchestra, and he was wonderful. A friend said, ‘You really have to hear and see him.’ I was blown away.”

How does Stern feel about the changes she has experienced over her years attending the Orchestra?

“I think what Yannick has accomplished is introducing people to the traditions of the Orchestra,” she says. “The music is the most important thing. It doesn’t matter who’s playing it. It doesn’t matter what race the people are. The only thing that matters is that they love the music, and they love sharing it with the rest of the city. And the city loves music. Whether it’s jazz or hip hop or classical music. It doesn’t matter. Everyone loves the music.”

Judith Kurnick has written about music for The New York Times, The Philadelphia Inquirer, and media outlets in Europe. She was The Philadelphia Orchestra’s vice president for communications from 1983 to 1989 and 2000 to 2005 and held the same role at the League of American Orchestras from 2008 to 2013.

Scan the QR code to visit the Orchestra’s special 125th anniversary website, including more oral histories.

15

0426_JoanStern.indd 15

3/10/26 7:47 PM

2025–2026 | 126TH SEASON MARIAN ANDERSON HALL

THE PHILADELPHIA ORCHESTRA Thursday, April 23, at 7:30 Friday, April 24, at 2:00 Saturday, April 25, at 8:00 Marin Alsop Conductor Time for Three: Ranaan Meyer Bass and Vocals Nick Kendall Violin and Vocals Charles Yang Violin and Vocals Haydn Symphony No. 59 in A major (“Fire”) I. Presto II. Andante o più tosto allegretto III. Menuetto IV. Allegro assai First Philadelphia Orchestra performances

Puts Contact, for string trio and orchestra I. The Call II. Codes (Scherzo) III. Contact IV. Convivium Intermission Strauss Don Juan, Op. 20 Ravel Bolero This program runs approximately 2 hours.

The April 23 concert is sponsored by Linda and David Glickstein.

The April 24 concert is sponsored by the Volunteer Committees.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details.

19

Jeff Fusco

THE PHILADELPHIA ORCHESTRA

The world-renowned Philadelphia Orchestra strives to share the transformative power of music with the widest possible audience, and to create joy, connection, and excitement through music in the Philadelphia region, across the country, and around the world. Through innovative programming, robust education initiatives, a commitment to its diverse communities, and the embrace of digital outreach, the ensemble is creating an expansive and inclusive future for classical music. In June 2021 the Orchestra and its home, the Kimmel Center, united. Today, The Philadelphia Orchestra and Ensemble Arts brings the greatest performances and most impactful education and community programs to audiences in Philadelphia and beyond.

Yannick Nézet-Séguin is now in his 14th season with The Philadelphia Orchestra, serving as music and artistic director. His connection to the ensemble’s musicians has been praised by both concertgoers and critics, and he is esteemed by the musicians of the Orchestra, audiences, and the community. In addition to expanding the repertoire by embracing an ever-growing and diverse group of today’s composers, Yannick and the Orchestra are committed to performing and recording the works of previously overlooked composers.

The Philadelphia Orchestra takes great pride in its hometown, performing for the people of Philadelphia year-round, at the Kimmel Center for the Performing Arts, throughout the community, over the airwaves, and online.

The Kimmel Center has been the ensemble’s home since 2001, and in 2024 Verizon Hall at the Kimmel Center was officially rededicated as Marian Anderson Hall in honor of the legendary 20

contralto, civil rights icon, and Philadelphian.

The Orchestra’s award-winning education and community programs connect, uplift, and celebrate nearly 40,000 Philadelphians and 250 schools from diverse communities annually, through inclusive arts education and vibrant engagement that reflect our city’s voices and expand access to creative opportunities. Students, families, and other community members can enjoy free and discounted experiences with The Philadelphia Orchestra through programs such as the Jane H. Kesson School Concerts, Family Concerts, Open Rehearsals, PlayINs, and Our City, Your Orchestra community concerts.

Through concerts, tours, residencies, and recordings, the Orchestra is a global ambassador and one of our nation’s greatest exports.

It performs annually at Carnegie Hall, the Mann Center, the Saratoga Performing Arts Center, and the Bravo! Vail Music Festival.

The Orchestra also has a rich touring history, having first performed outside Philadelphia in its earliest days. In 1973 it became the first American orchestra to perform in the People’s Republic of China, launching a now-five-decade commitment of people-to-people exchange through music.

Under Yannick’s leadership, the Orchestra returned to recording with 15 celebrated releases on the Deutsche Grammophon label, including the GRAMMY® Award–winning Florence Price Symphonies Nos. 1 & 3. The Orchestra also reaches thousands of radio listeners with weekly broadcasts on WRTI-FM and SiriusXM. For more information, please visit www.philorch.org.

Ogata Photo

PRINCIPAL GUEST CONDUCTOR One of the foremost conductors of our time, Marin Alsop is principal guest conductor of The Philadelphia Orchestra, with which she made her debut in 1990. She is the first woman to serve as the head of major orchestras in the United States, South America, Austria, and Great Britain. She is also the first and only conductor to receive a MacArthur Fellowship. This season marks her third as artistic director and chief conductor of the Polish National Radio Symphony and her third as principal guest conductor of London’s Philharmonia. She is also chief conductor of the Ravinia Festival and the first music director of the National Orchestral Institute + Festival at the University of Maryland. She served as chief conductor of the ORF Vienna Radio Symphony from 2019 to 2025; she is now honorary conductor.

Season highlights include her five-concert Carnegie Hall Perspectives series, Washington National Opera’s new production of Bernstein’s West Side Story, and a tour to Japan with the Polish National Radio Symphony. She also conducts the Chicago, Dallas, Houston, and ORF Vienna Radio symphonies; the Deutsches Symphonie-Orchester Berlin; and London’s Philharmonia. Last season, she became the first United States–born woman to conduct the Berlin Philharmonic.

In 2021 Ms. Alsop assumed the title of music director laureate and OrchKids founder of the Baltimore Symphony. During her 14-year tenure as its music director, she led the orchestra on its first European tour in 13 years, released multiple award-winning recordings, and conducted more than two dozen world premieres, as well as founding OrchKids, its groundbreaking music education program for Baltimore’s most disadvantaged youth. In 2019, after seven years as music director, she became conductor of honor of Brazil’s São Paulo Symphony. Deeply committed to new music, she was music director of California’s Cabrillo Festival of Contemporary Music for 25 years, leading 174 premieres.

Recognized with BBC Music Magazine’s “Album of the Year” and Emmy nominations in addition to GRAMMY, Classical BRIT, and Gramophone awards, Ms. Alsop’s discography comprises more than 200 titles on the Decca, Harmonia Mundi, Sony Classical, Naxos, Pentatone, and LSO labels. Among her many awards and academic positions are the 2025 Golden Baton Award, the highest accolade conferred by the League of American Orchestras; the 2019 World Economic Forum’s Crystal Award; the 2021–22 Harman/Eisner Artist-in-Residence of the Aspen Institute Arts Program; and the 2020 artist-in-residence at Vienna’s University of Music and Performing Arts. She is currently director of graduate conducting at the Johns Hopkins University’s Peabody Institute. She holds honorary doctorates from Yale University, Johns Hopkins University, and the Juilliard School. To promote and nurture the careers of her fellow women conductors, Ms. Alsop founded the Taki Alsop Conducting Fellowship in 2002. The Conductor, an Emmy-nominated feature documentary about her life, debuted at New York’s 2021 Tribeca Film Festival.

21

Shervin Lainez

SOLOISTS GRAMMY- and Emmy-winning ensemble Time for Three (TF3) defies convention and boundaries, merging classical, Americana, and singer-songwriter traditions into a singular, remarkable sound. Consisting of Ranaan Meyer (bass, vocals), Nicolas “Nick” Kendall (violin, vocals), and Charles Yang (violin, vocals), TF3 captivates audiences worldwide with their virtuosic playing and insatiable appetite for creativity that expands typical perceptions of a string trio. The group made its Philadelphia Orchestra debut in July 2005 at the Mann Center and its subscription debut in January 2008. In addition to these current performances, orchestral highlights of the 2025–26 season include appearances with the Louisville Orchestra and Teddy Abrams and the St. Louis Symphony and Stéphane Denève.

Time for Three’s history of groundbreaking commissions has entered a new chapter with Silicon Hymnal, a genre-blending concerto by composer Mason Bates, which integrates electronica into the orchestral fabric. The concerto received its premiere at Arizona Musicfest, with subsequent performances with the San Francisco Symphony and with The Philadelphia Orchestra at the Saratoga Performing Arts Center. TF3 has also embarked, with mezzo-soprano Joyce DiDonato, on a project titled Emily—No Prisoner Be. Written

by Pulitzer Prize–winning composer Kevin Puts and inspired by the poetry of Emily Dickinson, the work received its world premiere at the Bregenz Festival in August 2025 and toured across the United States this season, including at Carnegie Hall, Berkeley’s Zellerbach Hall, and Chicago’s Symphony Center. TF3’s previous collaboration with Mr. Puts helped earn the trio their first GRAMMY Award, winning in the category of Best Classical Instrumental Solo. The commissioned work, titled Contact, was recorded with The Philadelphia Orchestra and conductor Xian Zhang as part of the album Letters for the Future on the Deutsche Grammophon label. The recording also included Jennifer Higdon’s Concerto 4-3, written specifically for the trio and co-commissioned by The Philadelphia Orchestra. TF3 has enjoyed additional collaborations with composers Chris Brubeck and William Bolcom, as well as a wide range of artists including Ben Folds, Branford Marsalis, Joshua Bell, Aoife O’Donovan, Natasha Bedingfield, and Arlo Guthrie. TF3’s concert special, Time for Three in Concert, was produced by PBS and earned the trio an Emmy Award.

Both on and off stage, TF3 is committed to encouraging the next generation of musicians.

In conjunction with their performances, the trio hosts master classes, workshops, and musical conversations. They have been invited for multi-day residencies by universities and youth orchestras. As part of their performances, they regularly welcome local student musicians to share the stage with them, creating collaborative moments that are both empowering and inspiring. Mr. Meyer and Mr. Kendall are both graduates of the Curtis Institute of Music. Mr. Yang is a graduate of the Juilliard School.

22

FRAMING THE PROGRAM PARALLEL EVENTS Joseph Haydn composed over 100 symphonies—just 1769 Music Haydn Mozart Symphony No. 59 Te Deum Literature Brooke The History of Emily Montague Art Fragonard The Study History Dartmouth College established 1888 Strauss Don Juan

Music Tchaikovsky Symphony No. 5 Literature Zola La Terre Art Van Gogh The Yellow Chair History Tesla constructs electric motor

1928 Ravel Bolero

Music Gershwin An American in Paris Literature Lawrence Lady Chatterley’s Lover Art Beckmann Black Lilies History Fleming discovers penicillin

one of the reasons he is known as the “Father of the Symphony”—but it is his later ones that most often appear on concerts. Today we hear a relative rarity, Symphony No. 59, which is known as the “Fire.” The compact four-movement work is unusually dramatic, from the fiery first movement to the horn-driven finale.

Kevin Puts’s Contact imagines an encounter across galaxies, as he described it, “a call to intelligent life across the vast distances containing clues to our DNA, to our very nature as Earth people.” Written for the innovative ensemble Time for Three, the work won GRAMMY Awards for the composer and artists in 2023.

Richard Strauss composed Don Juan, his first great tone poem, in 1888 around the time of his 24th birthday. A century earlier Mozart, the composer Strauss most revered, had tackled the subject in Don Giovanni. Strauss’s depiction of the legendary libertine does not end in the anti-hero being dragged to Hell, as in Mozart’s opera, but rather with the disillusioned lover allowing himself to be killed in a duel.

The concert concludes with Maurice Ravel’s evocative Bolero, a glorious crescendo for orchestra. Ravel was born to a Basque mother in the French Pyrenees, not far from the Spanish border, and Bolero is just one of many pieces that testify to his enduring fascination with Spain.

The Philadelphia Orchestra is the only orchestra in the world with three weekly broadcasts on SiriusXM’s Symphony Hall, Channel 76, on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 4 PM. 23

THE MUSIC Symphony No. 59 (“Fire”) Joseph Haydn Born in Rohrau, Lower Austria, March 31, 1732 Died in Vienna, May 31, 1809

Joseph Haydn is justly celebrated as the “father of the symphony” not only because he wrote more than 100, but also because of their extraordinary variety and quality. The genre was in its infancy when he started in the late 1750s, with fine contemporaneous offerings by composers like Giovanni Battista Sammartini and Johann Stamitz that are now rarely performed. When a composer creates in such quantity—we may think of the hundreds of concertos by Antonio Vivaldi or the cantatas by J.S. Bach—the feat is usually accomplished by using a certain amount of recycling, repeating, and formulas, which makes the task easier and more efficient. Haydn engaged in such behavior less often than most 18th-century composers, which makes his achievement all the more remarkable.

A Shifting Symphonic Career Haydn came to the symphony when he was in his mid20s, which was actually rather late as he had already written a great deal of music in other genres. Over the course of the next 40 years, he composed more than 100 despite periods when he produced relatively few. His symphonic output was largely determined by practicalities, that is, who was paying for a particular piece. His earliest ones came when he was hired by one Count Morzin, for whom he worked for four years beginning in the late 1750s as music director for the family’s palaces in Bohemia and Vienna. The count wanted symphonies written for his private orchestra and for the first time Haydn therefore had reason to write them.

Haydn composed most of his symphonies, including the rather unfamiliar one we hear today, while in the service of an exceedingly rich family—the Esterházys—that had estates spread over the Austro-Hungarian Empire. After the death of his principal patron, the music-loving Prince Nickolas Esterházy, his duties were scaled back and he went into semiretirement. A final blossoming came late in Haydn’s career when he was commissioned to write symphonies for Paris and then composed the magnificent final dozen (Nos. 94– 104) for prestigious public concerts in London.

The Chronology and Numbering Problem Were Haydn alive and attending this concert he would have no idea what “Symphony No. 59” meant, although the nickname “Fire” (apparently not his devising) might have helped. The key of a composition was the principal identifier during his time—this one is in A major—but he had already written several in that tonality. Haydn was occasionally enlisted to help catalogue his symphonies, 24

partly because many were falsely being attributed to him, sometimes by unscrupulous publishers. It was only in the early 20th century that the standard numbering emerged. (At that time 104 were known, which has been supplemented by later discoveries.)

For several reasons, “59” seems to be a higher number than its actual chronology, which probably should place it among symphonies numbered in the 30s. It seems to date from around 1769. Some of the confusion about its origins is that parts of the Symphony were later used as incidental music to accompany performances of Gustav Friedrich Wilhelm Großmann’s play Die Feuersbrunst (The Conflagration) at the Esterházy palace in the mid1770s. Therefore, unlike some symphonies in which Haydn reused music he had previously written for the theater, in this instance the symphony came first. There is a manuscript from Haydn’s time that has the title “Feuer” (Fire) in the violin part for the first movement as well a reference in an early catalogue of his compositions that lists a “Fire Symphony/La Tempesta.”

A Closer Look In any case the music itself is fiery enough and also dramatic. It is unusual for a first movement to be marked Presto (typically that is saved for a brief finale), but the excitement here is immediate, beginning with a loud octave drop and then repeated A’s that suddenly ease into a soft and lyrical passage before exploding again with the opening energy, now with added horns.

The slow second movement (Andante o più tosto allegretto) in triple meter provides a stark contrast to the lively opening one. It begins politely, scored just for strings, and offers a variety of moods, from operatic to pastoral. The full orchestra returns for the more ceremonial Menuetto with its expected repeats and contrasting middle Trio section scored only for strings. The finale (Allegro assai) contains some unusual features, most notably the prominent use of horns, that have made commentators wonder about an extramusical impetus. Unaccompanied solo horns open the movement, answered by solo oboes, to create a fanfare effect. Strings enter, leading to a contrapuntally complex middle section before the opening horns and oboes return to conclude the movement.

—Christopher H. Gibbs Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College and has been the program annotator for The Philadelphia Orchestra since 2000. He is the author of several books on Schubert and Liszt, and the co-author, with Richard Taruskin, of The Oxford History of Western Music, College Edition.

Haydn composed his Symphony No. 59 in 1769.

These are the first Philadelphia Orchestra performances of the piece.

The score calls for two oboes, bassoon, two horns, harpsichord, and strings.

Performance time is approximately 17 minutes.

25

THE MUSIC Contact Kevin Puts Born in St. Louis, Missouri, January 3, 1972 Now living in Yonkers, New York

David White

Combining lyrical immediacy with richly colored orchestration and a strong sense of narrative structure, Kevin Puts’s music has earned international recognition in both orchestral and operatic repertoires. His works have been commissioned and performed by organizations including The Philadelphia Orchestra, the Metropolitan Opera, and Carnegie Hall, and he has collaborated with artists such as Renée Fleming and Yo-Yo Ma. Puts is perhaps best known for his opera Silent Night (2011), which received the Pulitzer Prize for Music in 2012. Based on the Christmas Truce of 1914—an episode early in World War I when soldiers on opposing sides briefly laid down their weapons and fraternized across the trenches on Christmas Eve—the opera dramatizes the event from multiple perspectives, including German, French, and Scottish soldiers as well as civilians. Music itself becomes central to the plot as familiar Christmas carols sung across the trenches open a tentative space for recognition and human connection. Puts’s subsequent operas include The Manchurian Candidate (2015), based on Richard Condon’s Cold War political thriller, and The Hours (2022), adapted from Michael Cunningham’s novel about the intertwined lives of three women connected through Virginia Woolf ’s Mrs. Dalloway, which received its world premiere by The Philadelphia Orchestra in a concert version in March 2022.

Drawn to Concertos Alongside his operatic work, Puts has returned repeatedly to the concerto form, using it as a space to explore juxtaposing expressive melodic writing within lushly orchestrated textures. An early example can be found in the Marimba Concerto (1997), written for Makoto Nakura and shaped, in the composer’s words, by his “love for Mozart’s piano concertos.” Puts has noted that he was especially drawn to the clarity and balance of Mozart’s concerto writing—the sense of dialogue between soloist and orchestra—which he sought to translate into the marimba’s distinctive voice.

With Contact, Puts’s interest in the concerto tradition took on a more explicitly collaborative dimension. In 2017 the composer attended a performance at Joe’s Pub in New York City by the string trio Time for Three—violinists Nick Kendall and Charles Yang and bassist Ranaan Meyer. Inspired by the group’s remarkable stylistic range, encompassing classical repertoire, improvisation, and vocal performance, the idea for a concerto tailored to their talents quickly took shape. The project evolved over several years and underwent further refinement when the COVID-19 pandemic delayed its planned premiere in

26

2020, giving the composer and performers additional time to shape the work and reflect on its narrative possibilities. The title Contact ultimately came to suggest both cosmic communication and a deeper human longing for connection during a period marked by profound isolation.

A Closer Look The four-movement concerto begins with an unconventional gesture: The soloists sing. Inspired by hearing Time for Three both play and sing their original song “Vertigo,” Puts recalls, “I wondered about the possibility of beginning the concerto with the trio singing a wordless refrain, a cappella.” The first movement, The Call, unfolds from this simple idea: A single pitch expands into suspended harmonies sung first by the trio and then echoed by the orchestra. The refrain passes gradually through different sections—first woodwinds, then strings—its contour and sense of yearning shaping the entire movement even when it is not repeated verbatim. Winds and soloists decorate the material with improvisatory flourishes as the movement builds toward an arresting climax before settling back into its original atmosphere of uncertainty, repeating the opening refrain.

Beginning with “threatening unison stabs, played by the entire orchestra,” the second movement—a scherzo titled Codes—abruptly shatters the contemplative atmosphere of the opening movement. Relentless, driving momentum defines this movement, which is peppered with scintillating pizzicato passages for both soloists and the entire ensemble; the overall effect vividly suggests coded transmissions racing through space. By contrast, the third movement, Contact, opens in stark stillness. Puts imagines “an abandoned vessel floating inert in the recesses of space,” an image reflected in the orchestra’s heavy, dissonant opening chords and the vast horizons they evoke. Wisps of melody drift through this suspended texture, and the sense of musical time seems dramatically stretched after the restless motion of the scherzo. The soloists subsequently shift into a more unified, lyrical texture, eventually joined by solo oboe and clarinet, transforming the ominous opening into a more passionate, heartfelt arioso.

The concerto’s finale (Convivium) takes inspiration from the Bulgarian folk melody Gankino horo, which Puts first heard performed by a group of young cellists at his son’s recital. Fascinated by its asymmetric rhythms, he fashioned a vibrant fantasy on the tune, whose uneven meter gives the movement a dance-like vitality. In the closing minutes, the vocal refrain from the first movement briefly returns before yielding once more to the driving folk rhythms, sending the piece to a raucous and exuberant conclusion.

—Sean Colonna Sean Colonna is the associate director of the Language and Thinking Program at Bard College, where he also teaches courses in music history and philosophy and serves as associate editor for The Musical Quarterly.

Contact was composed from 2019 to 2021.

Time for Three gave the first Philadelphia Orchestra performance of Contact in July 2022 at the Saratoga Performing Arts Center; Erina Yashima conducted. The ensemble also performed the piece with the Orchestra at the Bravo! Vail Music Festival in July 2023, with Stéphane Denève conducting.

Time for Three and conductor Xian Zhang recorded the piece with the Philadelphians in 2021 for Deutsche Grammophon, part of an album that won the 2023 GRAMMY Award for Best Classical Instrumental Solo. Puts’s Contact also won a GRAMMY that year for Best Contemporary Classical Composition.

27

The score calls for two violin and double bass soloists, three flutes (III doubling piccolo), three oboes (III doubling English horn), three clarinets (III doubling bass clarinet), three bassoons (III doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, crash cymbals, glockenspiel, marimba, snare drum, tambourine, tam-tam, triangle, vibraphone, woodblock, xylophone), piano, and strings.

The piece runs approximately 30 minutes in performance.

28

THE MUSIC Don Juan Richard Strauss Born in Munich, June 11, 1864 Died in Garmisch-Partenkirchen, September 8, 1949

In the late 1880s Richard Strauss was at a personal and professional crossroads. Professionally, just in his 20s at the time, he was rising through the ranks as a conductor at a dizzying pace; he was appointed to the important post of Kapellmeister to the Grand Duke of Saxe-Weimar-Eisenach in 1889. The year before this appointment in Weimar, which rescued the composer from an unsatisfactory position in his native Munich, he took his second trip to Italy. (Strauss’s two sojourns to Italy were very much in the tradition of the Italian pilgrimages made by figures like Goethe and the art historian Johann Joachim Winckelmann in the 18th century.) Standing in the sun-drenched cloister of the Basilica of Saint Anthony in Padua, Strauss sketched what would become the principal theme of his tone poem Don Juan.

Part Autobiography? Strauss’s personal life was going through a series of changes as well. In 1883 he met Dora Wihan, a married woman four years older, and he had fallen precipitously in love with her. While very little of their correspondence survives, the letters that do exist suggest a remarkable degree of intimacy. In one of them, Strauss wrote about his aesthetic development in a confiding manner that speaks to the intensity of their relationship. In April 1889 he said, “Imagine, I have even joined the Lisztians now; in short, a more progressive standpoint than the one I now hold is hardly conceivable. And yet, with the clarity that has come to me, I feel so well. … I’m going to Bayreuth as an assistant, piano rehearsals and so on. Recently I made Frau Wagner’s acquaintance. She took a great interest in me.”

What Strauss did not confide to the newly divorced Dora was that he had met another woman who would gradually replace her in his affections. Pauline Maria de Ahna was a gifted soprano who began taking singing lessons with the composer in 1887. After her first lesson with him, he wrote to a mutual friend, “She is much more talented than you think, we have only got to bring out her gifts.” After he assumed his duties in Weimar, Pauline began to supplant Dora in Strauss’s heart. Poor Dora! How could she compete with the deliciously volatile Pauline, who possessed a superb soprano voice and true musicianship? Richard and Pauline were married on September 10, 1894; they were inseparable until his death in 1949.

As the history of his youthful amatory experience suggests, Strauss himself was hardly a Don Juan. He was, however, a daringly “advanced” composer in his youth and a dashing 29

figure on the podium. The premiere of Don Juan, with the composer conducting the Weimar Opera Orchestra, was a massive success, catapulting him to the forefront of the German avant-garde. Strauss found the narrative idea for the piece in a play by Paul Heyse (1830–1914), Don Juans Ende (1883), as well as in an unfinished poem on the same subject by Nikolaus Lenau (1802–50); the composer affixed excerpts from Lenau’s poem at the head of his score. Both play and poem present Don Juan as a philosophical philanderer whose compulsion to seduction was prompted by his search for the “ideal woman.” Sickened by erotic disillusionment, Don Juan allows himself to be killed in a duel.

A Closer Look Michael Kennedy aptly describes the genre of the tone poem as “chiming in perfectly with the Romantic’s wish for interrelationship of all the arts and especially the interaction of music and literature. … In addition, the invention, development, and improvement of instruments, and the consequent enlargement of the symphony orchestra, with the widening and intensifying of its expressive capabilities, encouraged composers to attain a more sophisticated and complex style.” Although Strauss was attracted to the hybrid nature of the tone poem as created by Liszt, he did not entirely discard the broad outlines of sonata form. In Don Juan, the exhilarating primary theme is succeeded by a yielding second theme played by the oboe; the exposition ends with a grandiose melody played by the massed horns. Strauss does not distort his narrative to conform to the dictates of sonata form, however. After the idyllic central section, the confident music with which Don Juan opens gradually loses its nerve during the recapitulation and concludes in shuddering despair, with the fatal rapier thrust chillingly depicted by a dissonant note in the trumpets.

—Byron Adams Byron Adams is Emeritus Distinguished Professor of Musicology at the University of California, Riverside. Both composer and musicologist, he specializes in French and British music of the 19th and 20th centuries. Among his publications are two edited volumes, Edward Elgar and His World (2007) and Vaughan Williams and His World (2023), which he co-edited with Daniel M. Grimley.

Don Juan was composed in 1888.

Carl Pohlig conducted the first Philadelphia Orchestra performances of Don Juan, in January 1908. Richard Strauss conducted the Orchestra in the work in October and November 1921, in the Academy of Music and at Carnegie Hall.

The most recent subscription performances were in March 2018, with Yannick Nézet-Séguin.

The Orchestra has recorded Don Juan four times: in 1955 and 1960 for CBS with Eugene Ormandy; in 1974 for RCA, also with Ormandy; and in 1996 for EMI Classics with Wolfgang Sawallisch.

The score calls for three flutes (III doubling piccolo), two oboes, English horn, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (cymbals, orchestra bells, suspended cymbal, triangle), harp, and strings.

Performance time is approximately 20 minutes.

30

THE MUSIC Bolero Maurice Ravel Born in Ciboure, Lower Pyrenees, March 7, 1875 Died in Paris, December 28, 1937

Deeply moved by works of Debussy from the 1890s, around 1900 Maurice Ravel began to find his own answers to the questions about harmony, color, and instrumental texture that the late 19th century had left unresolved. As a new century dawned, so did hopes of a “new music,” and this impulse found expression in the music of composers as diverse as Elgar and Schoenberg, Puccini and Debussy. At the beginning of the decade, Ravel’s music began to appear in print for the first time: The publisher Demets brought out elegiac pieces such as the Pavane pour une infante défunte (Pavane for a Dead Princess) and revolutionary works such as Jeux d’eau (Water Games). Buoyed by these successes, in 1904 the composer wrote Miroirs (Mirrors), a remarkable set of “impressionistic” piano pieces that some would later compare to the paintings of Monet or Van Gogh. After this he was destined to join Debussy in writing a new chapter in the history of French music.

A Conservatory Drop Out Three times Ravel had entered the competition for the Prix de Rome—1901, 1902, and 1903—and three times he had failed, achieving in his last year only Third Prize. Finally he dropped out of the Paris Conservatory altogether, and instead became involved in “Les Apaches,” an informal, vaguely disreputable collection of Parisian aesthetes who met to discuss art, literature, painting, music, history, and any other topic that might arise. It was at meetings of Les Apaches that Ravel tried out some of his more daring new works, often for audiences that included such musicians as Manuel de Falla, M.D. Calvocoressi, and Florent Schmitt. Their unconventional tastes gave Ravel just the creative encouragement he needed to continue on the path that he had set for himself.

Ironically, despite early rejections by the musical establishment of his native country, as he matured Ravel found his iconoclastic tendencies becoming tempered by a growing reverence for the past—and especially the music of French masters. Eventually, in the 1930s, he would assimilate jazz as well, and its rhythms and harmonies would imbue his music with unique “popular” inflections that would give courage to later generations of composers compelled to lace their scores with elements of mass culture.

A Closer Look Composed in 1928 for Ida Rubinstein’s Parisian dance troupe, Bolero is one of the most subversive orchestral scores of the 20th century. Ravel said later that he wanted to write a piece that had “no form, properly speaking, and no modulation, or almost none—just rhythm and orchestra.” The ballet caused a stir at its premiere that November, 31

and many decades later the music continues to draw a crowd. Each repetition of the bolero tune presents a new and intriguing combination of instruments, both in the melody and in the accompaniment. The initial strophes, for instance, explore the soloistic qualities of various wind instruments; the sixth combines muted trumpet and flute to produce a tone that sounds like neither. By the end, we are so entrenched in the key of C that the effect of the brief, shocking swerve into E major in the 18th and final strain is way out of proportion to its actual harmonic significance.

In 1979 the piece was used in Blake Edwards’s film 10, as the accompaniment to Dudley Moore’s bumbling lovemaking to bombshell Bo Derek—and for this reason it remains indelibly fixed in the mind, for many listeners, as a sexual metaphor. While such a blatant connection might indeed have been in the back of Ravel’s mind, it should not limit us to thinking about the piece only in these terms. Bolero is, in the composer’s straightforward and no-nonsense description, “a piece lasting 17 minutes and consisting wholly of orchestral effects without music—one long and very gradual crescendo.”

—Paul J. Horsley Paul J. Horsley is performing arts editor for The Independent in Kansas City. Previously he was program

annotator and musicologist for The Philadelphia Orchestra and music and dance critic for The Kansas City Star.

Bolero was composed in 1928.

The Orchestra’s “unofficial” premiere of Bolero is of special interest. On December 20, 1929, after a concert of music

by Wagner, Leopold Stokowski turned to the audience in the Academy of Music and made the following announcement: “We are receiving much interesting modern music from the publishers. Perhaps you would like to hear some. It may be that you will not like this piece. It is very modern.” And with that Stokowski and The Philadelphia Orchestra performed the local premiere of Bolero. Its most recent appearance on subscription concerts was in October 2022 with Yannick Nézet-Séguin.

The Philadelphia Orchestra has recorded the work five times: in 1953, 1960, and 1968 for CBS with Eugene Ormandy; in 1973 for RCA with Ormandy; and in 1982 for EMI with Riccardo Muti.

The score calls for piccolo, two flutes (II doubling piccolo), two oboes (II doubling oboe d’a more), English horn, two clarinets (II doubling E-flat clarinet), bass clarinet (doubling soprano saxophone), tenor saxophone, two bassoons, contrabassoon, four horns, three trumpets, piccolo trumpet, three trombones, tuba, timpani, percussion (bass drum, cymbals, snare drums, tam-tam), harp, celesta, and strings.

Bolero runs approximately 15 minutes in performance.

Program notes © 2026. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.

32

MUSICAL TERMS GENERAL TERMS A cappella: Choral singing performed without instrumental accompaniment Aria: An accompanied solo song (often in ternary form), usually in an opera or oratorio Arioso: A style that is songlike Cantata: A multimovement vocal piece consisting of arias, recitatives, ensembles, and choruses and based on a continuous narrative text Chord: The simultaneous sounding of three or more tones Chromatic: Relating to tones foreign to a given key (scale) or chord Contrapuntal: See counterpoint Counterpoint: The combination of simultaneously sounding musical lines Diatonic: Melody or harmony drawn primarily from the tones of the major or minor scale Dissonance: A combination of two or more tones requiring resolution Fantasy: A composition free in form and more or less fantastic in character Harmony: The combination of simultaneously sounded musical notes to produce chords and chord progressions Kapellmeister: Conductor of an orchestra (historically one attached to a German court) Menuetto: A dance in triple time commonly used up to the beginning of the 19th century as the lightest movement of a symphony Meter: The symmetrical grouping of musical rhythms Modulate: To pass from one key or mode into another Octave: The interval between any two notes that are seven diatonic (nonchromatic) scale degrees apart Op.: Abbreviation for opus, a term used to indicate the chronological position of a composition within a composer’s output.

Opus numbers are not always reliable because they are often applied in the order of publication rather than composition.

Oratorio: Large-scale dramatic composition originating in the 16th century with text usually based on religious subjects. Oratorios are performed by choruses and solo voices with an instrumental accompaniment, and are similar to operas but without costumes, scenery, and actions.

Pizzicato: Plucked

Recapitulation: See sonata form Recitative: Declamatory singing, free in tempo and rhythm. Recitative has also sometimes been used to refer to parts of purely instrumental works that resemble vocal recitatives.

Scale: The series of tones which form (a) any major or minor key or (b) the chromatic scale of successive semi-tonic steps Scherzo: Literally “a joke.” Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo, vigorous rhythm, and humorous contrasts.

Also an instrumental piece of a light, piquant, humorous character.

Sonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then “developed.” In the recapitulation, the exposition is repeated with modifications.

Ternary: A musical form in three sections, A-B-A, in which the middle section is different than the outer sections Tone poem: A type of 19th-century symphonic piece in one movement, which is based upon an extramusical idea, either poetic or descriptive Tonic: The keynote of a scale Trio: A division set between the first section of a minuet or scherzo and its repetition, and contrasting with it by a more tranquil movement and style THE SPEED OF MUSIC (Tempo) Allegretto: A tempo between walking speed and fast Allegro: Bright, fast Andante: Walking speed Presto: Very fast TEMPO MODIFIERS Assai: Much Più tosto: Or rather DYNAMIC MARKS Crescendo: Increasing volume 33

AUDIENCE SERVICES We want you to enjoy each and every concert experience you share with us. We would love to hear about your experience at the Orchestra and it would be our pleasure to answer any questions you may have.

Please don’t hesitate to contact us via phone at 215.893.1999, in person in the lobby, or online at ensembleartsphilly.org/contact-us.

Purchase tickets online at www.philorch.org.

Subscriber Services: 215.893.1955, Mon.–Fri., 9 AM–5 PM Please visit ensembleartsphilly.org/ tickets-and-events/ticket-information for information on Audience Services and Box Office hours and locations.

On concert dates (two hours before concert time and through intermission), the Box Office will be located at: The Kimmel Center Broad and Spruce Streets Philadelphia, PA 19102 Web Site: For information about The Philadelphia Orchestra and its upcoming concerts or events, please visit philorch.org.

Individual Tickets: Don’t assume that your favorite concert is sold out. Subscriber turnins and other special promotions can make last-minute tickets available. Visit us online at philorch.org.

Subscriptions: The Philadelphia Orchestra offers a variety of subscription options each season. These multi-concert packages feature the best available seats, ticket exchange privileges, discounts on individual tickets, and many other benefits. Learn more at philorch.org.

Ticket Turn-In: Subscribers who cannot use their tickets are invited to donate them and receive a tax-deductible acknowledgement by calling 215.893.1999. Twenty-four-hour notice is appreciated, allowing other patrons the opportunity to purchase these tickets and guarantee tax-deductible credit.

PreConcert Conversations: PreConcert Conversations are held prior to most Philadelphia Orchestra subscription concerts, beginning one hour before the performance.

Conversations are free to ticket holders, 34

feature discussions of the season’s music and music-makers, and are supported in part by the Hirschberg-Goodfriend Fund in memory of Adolf Hirschberg, established by Juliet J. Goodfriend.

Lost and Found: Please call 215.670.2321.

Late Seating: Late seating breaks usually occur after the first piece on the program or at intermission in order to minimize disturbances to other audience members. If you arrive after the concert begins, you will be seated only when appropriate breaks in the program allow.

Accessible Seating: Accessible seating is available for every performance. Please visit philorch.org/patron-services/plan-your-visit/ accessibility for more information.

Assistive Listening: With the deposit of a current ID, hearing enhancement devices are available at no cost from the House Management Office in Commonwealth Plaza.

Hearing devices are available on a first-come, first-served basis.

Large-Print Programs: Large-print programs for every subscription concert are available in the House Management Office in Commonwealth Plaza. Please ask an usher for assistance.

Fire Notice: The exit indicated by a red light nearest your seat is the shortest route to the street. In the event of fire or other emergency, please do not run. Walk to that exit.

No Smoking: All public space in Ensemble Arts Philly venues is smoke-free.

Cameras and Recorders: The taking of photographs or the recording of Philadelphia Orchestra concerts is strictly prohibited, but photographs are allowed before and after concerts and during bows. By attending this Philadelphia Orchestra concert you consent to be photographed, filmed, and/or otherwise recorded for any purpose in connection with The Philadelphia Orchestra.

Electronic Devices: All watch alarms should be turned off while in the concert hall and all cellular phones should be switched to silent mode.

BOARD OF TRUSTEES The Philadelphia Orchestra and Ensemble Arts BOARD OF TRUSTEES Ralph W. Muller, Chair Ryan Fleur, President and Chief Executive Officer Yannick Nézet-Séguin, Music and Artistic Director, The Philadelphia Orchestra James P. Brandau Patrick J. Brennan, M.D. Jeffrey Brown Karen Dougherty Buchholz Elaine Woo Camarda Joseph Ciresi David L. Cohen Michael M. Cone Joseph Conyers* Robert R. Corrato, M.D. Sarah Miller Coulson Robert Curley Robert J. Delany, Sr. Mark S. Dichter Jeff Dittus Carl E. Dranoff Joseph M. Field Ryan Fleur* Mark J. Foley John Fry Lauren Gilchrist Donald A. Goldsmith Amy Gutmann, Ph.D. Janet Haas, M.D. Julia Haller, M.D. Robert C. Heim Nina Henderson Osagie O. Imasogie Patricia Harron Imbesi Philip P. Jaurigue Kenyatta Johnson* Bennett Keiser Christopher M. Keith David Kim* Neal W. Krouse Lauren Lambrugo* Joan Lau Brook J. Lenfest Jeffrey A. Leonard Bruce G. Leto Tod J. MacKenzie Joseph M. Manko, Sr. John H. McFadden Jami Wintz McKeon

Stan Middleman Dara Morales* Ralph W. Muller Yannick Nezet-Seguin* Amy Oshiro-Morales* Benjamin Persofsky Richelle Rabenou* Jon Michael Richter Caroline B. Rogers Charles E. Ryan Kerri Ryan* Adele K. Schaeffer Peter L. Shaw Adrienne Simpson Matthew A. Taylor Jennifer F. Terry Tiffany Thurman* Michael R. Vennera Rev. Dr. Alyn Waller Robert Wilson Richard B. Worley Joseph Zebrowitz, M.D. Bin Zhang * Ex officio THE PHILADELPHIA ORCHESTRA AND ENSEMBLE ARTS PRESIDENT’S LEADERSHIP COUNCIL

Frederick W. Kyle Larry Magid Elizabeth M. Mahoney David G. Marshall Sandra G. Marshall Joseph J. McLaughlin, Jr. Edward A. Montgomery, Jr. Hilarie L. Morgan Henry N. Nassau Charles P. Pizzi Robert Pollack Robert L. Pratter Hon. Marjorie O. Rendell Lyn M. Ross David B. Rubenstein John F. Salveson Molly D. Shepard, Co-Chair Richard L. Smoot Leonard A. Sylk Sheldon L. Thompson Brian P. Tierney Charles K. Valutas Ramona Vosbikian Laurie Wagman James W. Zug As of February 2025

Robert Bogle Sheldon M. Bonovitz Willo Carey Kathleen P. Chimicles Gerard P. Cuddy Peter Dachowski Kenneth E. Davis Rodney D. Day III Peter J. Dean, Co-Chair Thomas A. Decker James F. Dougherty, V.M.D., Co-Chair Stacy M. Dutton Carole Haas Gravagno William P. Hankowsky H. Edward Hanway Martin A. Heckscher, Esq. David F. Hoffman Joseph H. Jacovini Lisa D. Kabnick Ronald L. Kaiserman, Esq. Susan Y. Kim 35

PO_Donors_April-26.indd 35

3/3/26 6:29 AM

1900

T H E N : The Philadelphia Orchestra with Stokowski, 1936

MAKE A GIFT MAKE HISTORY CELEBRATE 125 YEARS OF MUSIC

N O W : The Philadelphia Orchestra with Nézet-Séguin, 2024 2025

PO_Donors_April-26.indd 36

3/3/26 6:29 AM

Since 1900, The Philadelphia Orchestra has relied on support from patrons like you to create a legacy of exceptional music. The generosity of our donors makes it possible to present hundreds of performances each season, including free community and education events for audiences of all ages. Make a gift and be a part of the next 125 years of music history.

HOW TO GIVE ONLINE

philorch.org/donate

MAIL

The Philadelphia Orchestra Annual Fund 300 South Broad Street Philadelphia, PA 19102

In appreciation, donors receive a variety of benefits, including: • •

IN-PERSON

Access to Open Rehearsals and other members-only events

donation box in the

Advance purchase opportunities for the

Envelopes are located at

best seats in the house •

Leave a gift in our Kimmel Center lobby. the drop box.

Discounts on concessions, Curtain Call Cafe and Lounge, and Leo Restaurant and Bar

Explore our membership levels,

CONTACT THE ANNUAL FUND OFFICE

benefits, and flexible payment options

or 215.893.3151

•

And more exclusive opportunities that bring you closer to the art you love

at philorch.org/membership.

development@philorch.org Hours: M–F | 9 AM to 5 PM

Photos: Allie Ippolito

PO_Donors_April-26.indd 37

3/3/26 6:29 AM

ANNUAL FUND Philanthropic support inspires and sustains Your Philadelphia Orchestra’s work on stage, in our local communities, and around the world. We are proud to recognize our generous Annual Fund donors by name on this and subsequent pages. We extend our deepest gratitude to every donor, including those listed anonymously and at levels not included in this program.

ARTISTIC COUNCIL $500,000 AND ABOVE Estate of M.J. Fischer Estate of Robert T. Foley Otto Haas Charitable Trust Innisfree Foundation James and Agnes Kim Foundation Neal Krouse and Karl Fong Leslie A. Miller and Richard B. Worley Elizabeth Wiegers Constance and Sankey Williams Anonymous (3)

For more information about donating to the Annual Fund at any level, please contact us at 215.893.3151 or development@ philorch.org, or visit philorch.org/donate.

ARTISTIC COUNCIL $125,000 TO $499,999 Lois and Julian Brodsky Elaine W. Camarda and A. Morris Williams, Jr. The CHG Charitable Trust Dr. Alan R. Cohen and Michele Langer Constance and Michael Cone Sarah Miller Coulson Tobey and Mark Dichter Dr. James F. Dougherty Susan and Jonas Ellenberg Robert Heim and Eileen Kennedy Osagie and Losenge Imasogie Gretchen and M. Roy Jackson Bennett Keiser and Joy Wilf Keiser Dr. Richard M. Klein Estate of Winifred Mayes John H. McFadden and Lisa D. Kabnick Ralph and Beth Johnston Muller Estate of Dr. Betty T. Richards Caroline B. Rogers Peter and Mari Shaw Dr. Cecilia Segawa Seigle Tannenbaum* Dr. and Mrs. Joseph B. Townsend Waterman Trust Estates of Dr. and Mrs. Robert Williams

Contributions listed were received between August 1, 2024, to February 1, 2026. Please contact us if your name has been omitted in error or if you would like to update your recognition name.

PRESENTERS CIRCLE $75,000 TO $124,999 Estate of Sherrin H. Baky-Nessler Estate of Dr. Barbara Comins Jerome L. and Thao Dodson Joseph and Marie Field Mrs. Penelope P. Harris Sandy and David G. Marshall Joe Neubauer and Jeanette Lerman-Neubauer Mr. Charles Ryan Carol Tyler

PRESENTERS CIRCLE $50,000 TO $74,999 Dean S. Adler and Susanna Lachs Adler Dr. and Mrs. Robert R. Corrato Christos Coutifaris and Deborah Driscoll Estate of Thomas and Floramae Force Linda and David Glickstein Juliet J. Goodfriend and Marc R. Moreau Mr. and Mrs. Chris Keith Marguerite and Gerry* Lenfest Joseph M. Manko, in loving memory of Lynn Manko Estate of Ron North Salkind Family Foundation Diane Schneider Mr. Oscar Tang and Dr. Agnes Hsu-Tang Anonymous PRESENTERS CIRCLE $25,000 TO $49,999 Vijay and Susan Aggarwal Dr. James R. Anderson Donald E. Barb, Esq., and the Rev. Bruce H. Davidson Peter A. Benoliel* and Willo Carey James and Micaela Brandau Judith Broudy Karen Dougherty Buchholz Mr. and Mrs. Christopher B. Chandor Mr. and Mrs. John Fry Irina and Patrick Gage Barbara and Jerome Glickman Amy Gutmann and Michael O’Doyle Julia A. Haller, M.D. Nancy S. Halpern Ed and Ellen Hanway Ann S. and Steven B. Hutton Patricia and John Imbesi Rachelle and Ronald Kaiserman Gay and Donald Kimelman In honor of Katherine O. Leone Mr. and Mrs. Bruce Leto Chris and Jeffrey Libson Mrs. Catharine Maxey Susan and Frank Mechura Dr. and Mrs. John L. Neigh Miriam Ort and Lawrence Hirsch Estates of Adolf and Geraldine Paier Ameline Pappas* Claudio Pasquinelli and Kyong-Mi Chang Robert and Lynne Pollack Robert L. Pratter Red Moose Charitable Trust Jon and Karen Richter

38

PO_Donors_April-26.indd 38

3/3/26 6:29 AM

Beth L. Rogers Lyn Ross Vincent N. and Lila Russo Allan Schimmel and Reid Reames* Kate Groark Shields Constance Smukler, Trustee, Smukler-Lasch Family Trust Mr. Wayne Titerence and Ms. Vicki Mechner Michael and Renee Vennera Thomas and Patricia Vernon Jennifer and Ralph Watts Zisman Family Foundation Anonymous PRESENTERS CIRCLE $15,000 TO $24,999 M. Therese and Barry Bentley Mr. and Mrs. Robert Bickford Estate of Mark J. Bojanowski Carol W. Buettger Drew Camarda Alice Chen-Plotkin and Joshua Plotkin Mr. and Mrs. David L. Cohen, Esq. Joslyn G. Ewart Mr. and Mrs. Moses Feldman Claudia and Richard Fischer Ryan Fleur and Laura Banchero Drs. Peter and Pamela Freyd Ken and Sue Greathouse Peter Grove and Nancy Greene Joseph and Bette Hirsch Terry and Ann Marie Horner Toba and Lawrence Kerson Mr. Kevin King and Mrs. Susan West King Drs. Joan and Brook Lau Lurie Family Foundation Tom and Linda McCarthy Mr. and Mrs. Bruce McKittrick Jane G. Pepper Jeffrey and Deborah Pierce The Estate of Miss E. Irene Reymann Dianne and Jeffrey Rotwitt Joan N. Stern Mr. and Mrs. Sheldon Lee Thompson Dr. Bettyruth Walter Judith Whellan Steve and Mary Beth Young Anonymous (7) PRESENTERS CIRCLE $10,000 TO $14,999 John R. Alchin and Hal Marryatt Mr. and Mrs. James Allison Charles Arnao and Rosemary Watt Barbara B. and Theodore R. Aronson Jim and Janet Averill Drs. Robert and Jean Belasco Jill and Sheldon Bonovitz Dr. and Mrs. Patrick J. Brennan Mr. and Mrs. Jonathan Broder Judy and Mark Brodsky

James and Doris Brogan Dr. Eugenio* and Giuliana Calabi Dr. Rosemary Cook John Cornell Joyce Creamer Richard and Patricia Cummines Mr.* and Mrs. Edward C. Dearden Edith R. Dixon Alex J. Ettl Foundation Eph and Pat Fithian Mr. and Mrs. David M. Friedman Donald Goldsmith In memory of Rena and Morton C. Grad and John de Lancie Vivian and Mark Greenberg Gni Grossman and Christopher Murray Leon and Miriam Hamui Fred and Michelle Harde Mr. and Mrs. Stephen Harris Katherine Hatton and Richard Bilotti Hannah L. Henderson Richard H. Holzer Memorial Foundation Eric and Lenora Hume Ms. Lisa R. Jacobs Andrew Jacobson and Carol Overvold Erika James Lyn Kratz and Pamela French Dr. Peter Langmuir and Dr. Colette Desrochers Nestor Llorente and Don Jones Sally and Tod MacKenzie Nicholas Maiale* Dr. Ann Elizabeth Mayer Paul H. McKelvie Estate of Mary and David Meese Dr. Jill Mortensen Alexander Nikas and Dr. Marianne Ruhl Nikas Yannick Nézet-Séguin and Pierre Tourville Mrs. Sarah Peterson Mrs. Vivian W. Piasecki* Dr. and Mrs. Joel and Bobbie Porter Susan and David Rattner Marney Roia Dr. Marta Rozans and Prof. Ilan Peleg Xiaomei Shao Lee F. Shlifer Edward and Shelley Sigman Kathleen and Roger Smith Richard and Amanda Smoot Samuel and Rosanne Spear Mary Ann Stehr Mr. and Mrs. William Stone Walter and Alice Strine, Esqs.

Charles and Suzanne Valutas The Vert Charitable Trust Peggy Wachs Penelope and Thomas Watkins

Mary E. Webb Carol A. Westfall Martin Zeldin and Bill Brinkman Walter A. Zanchuk and Norma Milne Zanchuk James W. and Debora C. Zug Anonymous (5) AMBASSADORS CIRCLE $5,000 TO $9,999 Erika Aaron and Marc Fliegelman Mrs. Neysa Adams Peter J. Allen Larry and Dr. Marcia Arem Drs. Janine and Barry Arkles Lynn Axelroth and Cricket Handsaker Richard and Jane Baron William And Sylvia Barone Carol Beam John D. Benson, Esq. Isabelle Benton and Aileen White Ms. Donna Brennan and Dr. James Bergey Andrea Biondo and Kenneth Hartzell Allen D. Black and R. Randolph Apgar Jeff Benoliel and Amy Branch Ms. Linda Bross Alfred Anthony Brown and Hai-Ye Ni Dr. and Mrs. I. Stephen Brown Mr. and Mrs. James M. Buck III Estate of James Buttenwieser Malcolm and Carla Cain Jennifer and David Cardy Robert Carmichael Kathleen and Nicholas Chimicles Kristine Christensen Celia Mendes Chumaceiro Georgette P. Ciukurescu Earl* and Margaret Clime Mrs. Marlynne Clothier Dr. Robert Cody Stephen Cohen and John McNett Ruth M. and Tristram* C. Colket, Jr. Peggy Cooke Jeffrey Cooper and Nancy Klaus Kenneth and Nancy Davis Stephen and Rhoda Davis Evelyn S.* and Rodney D. Day III Mr.* and Mrs. Willem K. Dikland Dr. and Ms. James Doghramji Cynthia Tehan and Ed Dougherty Ellason Downs Perpetual Charitable Trust MaryAnn Edwards Ms. Carol S. Eicher Dr. Bruce Eisenstein, in memory of Dr. Toby Eisenstein Audrey Escoll Andrew E. Faust and Ann Russavage-Faust Mary Felley 39

PO_Donors_April-26.indd 39

3/3/26 6:29 AM

$5,000 TO $9,999 CONT. Allen R. and Judy Brick Freedman John R. and Karen S. Fulton III John and Beth Gamel The Gant Family Foundation Patsy and Ed Garno Jim and Kay Gately Ms. Phyllis S. Gitlin Howard and Norah Goldfine Mary L. Goldman David and Bonnie Goldmann Charles and Alison Graham Lyn and Harry Groome Diana and Robert Harding Hope and Stephen Heaney Martin and Cynthia Heckscher Mr. and Mrs. Christopher Henkels, in memory of Paul M. Henkels Ms. Rhoda K. Herrold, in memory of Deenie and Yale Evelev Maria Hoek-Smit Stockton Illoway and Mac K. Griswold Mr. and Mrs. Joseph Jacovini Mr. and Mrs. Scott M. Jenkins Susan E. Kane Arthur M. Kaplan and R. Duane Perry Leroy E. Kean Estate of Robert Michael Kelly Dr. Stephanie and Mr. Andrew Kirk Ms. Gabrielle Kissling Dr. and Mrs. Anton J. Kleiner Dr. Mel Kohn William Lake Leonard Jeff Lewis and Mary Ann Rossi In memory of David W. Lindstrom Mr. James P. MacElderry* and Ms. Marilyn S. Fishman Drs. Leon and Elsa Malmud Mary L.C. McAdoo Susan and Graham McDonald Mr. and Mrs. James M. McGrath Robert and Claire McLear Missy and Bob McQuiston Mr. and Mrs. Charles Meacham Mr. and Mrs. Marshall Meyer Mr. and Mrs. Paul Meyer Madelyn Mignatti Mr. Mladen Milic and Dr. Barbara Wolf Mr. and Mrs. Stephen Miller Mr. and Mrs. H. Laddie Montague, Jr. Virginia Montgomery Mr. and Mrs. Rodman W. Moorhead III Mr. and Mrs. David J. Morgan Mrs. Robert Morris Ms. Susan Mucciarone and Mr. David Moore Dr. Robert and Carla Myerson Mr. and Mrs. Benjamin R. Neilson Dick and Mimi Nenno Arthur E. Newbold IV Marie O’Donnell and Bruce Satalof

Norman Olson Mr. and Mrs. Richard Palmer Lili Perski Marjorie M. and Irwin Nat Pincus Fund Susan C. Porcino and Peter R. Porcino Dr. Carol A. Raviola Nancy J. Remy Maria and Eric Rieders Mr.* and Mrs. Richard Rizzo Sevgi B. Rodan, Ph.D. Mrs. Debbie Rodgers Mrs. Willa Rosenbloom Dr. Louis and Mrs. Val Rossman Linda S. Rothermel Mr. and Mrs. Charles Schelke Mrs. Carole L. Schultz Valerie and Will Schwartz Fredda L. Segal Dr. and Mrs. Hass Shafia Christine J. Shamborsky Elizabeth Stokes and Lynne Brown In memory of Sha Sung Ms. Nancy L. Tindall Rebecca Wells and John Tobias Nancy and Bruce Urbschat Mr. and Mrs. Archbold D. van Beuren Richard and Carolyn Veith Maria Parisi Vickers Nina Robinson Vitow Laurie Wagman Dr. R.J. Wallner Alan and Leni Windle Mr. and Mrs. Harold L. Yoh III Stephen Zeller Anonymous (11) AMBASSADORS CIRCLE $3,500 TO $4,999 Amaranth Foundation, Joan M. Moran, Trustee Gary and Mary Ammon Dr. Ronald and Mrs. Catherine Anderson Mary Jo Ashenfelter and Thomas S. Heckman Myrna and Howard* Asher Theodore H. Ashford The Albert W. Bader Foundation Sarah Batchelor and Kirk Schneider Mr. and Mrs. Eugene Beier Narinder and Tracy Bhalla Jan R. Birsch Mr. and Mrs. Stephen Bleyer Samuel A. Bobrow and Maxine Blum The Bohan and Fox Family Ira Brind and Stacey Spector Nancy Carey and DeWitt Brown The Clarke Family Fund Barbara R. Cobb for the Hamilton Family Foundation Ms. Eileen Courtney Ana V. Diez Roux and Jose Tapia

Ray Dombroski and Colleen DeMorat Henry and Katherine Donner Mr. Jay M. Donner Dr. Andrew F. Drake Stacy Maria Dutton and Charles McMahon Barbara Eberlein and Jerry Wind Dr. Pamela Edmonds and Mr. David Chianese Mr. and Mrs. Spencer Ervin, Jr. Helen and Phillip Escaravage Nina Maria Fite Debbie and Bob Fleischman Ms. Jane Foster and Mr. Arthur Willson Mr. and Mrs. William W. Fox, Jr. Mr. and Mrs. Lawrence Fridkis Dr. Deborah Gaspar and Mr. Mark Gaspar Robert Gelsher Anna Marie and Michael Gewirtz Eduardo Glandt and George Ritchie Susan Kohn Gleeksman Joseph and Jane Goldblum Robert Graff Rekha and Jon Hagen Mrs. Jane M. Hastings Mr. Charles Head, Jr., and Mr. John Faggotti Archibald C. Hewes Kathy Hirsh-Pasek and Jeffrey Pasek Lois Horgan Dr. and Mrs. Leonid Hrebien Ralph Johanson Mr. and Mrs. Melvin Jones Clare Kahn Donald and Dorothy Kardon Dr. Maureen Kelly Mr. and Mrs. Robert C. Kline Kenneth Klothen and Eve Biskind Klothen Timothy E. Koehler Mrs. Beth Ann Wahl Kolpen and Mr. Jack Kolpen Shira Kramer and Leon Josowitz Sanford and Carol Levy Mrs. H. Gates Lloyd William A. Loeb Robert Logemann Drs. W.B. and Sarah S. Long Dr. and Mrs. Michael B. Love Robert and Lynn V.D. Luft Mr. and Mrs. Robert Lukens Joseph Manko, Jr., and Jennifer Porges Dr. Bernard A. Mason and Jane R. Mason Denise McCleary and Paul von Behren Mr. and Mrs. Joseph J. McLaughlin, Jr. Russell L. McTague Michael and Anna Minkovich Margarita Montanaro Mr. Edward A. Montgomery, Jr.

40

PO_Donors_April-26.indd 40

3/3/26 6:29 AM

Dr. and Mrs. A.H. Nishikawa Mr. and Mrs. Stuart Ockman Ellen J. Odoner and Edward W. Kerson Mr. Frederick Oster and Ms. Catherine Jacobs Linda and David Paskin Barbara L. Phillips Mrs. Vivian W. Piasecki* Dr. Leo Podolsky and Ms. Debra Ross Anonymous in memory of Jan Popper Allan Rayfield David Rhody David Richman and Janet Perry Dr. Elizabeth and Mr. Hershel Richman Gretchen and Jay Riley Pamela and Gresham Riley Mr. and Mrs. Mark E. Rubenstein John Salveson Marilyn C. Sanborne and Richard J. Labowskie William and Klare Scarborough David Seidman Mr. and Mrs. Robert W. Seminack Dr. M. Lana Sheer, in memory of Dr. J. Peter Jesson Janet A. Simon and Georg U. Simon Joseph Sinkus and Christopher Labonte Drs. Kobie A. Smith and Vincent H. Harris Mr. and Mrs. Robert L. Stevens Stacy Stone and Stephen McMillan John and Sandra Stouffer Mr. Brian A. Stumm Dr. Norman L. Sykes and Mrs. Gabriella Sykes Jack and Ramona Vosbikian Daniel V. Walls Julie D. Williams Ursule Phaeton Yates Dr. Daniel Yoshor James W. and Debora C. Zug John Zurlo and Margaret Kreher Anonymous (5) FRIENDS CIRCLE $2,500 TO $3,499 Dr. Janice Asher Ellen W. Baxter and Robert W. Kavash Joel D. Beaver Cathy and Saul Behar Diane Bernoff Howard Blumstein Drs. Bruce and Carole Bogdanoff Richard A. Brand Ms. Marilyn A. Brown Mrs. Linda Burke Estate of Mr. and Mrs. Charles M. Butler Mark and Cindy Butler Selden Cooper and Paige Edwards

Alice B. Cullen Karen and John Cunningham Dr. H.T. Dombrowski Dr. and Mrs. William L. Elkins Robert N. and Doris D. Fanelli Paul and Judith Farber Ellen W. Freeman Charles and Judith Freyer Michael Gealt and Maryjanet McNamara Glazer Family Foundation Marybeth Henry Mark and Sally Hurwitz Eva R. Jackson Richard and Gail Johnson Lori Julian Denise and Robert Keyser David and Jane Kim Mrs. Sylvia Kreithen Dr. Leona Laskin Sheila Leith Sylvia and Norman Lieberman Jay Lippincott Lawrence and Nancy Ludgus Elizabeth M. Mahoney Dwight and Christina McCawley Elizabeth McLean Janet and Howard Mendel Dr. Margaret Motl Charles and Etta Nissman Dr. and Mrs. R. Barrett Noone Kay and Jerry* O’Grady Mr. and Mrs. Lanny R. Patten Jonathan Pearce Judy and Jim Pohlman Ms. Nancy Pontone Mr. and Mrs. Alfred Rauch, Jr. John and Claire Rodgers David and Rowena Rosenbaum Ms. Ann Rosewater and Mr. Robert Kronley Joyce Seewald Sando Catherine and Stephan Schifter John Schueler and Karen Warner Henry and Yumi* Scott Howard J. Sedran and Martha Levine Irene Shabel Paul and Susan Shaman Marla Share Ms. Katharine Sokoloff and William B. McLaughlin III Dr. Christina A. Stasiuk and Mr. George M. Farion Dr. Mary K. Stom and Ms. Dru E. Hammell Dr. Alan E. Tasoff and Jacalyn Shelley-Tasoff Mr. and Mrs. Luciano Virgili Mr. and Mrs. Nicholas W. Wanck Mr. and Mrs.* David R. Wilmerding, Jr. Barbara Duby Wilson Earl and Jackie Wolf Anne Jeffrey Wright Sherley Young

Ms. Margaret G. Zehner Benjamin E. Zuckerman and Marian Robinson Anonymous (3) We are proud to recognize the following musicians, retired musicians, and staff who have generously contributed to the Annual Fund.

Davyd Booth and Carlos Perez* Joseph H. Conyers Helen and Phillip Escaravage Ryan Fleur and Laura Banchero Mr. and Ms. Randy Gardner Andrea Gartner and Lee Clements Anna Marie and Michael Gewirtz Barbara S. Govatos Ms. Jennifer Pratt Johnson and Dr. Fred Johnson Ruth Kasow Thomas Kerrigan David and Jane Kim Marjorie and Nolan* Miller Kathleen Moran and Nicholas Smith Yannick Nézet-Séguin and Pierre Tourville Hai-Ye Ni and Alfred Anthony Brown Samantha Noll April and Brendan O’Brien Mr. and Mrs. Anthony Orlando Ms. Catherine A. Pappas Doris Parent William B. and Anna Marie Ahn Petersen Harold Hall Robinson Joseph Sinkus and Christopher Labonte Drs. Kobie A. Smith and Vincent H. Harris Tubas for Good, Inc., Carol Jantsch, President and Founder Anonymous *Deceased

41

PO_Donors_April-26.indd 41

3/3/26 6:29 AM

INSTITUTIONAL SUPPORT Generous support from corporations, foundations, and government agencies sustains The Philadelphia Orchestra with vital funding for performances, education programs, and a variety of innovative projects. We are proud to acknowledge our current institutional donors.

For more information about institutional support for The Philadelphia Orchestra, please contact Ruth Auslander, managing director of institutional giving at 215.790.5829 or rauslander@ ensembleartsphilly.org.

Contributions listed were received between June 1, 2024, and December 31, 2025. Please contact us if your name has been omitted in error or if you would like to update your recognition name. $500,000 AND ABOVE City of Philadelphia Ford Foundation The Hess Foundation The Knight Foundation William Penn Foundation Pennsylvania Department of Community and Economic Development The Presser Foundation $100,000 TO $499,999 Bank of China Casamigos Tequila CHG Charitable Trust China National Tourist Office, New York Jessie Ball duPont Fund The Hearst Foundation The History Channel Independence Blue Cross Merck & Co. Incorporated MKM Foundation PECO The Pew Center for Arts and Heritage PNC Arts Alive TD Bank U.S. Department of State Wyncote Foundation

$50,000 TO $99,999 Paul M. Angell Family Foundation Chubb KeyBank Bells Grocery Stores Kind Insurance KPK Development Co. LP US-China Cultural Institute Vault Communications TN Ward Company Builders Anonymous $25,000 TO $49,999 Abington Neurological Associates Action Karate Brotherston Homecare, Inc. The Chamber of Commerce for Greater Philadelphia China Center for International Communication Development John Ciccone Playhouse Comcast NBCUniversal Drexel University Eagles Autism Foundation Faegre Drinker Biddle & Reath LLP Amy P. Goldman Foundation Gray Charitable Trust Hamilton Family Charitable Trust The Christian Humann Foundation Katznelson Associates LP Ninja Transfers, LLC Ollin, LLC PHLCVB Raynier Institute & Foundation Rhubarb Hospitality Collection Rush Order Tees Sun Cruiser $15,000 TO $24,999 Julius and Ray Charlestein Foundation in memory of Malvina and Morton Charlestein The Connelly Foundation Cozen O’Connor Duane Morris LLP Essential Utilities The Anne M. and Philip H. Glatfelter III Family Foundation Independence Foundation The Blanche and Irving Laurie Foundation Law Office of Ana Ferriera Lyft JPMorgan Chase & Co. Philadelphia International Airport Mrs. Ressler’s Food Products SpotHero Tito’s Handmade Vodka Universal Health Services, Inc.

$10,000 TO $14,999 Always Best Care Senior Services Ardmore Toyota Elliot’s Vending Company Elliott-Lewis Corporation The Hassel Foundation HUB International JKG Florida Business Corp.

Laudenbach Periodontics and Dental Implants The Lincoln Financial Group Foundation The McLean Contributionship One Source Reps Origlio Beverage Power Marketing Group Qlik The H. Glenn Sample, Jr., M.D., Memorial Fund through the PNC Charitable Trusts Grant Review Committee MJ Settelen Construction, LLC Subbio Center for Plastic Surgery Team Clean Truist White and Williams $5,000 TO $9,999 Corinne R. and Henry Bower Memorial Trust The Capital Grille Dorothy V. Cassard Fund of the Philadelphia Foundation The Aaron Copland Fund for Music Dolfinger-McMahon Foundation Four Seasons Hotel Philadelphia at Comcast Center The Gitlin Family Foundation Grant Thornton, LLP Christian R. and Mary F. Lindback Foundation M&T Charitable Foundation M3 Printing The McCausland Foundation Leo Niessen, Jr., Charitable Trust Rutgers University—Camden Sarah West Real Estate PC WSFS Bank Wyatt Elevator Company

42

PO_Donors_April-26.indd 42

3/3/26 6:29 AM

THE VOLUNTEER COMMITTEES FOR THE PHILADELPHIA ORCHESTRA The Volunteer Committees for The Philadelphia Orchestra are dedicated to supporting the Orchestra through audience development, educational programs, fundraising, community relations, and special events. The Committees were first formed in 1904 and have the distinction of being the oldest auxiliary volunteer organization associated with an orchestra in the United States.

We are profoundly grateful for the Volunteers’ leadership and support throughout the years.

For more information about the Volunteer Committees for The Philadelphia Orchestra, please contact Samantha Noll, assistant director of development events and volunteer relations, at 215.893.1956 or snoll@philorch.org.

List complete as of February 17, 2026 EXECUTIVE COMMITTEE OFFICERS Richelle Rabenou, President Sara Cerato, Immediate Past President Deborah Ledley, Vice President Mrs. Diane Larzelere, Treasurer Sheila Cox, Secretary GOVERNING BOARD CHAIRS Central: Jean Park Main Line: Jill Acker New Jersey: Mrs. Diane Larzelere Rittenhouse Square: Marlena Kleit and Fran Schwartz Starlight Circle: Mrs. Anna Minkovich STANDING COMMITTEE CHAIRS Annual Giving: Nancy Galloway Education: Deborah Ledley* Marketing: Kelsey Larzelere Special Functions: Jennifer Porges Volunteer Archives: Elizabeth A. Crowell

VOLUNTEER COMMITTEE MEMBERS Dennis Adams Dr. Susan C. Aldridge Pam Alles Barbara A. Alleva Rosana Anchondo-Issak Mrs. Betsy Anderson Dr. Marilyn H. Appel Mrs. Mercer B. Barrows Mrs. Thomas E. Beach Mrs. H. Binney Beale Ms. Sandra Blumberg Beatty Mrs. Nancy Belber Isabelle Benton Susan Segal Berrigan Charlotte H. Biddle Mrs. Thomas H. Bliss Ann Young Bloom Mrs. Peter Bodenheimer Mrs. Eugene T. Borish, Jr. Lois Boyce Judith Bradley Sibby Brasler Anna Breyman Leo Breyman Mrs. Leanore Brookman Judith Broudy Ms. Carol Melman Brown Mrs. Roland K. Bullard II Mrs. Howard Butcher IV Mrs. John P. Butler III Mrs. Donald F. Cafiero Mrs. Alfred M. Campbell III Beverly Caplan-Freeman Lorin Carlson-Healy Nicole A. Cashman Mrs. Thomas A.V. Cassel Mrs. Kristine Christensen DeAnn P. Clancy Rebecca Clement Marsha Cohen Frances Connolly Peggy Cooke Sarah Miller Coulson Mrs. James E. Crutchfield Alice B. Cullen Karen Cunningham Chris D’Ascenzo Mrs. J. David Davis James F. Davis* Mrs. Gerard de Lisser Colleen DeMorat Mimi Dimeling Denise Dolan Katherine Donner Mrs. Virginia Dowd Mrs. John G. Drosdick

Duc Duclos Lynn Duclos Roberta Epstein* Mrs. Charles B. Fancher Mrs. C. Richard Farmer Kathleen Fitzgerald Mrs. Timothy E. Foster Mrs. Richard Freed Katherine Garber Ms. Janine Gardner Judi Garst Nancy J. Gellman Robert Gelsher Mrs. Kimberly Gerson Mrs. Micki Ginsberg Mrs. Jean Givey Judy Glick Paula Goldstein Dr. Janice Taylor Gordon Dr. Thelma B. Gosfield Mrs. Richard B. Gould Carole H. Gravagno Grete Greenacre Ms. Nancy V. Gulick Kate Hall Noel Butcher Hanley Fred Harde Michelle Harde* Mrs. John S.C. Harvey III Mrs. Jane M. Hastings Mrs. Patricia Heidler Marybeth Henry Mrs. Frances Herr Eileen Higgins Mrs. Robert B. Hobbs, Jr. Joan R. Holmes Mrs. Stephen R. Holstad Eric Hume Lenora Hume Ms. Adrienne Jacoby Yardly R. Jenkins Jamie Joffe Karen Jones Mrs. Mary Anne Dutt Justice Mrs. Wilma C. Katz Ms. Phyllis Kauffman Marie Kenkelen Kris Kent Gina Kernicky John Kernicky Liz Knudsen* Ms. Ellen G. Kopeland Mrs. Bernice J. Koplin Laura Bender Koropey Mrs. Anthony Lame Mrs. MaryAnn Landmesser Molly Lawrence Matthew Ledley* 43

PO_Donors_April-26.indd 43

3/3/26 6:29 AM

Sheila Leith Mrs. Dana Thompson Lerch Mrs. Roy Lerman Anita Leto Mrs. Bruce Leto Mrs. Stephen Levin Sofia Leybin Liddy Lindsay Ric Lipman Mrs. Rosemary Livingston Miss Phoebe Loh Carol Love, M.D. Mrs. Robert S. Lovett II Robin Lowey Rochelle Magarick Elizabeth Mahoney Joseph Manko, Sr. Sandy Marshall Linda Massey Mary MacGregor Mather Mrs. James McAdam Susan McChesney Mrs. Stella McSparran Ms. Peg Mertz Mrs. Barbara G. Miller Mrs. Keiko Miller Leslie A. Miller Mrs. Philippus Miller, Jr. Michael Minkovich Mrs. Robert F. Morris, Jr. Ingrid Morsman Ms. Cathy Moss* Joanne Muhr Linda Mui Mrs. J. Brien Murphy Mrs. Albert B. Murphy III Chuck Nagele Patricia Nagele Lana Nania Carol Neiman* Mrs. John J. Nesbitt III Mrs. Patricia Ann Nogar

Mrs. R. Barrett Noone Terry Norton-Wright Mrs. Wilber W. Oaks, Jr. Kay O’Grady Diane Oliva Mrs. Mimi O’Malley Mrs. Eleanor Oxman* Alice Pakman* Mrs. Regina H. Pakradooni Mrs. Sandra Pfaff Mrs. John W. Piasecki Linda Pizzi* Elizabeth Pontillo Mrs. Malcolm D. Pryor Michelle Fella Przybylowski* Mr. Kameron Rabenou Mrs. Ellen Ragone Jill Raich* Mrs. Alfred Rauch, Jr. Kate Brady Rauscher Josephine Rees Caroline B. Rogers Mrs. Randy S. Ronning Dr. Lucy B. Rorke-Adams Miriam Rosenwasser Mrs. Dianne Rotwitt Mrs. John E. Royer, Jr. Lynn Salvo Joyce Seewald Sando Mrs. Harold F. Scattergood, Jr. Jason Schupback Mrs. Michael P. Schwartz Faye Senneca Linda A. Serotta Marla Share Carol C. Sherman Ms. Irina Sipe Theresa Slater Mrs. Carol Smith Cyndee Solomon Ann Sorgenti Carol Spinelli

Joyce Stein Robin Bender Stevens Lois Stick* Danielle Stoler Mrs. Kathleen Stone Stacy Stone Dr. Judith Sills Swartz Roberta R. Tanenbaum Ms. Faith Tarangelo Ms. Mary Tattersfield Barbara Taylor Ling Tran Kathryn E. Tusler* Mrs. Hope Ulrich Mrs. Annegret Voparil Mrs. Ramona Vosbikian Mrs. Nancy Weiss Janine Weller Dr. Erlis Wickersham Mrs. Brooke N. Williams Julie D. Williams Mr. Alan Windle Ms. Marian Wissman Lisa Yakulis Selina Yang Bonnie Young Mrs. Gilbert G. Young Anonymous (5) *Denotes current members of the Philadelphia Orchestra Docent Program

The Volunteer Committees for The Philadelphia Orchestra gratefully acknowledge the following benefactors for their generous support of the Main Line Committee’s 2025 Notable Kitchen Tour: Bluebell Fine Cabinetry & Design Devon Tile & Design Studio Ferguson Home High Swartz Attorneys at Law Kountry Kraft Main Line Kitchen Design Period Architecture Pinemar The Hope and Tim Ulrich Fund Lisa Yakulis Properties

44

PO_Donors_April-26.indd 44

3/3/26 6:29 AM

ENDOWMENT We proudly recognize our generous donors to The Philadelphia Orchestra’s endowment. Their leadership gifts support the Orchestra and its programs in perpetuity, helping to ensure the legacy of the ensemble for the next generation.

To learn how you and your family can be permanently associated with The Philadelphia Orchestra through an endowment gift, please contact Helen Escaravage, managing director of philanthropic engagement, at 215.893.1819 or hesca@philorch.org.

List complete as of February 17, 2026

TRANSFORMATIONAL GIFTS The Annenberg Foundation Silicon Valley Community Foundation $10,000,000 Leslie A. Miller and Richard B. Worley The Neubauer Family Foundation $1,000,000 TO $9,999,999 The Acadia Fund Peter A. Benoliel* and Willo Carey Mr.* and Mrs.* J. Mahlon Buck, Jr. Estate of Anne M. Buxton Elaine Woo Camarda and A. Morris Williams, Jr. Sarah and Frank* Coulson Mark S. and Tobey Dichter Dr. James F. Dougherty Estate of Dwight V. Dowley Samuel S. Fels Fund Joseph and Marie Field Linda and David Glickstein Carole and Emilio* Gravagno Joanne T. Greenspun* Otto Haas Charitable Trust Phoebe W. Haas Charitable Trust “A” as recommended by Carole Haas Gravagno Phoebe W. Haas Charitable Trust “B” Robert Heim and Eileen Kennedy Hannah L. and J. Welles* Henderson Mr. Paul M.* and Mrs. Barbara B.* Henkels Hess Foundation Osagie and Losenge Imasogie The Kaiserman Family The James and Agnes Kim Foundation Dr. Richard M. Klein Drs. Bong and Mi-Wha* Lee The Lenfest Foundation Sandra and David Marshall Robert E. Mortensen* Ralph and Beth Johnston Muller Caroline B. Rogers Estate of Mary R. Romig-DeYoung Constance and Joseph* Smukler Estate of Edwin E. Tuttle Raymond H.* and Joanne T. Welsh Constance H. and Sankey Williams Ruth W.* and A. Morris Williams, Jr. Richard B. Worley Tribute Fund Zisman Family Foundation Anonymous (3)

$500,000 TO $999,999 Lois G. and Julian A. Brodsky Foundation J. Alexis* and Patricia M.* Burland T. Norwood* and Doreene* Collins Evelyn S.* and Rodney D. Day III Mrs. F. Eugene Dixon, Jr.* The Horace W. Goldsmith Foundation Gray Charitable Trust The Hamilton Family Foundation Mr. and Mrs. John C. Imbesi Orton P.* and Noël* Jackson Billy Joel Fund for Music Education Peter M. Joseph* and Susan Rittenhouse Joseph* Christian R. and Mary F. Lindback Foundation Estate of Katharine S. Matthews Vivian W. Piasecki* Lyn and George* Ross Gary and Ruthanne Schlarbaum Scott and Cynthia Schumacker Charlotte and Bob Watts Anonymous (3) $250,000 TO $499,999 Mr. and Mrs. James M. Buck III Peter Buttenwieser* and Terry Marek Ruth M. and Tristram C.* Colket, Jr. Michael and Constance Cone Kenneth Conners* L. Patrick Gage Toni and Bob Garrison Ed and Ellen Hanway Mrs. Winnifred Howard* Mr. and Mrs. Berton E. Korman William A. Loeb* Mr.* and Mrs. A. Bruce Mainwaring Winifred Mayes* Estate of Joseph F. McCrindle Mrs. J. Maxwell Moran* Mitchell and Hilarie Morgan Wendy and Derek Pew Foundation Robert and Lynne Pollack Lorraine* and David* Popowich Mrs. Eleanor K. Read* Ronald* and Marcia Rubin Peter and Mari Shaw Mr. and Mrs. Frank P. Slattery, Jr. Ann and Harold* Sorgenti Mr.* and Mrs. Bernard Spain Mr. and Mrs. Wilson H. Taylor The Wahl Endowment Fund for Music Education, established by Beth Ann Wahl Kolpen Donors to the Allison Vulgamore Legacy Endowment Fund Anonymous (4) 45

PO_Donors_April-26.indd 45

3/3/26 6:29 AM

$100,000 TO $249,999 Mr. and Mrs.* Leonard Abramson Lorraine and Ben* Alexander Mr. and Mrs. Sid R. Bass Donna and Jon Boscia Mr. Theodore A. Burtis* Donald R. Caldwell William B.* and Elizabeth* Chamberlin Catherine R. and Anthony A. Clifton Marie* and Peter* Dooner Michael and Joan Emmi Peter and Catherine Ernster The Moses Feldman Family Foundation Dr. Betty Gottlieb* The Frederick and Colette B. Heldring Charitable Fund Hirschberg-Goodfriend Fund established by Juliet J. Goodfriend Lynn and Tony* Hitschler David and Gale Hoffman Estate of Howard Hornstein The Hovey Foundation Joseph and Ann Jacovini Estate of Jane Kesson Joseph K.* and Bernice J. Koplin Neal W. Krouse Elena and Frederick Kyle Joanna M. Lewis Lomax Family Foundation Trust of Helen T. Madeira Joseph and Lynn* Manko Donors to the Lynn K. Manko Volunteer Endowment Fund Gene and Linda Massey The McCausland Foundation Stephanie and Michael Naidoff Jeffrey P. Orleans Estates of Mr. and Mrs. Eugene Ormandy Francis H. Rasmus Harold* and Frances* Rosenbluth Dr. Harry Rosenthal Frank Joseph Saul and Joseph Donald O’Keefe Endowment Christa and Calvin Schmidt Mr.* and Mrs.* John J.F. Sherrerd Richard and Amanda Smoot John and Sandra Stouffer Sunoco Mr. and Mrs. Leonard Sylk Robbi and Bruce Toll Mrs. Joseph B. Townsend* Mr. and Mrs. Archbold D. van Beuren James W. and Debora C. Zug Anonymous (4)

$50,000 TO $99,999 Estate of Phyllis H. Bernstein Mr. Frank Boni and Mrs. Julia Ann Gehman* Richard P. Brown, Jr.* Mr. and Mrs. William C. Buck Mr. and Mrs. Roland K. Bullard II John* and Helen* Christy D. Walter Cohen* and Family Stacy Maria Dutton Deborah E. Glass Mrs. William Gerstley II* Martin A. and Cynthia P. Heckscher Richard B. Kent, M.D. Ken and Molly Lawrence Doris and Joseph Levine Mrs. Elsie H. Lisovitch* The Malmud-Kravitz Foundation/ The Henrietta Varbalow Kravitz Fund John H. McFadden and Lisa D. Kabnick Frances C. Middleton* The Helen Sewall Minton Memorial Fund Janneke Seton Neilson* Mr. and Mrs. Jeremiah O’Grady Louise and Alan* Reed Mr.* and Mrs. Norman P. Robinson Dr. and Mrs. Francis Schumann Carol C. Sherman Mr. Oliver I. Shoemaker* The Sidewater Family Foundation Mr.* and Mrs.* Lewis S. Somers III Joseph and Joyce Stein— The Philibosian Foundation Karen and Shel Thompson James and Wendy Undercofler Mrs. Francis L. Van Dusen* Jack and Ramona Vosbikian Anonymous (2)

In memory of John B. Leake William Lake Leonard Mrs. Anna Hayward Lisle* Mr. and Mrs. David S. Loeb, Jr. Dr.* and Mrs.* Francis R. Manlove Charles and Etta Nissman R. Steward Rauch* Mr.* and Mrs. Richard Ravenscroft Lois and Gerald Renthal Dr. and Mrs. Yale Richmond Robert and Caro Rock The Rubenstein Foundation Mr.* and Mrs. Samuel J. Savitz Mr. Nathan Snader* Mr. and Mrs. Robert L. Stevens Harue and Gaisi Takeuti Memorial Fund Bradford Wm. Voigt Allison Vulgamore Mary E. Webb Elizabeth C. Wiegers Richard C. Woodhams and Kiyoko Takeuti Anonymous (5) *Deceased

$25,000 TO $49,999 The Reba Bacharach Trust Helen and Jack* Bershad Stephen Breman David E. Brinson* Estate of Harold W. Brown In memory of Richard P. Brown Kathleen “Kit” Cafaro Mr. Joseph L. Castle* Cordelia E. Clement Don* and Viki Denny Charley* and Rogie Dickey In memory of David P. Eastburn Mr. David B. Ford Joanne B. and Arthur Frank Charles* and Beatriz Furr The Eugene Garfield Foundation Peter G. Gould and Robin M. Potter Mr. and Mrs.* J. Barton Harrison Joseph Kluger and Susan Lewis

46

PO_Donors_April-26.indd 46

3/3/26 6:29 AM

ACADEMY OF MUSIC Restoration & Preservation Fund We gratefully acknowledge the following individuals, foundations, and corporations for their generous support of the Academy of Music Restoration Fund. We extend our gratitude to all supporters of the Academy of Music, including those not listed below and event sponsors.

For more information about making a gift to the Academy Restoration Fund, please contact the Annual Fund office at 215.893.3151 or AcademyofMusic@philorch.org.

Gifts received between between September 1, 2024, and February 17, 2026

PROSCENIUM CIRCLE $25,000 AND ABOVE Joanna McNeil Lewis Pennsylvania Department of Community and Economic Development Caroline B. Rogers Mrs. Adele K. Schaeffer Twenty Fifth Century Foundation Anonymous DIRECTORS CIRCLE $10,000 TO $24,999 Mr. and Mrs. S. Matthews V. Hamilton, Jr. Mr. and Mrs. Harry Edward Hill III Mr. and Mrs. Bruce Leto Ms. Jacqueline Badger Mars Sandra and David Marshall PRESIDENTS CIRCLE $5,000 TO $9,999 Lois and Julian Brodsky Gay and Donald Kimelman Robert and Betsy Legnini The Philadelphia Contributionship Mr.* and Mrs. Bernard Spain Penelope and Thomas Watkins

FRIENDS $1,000 TO $1,499 Frank and Sandra Baldino Sibby Brasler Bob and Cheryl Carfagno Dr. Joe and Yolanda Costabile Ryan Fleur and Laura Banchero Peter G. Gould and Robin M. Potter Gail Howard Ms. Rita W. Ingersoll Mr. and Mrs. Kenneth E. Jones Maxine de S. Lewis William A. Loeb* Ms. Stefanie W. Lucas and Mr. Christopher Thompson Asuka and Karen Nakahara Mrs. Bonnie Rocap, in memory of Richard S. Rocap Catherine A. Worrall *Deceased

BENEFACTORS AND PATRONS $1,500 TO $4,999 Barb and Clarke Blynn Mr. and Mrs. James M. Buck III Barbara R. Cobb Ian and Marci Comisky Penelope P. Harris Robert and Margo Keith The McCausland Foundation Susan and Frank Mechura John and Tammy Murabito Mr. and Mrs. Benjamin R. Neilson Harold A.* and Ann R. Sorgenti Mr. and Mrs. Archbold D. van Beuren Janice and Jeff Yass

47

PO_Donors_April-26.indd 47

3/3/26 6:29 AM

THE FRANCES ANNE WISTER SOCIETY Individuals who have included The Philadelphia Orchestra in their estate plans are recognized through membership in the Frances Anne Wister Society. Miss Wister made a long-lasting mark on the Orchestra through decades of volunteerism and by leaving a major portion of her estate in support of its continued excellence. We gratefully acknowledge the generosity and foresight of those who have joined the Wister Society, and we welcome others to follow their example and make the Orchestra the beneficiary of a bequest or other form of planned gift.

If you would like more information about how to make a planned gift to the Orchestra, please contact Natalie Sandstrom, philanthropic engagement and legacy giving officer, at 215.790.5867 or nsandstrom@philorch.org.

List complete as of February 17, 2026 Hon. Lynne Abraham Vijay and Susan Aggarwal Joseph and Julia Anisko Mr. and Mrs. Robert S. Balter Dr. F. Joshua Barnett* and Dr. Heidi Kolberg Mr. and Mrs. Clifford W. Baumbach, Jr. Joel D. Beaver Peter A. Benoliel* and Willo Carey Ms. Jane Berryman Jan R. Birsch Wilson H. Black Jill and Sheldon Bonovitz Mrs. Frances Brenner Beth* and Edward B. Brunswick Dr. Robert A. Bubeck Carol W. Buettger Peter L. Buttenwieser* and Terry A. Marek Ms. Kathleen Cafaro Mr. Donald R. Caldwell Mr. and Mrs. Frank J. Campbell III Beverly Caplan-Freeman Lawrence Chanen William Clemens* and Robert Leis Mr. and Mrs. Anthony A. Clifton Dr. Alan R. Cohen Gianne Conard Mrs. M. Todd Cooke Joyce J. Creamer

Ann Csink Malcolm and Seta Demurjian Tobey and Mark Dichter Lisa and Peter DiLullo Norman E. Donoghue, Esq. Mrs. Anne Dooley Dr. James F. Dougherty MaryAnn Edwards Dr. David J. Eschelman Dr. and Mrs. John Farmer Gilbert Feinberg and Nadeen Van Tuyle Anne S. Foote George and Joan Forde Mr. and Mrs. William W. Fox, Jr. Joanne B. and Arthur Frank Mr. Charles* and Mrs. Beatriz Furr Rosalie K. Gerson Howard and Norah Goldfine Dr. Alfred E. and Adele* Goldman Betty and Gary Grunder Nancy S. Halpern Donna K. Hammaker, Esq., and Dr. Thomas M. Knadig Nimmi Harisinghani Mr. and Mrs. Henry Hauptfuhrer Martin A. Heckscher, Esq. Robert Heim and Eileen Kennedy Mrs. Rhoda Hershman Dr. Archibald C. Hewes Kris and Dick Hughey Linda R. Jacobs Jerome Kaplan, Esq. Dr. Richard B. Kent Robert E. Keppler Carolyn Kidder William E. Kindley Dr. Richard M. Klein Mr. and Mrs. Robert C. Kline Dr. Charles L. Knecht III Dr. Deborah Komins Bernice J. Koplin and Joseph K. Koplin* Ms. Deborah Krauss Drs. Bong and Mi-Wha* Lee Dr. Sherman Leis William L. Leonard, Esq. Doris and Joseph Levine Denis Lohman and Ellen Feldman Lohman Mrs. Robert S. Lovett II Mr.* and Mrs. A. Bruce Mainwaring Mr. Donald Malpass, Jr. Dr. and Mrs. Robert L. Meckelnburg Carol R. Meister Mrs. Philippus Miller, Jr. Arlene Notoro Morgan Ms. Fran D. Moskovitz Stephanie and Michael Naidoff

Dr. and Mrs. Samuel K. Nash Dr. and Mrs. John L. Neigh Charles and Etta Nissman Hon. Joseph D. O’Keefe Mrs. Frank J. O’Malley Mrs. Peter B. Pakradooni John N. Park, Jr. Claudio Pasquinelli and Kyong-Mi Chang B.J. Phillips and Kath Howarth Barbara L. Phillips Robert and Lynne Pollack Nancy D. Pontone Roger T. Prichard and Astrid M. Caruso Janet T. and Frank P.* Reiche Mr. David Rhody Dr. and Mrs. Yale Richmond James. M. Roland Mr. Edward Rorer Dr. Harry Rosenthal Lyn and George* Ross Mr. and Mrs. Richard L. Rothermel Harold and Marianne* Sacks Jeffrey and Kendell Saunders Catherine and Steve Schifter Allan Schimmel Mr. and Mrs. Gary G. Schlarbaum Dr. and Mrs. William Schwartz Robert and Joan Shaffer Mr. Richard J. Shaginaw Edward and Shelley Sigman Mr. and Mrs. Richard L. Smoot Yara Snylyk and Christina Snylyk Dr. Norman Solomon and Dr. Merwin Geffen Mr. and Mrs. Harold* A. Sorgenti Marilyn and Dean R. Staats Alyce and Howard F. Stick John and Sandra Stouffer Dr. Norman L. Sykes Leonard and Barbara Sylk Andrew J. Szabo Peter H. and Elizabeth V. Talbot, in memory of Peter H. Talbot, Jr., and Frank A. Talbot Dr. Cecilia Segawa Seigle Tannenbaum Mr. and Mrs. Sheldon L. Thompson John and Gina Torzolini Mrs. Herman B. Wagner Nicholas A. Walls Ruth W.* and A. Morris Williams, Jr. Jackie and Earl L. Wolf Dr. and Mrs. Theodore V. Yuhas Walter Zanchuk Benjamin Zuckerman, Esq., and Marian Robinson Anonymous (10) *Deceased

48

PO_Donors_April-26.indd 48

3/3/26 6:29 AM

MAKE A PLANNED GIFT to The Philadelphia Orchestra

Ensure your legacy, benefit your loved ones, and support The Philadelphia Orchestra—today and for years to come—with a planned gift.

Planned giving can include a variety of deferred donations, such as bequests, IRA rollovers, and charitable gift annuities. Consider including The Philadelphia Orchestra in your estate plans.

To learn more about planned giving, or if you’ve already arranged for a legacy gift, visit philorchlegacy.org or contact:

“

I included The Philadelphia Orchestra in my estate plans because it is the cultural gem of Philadelphia, and I want to

Helen Escaravage

assure that future generations

Managing Director of

enjoy what I have been

Philanthropic Engagement

privileged to enjoy.”

hesca@philorch.org

— Joel Beaver, Wister Society member

Photo: Pete Checchia

215.893.1819

PO_Donors_April-26.indd 49

3/3/26 6:29 AM

ADMINISTRATIVE STAFF The Philadelphia Orchestra and Ensemble Arts EXECUTIVE OFFICE Ryan Fleur, President and Chief Executive Officer

Laura McClatchy, Programming Artist Relations Manager Annika Jorgensen, Coordinator

Crystal Brewe, Executive Vice President and Chief Operating Officer Doris Parent, Chief People and Culture Officer Kristen Chun, Director, International Engagement Colleen Coffey-Snyder, Manager, Office of the President and Chief Executive Officer Sophia Konopelsky, Administrative Manager, Governance Christine Lauer, Administrative Coordinator

ARTISTIC PRODUCTION Tanya Derksen, Chief Artistic Production Officer Joanna Scorese, Administrative Manager, Artistic Production and Media Orchestra Production Kimberly Barna, Director Ashley Stonebraker, Director, Orchestra Personnel Michelle Zwi, Director, Orchestra Operations and Touring Joseph Scriva, Manager, Orchestra Personnel Ashley Vogler, Administrative Coordinator, Orchestra Operations and Touring Production Andre Barette, Director King Rogers, Senior Production Manager, Academy of Music Eric Hagenbarth, Production Manager, Miller Theater Eileen Harris, Production Manager, Marian Anderson Hall and Special Projects Chris Nelson, Production Manager, Ancillary Spaces Travis Roberts, Performance Manager Adam Steinbauer, Production Manager, Perelman Theater and Education Alison McLeod, Associate Production Manager Augusta Zuerker, Administrative Assistant Academy of Music Kevin McEntee, Head Props Paul Myers, Head Electrician Beverly Nolan, Head Wardrobe William Ringland, Head Carpenter Greg Canzanese, Flyman Jim McPeak, Assistant Head Carpenter Scott Smith, Assistant Head Electrician Michael Troncone, Assistant Head Utility Steve Weber, Assistant Head Props Kimmel Center Amari Callaway, Head Wardrobe

ARTISTIC PLANNING Jeremy Rothman, Chief Programming Officer Shannon Walsh, Master Scheduler Education and Community Eliza Bailey, Director, Theater and Dance Maya Jacobs, Director, Instrumental Music Joshua Lawrence, Manager, Jazz Education Programs Adrian Rosas, Manager, Orchestral Music Programs Mark Wong, Manager, Theater and Dance Education Programs Nadine Choucri, Coordinator Orchestral Programming Makiko Freeman, Artistic Administrator Andrew Mellor, Audio Producer and Engineer Stephen Alston, Assistant to the Music and Artistic Director and Artist Liaison Christa Bean, Manager, Artist Services Carolyn Hupalowsky, Manager, Artistic Administration Theatrical Programming and Presentations Frances Egler, Vice President Napoleon Gladney, Director Tyler Daddario, Manager Stacey Ferraro, Programming Operations and Events Manager

Christopher Hanes, Head Carpenter Ryan Morris, Head Electrician Kenneth Nash, Head Audio Walter Bass, Assistant Head Audio Walter Brown, Sr., Assistant Head Audio Michael Cobb-Durkin, Assistant Head Electrician Amber Faulhaber, Assistant Head Electrician Kristen Klumpp, Assistant Head Carpenter Miller Theater Bridget Brennan, Head Wardrobe Christine Gaydos, Head Props Jay Madara, Head Electrician Pete Mohan, Head Carpenter Joseph Schramm, Head Audio Dave Cain, Assistant Head Fly Kyle Hanahan, Assistant Head Utility Stephen Hungerford, Assistant Head Carpenter Joey Narducci, Assistant Head Electrician AUDIENCE EXPERIENCE / SERVICES Matt Cooper, Managing Director, Audience Services and Information Technology Lindsay Berckman, Senior Director, Audience Experience Meg Hackney, Director, Ticketing and Audience Services Conner Lucas, Director, Food and Beverage Business Kyleigh Taylor, Associate Director, Audience Services Katie Masterson, Senior Manager, Events Services Joanna Bak, Audience Services Manager Julie Bernard, Manager, Operations Support Jessa Bintliff, Audience Services Manager Delaney Burke, Manager, Guest Services Keith Donaghue, House Manager Rose Farrell, House Manager Emily Grove, Training Manager Korey Jones, Venue Manager, Kimmel Center Thomas J. Kerrigan, House Manager

50

PO_Donors_April-26.indd 50

3/3/26 6:29 AM

Todd Kunze, Venue Manager, Academy of Music and Miller Theater Erin Lunsford, Administrative Manager Catherine Pappas, Subscription Project Manager Devin Randall, Manager, Guest Services Hayden Abrahams, Operations Support Tyshawn Burrell, Operations Support Joshua Goldstein, Operations Support Andrew Hight, Operations Support Zapheir Johnson, Operations Support Chrisla Dor, Priority Services Coordinator, The Philadelphia Orchestra Chris Eklund, Priority Services Coordinator, Ensemble Arts Philly Matthew Enters, Quality Assurance Coordinator Elijah Doss, Group Sales Representative Rob Lawlor, Group Sales Representative Nicola Scicchitano, Lead Audience Services Representative Danielle Woolis, Lead Audience Services Representative Damarise Johnson, Audience Services Representative Andy Svarczkopf, Audience Services Representative Tristan Berrien, Audience Services Associate Alyssa Brownell, Audience Services Associate Alicia Katz, Ticketing Operations Associate Benji Childs, Tickets Operations Coordinator Box Office Dan Ahearn, Jr., Manager Michelle Messa, Assistant Manager Tad Dynakowski, Assistant Treasurer Marie McCarthy, Assistant Treasurer William Qualls, Assistant Treasurer Thomas Sharkey, Assistant Treasurer Mike Walsh, Assistant Treasurer DEVELOPMENT Kobie Smith, Chief Philanthropy Officer Anna Marie Gewirtz, Vice President, Philanthropy Liz Saccardi, Vice President, Philanthropy Rachel Messeck, Director, Development Communications Megan Gow, Administrative Assistant

Annual Fund Anne Henry, Senior Director Jennifer Pratt Johnson, Director April O’Brien, Director Kathleen Moran, Membership Manager Juan Carlos Mata, Development Coordinator Nina Mitchell, Development Coordinator Development Services Andrea Gartner, Managing Director Lisalotte Crampton, Manager Emiline Homan, Manager, Donor Research and Strategy Wesley Hershner, Data and Research Analyst Donor Relations and Stewardship Jennifer Monahan, Director, Event Sales Joseph Sinkus, Director, Donor Relations Samantha Noll, Assistant Director, Development Events and Volunteer Relations Institutional Giving Ruth Auslander, Managing Director Rob Ruzanic, Senior Grants Manager Rachel Holder, Manager Gabrielle Lantieri, Grants Manager Philanthropic Engagement Helen Escaravage, Managing Director Jen Beatty, Senior Officer Neva Kelly, Senior Officer Natalie Sandstrom, Philanthropic Engagement and Legacy Giving Officer Olivia Schultz, Manager FACILITIES James Pecora, Vice President Jennifer Stark, Director, Capital Projects Scott Derkacz, Assistant Director Kevin Quinn, Chief Engineer Derrick Johnson, Lead Maintenance Mechanic Jonathan McCarthy, Maintenance Mechanic Gary Stanford, Maintenance Mechanic Kevin Hamilton, Dockmaster Trondell Hill, Project Manager, Housekeeping Evani Outerbridge, Business Manager, Housekeeping Angela Schiavo, Painter Donna Cloman, Administrative Assistant Brea Kelley, Administrative Assistant

Office Services Kathie Cronk, Senior Manager, Office and Volunteer Services Nahema Rivers, Administrative Services Manager Safety and Security John Gallagher, Director Euronn McCloud-Armstrong, Assistant Director, Security Matthew Lally, Security Manager Henri Byrd, Security Supervisor Mia Lowry, Security Supervisor Anthony Williams, Security Supervisor Roland Carbonetta, Jr., Security Officer Clifford Cook, Security Officer Clarence Cottman, Security Officer Ronal Emile, Security Officer Kenneth L. Gilliard, Security Officer Nakesha Humbert, Security Officer Taebreya Lewis, Security Officer Sara Mahan, Security Officer Mian Mason, Security Officer Gregory Meek, Security Officer Leon Middleton, Security Officer Randall Monte, Security Officer Thomas Pierce, Security Officer Oliver Rigney, Security Officer Timothy Ryan, Security Officer David Sisco, Security Officer FACILITY SALES Carrie Reynolds, Associate Vice President, Hospitality and Audience Experience Shawn Cotugno, Senior Manager Audrey Gildea, Senior Sales Manager FINANCE Mario Mestichelli, Executive Vice President and Chief Financial Officer Ruth Kasow, Vice President and Director Kevin Pearce, Controller Kathleen Curtis, Director, Budget and Planning Ashley Willcox, Senior Accounting Manager Laura DiGiambattista, Accounting Manager Jennifer Walker, Payroll Manager Kristoffer Domingo, Senior Accountant Jonelle Kelly, Senior Accountant, Payroll and Benefits Bridget Morgan, Senior Accountant Jennifer Munster, Senior Accountant Lauren Tighe, Senior Accountant Jessica Kerler, Staff Accountant, Budget Mona Song, Staff Accountant Matthew Demetrides, Accounts Payable Accountant 51

PO_Donors_April-26.indd 51

3/3/26 6:29 AM

Jamie Zorrilla-Gray, Staff Accountant/Accounts Payable Julrena Outen, Payroll Coordinator INFORMATION TECHNOLOGY Jamie Shover, Vice President John Callinan, Director, Technology Infrastructure Pari Dasmuth, Director, Business Applications and Project Management Tristian Gay, Director Kenton Grizzle, Senior Network Engineer John Jardel, Senior Network Engineer Mohammed Djaballah, Manager, Business Intelligence Khalil Et Tkhyly, Business Intelligence Developer Mark Macalanda, Quality Assurance/ Testing Analyst Leo Konkel, IT Support Engineer Mpho Reed, IT Support Engineer MARKETING AND COMMUNICATIONS Leslie Patterson-Tyler, Senior Vice President, Community Impact and Civic Engagement Elizabeth Hess, Vice President, Marketing Geoff Cohen, Associate Vice President, Marketing, Philadelphia Orchestra Karina Kacala, Senior Director, Marketing

Ashley Ryan, Senior Director, Marketing, Ensemble Arts Presentations Darrin T. Britting, Director, Publications and Content Development Lauren Hall, Director, Program Public Relations, Ensemble Arts Presentations Victoria McCabe, Director, Marketing, Philadelphia Orchestra Travis Wurges, Video Producer Roberta Gorin-Paracka, Associate Director, Digital Asset Management Carrie Williams, Associate Director, Marketing, Ensemble Arts Presentations Erica Barry, Manager, Marketing, Philadelphia Orchestra Kacy Hofstetter, Manager, Marketing Taylor Martin, Manager, Marketing Manisha Modi-Davis, Manager, Audience Development, Ensemble Arts Presentations Alec Newell, Manager, Audience Development, Philadelphia Orchestra Matthew Nicolosi, Senior Data Analyst Remy Perez, Graphic Design Project Manager Zoe King, Data Analyst Doménica Castro, Marketing Content Associate Alison Hopkins, Marketing Associate Emma Noel, Marketing Associate Erin Witman, Marketing Associate

Rachel Bennett, Graphic Designer Jake Rogan, Coordinator, Communications Digital Marketing Daniel Christiansen, Senior Director, Digital Marketing Strategy and Web Shakerra Grays, Director, Digital Marketing—Web Sarah Biddle, Manager Brooke Grant, Manager, Web Content and UX Manager Rachael Micucci, Marketing Manager, Customer Journey Lindsay Goldschmidt, Digital Marketing Associate PEOPLE AND CULTURE Christopher Shaw, Vice President Jessica Rivera, Senior Director, People and Culture Operations Indonesia Young, Talent Management Specialist Ashley Colston, Coordinator ADMINISTRATIVE OFFICES 300 South Broad Street Philadelphia, PA 19102 Phone: 215.893.1900 www: philorch.org

52

PO_Donors_April-26.indd 52

3/3/26 6:29 AM

SUPPORT ARTS EDUCATION WITH YOUR TAX DOLLARS

Photo: Pete Checchia

Did you know that you can support our arts education programs and receive tax credit for up to 90% of your donation?

Scan to learn more, or visit philorch.org/EITC

PO_Donors_April-26.indd 53

3/3/26 6:29 AM