THE PHILADELPHIA SOUND.
Refined Over Generations.
SEPTEMBER/OCTOBER 2026
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CONTENTS
September/October 2026 Page 4
From the President and CEO Page 10
The Kimmel Center Turns 25 Page 11
Musicians Behind the Scenes Page 12
The All-Embracing World of Gustav Mahler’s Symphonies
This season, Yannick and the Philadelphians perform the First, Third, Fifth, and Seventh Symphonies Page 17
Noted in Passing Page 19
The Program On the Cover: Assistant Principal Cello Yumi Kendall (Elaine Woo Camarda and A. Morris Williams, Jr., Chair) at LOVE Park; photo by Jeff Fusco. To learn more about Yumi, scan the QR code.
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FROM THE PRESIDENT AND CEO Dear Friends:
Jeff Fusco
Welcome to The Philadelphia Orchestra’s 2026–27 season. For more than 125 years, the Orchestra has told its story through sound—through moments of daring creativity, profound beauty, and shared discovery. Each season adds a new chapter, shaped by the extraordinary artists on our stage and the devoted community that surrounds them. This season is one that is rich with stories that reflect who we are today and where we are headed. Building on our legacy of artistry and innovation, this year brings epic musical journeys, bold premieres, and unforgettable experiences that reaffirm music’s power to connect us all. At the heart of the season is Yannick’s continued exploration of Mahler’s symphonies, works that span intimacy and grandeur, joy and transcendence. These towering masterpieces sit alongside an array of world premieres, from powerful new orchestrations of works by Leonard Bernstein and Florence Price to the newest creations by Reena Esmail and Joe Hisaishi, written for this Orchestra and for our time. Innovation takes center stage as well, with a groundbreaking multidisciplinary event that fuses orchestral music, visual art, and animation in The Party—an imaginative rethinking of what an orchestral experience can be. And our concert-opera journey continues with Wagner’s Lohengrin, a work of sweeping beauty and emotional depth. The 2026–27 season also celebrates the 25th anniversary of the Kimmel Center for the Performing Arts. Since opening its doors in 2001, the Kimmel Center has grown into far more than a performance venue. It is a gathering place for Philadelphia, a home for creativity and civic expression, and a powerful symbol of what the arts—and the freedom to experience and share together—can mean to a community. This season is an invitation—to listen deeply, to watch intently, to be moved, to celebrate with us, and to be part of living artistic traditions that continue to evolve with you at the center. Thank you for your ongoing support and for helping shape the stories we tell together. Best regards,
Ryan Fleur President and CEO
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THE PHILADELPHIA ORCHESTRA 2026–2027 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 Sara Aldana 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 Mika Gibbs
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 David Nicastro Che-Hung Chen Rachel Ku Marvin Moon Meng Wang Laura Fuller Stephen Savage Cellos Hai-Ye Ni, Principal Priscilla Lee, Associate Principal Ambassador Amy Gutmann and Dr. Michael Doyle Chair 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
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Gabriel Polinsky, Associate Principal Tobias Vigneau, Assistant Principal David Fay Duane Rosengard Nathaniel West Michael Franz Christian Gray Some members of the string sections voluntarily rotate seating on a periodic basis. 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, Acting Co-Principal Elizabeth Starr Masoudnia, English Horn Joanne T. Greenspun Chair Clarinets Ricardo Morales, Principal Leslie Miller and Richard Worley Chair Samuel Caviezel, Associate Principal Sarah and Frank Coulson Chair Socrates Villegas
Paul R. Demers, Bass Clarinet Peter M. Joseph and Susan Rittenhouse Joseph Chair
Blair Bollinger, Bass Trombone Drs. Bong and Mi Wha Lee Chair
Bassoons Daniel Matsukawa, Principal Richard M. Klein Chair Mark Gigliotti, Co-Principal Angela Anderson Smith
Tuba Carol Jantsch, Principal Lyn and George M. Ross Chair
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 Trumpets James Vaughen, Principal Marguerite and Gerry Lenfest Chair Travis Peterson, Associate Principal Anthony Prisk Sam Huss Trombones Nitzan Haroz, Principal Neubauer Family Foundation Chair Matthew Vaughn, Co-Principal Jack Grimm
Timpani Don S. Liuzzi, Principal Don S. Liuzzi Chair, given by Linda and David Glickstein Angela Zator Nelson, Associate Principal Percussion Christopher Deviney, Principal Charlie Rosmarin, Associate Principal Angela Zator Nelson Keyboards Davyd Booth Harp Elizabeth Hainen, Principal Librarians Nicole Jordan, Principal Holly Matthews Stage Personnel Dennis Moore, Jr., Manager Francis “Chip” O’Shea III Aaron Wilson
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MUSIC AND ARTISTIC DIRECTOR
Landon Nordeman
Canadian-born conductor and pianist Yannick NézetSéguin is currently in his 15th 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 at Westminster Choir College in Princeton, New Jersey. 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. 8
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THE KIMMEL CENTER TURNS 25
Twenty-five years ago, Philadelphia opened the doors to a new home for the performing arts, and to a new chapter for The Philadelphia Orchestra. The Kimmel Center for the Performing Arts was created with the belief that one of the world’s great orchestras deserved a home designed for artistic excellence and civic connection—a place built not only for performance, but for gathering, where artists, audiences, students, families, and communities could come together. Now stewarded by Ensemble Arts Philly, the Kimmel Center has grown into something its founders envisioned but couldn’t fully predict: a place where hundreds of thousands of people across all ages come together each year to experience the transformative power of the performing arts, through free and low-cost education programs, community events, family concerts, and more. We welcome you to the Kimmel Center for your performance and can’t wait to see you again. Explore the Kimmel Center’s impact and discover how you can join the 25th anniversary celebration at www.EnsembleArtsPhilly.org/ Kimmel25 or by scanning the QR code.
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MUSICIANS BEHIND THE SCENES Laura Fuller Viola Where were you born? I was born in Overland Park, Kansas. Todd Rosenberg
What piece of music could you play over and over again? Beethoven’s Symphony No. 7, the end of the last movement gives me goosebumps every single time. What piece of music never fails to move you? The second movement (Adagio assai) from Ravel’s Piano Concerto in G major. What do you love most about performing? I think music, whether performing or listening, is a beautiful and powerful way to press pause on the busyness of life and, in a sense, be transported into another world. When did you join the Orchestra? In 2026. Do you play any other instruments? Not currently, but I used to play violin and also played bass for a year in high school. What do you like to do in your spare time? I enjoy jogging, cooking, traveling, and listening to music. What’s your favorite movie? Gladiator. What do you love most about Philadelphia? The Orchestra! What’s the first album you ever bought or downloaded? A compilation called Romantic Favorites for Strings with the New York Philharmonic conducted by Leonard Bernstein, which includes works by Mahler, Barber, Vaughan Williams, and Tchaikovsky. What’s on your Spotify playlist? I have a playlist of about 250 of my favorite classical music tracks, but my recent favorite additions include the last movement of Schnittke’s Piano Quintet, the third movement of Britten’s String Quartet No. 1, and Schumann’s Dichterliebe. I also love ’90s old school rap. When was the first time you heard The Philadelphia Orchestra? My dad took me to Philly to hear Charles Dutoit conduct Copland’s Symphony No. 3 in 2000. I was in high school and was completely starstruck! What is your favorite memory with the Orchestra? Playing Stravinsky’s Rite of Spring with Yannick Nézet-Séguin. I love the piece and LOVED his interpretation! What advice would you give to aspiring young musicians? Never give up on your dreams! Especially regarding auditions, not winning at first can be an invaluable opportunity to learn and grow. Don’t be afraid to climb the ladder.
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Eugene Ormandy during a rehearsal.
Portrait of Gustav Mahler by Emil Orlik from 1902
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THE ALL-EMBRACING WORLD OF GUSTAV MAHLER’S SYMPHONIES This season, Yannick and the Philadelphians perform the First, Third, Fifth, and Seventh Symphonies By Christopher H. Gibbs
“The symphony must be like the world, it must embrace everything.” Whether or not Gustav Mahler actually said this in 1907 to the Finnish composer Jean Sibelius, the sentiment resonates with other statements he made over the years. Expanding the idea further, some musicians have argued that, taken together, all of Mahler’s symphonies form a single gigantic work, fascinatingly interconnected and indeed all-embracing. Mahler’s symphonies are usefully divided into three groups. The first four are known as the “Wunderhorn” symphonies because in them he used songs composed to poems from the folk collection Des Knaben Wunderhorn (From the Youth’s Magic Horn). He next wrote three purely instrumental symphonies (Nos. 5, 6, and 7), and then, after the somewhat anomalous Eighth (the “Symphony of a Thousand”), he concluded his career with the trilogy of Das Lied von der Erde (The Song of the Earth), the Ninth Symphony, and the unfinished Tenth.
Mahler composed his symphonies over the course of a quarter century, generally during the summer months because he was otherwise preoccupied as one of the great conductors of the day. He was born in 1860 in a small Bohemian town into the family of a Jewish distiller and at age 15 moved to Vienna to begin studies at the Conservatory. He started his career with conducting jobs at provincial opera houses before assuming posts in Prague, Leipzig, Budapest, and Hamburg. In 1897 he was offered the greatest plum: the directorship of the Vienna Court Opera, the most powerful musical position in Europe. To get the job, he had accepted baptism in the Catholic faith. Mahler held the Vienna post for a decade before accepting prestigious appointments in New York, first with the Metropolitan Opera and then with the New York Philharmonic; he returned to Europe each summer to compose. Although some aspects of Mahler’s musical style and aesthetic commitments changed over the years, there are throughlines that help create the sense of a gigantic whole. His symphonies tackle eternal questions of life and death (funeral marches appear in many of them), of nature and the universe. The symphonies are deeply personal, qualities which Mahler in some instances candidly divulged and at other times attempted to hide. He often invites us to make connections between his life and music by giving titles and by making 13
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Jessica Griffin
Over the course of this season Yannick Nézet-Séguin and The Philadelphia Orchestra present four of Mahler’s symphonies, beginning in October with the Fifth. In April they perform the Seventh Symphony, in May the Third, and in June the First. In addition, this season Yannick conducts a cycle of the nine completed Mahler symphonies at Carnegie Hall and the Metropolitan Opera, with the Philadelphians, the Met Orchestra, and the Vienna Philharmonic.
New York Public Library
comments in letters, sketches, and manuscript scores, an intense subjectivity that was a legacy of Beethoven and later Romantic composers. Some autobiographical moments in Mahler relate to one of the great debates of Romanticism: program music, about which he was deeply ambivalent. Symphonies during the earlier Classical era were usually “absolute,” not explicitly connected to literature, history, or other extra-musical elements. While Beethoven initially continued this approach, he also helped to forge a new path with his “Eroica” and “Pastoral” symphonies through titles and other programmatic clues. He opened further vistas in his Ninth Symphony by bringing in poetry and the human voice, a strategy Mahler emulated in his Second, Third, Fourth, and Eighth Symphonies. A manuscript of the Adagietto movement from Mahler’s Symphony No. 5, dated 1902, with marks by Gustav and Alma
Mahler composed almost exclusively in just two genres: songs and symphonies, which he interrelated in masterful ways. For his songs he initially used Wunderhorn poems drawn from an early-19th-century anthology. While these folk poems had attracted some earlier composers, they proved especially inspiring for the young Mahler and formed the basis of his first four symphonies. After writing three symphonies, each progressively longer and more complex, Mahler reached something of a limit. They all had programs of some sort—titles, stories, or poems—the compositional approach successfully pursued by his friend and rival Richard Strauss. But Mahler increasingly sought to suppress such extra-musical baggage: “Death to programs,” he proclaimed around the time of the Fourth Symphony, which was shorter, more modest in its orchestration, and, although it concludes with a Wunderhorn song, less programmatic. Symphonies Five, Six, and Seven are a trilogy that mark Mahler’s ostensible retreat from programs and vocal movements. During this time, he stopped using the Wunderhorn anthology and began to write songs based on the more elevated poetry of Friedrich Rückert. Even though songs are no longer boldly sung or overtly quoted in the middle symphonies, they go “underground,” as Mahler scholar Donald Mitchell has put it, and nonetheless leave traces through affinities of mood or brief allusions. These changes in Mahler’s compositional strategies coincided with crucial developments in his personal life. A medical crisis in early 1901 (internal hemorrhaging) brought the 40-year-old composer close to death. Soon thereafter he resigned his position as head of the Vienna Philharmonic’s subscription concerts, which he had taken up in 1898, and by the end of the year was engaged to Alma Schindler, who was 19 years his junior, and was starting his own family. The range of emotions explored in the Fifth Symphony, beginning with the solemn funeral march, including the magnificent “love song” of the famous Adagietto, and concluding with the blazing triumph 14
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of the finale, may give some indication of Mahler’s hopes. The Sixth Symphony, which briefly carried the title “Tragic,” charts a very different and more somber course. The Seventh again seems a journey from darkness to light in a poetic work featuring two evocative “night music” movements. Mahler wrote the monumental Eighth Symphony in a white heat of inspiration during the summer of 1906. It is popularly known as the “Symphony of a Thousand” because of the enormous forces involved: an immense orchestra, mixed choirs and separate children’s chorus, organ, off-stage brass, and eight vocal soloists. The two-part work unfolds using a Latin Pentecost hymn and then the conclusion of Goethe’s Faust, Part II. Mahler’s astonishing feat of combining different languages, genres of music, and sacred and secular themes led to the greatest success of his career at its premiere in Munich in 1910. Leopold Stokowski and The Philadelphia Orchestra gave its American premiere in 1916. A series of devastating personal blows in 1907 led to another turning point in Mahler’s life: His beloved elder daughter died at the age of four, he resigned from the Vienna Court Opera, and he was diagnosed with a heart condition. The final three works followed: Das Lied von der Erde in the summer of 1908, the Ninth Symphony the next summer, and parts of the Tenth in the summer of 1910, but Mahler died in May 1911 before finishing it. Given their ultimate place in the composer’s output, it has proven all too tempting to view these pieces as pointing toward death, a “farewell” trilogy, the artistic testament of a dying man. Another famous Mahler soundbite to conclude—this from a letter he wrote to his wife in which he said, “My time will come.” The context was in relation to Strauss, as the sentence continues “when his has passed.” At the time of his death, age 50, Mahler was hailed as a great conductor but was seriously underrated, and often dismissed, as a composer. Strauss was more esteemed and far more often performed. Of the four symphonies the Philadelphians present this season, Mahler conducted his First 16 times, the Third a total of 15 times (not including a pre-premiere performance of the second movement in 1897 in Budapest), the Fifth nine times (he also performed just the Adagietto at a 1907 concert in Rome), and the Seventh just five times. It took decades for most of his pieces to enter the international repertoire, but in the wake of the 1960 centennial of his birth, Mahler was ascendent. By the end of the century, one might even say he
Mahler’s composition hut in Maiernigg, Austria, on Lake Wörth where he wrote the Symphonies No. 4, 5, 6, 7, and 8
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had become the new Beethoven in popularity and with his music frequently performed at festival occasions. For more than a century, symphonies by Beethoven (usually the Fifth or Ninth) were used at celebratory events. The Philadelphia Orchestra’s inaugural concert in 1900 featured the Fifth. Now, when a music director begins or ends their tenure, or when a new concert hall is dedicated, it is often marked with a Mahler symphony. His time, the vast all-embracing vision of his music, has arrived. 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.
The Philadelphia Orchestra’s first commercial recording, Brahms’s Hungarian Dance No. 5 Caricature drawings satirizing Mahler’s conducting style when he was director of the Vienna Court Opera, originally published in 1901 in the German humorous magazine Fliegende Blätter (Flying Leaves) 16
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NOTED IN PASSING
Jessica Griffin
The Philadelphia Orchestra mourns the passing of former violinist Booker Rowe on August 1 at the age of 85.
Born in Lexington, Kentucky, Mr. Rowe moved to Philadelphia at the age of two and began lessons in the sixth grade at the M. Hall Stanton School in North Philadelphia. In high school he was concertmaster of the West Philadelphia High School Orchestra, the All City High School Orchestra, and the All-Eastern Orchestra. He received his Bachelor of Music degree from Temple University and then played in the Nashville Symphony for two years. During this time, he also played in the Nashville Symphony String Quartet, making it the first racially integrated professional string quartet in the south. He received his master’s degree from Yale University and joined the National Symphony for the 1969–70 season. He premiered numerous new works by Black and other minority composers and played with many chamber music ensembles. He also performed with such artists as Sammy Davis, Jr., Isaac Hayes, Smokey Robinson, the Supremes, and Barbra Streisand, among others. He taught at Tennessee State University, Wesleyan University, the Settlement Music School, and the Community College of Philadelphia. In November 1968, Mr. Rowe received a phone call from Philadelphia Orchestra Personnel Manager Mason Jones saying that Eugene Ormandy had requested he play with the Orchestra for the remainder of the season as a substitute for a violinist who had just died. Thus, Mr. Rowe made history as the first Black musician to play in the ensemble. In 1970 Ormandy hired him back for a full-time position but on a conditional basis. He joined the Orchestra as a full-time member in 1971, the second Black member after violist Renard Edwards, who joined in 1970. Mr. Rowe retired in 2020. 17
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2026–2027 | 127TH SEASON MARIAN ANDERSON HALL
THE PHILADELPHIA ORCHESTRA Thursday, October 22, at 7:30 Friday, October 23, at 2:00 Saturday, October 24, at 8:00 Sunday, October 25, at 2:00 Yannick Nézet-Séguin Conductor Janai Brugger Soprano Jonah Hoskins Tenor Will Liverman Baritone Philadelphia Symphonic Choir Joe Miller Director Commonwealth Youth Choir Dominique DeSilva Artistic Director Philadelphia Boys Choir Jeffrey R. Smith Artistic Director Philadelphia Girls Choir Nathan Wadley Artistic Director Coleridge-Taylor Ballade in A minor, Op. 33 Ortiz Clara I. Clara— II. Robert— III. My Response— IV. Robert’s Subconscious— V. Always Clara First Philadelphia Orchestra performances
Intermission
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Orff Carmina burana Fortuna Imperatrix Mundi: 1. O Fortuna (chorus) 2. Fortune plango vulnera (chorus) I. Primo vere: 3. Veris leta facies (small chorus) 4. Omnia Sol temperat (baritone) 5. Ecce gratum (chorus) Uf dem Anger: 6. Tanz (orchestra) 7. Floret silva (chorus) 8. Chramer, gip die varwe mir (soprano and chorus) 9. (a.) Reie (orchestra) (b.) Swaz hie gat umbe (chorus) (c.) Chume, chum geselle min (small chorus) (d.) Swaz hie gat umbe (chorus) 10. Were diu werlt alle min (chorus) II. In Taberna: 11. Estuans interius (baritone) 12. Olim lacus colueram (tenor and tenor/bass chorus) 13. Ego sum abbas (baritone and tenor/bass chorus) 14. In taberna quando sumus (tenor/bass chorus) III. Cour d’amours: 15. Amor volat undique (soprano and children’s chorus) 16. Dies, nox et omnia (baritone) 17. Stetit puella (soprano) 18. Circa mea pectora (baritone and chorus) 19. Si puer com puellula (tenor/bass chorus) 20. Veni, veni, venias (double chorus) 21. In trutina (soprano) 22. Tempus est iocundum (soprano, baritone, chorus, children’s chorus) 23. Dulcissime (soprano) Blanziflor et Helena: 24. Ave formosissima (chorus) Fortuna Imperatrix Mundi: 25. O Fortuna (chorus) This program runs approximately 2 hours.
These concerts are part of the Dianne and Jeffrey Rotwitt Choral Fund. The October 23 concert is sponsored by Judith W. Whellan.
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.
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Jessica Griffin
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.
Yannick Nézet-Séguin is now in his 15th 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 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.
The Philadelphia Orchestra believes deeply in the power of music to connect people and the role cultural diplomacy can play in affecting change. Through concerts, national and international tours, residencies, and recordings, the Orchestra is a global ambassador and one of our nation’s greatest cultural exports. It performs annually at Carnegie Hall, the Highmark 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-topeople 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.
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Dario Acosta
SOLOIST Soprano Janai Brugger made her Philadelphia Orchestra debut in 2013 at Longwood Gardens and her subscription debut in 2018. In addition to these current performances, highlights of her 2026–27 season include her Edinburgh International Festival debut as Donna Elvira in Mozart’s Don Giovanni at Usher Hall with the Scottish Chamber Orchestra, Mrs. Hodge in the world premiere of Missy Mazzoli’s Lincoln in the Bardo at the Metropolitan Opera, Pamina in Mozart’s The Magic Flute in her return to Houston Grand Opera, Wife in Glass’s The Juniper Tree at Chicago Opera Theater, Beethoven’s Ninth Symphony at the Cincinnati May Festival, and her role debut as the Countess in Mozart’s The Marriage of Figaro at Cincinnati Opera. Last season she made her debut as Donna Elvira at the Metropolitan Opera followed by her debut as Mimì in Puccini’s La bohème at Los Angeles Opera. She returned to the Met for Micaëla in Bizet’s Carmen; made her Seattle Symphony debut with Poulenc’s Stabat Mater, and traveled to Minneapolis to appear in a specially curated program of Florence Price songs, The Heart of a Woman, which she also took to Great Britain to sing with the City of Birmingham Symphony under the baton of Kazuki Yamada to celebrate America’s 250th anniversary on July 4. She also sang Beethoven’s Ninth Symphony with the Sacramento Philharmonic and returned to the Grant Park Music Festival for the Mozart and Fauré requiems. Ms. Brugger’s recent engagements include Pip the cabin boy in Jake Heggie’s Moby-Dick at the Metropolitan Opera and Tovah Odesska in Aaron Zigman’s Émigré conducted by Long Yu with the Deutsches Symphonie-Orchester Berlin and the Hong Kong Philharmonic. She returned to the Ravinia Festival for Mahler’s Symphony No. 2 with Marin Alsop, sang Bruckner’s Psalm 150 and Margaret Bonds’s Credo at Grant Park, and participated in the Metropolitan Opera’s 2025 Summer Park Series. Career highlights include her debut in the title role of Carlisle Floyd’s Susannah at the Opera Theatre of St. Louis; Servilia in Mozart’s La clemenza di Tito, Zerlina in Don Giovanni, and Pamina in The Magic Flute at Ravinia, and Mary Jane Bower in Houston Grand Opera’s world premiere of Heggie’s Intelligence, for which she won a GRAMMY Award. She sang the role of Glauce in Cherubini’s Medea at the Metropolitan Opera and at Canadian Opera Company, Susanna in The Marriage of Figaro at Los Angeles Opera, and Liù in Puccini’s Turandot at the Lyric Opera of Chicago. She made her Glyndebourne Festival and BBC Proms debuts as Micaëla in Carmen. A native of Chicago, Ms. Brugger earned her master’s degree from the University of Michigan where she studied with Shirley Verrett and her bachelor’s degree from DePaul University where she studied with Elsa Charlston. In 2010 Ms. Brugger was a participant in the Merola Opera Program at San Francisco Opera. She was also a young artist at Los Angeles Opera for two seasons. She is a 2012 winner of both Operalia (Beijing) and the Metropolitan Opera National Council Auditions. 22
SOLOIST Tenor Jonah Hoskins is making his Philadelphia Orchestra debut. In addition to these current performances, highlights of his 2026–27 season include the world premiere of Missy Mazzoli’s Lincoln in the Bardo at the Metropolitan Opera, in which he creates the role of Bevins under Music Director Yannick Nézet-Séguin. He returns to the Berlin State Opera as Belmonte in Mozart’s The Abduction from the Seraglio, performs the role of Florestano in Ferdinando Paer’s Leonora at the Semperoper Dresden, debuts at the Festival de Música de Maó in Menorca as Nemorino in Donizetti’s The Elixir of Love, and returns to Santa Fe Opera as Almaviva in Rossini’s The Barber of Seville. A member of Hamburg State Opera’s ensemble, he also appears there as Beppe in Leoncavallo’s Pagliacci and Almaviva. Mr. Hoskins’s recent highlights include his company debut at the Berlin State Opera as Arbace in Mozart’s Idomeneo followed by Fenton in Verdi’s Falstaff. He sang Lindoro in Rossini’s The Italian Girl in Algiers for his Deutsche Oper Berlin debut, made his house and role debut at London’s Royal Opera as Tonio in Donizetti’s The Daughter of the Regiment, and debuted at the Bavarian State Opera as Ramiro in Rossini’s Cinderella. He has performed Nemorino in The Elixir of Love with the Metropolitan Opera, San Francisco Opera, Santa Fe Opera, and Florida Grand Opera. He made his role debut as Nadir in Bizet’s The Pearl Fishers with the Théâtre des Champs-Élysées and the Opéra National de Bordeaux, was heard as Arnold in Rossini’s William Tell at the Theater St. Gallen, performed Almaviva in The Barber of Seville at the Semperoper Dresden and the Glyndebourne Festival, and sang Ernesto in Donizetti’s Don Pasquale at the Festival Napa Valley and the Opera de Toulon. In concert, Mr. Hoskins has performed Mozart’s Requiem with Camerata Salzburg, starred in the annual New Year’s Concert of the Sächsische Staatskapelle Dresden and German broadcaster ZDF under Karina Canellakis, gave a solo recital with pianist William Woodard for DC Vocal Arts at the Kennedy Center, and was the tenor soloist in Orff’s Carmina burana at Theater St. Gallen.
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Jaclyn Simpson
SOLOIST GRAMMY Award–winning baritone Will Liverman makes his Philadelphia Orchestra debut with these performances. Known internationally for his dedication and vision as a composer, artist, and advisor, he embarks this season on a five-year tenure as a Wigmore Hall Associate Artist and gives a featured recital at Wigmore Hall in spring 2027. His season also includes the New York premiere of his own Songs of Humanity & Peace at Lincoln Center, the world premiere of Sarah Kirkland Snider’s Urge with Teddy Abrams and the National Symphony, concerts with the Los Angeles Philharmonic and John Adams, a recital of Mahler’s Kindertotenlieder and art songs at the Royal Concertgebouw, appearances at the Metropolitan Opera for its Diamond Jubilee and Mahler’s Symphony No. 8 with Yannick Nézet-Séguin, and a portrait performance and recital with Opera Omaha. Upcoming performance highlights also include Rossini’s Cinderella at Opera San Antonio, Orff’s Carmina burana with the Pittsburgh Symphony, Puccini’s Madame Butterfly at Washington National Opera, Puccini’s La bohème with the Detroit Symphony, Handel’s Messiah with the North Carolina Symphony, Walton’s Belshazzar’s Feast with the Milwaukee Symphony, and Britten’s Curlew River in the inaugural season of Chicago’s 3000Hz Opera Lab. I n 2023 Lyric Opera of Chicago presented the world premiere of Mr. Liverman’s new opera, The Factotum, which he starred in and composed with DJ King Rico. Inspired by Rossini’s The Barber of Seville, the story is set in a present-day Black barbershop on Chicago’s South Side, celebrating the strength of community and power of the human spirit in a soul opera. In May 2026 Mr. Liverman and Mr. Rico—both alumni of the Governor’s School for the Arts (GSA)—presented a new version of the opera called Factotum: Groom & Glow Lounge, specially reworked for the students of GSA, and provided high-level mentorship to the students in an extended residency. I n recent seasons Mr. Liverman’s operatic engagements have included Mozart’s The Marriage of Figaro at Washington National Opera, The Barber of Seville with Houston Grand Opera, Mozart’s The Magic Flute at the Metropolitan Opera’s holiday presentation and at Santa Fe Opera, Puccini’s La bohème at Lyric Opera of Chicago, and Britten’s Peter Grimes at Dutch National Opera. On the concert stage he performed Janáček’s Jenůfa with the Cleveland Orchestra, Bizet’s The Pearl Fishers with Washington Concert Opera, The Magic Flute with the St. Louis Symphony, Handel’s Messiah with the San Francisco Symphony and Music of the Baroque, Orff’s Carmina burana with the San Francisco Symphony, and Bernstein’s MASS with the Hamburg Philharmonic. He also appeared with the London Symphony at the Edinburgh International Festival and again under Antonio Pappano. Mr. Liverman won the GRAMMY Award for Best Opera Recording as a soloist on the Metropolitan Opera’s recording of Terence Blanchard’s Fire Shut Up in My Bones. 24
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Jeff Fusco
CHOIR The Philadelphia Symphonic Choir made its debut in December 2016, performing in three programs with The Philadelphia Orchestra that season. Consisting of talented vocalists auditioned from around the country, the ensemble was created to marry gifted and unique voices of Philadelphia and beyond with the legendary “Philadelphia Sound.” Performance highlights with the Orchestra include the world premiere of the concert version of Kevin Puts’s opera The Hours and Beethoven’s Missa solemnis in Philadelphia and at Carnegie Hall. The ensemble has also sung in performances of Haydn’s The Seasons, Puccini’s Tosca, Mozart’s Requiem, Bernstein’s Symphony No. 3 (“Kaddish”), Rossini’s Stabat Mater, Bruckner’s “Christus factus est” and Te Deum, Brahms’s A German Requiem, and Gabriela Lena Frank’s Pachamama Meets and Ode, as well as holiday performances of Menotti’s Amahl and the Night Visitors and multiple season performances of Handel’s Messiah. The Philadelphia Symphonic Choir is directed by Joe Miller, music director of the Vocal Arts Ensemble of Cincinnati, who has conducted and prepared choruses for leading orchestras, opera companies, festivals, and concert venues throughout the United States and abroad. A passionate educator and mentor, he has also maintained a strong connection to the University of Cincinnati College-Conservatory of Music, where his work combines performance, teaching, and the development of the next generation of choral musicians. He has served as conductor of the Philadelphia Symphonic Choir since 2016 and made his conducting debut with The Philadelphia Orchestra in 2021 leading Messiah. In addition to these current performances, featured concerts with the Philadelphia Symphonic Choir in the 2026–27 season include Beethoven’s Symphony No. 9, Joe Hisaishi’s Orbis, Bach’s Christmas Oratorio, and Wagner’s Lohengrin. In the 2025–26 season, the Philadelphia Symphonic Choir joined The Philadelphia Orchestra for performances of Mozart’s Requiem, Mahler’s Symphony No. 2, and Handel’s Messiah. Highlights of the 2024–25 season included Messiah, Mahler’s Symphony No. 3, Beethoven’s Symphony No. 9, and Wagner’s Tristan and Isolde with Yannick Nézet-Séguin; Verdi’s Requiem with Riccardo Muti; and Holst’s The Planets with Daniele Rustioni. The 2023–24 season marked the premiere of the film Maestro, a collaboration with Bradley Cooper and Netflix featuring the Philadelphia Symphonic Choir and the music of Leonard Bernstein. The movie received a Best Picture nomination for the Academy Awards. Music from the film has been released on Deutsche Grammophon. The American Guild of Musical Artists, AFL-CIO, the union of professional singers, dancers, and production personnel in opera, ballet, and concert, represents the choral artists in these performances.
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Philadelphia Symphonic Choir Joe Miller Director Sopranos Lily Carmichael Ting-Ting Chang Abigail Chapman Lauren Cohen Ryan Colbert Maria Palombo Costa Natalie Esler Laura Fishman Alexandra Gilliam Julie-Ann Green Jina Jang Erica Johnson Colleen Kinderman Jessica Moreno Hannah Penzner Blythe Quelin Rebecca Shimer Rachel Sigman Nathania Sigmund Kristen Swenson Altos Serafina Belletini Christine Browne-Munz Marissa Chalker Alyson Harvey Monica Isomura Jessica Kerler Shannon Lally Renee Macdonald Kimberly Martinez Megan McFadden Meghan McGinty Heather Mitchell Christine Nass Natasha Nelson Sarah Robbins Rebecca Roy
Sarah Sensenig Kaitlyn Tierney Kathryn Whitaker Tenors Aldo A. Aranzulla Brendan Barker Nathaniel Bear Greg Boatman Roberto Guevara, Jr. Jonathan Hartwell Bryan Umberto Hoyos George Johnson III Tom Leighton William B. Lim, Jr. Max Marques Timothy Morrow Jacob Nelson Kev Schneider Ned Sieverts Royce Strider David Taylor Maxwell Trombley Knox Van Horn Mike Williams
Ethan Neal Max Parsons Carlos Pedroza Erik Potteiger Scott Purcell John T.K. Scherch Sergey Tkachenko Kirby Traylor Cris Frisco, Collaborative Pianist
Basses Christopher D. Aldrich Maxwell Brey Even Brock Roy DeMarco Sam Duffey Dicky Dutton Nicholas Fahrenkrug Loren Greer Robert James Lamb Daniel Laverriere Matthew Marinelli Bryan McClary
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CHOIR The Commonwealth Youth Choir (CYC) was founded in 2001 and is a Chestnut Hill–based program serving young singers from across the Greater Philadelphia region. For many years, the organization operated through two principal programs, the Keystone State Boychoir and the Pennsylvania Girlchoir. In 2024 these programs joined with the Philadelphia Boys Choir & Chorale and the Philadelphia Girls Choir to form the allgender Commonwealth Youth Choir under the umbrella of the Philadelphia Youth Choral Ensembles (PYCE). Today, CYC empowers nearly 150 young singers ages 6–18 to find their voices, express themselves boldly, and strive for excellence in rehearsal, on stage, and as members of their communities. Each week, young people from throughout the region come together to make music, build relationships, and share experiences under the guidance of highly skilled and experienced music educators, under the direction of Artistic Director Dominique DeSilva. CYC carries forward the rich legacy of both the Keystone State Boychoir and Pennsylvania Girlchoir. Collectively, the ensembles have performed for popes, presidents, and Nobel Prize winners and have appeared on all seven continents. Their performance history includes collaborations with distinguished organizations such as The Philadelphia Orchestra, Opera Philadelphia, Lyric Fest, WHYY, and the Mendelssohn Chorus, as well as performances at prominent venues including Verizon Hall at the Kimmel Center for the Performing Arts, the Academy of Music, the Mann Center for the Performing Arts, Broadway, and Carnegie Hall. International travel has also been central to the program’s history, providing young singers with opportunities to perform, experience other cultures, and build connections across borders. Past tours have included Brazil, Vietnam, Malaysia, Canada, South Africa, Japan, Thailand, Monaco, Cambodia, Australia, France, Germany, Austria, Bulgaria, Norway, England, India, New Zealand, and Tasmania. CYC has recently traveled to South Africa and South Korea and will embark on a tour of Peru in 2027. Together, the three programs of Philadelphia Youth Choral Ensembles offer young people an extraordinary pathway from foundational music education to advanced performance, leadership, cultural exchange, and lifelong engagement with the arts. Across PYCE, young singers are challenged to pursue musical excellence while developing confidence, discipline, collaboration, and a deeper connection to their communities and the world. Maeve Astheimer Hannah Binkley Lucie Castello Madelyn Diamondstein
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Mikayla Hsu Adriana Jacobs Amelia Krivda Alexandra Rackow
Hazel Rhoades Annaliese Smith Delia Rose Torday
CHOIR The Philadelphia Boys Choir & Chorale (PBCC) is an Emmy-winning and GRAMMY-nominated ensemble with a distinguished history of musical excellence and international acclaim. Known as “America’s Ambassadors of Song,” the Choir has toured nearly 60 countries, performed with internationally renowned orchestras and soloists, appeared on national and international television, and earned the praise of critics and audiences around the world. The Choir’s roots can be traced to the Philadelphia public school system of the 1960s. In 1968 Dr. Robert G. Hamilton assumed leadership of the All-Philadelphia Elementary School Boys Choir, founded by Dr. Carlton Jones Lake, and transformed it into an independent organization. Through his commitment to musical excellence, mentorship, and the power of music to foster goodwill across cultures, Dr. Hamilton established the Philadelphia Boys Choir & Chorale as an internationally recognized musical institution. He served as artistic director for 37 years. Today, PBCC is led by Artistic Director and conductor Jeffrey R. Smith, an alumnus of both the Choir and Chorale, who assumed leadership in 2004. A hallmark of the Choir’s programming is its annual international goodwill tour. Under Dr. Hamilton’s leadership, the Choir traveled to Mexico in 1968 for its first international tour. Since then, PBCC has represented Philadelphia and the United States in countries including Russia, China, England, France, Cuba, Ecuador, Kenya, Australia, India, Ghana, Bulgaria, and Romania. In December the Choir will embark on a tour of China. PBCC made its Philadelphia Orchestra debut in 1973 and has performed with many of the region’s leading cultural institutions, including Philadelphia Ballet, Opera Philadelphia, the Curtis Institute of Music, and the Philly POPS. Its performances have taken place at some of the nation’s most prestigious venues, including Marian Anderson Hall, the Academy of Music, and Carnegie Hall. The Choir has performed under renowned conductors including Eugene Ormandy, Riccardo Muti, Zubin Mehta, Klaus Tennstedt, Wolfgang Sawallisch, and Yannick Nézet-Séguin. Its national and international television appearances have included Good Morning America, Saturday Night Live, and The Today Show, among many others. The Choir is also a frequent featured performer at Philadelphia Phillies and Philadelphia Eagles games. Atharv Andea Sam Dowling Jayden Carter Green Parker Heery Jayden Hubbard
Victor Jeannot Joseph Li Lincoln Maslany Owen McGovern Tyeem Abdul Norris
Greyson Nwokomah Nathan J. Scudder Junchi Wang Evan Zhang
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CHOIR The Philadelphia Girls Choir (PGC) is a highly selective music education program for girls ages six and older that uses musical achievement as a vehicle for developing confidence, responsibility, creativity, and a lifelong appreciation for the arts. The program takes a holistic approach to choral education, connecting musicianship and performance with the broader human experience. Cultural diversity, personal development, and community are integral to the PGC experience. PGC’s curriculum incorporates the Kodály Method, an internationally recognized approach to music education based on the belief that every child should first experience music as a source of joy, human connection, and lifelong enrichment. Founded in 2012 with just 18 singers, PGC has grown to more than 200 young musicians across four ensembles: Prelude, Etude, Cantata, and Concerto. Following an audition process, singers are placed in age-appropriate ensembles where they receive progressively advanced instruction through rehearsals and lessons. Beginning with music theory, ear training, and foundational performance skills, singers develop their musicianship and vocal technique while engaging with increasingly challenging repertoire. PGC is led by Artistic Director Nathan Wadley and Music Director Laura Harmon. PGC singers perform throughout the Philadelphia region and beyond at venues and events including the National Constitution Center, the Metropolitan Opera House, the Kimmel Center, and the Academy of Music. The performing ensembles also participate annually in Philadelphia Ballet’s production of The Nutcracker and Franklin Square’s Electrical Spectacle. The Choir made its Philadelphia Orchestra debut in 2024. International travel is an important component of the PGC experience. Members of the Cantata and Concerto ensembles participate in an annual summer goodwill tour that combines high-level performance with cultural exploration and exchange. Previous tours have taken singers to Italy, Austria, Ireland, the Czech Republic, Poland, Wales, Belgium, the Netherlands, Hungary, Germany, Morocco, and Japan. In 2027 PGC will travel to Italy with performances and cultural experiences planned in Florence, Rome, Pisa, and Lucca. Through these experiences, singers develop not only as musicians but also as confident young people with a deeper understanding of themselves, their communities, and the wider world. Joplin Andrews-Nua Olivia DiOrio Maddie Fox Ellora Fung Sylvie Gross
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Juniper Jesson Anne Elizabeth Kutufaris Zoe Svea Maser Aanya Suyash Mohan Ahana Paul
Harper Phillips Isabella Adelise Ponton Emma Warren Katherine Yu
STUDENT CIRCLE
David Kim, Concertmaster
EXPERIENCE UNPARALLELED ACCESS TO YOUR HOMETOWN ORCHESTRA A $30 membership grants access to $8 tickets to Orchestra concerts.* Register online at philorch.org/Student-Circle The Student Circle program is funded in part by the Lillian Goldman Charitable Trust and an anonymous donor. *Must be at least 14 years of age to register Photos: Chris Kendig, Neal Santos
Program notes © 2026. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association. 27 31
FRAMING THE PROGRAM PARALLEL EVENTS Samuel Coleridge-Taylor was born to an English mother 1898 ColeridgeTaylor Ballade in A minor
Music Strauss Ein Heldenleben Literature Wells War of the Worlds Art Cézanne The Bibemus Quarry History The Curies discover radium and polonium
1935 Music Orff Shostakovich Carmina burana Symphony No. 4 Literature Auden On this Island Art Epstein Ecce Homo History Spanish Civil War begins
and a Creole father from Sierra Leone, a doctor whom he never knew. His extraordinary musical talents as a teenager led him to the Royal College of Music and to studies and support from major composers, including Edward Elgar. The Ballade in A minor helped to establish his international fame. The contemporary Mexican composer Gabriela Ortiz composed Clara in honor of Clara Wieck Schumann. She calls the five-movement work “an imaginary dialog across time. I was not interested in portraying Clara and Robert Schumann literally, but rather in imagining their inner worlds and bringing them into conversation with my own musical language.” Carl Orff’s rousing Carmina burana is among a handful of 20th-century compositions both firmly established in the concert repertory and enthusiastically embraced by popular culture. This grand choral extravaganza, based on medieval Latin poems, encompasses a wide range of themes, from the bawdy to the elevated, beginning with the famous opening invocation: “O Fortune! Like the moon ever-changing.”
The Philadelphia Orchestra is the only orchestra in the world with three weekly broadcasts on SiriusXM’s Symphony Hall, Channel 66, on Mondays at 7 PM, Thursdays at 12 AM, and Saturdays at 4 PM. 28 32
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THE MUSIC Ballade in A minor Samuel Coleridge-Taylor Born in London, August 15, 1875 Died in Croydon, England, September 1, 1912
History is filled with composers who burn bright and die tragically young, often leaving a legacy for the ages. Mozart only lived to see 35, Schubert died at 31; Pergolesi was 26 when he died of tuberculosis in 1736. Samuel Coleridge-Taylor was healthy for most of his life but died of pneumonia at 37. A Child Prodigy Despite the obstacles associated with being Black during the Victorian era, already in his early 20s this extraordinary composer began to emerge as one of the leading musical voices of the late 19th and early 20th centuries. He was born in London of an English mother, Alice Martin, and a Creole father from Sierra Leone, Dr. Daniel Peter Hughes Taylor. Samuel never knew his father, who returned to Africa before the boy was born, evidently without knowing Alice was pregnant. But his mother’s family included several musicians, and his maternal grandfather, Benjamin Holmans, gave him his first violin. Samuel showed remarkable gifts both on the violin and as a singer. He was barely 15 when he enrolled in the Royal College of Music, as a violin student of Henry Holmes. Members of the faculty (and especially the school’s director, George Grove, who was the founding editor of Grove’s Dictionary of Music and Musicians) were so impressed with his compositions that they immediately suggested that he switch to composition. A student of Charles Villiers Stanford, Coleridge-Taylor quickly produced a Clarinet Sonata, a Piano Quintet, and several songs. Upon graduation, he took up a career as a professional musician, conducting and assuming a post as professor at the Crystal Palace School of Music. He would later teach at Trinity College of Music as well. Influences from America By the late 1890s Coleridge-Taylor’s music was drawing attention, and in 1898 the Royal College organized a performance of Hiawatha’s Wedding Feast, a cantata for soloists, choir, and orchestra set to poetry of Henry Wadsworth Longfellow; no less than Stanford himself was on the podium. In 1900 the Royal Choral Society performed the composer’s full Hiawatha trilogy, which also included The Death of Minnehaha and Hiawatha’s Departure. During the first half of the 20th century this trilogy became almost as popular in Britain as Handel’s Messiah and Mendelssohn’s Elijah. Coleridge-Taylor’s music attracted the attention of Edward Elgar, an early admirer, and of Elgar’s friend, August Jaeger—whose publishing house, Novello, would in the ensuing years issue a number of the composer’s works. The music was also making headway in the New 30 34
World, and in 1904, 1906, and 1910 the composer accepted invitations to the United States, where he was received with acclaim, especially in Washington, D.C., Boston, and New York. He met W.E.B. Du Bois and other important figures in the early fight for equality, and he was invited to the White House by President Theodore Roosevelt. Coleridge-Taylor became friends with the poet and playwright Paul Laurence Dunbar, whose poetry he had set in 1897 as the African Romances for voice and piano. During his United States tours, in fact, he began to be aware of African American and African-inspired melodies, as expressed in works such as his Twenty-Four Negro Melodies (1905)— dedicated to Du Bois and aimed at bringing elements of this music into the classical tradition. Among Coleridge-Taylor’s works are an opera, Thelma (rediscovered in 2003); incidental music (Ulysses, Faust, Othello); ballet scores; a Symphony in A minor; a Violin Concerto; orchestral suites; cantatas; sacred choral music; chamber works; and a great many songs. A Closer Look The Ballade in A minor, Op. 33, came about when Elgar—having received a commission from the celebrated Three Choirs Festival that he was too busy to complete— recommended that they ask Coleridge-Taylor instead. “He is far and away the cleverest fellow going amongst the young men,” the elder composer wrote. “Please don’t let your committee throw away the chance of doing a good act.” The brilliant Ballade that resulted, first performed in Gloucester in November 1898, helped establish a name internationally for the 23-year-old. This powerfully Romantic tone picture combines Mendelssohnian clarity with a sort of operatic, even Verdian, melodrama. Yet there is something unmistakably English in the work’s dignified while mercurial character, and the majestic principal theme heard in the strings about three minutes in lends a nod to Elgar’s elevated manner. The themes are masterfully crafted and developed; the command of texture, idiom, and structure is second to none. The winds enter to indicate, in a decidedly self-conscious fashion, that this is not going to be as simple as one might have imagined; the drama continues in such an episodic manner that some have likened the piece to a poetic “ballad.” —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. Coleridge-Taylor composed the Ballade in A minor in 1898. The first Philadelphia Orchestra performance of the piece was on the Orchestra’s Martin Luther King, Jr., Tribute Concert in January 2001, with Raymond Harvey on the podium. Since then it’s been played only once, at the Saratoga Performing Arts Center in August 2025, with Naomi Woo conducting. The score calls for piccolo, two flutes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, and strings. Performance time is approximately 12 minutes.
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THE MUSIC Clara Gabriela Ortiz Born in Mexico City, December 20, 1964 Now living there
The composer and music educator Gabriela Ortiz has always claimed that she didn’t choose music—music chose her. Born to a musical family in Mexico City, she describes her hometown as having “no quiet place. Everyone has something to say, and music is how we say it.” Her parents were founding members of Los Folkloristas, a band dedicated to Latin American music and research. Ortiz grew up with a basement full of instruments, learning guitar and the mandolin-like charango side-by-side with Mahler, Mozart, and Beethoven. She began piano lessons by age eight, studying with a teacher she describes as a “Mexican version of Nadia Boulanger.” Ortiz studied at L’École Normale de Musique de Paris and at Mexico City’s Conservatorio Nacional de Música. Through her studies, she developed an immediate connection to the rhythms and modal vocabulary of Béla Bartók and switched her career focus from concert pianist to composer. Ortiz earned a master’s degree at London’s Guildhall School of Music and Drama and a Ph.D. in composition and electronic music from the University of London. She is currently on the composition faculty at the National Autonomous University of Mexico City and has premiered at least 10 major orchestral works in the past decade. She recently completed a year-long residency at Carnegie Hall and has held residencies at the Curtis Institute of Music and Spain’s Orquesta Sinfónica Castilla y León. Her 2025 ballet score Revolución diamantina, inspired by Mexico’s 2019 “Glitter Revolution” feminist uprising and recorded by Gustavo Dudamel, won three GRAMMY awards, including Best Contemporary Classical Composition for its title track. Transcending Musical Traditions Among the most recognized figures in contemporary Mexican music, Ortiz has opened doors for the “tapestry of sounds and culture” of other Latin American composers. She defines this music as “enormously wide in terms of its aesthetics,” with both nationalistic composers and those influenced by European schools or technologies. She has found a particular champion in Dudamel, who has premiered seven of her works and has said that her “ability to bring colors, rhythm and harmonies that connect with you is something beautiful and unique.” Rhythm plays a central role in Ortiz’s music; when told by a teacher to take the rhythmic pulse out of a piece, she responded, “Asking me not to use rhythm is like asking me to cut off one of my arms.” Ortiz’s scores speak to such contemporary themes as feminism and climate change through 36 32
stories of the natural world and how humans interact with it. “Music has the power to enrich the spirit of human beings,” she writes. “I believe music has the power to change lives and to change the souls of other people.” Clara, depicting the coming together of the two great artists Robert and Clara Schumann, was premiered on March 9, 2022, at New York’s Alice Tully Hall by the New York Philharmonic, conducted by Dudamel. A Closer Look A composer in her own right and one of the most important pianists of the 19th century, Clara Schumann was also her husband’s muse and editor. The fivemovement Clara is, as Ortiz explains, “an imaginary dialog across time. I was not interested in portraying Clara and Robert Schumann literally, but rather in imagining their inner worlds and bringing them into conversation with my own musical language.” The score features two extensive percussion sections including crotales, cabasa, claves, güiro, and three triangles. Ortiz employs two principal musical tools: a recurring rhythmic motive threading among the sections related to Clara and Robert and a haunting melodic oboe theme representing Clara’s intimate voice. Ortiz reiterates and transforms these elements throughout the work, “almost like memories.” In the central movement, she brings the Schumanns into her own sound world “with the rhythmic energy and orchestral color that are very much part of my musical identity.” Clara also explores a direct quote from Clara: “I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose—there has never yet been one able to do it. Should I expect to be the one?” To Ortiz, even more than a century later, the answer is “an absolute yes.” She views Clara as not only “a tribute to an extraordinary woman and artist but also a reflection on memory, creativity and the voices of women who challenged the limitations imposed on them by their time. I like to think that through Clara, Clara Wieck Schumann is here, in this concert hall with us.” —Nancy Plum Nancy Plum has been a program annotator for 30 years and has written notes for The Philadelphia Orchestra, the Kimmel Center, Carnegie Hall, and Philadelphia Singers, among others. She has been a music critic in Princeton for more than 35 years and is a member of the Philadelphia Chorale. She wrote a history of the U.S. Air Force Singing Sergeants and a book about an incident in the Cuban underground in the 1950s. Clara was composed in 2021. These are the first Philadelphia Orchestra performances of the work. The score calls for two flutes (II doubling piccolo and alto flute), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, timpani, percussion (bass drum, cabasa, claves, crotales, cymbals, glockenspiel, gong, güiro, snare drum, suspended cymbal, tom-toms, triangles, vibraphone, whip, wood blocks, xylophone), and strings. The piece runs approximately 17 minutes in performance.
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THE MUSIC Carmina burana Carl Orff Born in Munich, July 10, 1895 Died there, March 29, 1982
During the mid-1930s, Carl Orff’s position in German culture was, like so many other artists and musicians, decidedly precarious. He had been singled out by the culture Kampfbund in 1933 as a Bolshevist because of the foreign influence (especially that of Stravinsky) in his music. Under the Third Reich, Orff spent much of his time pursuing “safe” musical activities that appeased the Party without necessarily supporting it. And after the war he lied about his associations in order to avoid a career-ending classification by the Allies. If, however, he felt guilt that his career had survived, if not exactly thrived, under Nazi rule, it was primarily guilt by association. A Profane Cantata When Orff’s “profane cantata” Carmina burana was premiered in 1937, some officials within the Nazi Party were very critical of the work and its vivid eroticism. But, although not a member of the Nazi Party himself, Orff had high-ranking connections within the government, including some who spoke glowingly of the new cantata as typifying a “radiant, strength-filled life-joy.” And it was a popular success with German audiences right away. Still, Orff was never really able to escape the fascist associations of Carmina burana. It remained his one popular composition, and the only significant musical work to emerge from Nazi Germany that is still in the performing repertory. From its fully staged Frankfurt premiere in 1937 until the 1950s, Carmina burana was performed only in the formerly Axis countries of Germany, Austria, and Italy. Its United States premiere was delayed precisely because it had been widely regarded as the fascist product of Hitler’s Germany. But once it was heard in the United States, it was an instantaneous success, and Carmina burana—or at least its opening chorus—has become one of the most popular pieces of choral/orchestral music of all time. The title refers to a collection of medieval poems uncovered in 1803 at the Benedictine monastery in the Bavarian village of Benediktbeuern, Germany; Carmina burana is Latin for “Songs of Beuern.” The poems, mostly in Latin with some medieval German and French/ Provençal texts included, were written by 11th- and 12th-century monks and students. But instead of producing devotional poems, these monks—“Goliards” who had largely abandoned their holy responsibilities—penned irreverent, satirical, bawdy verses in praise of women and alcohol, and humorous satires of the papacy and the Church. Orff selected 34 38
two dozen poems from the 1847 published edition of Carmina burana and organized them into a loose libretto on themes of love, lust, and springtime, framed by the ubiquitous “O Fortuna” chorus. A Closer Look The visceral immediacy of Orff’s musical language in Carmina burana is laid out in this powerful opening chorus, which combines pulsating rhythmic ostinatos with chanted choral melodies that parallel the text’s medieval roots. The emphasis on percussion and the vivid orchestration throughout the cantata reflect Orff’s focus on percussion instruments in his Schulwerke (school works) and his esteem for Stravinsky’s ballet Les Noces. After the opening chorus, the piece lingers briefly on the painful wounds inflicted by Fate before subtly shifting to the emerging joys of Spring. The April sun begins to warm and soften the cold heartlessness of Fortune, and a baritone solo (“Omnia Sol temperat”) turns to thoughts of love, which the chorus enthusiastically affirms (“Ecce gratum”). In “Uf dem Anger” (On the Green), the lyrics and instrumental interludes paint images of pastoral joy. As the chorus sings of the hope that love will bloom with a fecundity to rival the freshly renewed forest, the overt flirting in these verses suggests that it is not so much “worthy love” but earthly pleasure being sought. Royal brass fanfares (“Were diu werlt alle min”) then announce that no worldly wealth could surpass the pleasure of sleeping with the Queen of England. With a twist of Fate’s wheel, that elevated aspiration comes crashing down as the scene shifts to the tavern, and the painful laments (“Estuans interius”) of a lowlife vagrant who has given himself over entirely to vice. A roasting swan—turning on a spit in symbolic imitation of the turning of Fortune’s wheel—similarly laments its miserable fate in mostly falsetto tenor solos (“Olim lacus colueram”). But this roast bird will soon become a gluttonous feast for the tavern’s other patrons. They collectively sing a tribute to the endless rounds of drinking and gambling (“In taberna quando sumus”) in a chorus that parodies the “oom-pah” accompaniment of a traditional Bavarian drinking song. Another sudden shift moves the action to the perfumed “Court of Love” where a chorus of cupids (“Amor volat undique”) encourage the amorous coupling. But the baritone continues to lament his fate (“Dies, nox et omnia”), resorting, as did the roast swan, to a falsetto voice to express the anguish of his pain. The appearance of a young maiden at first exacerbates his misery, but then develops into a real opportunity to fulfill his desires (“Veni, veni, venias”). In a gentle, pastoral serenade by the soprano soloist (“In trutina”), the maiden decides, too, to give in to pleasure. The joyful chorus that follows (“Tempus est iocundum”) confirms that, as hoped, love has indeed flowered into rapturous bliss, complete with an ecstatic high-D from the soprano. But the hymn to Venus that follows (“Ave formosissima”) is callously interrupted by a verbatim reprise of “O Fortuna,” a pitiless reminder that when one feels at the pinnacle of joy, Fate decrees that the only way is down. —Luke Howard
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Luke Howard is associate director of the School of Music at Brigham Young University, and for many years wrote program notes for The Philadelphia Orchestra, the Aspen Music Festival, and Utah Opera. His research focuses on classical music in popular culture and the reception histories of well-known concert works. Carmina burana was composed from 1935 to 1936. Thor Johnson conducted the first Philadelphia Orchestra performance of Carmina burana, in Ann Arbor, Michigan, in May 1955, with soprano Lois Marshall, tenor Leslie Chabay, baritone Morley Meredith, and the University Choral Union. The piece was then presented on a regular subscription program in April 1960 under Eugene Ormandy’s baton, with soprano Janice Harsanyi, tenor Rudolf Petrak, baritone Harve Presnell, and the Rutgers University Choir. Most recently on subscription, Fabio Luisi conducted it in March 2024 with soprano Audrey Luna, tenor Sunnyboy Dladla, baritone Sean Plum, the Mendelssohn Chorus of Philadelphia, the Philadelphia Boys Choir, and the Philadelphia Girls Choir. The Orchestra recorded the work for CBS in 1960 with Ormandy, Harsanyi, Petrak, Presnell, and the Rutgers University Choir. The score calls for three flutes (II and III doubling piccolo), three oboes (III doubling English horn), three clarinets (II doubling bass clarinet, III doubling E-flat clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (antique cymbals, bass drum, castanets, chimes, cymbals, glockenspiel, ratchet, sleigh bells, snare drum, suspended cymbal, tambourine, tam-tam, triangle), celesta, two pianos, strings, soprano, tenor, bass, mixed chorus, and children’s chorus. Running time is approximately one hour.
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Program notes © 2026. All rights reserved. Program notes may not be reprinted without written permission from The Philadelphia Orchestra Association.
MUSICAL TERMS GENERAL TERMS Aria: An accompanied solo song (often in ternary form), usually in an opera or oratorio Ballade: A term applied to an instrumental (normally piano) piece in a narrative style Cadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolution 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 Counterpoint: The combination of simultaneously sounding musical lines Dissonance: A combination of two or more tones requiring resolution Dynamics: The varying and contrasting degrees of loudness Harmonic: Pertaining to chords and to the theory and practice of harmony Harmony: The combination of simultaneously sounded musical notes to produce chords and chord progressions Legato: Smooth, even, without any break between notes Meter: The symmetrical grouping of musical rhythms Modal: A style of music that uses musical modes (such as Dorian, Mixolydian, or Aeolian) instead of traditional major or minor tonality to create melody and harmony 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. Ostinato: A steady bass accompaniment, repeated over and over Polyphony: A term used to designate music in more than one part and the style in which all or several of the musical parts move to some extent independently 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. Suite: During the Baroque period, an instrumental genre consisting of several movements in the same key, some or all of which were based on the forms and styles of dance music. Later, a group of pieces extracted from a larger work, especially an opera or ballet. Tempo: The speed of music Ternary: A musical form in three sections, A-B-A, in which the middle section is different than the outer sections Timbre: Tone color or tone quality Vibrato: Literally “to vibrate.” A musical effect where a note changes pitch subtly and quickly.
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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, feature discussions of the season’s music and 34D 42
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 Coat Check located in the lower lobby of the Kimmel Center. Hearing devices are available on a first-come, first-served basis. Large-Print Programs: Large-print programs for every subscription concert are available at the Coat Check located in the lower lobby of Kimmel Center. 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. Use of smart glasses, smart watches, or other devices to record performances is prohibited.
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. Susan Hakkarainen, Ph.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 Deborah Ledley* 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 Nézet-Séguin* Amy Oshiro-Morales* Benjamin Persofsky 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
Susan Y. Kim Frederick W. Kyle 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
* Ex officio
As of August 2026
THE PHILADELPHIA ORCHESTRA AND ENSEMBLE ARTS PRESIDENT’S LEADERSHIP COUNCIL 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., CoChair 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. 35
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EXPERIENCE MORE. MAKE MORE POSSIBLE. Photo: Pete Checchia
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CONTACT THE ANNUAL FUND OFFICE development@philorch.org or 215.893.3151
philorch.org/membership
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ANNUAL FUND Philanthropic support inspires and sustains The 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. 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. Contributions listed were received between January 1, 2025, and June 30, 2026. Please contact us if your name has been omitted in error or if you would like to update your recognition name.
ARTISTIC COUNCIL $500,000 AND ABOVE Elaine W. Camarda and A. Morris Williams, Jr. Ambassador David L. Cohen (ret.) and Mrs. Rhonda R. Cohen Estate of Mr. Robert T. Foley Dr. Amy Gutmann and Dr. Michael Doyle Osagie and Losenge Imasogie James and Agnes Kim Foundation John H. McFadden and Lisa D. Kabnick Leslie A. Miller and Richard B. Worley Adele K. Schaeffer Waterman Trust Anonymous (3) ARTISTIC COUNCIL $125,000 TO $499,999 Lois and Julian Brodsky Elaine W. Camarda The CHG Charitable Trust Dr. Alan R. Cohen and Michele Langer Constance and Michael Cone Dr. and Mrs. Robert R. Corrato Sarah Miller Coulson Tobey and Mark Dichter Dr. James F. Dougherty Susan and Jonas Ellenberg Robert Heim and Eileen Kennedy Gretchen and M. Roy Jackson Bennett Keiser and Joy Wilf Keiser Dr. Richard M. Klein Neal Krouse and Karl Fong Ralph and Beth Johnston Muller Caroline B. Rogers Peter and Mari Shaw Dr. and Mrs. Joseph B. Townsend Carol Tyler PRESENTERS CIRCLE $75,000 TO $124,999 Joseph and Marie Field Mrs. Penelope P. Harris Sandy and David G. Marshall Ms. Stephanie W. Naidoff, Esq. Joe Neubauer and Jeanette Lerman-Neubauer Mr. Charles Ryan John and Sandra Stouffer PRESENTERS CIRCLE $50,000 TO $74,999 Dean S. Adler and Susanna Lachs Adler Judith Broudy Christos Coutifaris and Deborah Driscoll Linda and David Glickstein Otto Haas Charitable Trust Mr. and Mrs. Chris Keith Joseph M. Manko, in loving memory of Lynn Manko
Estate of Ron North Robert L. Pratter Salkind Family Foundation Diane Schneider Richard and Amanda Smoot Mr. Oscar Tang and Dr. Agnes Hsu-Tang Michael and Renee Vennera Anonymous PRESENTERS CIRCLE $25,000 TO $49,999 Vijay and Susan Aggarwal Donald E. Barb, Esq., and the Rev. Bruce H. Davidson Peter A. Benoliel* and Willo Carey James and Micaela Brandau Karen Dougherty Buchholz Mr. and Mrs. Christopher B. Chandor Mr. and Mrs. John Fry Barbara and Jerome Glickman Juliet J. Goodfriend and Marc R. Moreau Nancy Gottlieb and Michael Spolan Vivian and Mark Greenberg Susan Hakkarainen Julia A. Haller, M.D. Ed and Ellen Hanway Ann S. and Steven B. Hutton Patricia and John Imbesi Rachelle and Ronald Kaiserman Gay and Donald Kimelman Dr. Peter Langmuir and Dr. Colette Desrochers Drs. Joan and Brook Lau Marguerite and Gerry* Lenfest In honor of Katherine O. Leone Mr. and Mrs. Bruce Leto Chris and Jeffrey Libson Susan and Frank Mechura Dr. and Mrs. John L. Neigh Miriam Ort and Lawrence Hirsch Estates of Adolf and Geraldine Paier Claudio Pasquinelli and Kyong-Mi Chang Benjamin N. Persofsky and Danielle Sandsmark Robert and Lynne Pollack Red Moose Charitable Trust Beth L. Rogers Lyn M. Ross Vincent N. and Lila Russo Allan Schimmel and Reid Reames* Constance Smukler, Trustee Smukler-Lasch Family Trust Dr. Cecilia Segawa Seigle Tannenbaum Mr. Wayne Titerence and Ms. Vicki Mechner Thomas and Patricia Vernon Judith W. Whellan Steve and Mary Beth Young Martin Zeldin and Bill Brinkman Anonymous
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PRESENTERS CIRCLE $15,000 TO $24,999 Barbara A. Alleva and Donald Ross Gant Dr. James R. Anderson M. Therese and Barry Bentley Mr. and Mrs. Robert Bickford Drew Camarda Alice Chen-Plotkin and Joshua Plotkin John Cornell Joslyn G. Ewart Mr. and Mrs. Moses Feldman Claudia and Richard Fischer Ryan Fleur and Laura Banchero Drs. Peter and Pamela Freyd John and Beth Gamel The Gant Family Foundation Ken and Sue Greathouse Peter Grove and Nancy Greene Leon and Miriam Hamui Joseph and Bette Hirsch Terry and Ann Marie Horner Toba and Lawrence Kerson Kevin King and Susan West King Sanford and Carol Levy Household Sally and Tod MacKenzie Tom and Linda McCarthy Jane G. Pepper Jeffrey and Deborah Pierce The Estate of Miss E. Irene Reymann Jon and Karen Richter Dianne and Jeffrey Rotwitt Mr. Richard J. Shaginaw Molly Shepard and Peter Dean Joan N. Stern Mr. and Mrs. Sheldon Lee Thompson Charles and Suzanne Valutas Dr. Bettyruth Walter Jennifer and Ralph Watts Carol A. Westfall Anonymous (4) PRESENTERS CIRCLE $10,000 TO $14,999 Erika Aaron and Marc Fliegelman 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 William and Sylvia Barone Drs. Robert and Jean Belasco Mr. George Benes and Mr. Michael T. Mallee Isabelle Benton and Aileen White 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 The Clarke Family Fund
Dr. Rosemary Cook Joyce Creamer Richard and Patricia Cummines Kenneth and Nancy Davis MaryAnn Edwards* Dr. Bruce Eisenstein in memory of Dr. Toby Eisenstein Alex J. Ettl Foundation Eph and Pat Fithian Mr. and Mrs. David M. Friedman Mr. and Ms. Donald A. Goldsmith Janet Goldstein In memory of Rena and Morton C. Grad and John de Lancie Nancy S. Halpern Fred and Michelle Harde Mr. and Mrs. Stephen Harris Katherine Hatton and Richard Bilotti Nina Henderson Ms. Rhoda K. Herrold, in memory of Deenie and Yale Evelev Richard H. Holzer Memorial Foundation Eric and Lenora Hume Stockton Illoway and Mac K. Griswold Ms. Lisa R. Jacobs Andrew Jacobson and Carol Overvold Lyn Kratz and Pamela French Jeffrey Leonard Nestor Llorente and Don Jones Lurie Family Foundation Dr. Ann Elizabeth Mayer Paul H. McKelvie Mr. and Mrs. Bruce McKittrick Missy and Bob McQuiston Estate of Mary and David Meese Arlene N. and David Morgan Dr. Jill Mortensen Mr. Alexander Nikas and Dr. Marianne Ruhl Nikas Mrs. Sarah Peterson Dr. and Mrs. Joel and Bobbie Porter Susan and David Rattner Allan Rayfield Mrs. Willa Rosenbloom Dr. Marta Rozans and Prof. Ilan Peleg Edward and Shelley Sigman Kathleen and Roger Smith Samuel and Rosanne Spear Walter and Alice Strine, Esqs. Kathrine Abbat Threefoot The Vert Charitable Trust Peggy Wachs Penelope and Thomas Watkins Mary E. Webb Anonymous (5) AMBASSADORS CIRCLE $5,000 TO $9,999 Mrs. Neysa Adams
Mr. and Mrs. Lawrence J. Arem Drs. Janine and Barry Arkles Lynn Axelroth and Cricket Handsaker The Albert W. Bader Foundation Drs. Claudia and Richard Balderston Carol Beam Jeff Benoliel and Amy Branch John D. Benson, Esq. Narinder and Tracy Bhalla Andrea Biondo and Kenneth Hartzell Allen D. Black* and R. Randolph Apgar Ms. Donna Brennan and Dr. James Bergey Dr. and Mrs. I. Stephen Brown Julie Jensen Bryan Mr. and Mrs. James M. Buck III 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 Dr. Robert Cody Stephen Cohen and John McNett Ruth M. and Tristram* C. Colket, Jr. Peggy Cooke Jeffrey Cooper and Nancy Klaus Evelyn S.* and Rodney D. Day III Mr.* and Mrs. Willem K. Dikland Ellason Downs Perpetual Charitable Trust Ms. Carol S. Eicher Mr. and Mrs. Spencer Ervin, Jr. Audrey Escoll Andrew E. Faust and Ann Russavage-Faust Mary Felley Allen R. and Judy Brick Freedman John R. and Karen S. Fulton III Patsy and Ed Garno Jim and Kay Gately Anna Marie and Michael Gewirtz Ms. Phyllis S. Gitlin Howard and Norah Goldfine Mary L. Goldman David and Bonnie Goldmann Mrs. Antonia Gordon Charles and Alison Graham Lyn and Harry Groome Gni Grossman and Christopher Murray Diana and Robert Harding Mr. Charles Head, Jr., and Mr. John Faggotti Hope and Stephen Heaney Martin and Cynthia Heckscher Mr. and Mrs. Christopher Henkels, in memory of Paul M. Henkels Marybeth Henry Jan Hoek and Marja Hoek-Smit 39
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$5,000 TO $9,999 CONT. Mr. and Mrs. Joseph Jacovini Susan E. Kane Arthur M. Kaplan and R. Duane Perry Estate of Robert Michael Kelly Mr. and Ms. Andy Kirk Ms. Gabrielle Kissling Dr. and Mrs. Anton J. Kleiner Mr. and Mrs. Robert C. Kline 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 Joseph Manko, Jr., and Jennifer Porges Dr. and Mrs. Richard Markowitz Dwight and Christina McCawley Susan and Graham McDonald Mr. and Mrs. James M. McGrath Mr. and Mrs. Joseph J. McLaughlin, Jr. Robert and Claire McLear Mr. and Mrs. Marshall Meyer Mr. and Mrs. Paul W. Meyer Madelyn Mignatti Mr. Mladen Milic and Dr. Barbara Wolf Mr. and Mrs. Stephen Miller Mr. and Mrs. Kenneth D. Mitchell Mr. and Mrs. H. Laddie Montague, Jr. Virginia Montgomery Mr. and Mrs. Rodman W. Moorhead III 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 Hai-Ye Ni and Alfred A. Brown Northwest Connecticut Community Foundation, Inc. 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 Sevgi B. Rodan, Ph.D. Marney Roia Dr. Louis and Mrs. Val Rossman Linda S. Rothermel Marilyn C. Sanborne and Richard J. Labowskie Mr. and Mrs. Charles Schelke Mrs. Carole L. Schultz
Fredda L. Segal Christine J. Shamborsky Mary Ann Stehr Elizabeth Stokes and Lynne Brown Stacy Stone and Stephen McMillan Mr. and Mrs. William Stone Dr. Edward L. Sung Ardith Talbott Dr. Alan E. Tasoff and Jacalyn Shelley-Tasoff Cynthia Tehan and Ed Dougherty Ms. Nancy L. Tindall Bill Untereker Nancy and Bruce Urbschat Mr. and Mrs. Archbold D. van Beuren Richard and Carolyn Veith Maria Parisi Vickers Laurie Wagman Dr. R.J. Wallner Rebecca Wells and John Tobias Alan and Leni Windle Ursule Phaeton Yates Mr. and Mrs. Harold L. Yoh III Daniel Yoshor Walter A. Zanchuk and Norma Milne Zanchuk Stephen Zeller James W. and Debora C. Zug Anonymous (13) AMBASSADORS CIRCLE $3,500 TO $4,999 Kenneth Abbott Amaranth Foundation, Joan M. Moran, Trustee Gary and Mary Ammon Dr. Ronald and Mrs. Catherine Anderson Dr. Carolyn Asbury Mary Jo Ashenfelter and Thomas S. Heckman Myrna and Howard* Asher Theodore H. Ashford Sarah Batchelor and Kirk Schneider Joel D. Beaver Jan R. Birsch Mr. and Mrs. Stephen Bleyer Samuel A. Bobrow and Maxine Blum Dr. and Dr. Bruce M. Bogdanoff The Bohan and Fox Family Ira Brind and Stacey Spector Ms. Marilyn A. Brown Nancy Carey and DeWitt Brown Barbara R. Cobb for the Hamilton Family Foundation Hon. Lita Indzel Cohen Selden Cooper and Paige Edwards Ms. Eileen Courtney Dr. Ana Diez-Roux and Mr. Jose A. 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 Ren Egawa in memory of Jan Popper Helen and Phillip Escaravage Robert N. and Doris D. Fanelli 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 Robert Gelsher Eduardo Glandt and George Ritchie Susan Kohn Gleeksman Joseph and Jane Goldblum Robert Graff Stephan A. Grupp and Sheryl Forste-Grupp Mr. Richard Guerrein and Mr. Harry Miller Mrs. Jane M. Hastings Archibald C. Hewes Mike Hinkson Kathy Hirsh-Pasek and Jeffrey Pasek Lois Horgan Dr. and Mrs. Leonid Hrebien Mark and Sally Hurwitz Erika James Ralph Johanson Mr. and Mrs. Melvin Jones Clare Kahn Donald and Dorothy Kardon Dr. Maureen Kelly Kenneth Klothen and Eve Biskind Klothen Timothy E. Koehler Mrs. Beth Ann Wahl Kolpen and Mr. Jack Kolpen Shira Kramer and Leon Josowitz Robert Logemann Drs. W.B. and Sarah S. Long Dr. and Mrs. Michael B. Love Lawrence and Nancy Ludgus Robert and Lynn V.D. Luft Mr. and Mrs. Robert Lukens Linda and David Marder Dr. Bernard A. Mason and Jane R. Mason Denise McCleary and Paul von Behren Russell L. McTague Michael and Anna Minkovich Margarita Montanaro Mrs. Beverly Monteverde Mr. Edward A. Montgomery, Jr. Mr. and Mrs. Stuart Ockman Ellen J. Odoner and Edward W. Kerson Mr. Frederick Oster and Ms. Catherine Jacobs
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Linda and David Paskin Barbara L. Phillips Mrs. Vivian W. Piasecki* Dr. Leo Podolsky and Ms. Debra Ross David Rhody David Richman and Janet Perry Dr. Elizabeth and Mr. Hershel Richman Gretchen and Jay Riley Pamela and Gresham Riley Mr. Hugh Rosenbaum Mr. and Mrs. Mark E. Rubenstein John Salveson 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 T. Harris Mr. and Mrs. Robert L. Stevens Mr. Brian A. Stumm Gabriella and Norman Sykes Jack and Ramona Vosbikian Dr. and Ms. Scott A. Waldman Daniel V. Walls* Julie D. Williams John Zurlo and Margaret Kreher Anonymous (2) FRIENDS CIRCLE $2,500 TO $3,499 Dr. Janice Asher Richard and Jane Baron Ellen W. Baxter and Robert W. Kavash Cathy and Saul Behar Robert D. Behar Ms. Diane Bernoff Howard Blumstein Lois Boyce Ms. Linda Bross Mrs. Linda Burke The Estate of Mr. and Mrs. Charles M. Butler Mark and Cindy Butler Stephen Denning Dr. H.T. Dombrowski Dr. and Mrs. William L. Elkins Thomas Faracco Ellen W. Freeman Charles and Judith Freyer Michael Gealt and Maryjanet McNamara Dr. and Mrs. Thomas P. Gerrity Glazer Family Foundation Mr. and Mrs. William J. Hill Melissa Hsu Mr. and Mrs. Richard B. Johnson Lori Julian Mr. and Mrs. Howard L. Kaye
Denise and Robert Keyser David and Jane Kim Mrs. Sylvia Kreithen Janet Kronfeld Dr. Leona Laskin Sherman Leis and Bozena Bonneau Sheila Leith Fran and Leon L. Levy Merle and Marvin Levy Ms. Carolyn Lewis Sylvia and Norman Lieberman Jay Lippincott Elizabeth M. Mahoney Elizabeth McLean Dr. Howard and Janet Mendel Ms. Nancy L. Middlebrook Kathleen S. and Arthur S. Miller Dr. Margaret Motl Charles and Etta Nissman Jonathan Pearce Judy and Jim Pohlman Ms. Nancy Pontone Mr. and Mrs. Alfred Rauch, Jr. John and Claire Rodgers 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 Paul Starita and Carolyn E. Prue Dr. Christina A. Stasiuk and Mr. George M. Farion Dr. Mary K. Stom and Ms. Dru E. Hammell Jadwiga Villa Mr. and Mrs. Luciano Virgili Nina Robinson Vitow 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 (4)
Daniel Christiansen Mr. 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 Ruth M. Kasow Thomas Kerrigan Marjorie and Nolan* Miller Kathleen Moran and Nicholas Smith April and Brendan O’Brien Mr. and Mrs. Anthony Orlando Doris Parent Anna Marie Ahn Petersen Harold Hall Robinson Olivia Schultz Christopher Shaw Joseph Sinkus and Christopher Labonte Drs. Kobie A. Smith and Vincent T. Harris Anonymous *Deceased
We are proud to recognize the following musicians, retired musicians, and staff who have generously contributed to the Annual Fund. Mr. and Mrs. Blair J. Bollinger Davyd Booth and Carlos Perez* 41
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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 January 1, 2025, and June 30, 2026. 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 Ford Foundation The Horace W. Goldsmith Foundation The Hess Foundation Knight Foundation William Penn Foundation Pennsylvania Department of Community & Economic Development Philadelphia City Council $100,000 TO $499,999 The Arcadia Foundation Bank of China The CHG Charitable Trust China National Tourist Office New York Independence Blue Cross Merck and Co., Inc. PECO PNC Bank The Presser Foundation TD Bank $50,000 TO $99,999 Paul M. Angell Foundation Bells Grocery Store Chubb John Ciccone Playhouse KeyBank Kind Insurance KPK Development Co. LP The McLean Contributionship Vault Communications TN Ward Company Builders Anonymous $25,000 TO $49,999 Abington Neurological Associates Action Karate Brotherston Homecare China Center for International Communication Development Comcast NBCUniversal Drexel University Eagles Autism Foundation Faegre Drinker Biddle & Reath, LLP Amy P. Goldman Foundation Gray Charitable Trust Hamilton Family Charitable Trust Highmark Blue Shield The Christian Humann Foundation JKG Florida Business Corp. Katznelson Associates, LP MKM Foundation Ninja Transfers LLC Oak View Group Hospitality Ollin, LLC Raynier Institute & Foundation Rush Order Tees Tito’s Handmade Vodka
$15,000 TO $24,999 Cozen O’Connor Duane Morris, LP Essential Utilities Ana Ferriera Law Office The Anne M. and Philip H. Glatfelter III Family Foundation Independence Foundation The Blanche and Irving Laurie Foundation JPMorganChase Mrs. Ressler’s Food Products Truist Universal Health Services, Inc. $10,000 TO $14,999 Always Best Care Senior Services Elliott-Lewis Corporation The Hassel Foundation Laudenbach Periodontics and Dental Implants Lincoln Financial Group Foundation One Source Reps Origlio Beverage Qlik MJ Settelen Subbio Center for Plastic Surgery Team Clean, Inc. $5,000 TO $9,999 The Capital Grille The Aaron Copland Fund for Music, Inc. C.S.F. Technologies DBS Audio Systems Deshow Wellness & Aesthetic Center Dolfinger-McMahon Foundation Gitlin Family Foundation Grant Thornton, LLP HUB International H.F Lenfest Fund of the Philadelphia Foundation Christian R. and Mary F. Lindback Foundation M&T Bank M3 Printing Philadelphia International Airport Sarah West Real Estate PC
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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. The Volunteer Committees for The Philadelphia Orchestra are grateful to the Lynn K. Manko Volunteer Endowment Fund for its ongoing support. List complete as of July 21, 2026 EXECUTIVE COMMITTEE OFFICERS Deborah Ledley*, President Richelle Rabenou, Immediate Past President Marie Kenkelen, Vice President Diane Larzelere, Treasurer Sheila Cox*, Secretary GOVERNING BOARD CHAIRS Central: Jean Park Main Line: Jill Acker New Jersey: Diane Larzelere Rittenhouse Square: Marlena Kleit and Fran Schwartz Starlight Circle: Anna Minkovich STANDING COMMITTEE CHAIRS Annual Giving: Nancy Galloway Education: Michelle Fella Przybylowski* Marketing: Robin Bender Stevens
Special Functions: Jennifer Porges Volunteer Archives: Elizabeth A. Crowell VOLUNTEER COMMITTEE MEMBERS Dennis Adams Dr. Susan C. Aldridge Kimberly Allen Pam Alles Barbara A. Alleva Rosana Anchondo-Issak* Mrs. Betsy Anderson Dr. Marilyn H. Appel Dr. Nikki Ariaratnam Kelly Arzoumanian Sylvia Barone William Barone 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 Deanna Blackwell Jordan Blackwell Mrs. Thomas H. Bliss Ann Young Bloom Mrs. Peter Bodenheimer Katherine Borish Lois Boyce Judith Bradley Sibby Brasler Anna Breyman Lev Breyman Mrs. Leanore Brookman Judith Broudy Ms. Carol Melman Brown Mrs. Roland K. Bullard II Robin Burgos Mrs. Howard Butcher IV Mrs. John P. Butler III Mrs. Donald F. Cafiero Mrs. Alfred M. Campbell III Beverly Caplan-Freeman Fran Cardella* Lorin Carlson-Healy Nicole A. Cashman Mrs. Thomas A.V. Cassel Sara Cerato Kris Christensen DeAnn P. Clancy Rebecca Clement Marsha Cohen Frances Connolly Peggy Cooke
Mrs. Lawrence Freed Cooper Michael Coraluzzi Sarah Miller Coulson Mrs. James E. Crutchfield 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 Diane Fuchs 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 Jennifer Goodbinder* Dr. Janice Taylor Gordon Dr. Thelma B. Gosfield Mrs. Richard B. Gould Carole H. Gravagno Grete Greenacre Susan Grossman Ms. Nancy V. Gulick Kate Hall Ronna Hall Noel Butcher Hanley Fred Harde Michelle Harde* Mrs. Jane M. Hastings Mrs. Patricia Heidler Marybeth Henry Mrs. Frances Herr* Mrs. Robert B. Hobbs, Jr. Joan R. Holmes Mrs. Stephen R. Holstad Eric Hume Lenora Hume Dr. Adrienne Jacoby David Jannetta Yardly R. Jenkins 43
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Jamie Joffe Karen Jones Mrs. Mary Anne Dutt Justice Mrs. Wilma C. Katz Ms. Phyllis Kauffman Debra Kempf Kris Kent Gina Kernicky John Kernicky Diane Kessler Liz Knudsen* Ms. Ellen G. Kopeland Mrs. Bernice J. Koplin Laura Bender Koropey Mrs. Anthony Lame Mrs. MaryAnn Landmesser Kelsey Larzelere Molly Lawrence 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 Lisa Lloyd 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 Dr. Susan McGroarty Mrs. Stella McSparran Ms. Peg Mertz Harvey S. Shipley Miller Mrs. Keiko Miller Leslie A. Miller
Mrs. Philippus Miller, Jr. Michael Minkovich JoAnn Morgano 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 Mrs. Wilber W. Oaks, Jr. Kay O’Grady Diane Oliva Mrs. Mimi O’Malley Carol Orenstein Mrs. Eleanor Oxman* Alice Pakman* Mrs. Regina H. Pakradooni Claudio Pasquinelli* Mrs. Sandra Pfaff Mrs. John W. Piasecki Linda Pizzi* Elizabeth Pontillo Mrs. Malcolm D. Pryor 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 Schupbach
Mrs. Michael P. Schwartz Faye Senneca Linda A. Serotta Maria Shamkalian Marla Share Carol C. Sherman Annabelle Shore Ron Simon Ms. Irina Sipe Theresa Slater Mrs. Carol Smith Cyndee Solomon Ann Sorgenti Carol Spinelli Joyce Stein Dee Dee Stewart 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 Sharon Yoh Bonnie Young Mrs. Gilbert G. Young Anonymous (4) *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 2026 Notable Kitchen Tour: Bluebell Fine Cabinetry & Design Cullen Construction Ernst Brothers Judith Gibbons Hallowell Construction Company Kountry Kraft, Inc. Pinemar Royer Cooper Cohen Braunfeld LLC Skylight Foundation Spire Builders The Hope and Tim Ulrich Fund Lisa Yakulis Properties Peter Zimmerman Architects, Inc. 44
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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 June 30, 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 Donors to the Allison Vulgamore Legacy Endowment Fund The Wahl Endowment Fund for Music Education, established by Beth Ann Wahl Kolpen Anonymous (4) 45
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$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 Mrs. William Gerstley II* Deborah E. Glass 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)
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 In memory of John B. Leake William Lake Leonard Mrs. Anna Hayward Lisle*
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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. Contributions received between January 1, 2025, and June 30, 2026
PROSCENIUM CIRCLE $25,000 AND ABOVE Joanna McNeil Lewis Leslie A. Miller and Richard B. Worley Pennsylvania Department of Community and Economic Development Caroline B. Rogers Twenty Fifth Century Foundation DIRECTORS CIRCLE $10,000 TO $24,999 Mr. and Mrs. S. Matthews V. Hamilton Jr. Mr. and Mrs. Harry Edward Hill III Bruce and Robyn Leto Ms. Jacqueline Badger Mars Sandra and David Marshall
FRIENDS $1,000 TO $1,499 Frank and Sandra Baldino Mr. and Mrs. Robert F. Carfagno Dr. and Mrs. Joseph P. Costabile Betsy and Kevin Donohoe Ryan Fleur and Laura Banchero Jim and Kay Gately Peter G. Gould and Robin M. Potter Ms. Rita W. Ingersoll William A. Loeb* Ms. Stefanie W. Lucas and Mr. Christopher Thompson Asuka and Karen Nakahara Mrs. Bonnie Rocap Catherine A. Worrall *Deceased
PRESIDENTS CIRCLE $5,000 TO $9,999 Mr. Rodney D. Day III Mr. and Mrs. Donald Kimelman Mr. and Mrs. Robert Legnini The Philadelphia Contributionship Mr.* and Mrs. Bernard Spain Penelope and Thomas Watkins BENEFACTORS AND PATRONS $1,500 TO $4,999 Barb and Clarke Blynn Sibby Brasler Mr. and Mrs. James M. Buck III Barbara R. Cobb Ian and Marci Comisky Penelope P. Harris Gail Howard Mr. and Mrs. Kenneth E. Jones Robert and Margot Keith Maxine de S. Lewis The McCausland Foundation Mr. and Mrs. Frank Mechura Mr. and Mrs. John Murabito Mr. and Mrs. Benjamin R. Neilson Valerie and Will Schwartz Harold A.* and Ann R. Sorgenti Mr. and Mrs. Archbold D. van Beuren Janine and Jeffrey Yass
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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 June 30, 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 Mr. Peter A. Benoliel* and Willo Carey Ms. Jane Berryman Jan R. Birsch Wilson H. Black Jill and Sheldon Bonovitz Mrs. Frances Brenner Dr. Nancy Broz 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 Beverly Caplan-Freeman Lawrence Chanen William Clemens* and Robert Leis Mr. and Mrs. Anthony A. Clifton Dr. Alan R. Cohen Ambassador David L. Cohen (ret.) and Mrs. Rhonda R. Cohen
Gianne Conard Mrs. M. Todd Cooke Joyce J. Creamer Ann Csink Tobey and Mark Dichter Lisa and Peter DiLullo Norman E. Donoghue, Esq. Mrs. Anne Dooley Dr. James F. Dougherty 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 Neil Goldfarb Howard and Norah Goldfine Dr. Alfred E. and Adele* Goldman P. Duane Groves Betty and Gary Grunder Amy Gutmann and Michael Doyle 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 Michele G. Hyk-Farlow Linda R. Jacobs Jerome Kaplan, Esq. Dr. Richard B. Kent Robert E. Keppler Carolyn Kidder Dr. Richard M. Klein Mr. and Mrs. Robert C. Kline 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 Judith Morgan Lloyd Denis Lohman and Ellen Feldman Lohman Mrs. Robert S. Lovett II Mr. Donald Malpass, Jr. Dr. and Mrs. Robert L. Meckelnburg Carol R. Meister Mrs. Philippus Miller, Jr. Arlene Notoro Morgan Ms. Fran D. Moskovitz
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 Miriam Passarella Barbara L. Phillips B.J. Phillips and Kath Howarth 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 Harold and Marianne* Sacks Jeffrey and Kendell Saunders Catherine and Steve Schifter Allan Schimmel Mr. and Mrs. Gary G. Schlarbaum 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 Thomas and Patricia Vernon 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
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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: Natalie Sandstrom
“
I included The Philadelphia Orchestra in my estate plans because it is the cultural gem of Philadelphia, and I want to assure that future generations
Philanthropic Engagement and
enjoy what I have been
Legacy Giving Officer
privileged to enjoy.”
nsandstrom@philorch.org
— Joel Beaver, Wister Society member
Photo: Pete Checchia
215.790.5867
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ADMINISTRATIVE STAFF The Philadelphia Orchestra and Ensemble Arts EXECUTIVE OFFICE Ryan Fleur, President and Chief Executive Officer Crystal Brewe, Executive Vice President and Chief Operating 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 PLANNING Orchestral Programmimg Makiko Freeman, Artistic Administrator Christa Bean, Director, Artist Services and Choral Administrator Andrew Mellor, Audio Producer and Engineer Stephen Alston, Assistant to the Music and Artistic Director and Artist Liaison 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 Laura McClatchy, Programming Artist Relations Manager Annika Jorgensen, 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 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 Joey Narducci, Assistant Head Electrician AUDIENCE EXPERIENCE / INFORMATION TECHNOLOGY Matt Cooper, Vice President and General Manager, Audience Services and Information Technology Meg Hackney, Director, Ticketing and Audience Services Jessa Bintliff, Manager, Audience Services Emily Grove, Training Manager Catherine Pappas, Subscription Project Manager 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 Logan Griffin, Audience Services Associate Kayla Jones, Audience Services Associate Alicia Katz, Ticketing Operations Associate Hazel Schaffer, Audience Services Associate Benji Childs, Tickets Operations Coordinator Box Office Dan Ahearn, Jr., Manager Michelle Messa, Assistant Manager Marie McCarthy, Assistant Treasurer William Qualls, Assistant Treasurer Thomas Sharkey, Assistant Treasurer Mike Walsh, Assistant Treasurer
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COMMUNICATIONS Andrea Garcia, Vice President Darrin T. Britting, Director, Publications and Content Development Lauren Hall, Director, Program Public Relations, Ensemble Arts Presentations Travis Wurges, Video Producer Roberta Gorin-Paracka, Associate Director, Digital Asset Management Doménica Castro, Marketing Content Associate Jake Rogan, Coordinator, Communications COMMUNITY IMPACT AND CIVIC ENGAGEMENT Leslie Patterson-Tyler, Senior Vice President Nadine Choucri, Coordinator Education Catherine Charlton, Vice President 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 Government Affairs Joel Volcy, Director DEVELOPMENT Kobie Smith, Chief Philanthropy Officer Anna Marie Gewirtz, Vice President, Philanthropy Liz Saccardi, Vice President, Philanthropy Rachel Messeck, Director, Development Communications Kelsea Reel, Development Manager 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
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Donor Relations and Stewardship 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 Lara Sinangil, 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 Kevin Quinn, Chief Engineer Jonathan McCarthy, Maintenance Mechanic Gary Stanford, Maintenance Mechanic Kevin Hamilton, Dockmaster Trondell Hill, Project Manager, Housekeeping Derrick Johnson, Manager Evani Outerbridge, Business Manager, Housekeeping Angela Schiavo, Painter Donna Cloman, Administrative Assistant Brea Kelley, Administrative Assistant Office Services Kathie Cronk, Senior Manager, Workplace Operations Nahema Rivers, Administrative Services 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 Stephanie Still, Staff Accountant, Accounts Jamie Zorrilla-Gray, Staff Accountant/Accounts Payable Lexi Foll, Administrative Coordinator Julrena Outen, Payroll Coordinator HOSPITALITY AND VENUE SERVICES Carrie Reynolds, Associate Vice President Business Development Conner Lucas, Director, Food and Beverage Business Jennifer Monahan, Director, Event Sales Audrey Gildea, Senior Sales Manager Event Services Shawn Cotugno, Senior Manager Katie Masterson, Senior Manager Shannon Walsh, Senior Manager, Scheduling and Client Relations Venue Services Lindsay Berckman, Senior Director Kyleigh Taylor, Director, Audience Experience Julie Bernard, Manager, Operations Support Delaney Burke, Manager, Guest Services Keith Donaghue, House Manager Rose Farrell, House Manager Korey Jones, Venue Manager, Kimmel Center Thomas J. Kerrigan, House Manager Todd Kunze, Venue Manager, Academy of Music and Miller Theater Erin Lunsford, Administrative 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 Safety and Security John Gallagher, Director Euronn McCloud-Armstrong, Assistant Director, Security Matthew Lally, Security Manager Henri Byrd, Security Supervisor Mia Lowry, Security Supervisor 51
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Dominic Mirarchi, 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 Derek Matterson, Security Officer INFORMATION TECHNOLOGY Jamie Shover, Vice President Pari Dasmuth, Director, Business Applications and Project Management Tristian Gay, Director Katherine Knorr, CRM and Business Application 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 Elizabeth Hess, Vice President Geoff Cohen, Associate Vice President, Marketing, Philadelphia Orchestra Karina Kacala, Senior Director Victoria McCabe, Director, Marketing, Philadelphia Orchestra Neil Waite, Director, Marketing, Ensemble Arts Presentations Carrie Williams, Associate Director, Marketing, Ensemble Arts Presentations Erica Barry, Manager, Marketing, Philadelphia Orchestra Kacy Hofstetter, Manager Taylor Martin, Manager Manisha Modi-Davis, Manager, Audience Development, Ensemble Arts Presentations Alec Newell, Manager, Audience Development, Philadelphia Orchestra Erin Witman, Manager, Marketing Administration Matthew Nicolosi, Senior Data Analyst Remy Perez, Graphic Design Project Manager Zoe King, Data Analyst Alison Hopkins, Marketing Associate Emma Noel, Marketing Associate Rachel Bennett, Graphic Designer 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
Rachael Micucci, Marketing Manager, Customer Journey Lindsay Goldschmidt, Digital Marketing Associate PEOPLE AND CULTURE Doris Parent, Chief Culture & People Officer Christopher Shaw, Vice President Jessica Rivera, Senior Director, People & Culture Operations Jazmyn Sellers, Manager Indonesia Young, Talent Management Specialist Ashley Colston, Coordinator ADMINISTRATIVE OFFICES 300 South Broad Street Philadelphia, PA 19102 Phone: 215.893.1900 www: philorch.org
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Photo: Allie Ippolito
SUPPORT ARTS EDUCATION WITH YOUR TAX DOLLARS Did you know that you can support our arts education programs and receive PA tax credit for up to 90% of your donation?
Your Impact In Action
40,000+
students served annually
6,150
students from 105 schools attended our Jane H. Kesson School Concerts
544
school buses brought students to the Kimmel Center
Scan to learn more, or visit philorch.org/EITC
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