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May 2014



May 17, 20, 22, 24 opera presentation: LeoŠ JanáČek’s The Cunning Little Vixen

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WEEK 21 7 8


In the News From the Executive Director . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Copyright © 2014 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL:

About the Orchestra About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Young Audiences . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Guest st Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

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Week ek 21 Opera: The Cunning Little Vixen May 17, 20, 22, 24 . . . . . . . . . . . . . . . . . . . . . Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . . Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Janáček: The Composer Who Almost Didn’t Conquer the World . . . . . . . . . . . . . . . . . . The Cunning Little Vixen: Opera in Three Acts . . . . . . . . . . . . . . . . . . . . . . . .

34 36 37 38 41 43



The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.


Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . 15 Singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67


The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.


All unused books are recycled as part of the Orchestra’s regular business recycling program.

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . Corporate Annual Support . . . . . . . . . . . . . . . . . . . Foundation / Government Annual Support . . . Individual Annual Support . . . . . . . . . . . . . . . . . .

This program book is printed on paper that includes 50% recycled post-consumer content.

48 73 75 76

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94

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The Cleveland Orchestra


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Š 2014

“There’s an inclusiveness here that I couldn’t get anywhere else.”

—Jordan Perlman, Judson Manor resident since 2007

Judson Manor resident Jordan Perlman has amassed • Walks to the Cleveland over 8,000 volunteer hours at Cleveland Clinic, Museum of Art greeting patients and guests. “I answer about 80 • Frequently hosts questions a day,” he says. dinner parties Jordan moved to Judson Manor because it was • Apartment showcases convenient to all the things important to him—his Clinic his eclectic art collection volunteer position and Cleveland’s cultural scene. This is Smart Living™ defined at Judson Manor. Interested in learning more? Call (216) 791-2004 to arrange for a tour today.

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Perspectivesfrom the Executive Director Spring 2014 Two of this season’s major projects take place in May — following many months of planning and much preparation. The first is the premiere here at Severance Hall of our brand-new, made-for-Cleveland production of Leoš Janáček’s opera The Cunning Little Vixen, with evening performances on May 17, 20, and 22, and a special matinee on Saturday, May 24. At the same time, from May 17 to 24, the Orchestra is celebrating a week of musicmaking in Lakewood during our second “At Home” neighborhood residency. Together, these two projects showcase our commitment to serving the community with diverse performances and collaborative partnerships. Franz Welser-Möst is at the center of both projects. In addition to leading the performances of Vixen, he will conduct an Education Concert for Lakewood High School students on May 23 and the culminating free public concert of our “At Home” in Lakewood residency on Saturday evening, May 24, bringing to a close an action-packed week of music performances, community activities, and public musical get-togethers. Every day of that week, Cleveland Orchestra musicians are involved in exciting and sometimes unexpected ways to bring music to the streets and homes of Lakewood, and into the lives of its citizens. The week’s presentations and collaborations also bring to a close the residency’s special semester-long involvement with Lakewood’s music education programs. Franz has also been instrumental in integrating opera into The Cleveland Orchestra’s annual schedule at Severance Hall. This season, with The Cunning Little Vixen, we are creating our own brand-new operatic production for the first time since the mid-1980s. For this, we are jumping forward with technology, to create a presentation that compellingly combines live action with projected video animation. Working with director Yuval Sharon and the creative team at Robot Studios in Los Angeles, we are building this innovative production from the ground up. Because of the unique nature of this opera production for The Cleveland Orchestra and Northeast Ohio, we are using new ways to communicate the excitement of this undertaking. A series of video “Production Diaries” about The Making of The Cunning Little Vixen is unfolding online. These videos feature behind-the-scenes looks at the creative team and processes in motion. I hope that you will take a few minutes to see what’s in store for you at Severance Hall in May. Visit to view these using the homepage link. It takes concentrated effort, many hands, and dedicated focus to do all of this. Not just from the Orchestra musicians, staff, trustees and other volunteers, but from the community surrounding us, supporting us, and collaborating with us. Our neighborhood residencies are created at the grassroots level. This year’s partnerships with businesses, schools, and organizations from across Lakewood have been stimulating and creative. The opera production is also possible only through the collaboration of many, with support from generous donors, including The Andrew W. Mellon Foundation and a group of local donors who have responded to this Foundation’s matching gift challenge to support our ongoing opera presentations. Thank you to everyone involved.

Severance Hall 2013-14

Gary Hanson


cleveland orchestra archives

Photo of the Week follow the Orchestra on Facebook for more archival photos

DRIVING THROUGH SEVERANCE HALL. When Severance Hall opened on February 5, 1931, the building featured a drivethrough for passenger drop-off and pick-up in operation in the 1930s. Later closed and used as restaurant space, the area became the Smith Lobby, with new restrooms and ticket office space, during the building renovations in 1999-2000.

and around the globe, The Cleveland Orch­ estra remains Northeast Ohio’s most visible international ambassador and one of the most sought-after performing ensembles in the world. In concerts at its winter home at Severance Hall and at each summer’s Blossom Music Festival, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative programming, and active community engagement. With the 2013-14 season, Franz Welser-Möst marks his twelfth year leading the ensemble, with a commitment extending to the Or­ chestra’s centennial in 2018. This artistic partnership continues to move the en­ semble forward through a series of new and ongoing initiatives, including: in pe rformanc e s at home

expansion of education and community programs in Northeast Ohio to fea­ ture music as an integral and regular part of everyday life for more people, in­ cluding the launch in 2013 of an “At Home” neighborhood residency program that brings The Cleveland Orchestra to a single neighborhood or town for an intensive period of special activities and performances, as well as the broaden­


About the Orchestra

The Cleveland Orchestra

ing of the Orchestra’s ongoing education and community engagement initiatives to include Make Music!, a program of active and participatory experience and learning; the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base — including ongoing residencies at the Vienna Musik­verein (the first of its kind by an American orchestra) and in Florida under the name Cleveland Orch­estra Miami (featuring an annual series of con­ certs and community activities, coupled with educational presentations and col­ laborations based on programs pioneered at home in Cleveland); creative new artistic collaborations with arts institutions in Northeast Ohio, including staged works, concerts, and chamber music performances; a concentrated and successful effort to develop future generations of audiences for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted discounts, social media promotion, and student ticket programs, with demonstrat­ ed results at Severance Hall and Blossom; a variety of new concert offerings (including staged opera and ballet, as well as KeyBank Fridays@7 and Celebrity Series at Severance Hall and movie, themed, and family presentations at Blossom) to play more music for more people; continuing and expanded educational partnerships with schools, colleges, and universities across Northeast Ohio and beyond; ongoing recording activities, including new releases under the direction of Franz Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of acclaimed DVD concert presentations of symphonies by Anton Bruckner led by Welser-Möst. The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s ranks of major symphony or­ chestras. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Soko­loff, 1918-33; Artur Rodzinski, 1933-43; Erich Leins­dorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orches­ tra’s permanent home, with later acoustic refinements and remodeling of the hall un­ der Szell’s guidance, brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acous­ tically admired outdoor concert facilities in the United States. Severance Hall 2013-14

The Orchestra Today


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T H E M u si c al Arts Association

as of March 2014

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

O f f i c er s a nd exec ut ive c o mmi t t ee   Dennis W. LaBarre, President   Richard J. Bogomolny, Chairman   The Honorable John D. Ong, Vice President

  Norma Lerner, Honorary Chair   Hewitt B. Shaw, Jr., Secretary   Beth E. Mooney, Treasurer

  Jeanette Grasselli Brown   Alexander M. Cutler   Matthew V. Crawford   David J. Hooker   Michael J. Horvitz

  Douglas A. Kern   Virginia M. Lindseth   Alex Machaskee   Nancy W. McCann   John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson Raymond T. Sawyer

r e s i d ent tr u s t ees   George N. Aronoff   Dr. Ronald H. Bell   Richard J. Bogomolny   Charles P. Bolton   Jeanette Grasselli Brown   Helen Rankin Butler   Scott Chaikin   Paul G. Clark   Owen M. Colligan   Robert D. Conrad   Matthew V. Crawford   Alexander M. Cutler   Hiroyuki Fujita   Paul G. Greig   Robert K. Gudbranson   Iris Harvie   Jeffrey A. Healy   Stephen H. Hoffman   David J. Hooker   Michael J. Horvitz   Marguerite B. Humphrey   David P. Hunt   Christopher Hyland   James D. Ireland III

  Trevor O. Jones   Betsy Juliano   Jean C. Kalberer   Nancy F. Keithley   Christopher M. Kelly   Douglas A. Kern   John D. Koch   S. Lee Kohrman   Charlotte R. Kramer   Dennis W. LaBarre   Norma Lerner   Virginia M. Lindseth   Alex Machaskee   Robert P. Madison   Milton S. Maltz   Nancy W. McCann   Thomas F. McKee   Beth E. Mooney   John C. Morley   Donald W. Morrison   Meg Fulton Mueller   Gary A. Oatey   Katherine T. O’Neill   The Honorable John D. Ong

Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner James S. Reid, Jr. Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Hewitt B. Shaw, Jr. Richard K. Smucker R. Thomas Stanton Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

N o n- r es i d ent t ruS t ees   Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)   Laurel Blossom (SC)

  Richard C. Gridley (SC) Loren W. Hershey (DC) Herbert Kloiber (Germany)

Ludwig Scharinger (Austria)

tr u s tees ex- offic io   Faye A. Heston, President,    Volunteer Council of The Cleveland Orchestra   Shirley B. Dawson, President,    Women’s Committee of The Cleveland Orchestra   Claire Frattare, President,    Blossom Women’s Committee

  Carolyn Dessin, Chair,    Cleveland Orchestra Chorus Operating Committee   Dr. Lester Lefton, President,     Kent State University   Barbara R. Snyder, President,     Case Western Reserve University

tr u S tees e m erit i   Clifford J. Isroff   Samuel H. Miller   David L. Simon

h o n o rary t rus tees for life Robert W. Gillespie   Gay Cull Addicott Dorothy Humel Hovorka   Oliver F. Emerson Robert F. Meyerson   Allen H. Ford

pa s t p r es i d ent s   D. Z. Norton 1915-21   John L. Severance 1921-36   Dudley S. Blossom 1936-38   Thomas L. Sidlo 1939-53

  Percy W. Brown 1953-55   Frank E. Taplin, Jr. 1955-57   Frank E. Joseph 1957-68   Alfred M. Rankin 1968-83

Ward Smith 1983-95 Richard J. Bogomolny   1995-2002, 2008-09 James D. Ireland III 2002-08

T H E CLEVELAND O R C H E S T R A Franz Welser-Möst, Music Director    

Severance Hall 2013-14

Gary Hanson, Executive Director

Musical Arts Association


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Leoš Janáček’s

Se v e r a n c e Ha ll

May 17 . 20 . 22 . 24

a n e w p r o d u c t i o n c r e ated f o r c lev ela n d w i th d i g i ta l a n i m at i o n o n th r ee g i a n t 2 5- f oot s c r een s to g ether w i th l i v e ac t i o n a n d s i n g i n g by a n i n te r n at i o n a lly-acc l a i med c ast! s u n g i n C z e c h w i th e n g l i sh s u p e r t i tles

The Cleveland Orchestra conducted by Franz Welser-Möst

t enn! Ev a so r ea pe S O E the TH of

Don’t miss this unique, made-for-Cleveland opera presentation! Staged at Severance Hall with an international cast and innovative, original animated projections. While plumbing the depths of human experience, The Cunning Little Vixen tells a charmingly bittersweet tale of love, peril, freedom, and family. The opera’s title character, portrayed by Czech soprano Martina Janková, wends her way through life’s cycles of learning and danger, love and happiness. Janáček’s score mixes lyrical symphonic writing with the songful serenity and energetic pulse of Moravian folk music. This Cleveland Orchestra opera presentation is supported in part by The Andrew W. Mellon Foundation and by the National Endowment for the Arts



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Franz Welser-Möst   Music Director   Kelvin Smith Family Endowed Chair   The Cleveland Orchestra

marks Franz Welser-Möst’s twelfth year as music director of The Cleveland Or­ chestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his di­ rection, the Orchestra is acclaimed for its continu­ ing artistic excellence, is extending and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, continues its his­ toric championship of new composers through com­ missions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst is general music director of the Vienna State Opera. With a committed focus on music education in Northeast Ohio, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with per­ formances in collaboration with the Cleveland Metropolitan School District. Mr. Welser-Möst’s championship of community music-making expands upon his active participation in educational programs and collaborative programming, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservato­ ries, universities, and other arts institutions across Northeast Ohio. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established an ongoing biennial residency in Vienna at the famed Musikverein concert hall and another at Switzerland’s Lucerne Festival. Together, they have appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established an annual multi-week Cleveland Orch­estra residency in Florida under the name Cleveland Orchestra Miami and, in 2011, launched a regular new residency at New York’s Lincoln Center Festival. To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. Through the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher in partnership with the Lucerne Festi­ val and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-An­ dré Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, and Ryan Wigglesworth. Franz Welser-Möst has led a series of opera performances during his tenure P H OTO BY S ATO S H I AOYAG I

the 2013 -14 season

Severance Hall 2013-14

Music Director


in Cleveland, re-establishing the Orchestra as an important oper­ atic ensemble. Following six seasons of opera-in-concert presen­ tations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the MozartDa Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012 and in May 2014 leads an innovative made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall.    Franz Welser-Möst became general music director of the Vienna State Opera in 2010. His long partnership with the com­ pany has included acclaimed performances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova and From the House of the Dead. During the 201314 season, his Vienna schedule includes a new production of Puccini’s The Girl of the Golden West, as well as performances of Tristan and Isolde, Verdi’s Don Carlo, Beethoven’s Fidelio, and Richard Strauss’s Ariadne auf Naxos and Der Rosenkavalier. Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Phil­ harmonic. Recent performances with the Philharmonic include appearances at New York’s Carnegie Hall, in concert at La Scala Milan, and in opera presentations at the Salzburg Festival. He also led the Philharmonic’s New Year’s Day concert, viewed by telecast in seventy countries worldwide in 2011 and again in 2013. Across a decadelong tenure with the Zurich Opera, culminating in three seasons as general music di­ rector (2005-08), Mr. Welser-Möst led the company in more than 40 new productions. Franz Welser-Möst’s recordings and videos have won major awards, including the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, he has created DVD re­ cordings of live performances of five of Bruckner’s symphonies, presented in three acoustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musik­ verein, and Severance Hall). With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano Measha Brueggergosman. DVD releases on the EMI label have included Mr. Wels­ er-Möst leading Zurich Opera productions of The Marriage of Figaro, Così fan tutte, Don Giovanni, Der Rosenkavalier, Fierrabras, and Peter Grimes. For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honor­ ary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner So­ ciety of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.


Music Director

The Cleveland Orchestra

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Franz Welser-MÜst and The Cleveland Orchestra, performing Bruckner’s Fourth Symphony in concert at Severance Hall in April 2012.

T he

C l e v e l a n d

F ran z W elser - M Ăś st MUsic

D i re c t o R Kelvin Smith Family Chair

FIRST VIOLINS William Preucil concertmaster

Blossom-Lee Chair

Yoko Moore

assistant concertmaster

Clara G. and George P. Bickford Chair

Peter Otto

First associate concertmaster

Jung-Min Amy Lee

Associate concertmaster

Gretchen D. and Ward Smith Chair

Alexandra Preucil

assistant concertmaster

Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Mark Dumm

Gladys B. Goetz Chair

Katherine Bormann



Alfred M. and Clara T. Rankin Chair

cellos Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio Llinas 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut Yun-Ting Lee VIOLAS Robert Vernon *

ChaillĂŠ H. and Richard B. Tullis Chair

Lynne Ramsey 1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs

Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Orchestra

Helen Weil Ross Chair Muriel and Noah Butkin Chair

Tanya Ell Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin Thomas Mansbacher BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune S

Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble *

Alice Chalifoux Chair

The Cleveland Orchestra

Or c he s tra FLUTES Joshua Smith *

horns Richard King *

percussion Marc Damoulakis°

Margaret Allen Ireland Chair

Elizabeth M. and William C. Treuhaft Chair

Michael Mayhew §

Donald Miller Tom Freer

Saeran St. Christopher Marisela Sager 2

Jesse McCormick Hans Clebsch Alan DeMattia

keyboard instruments Joela Jones *

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Mary Lynch Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters english horn Robert Walters

Samuel C. and Bernette K. Jaffe Chair

George Szell Memorial Chair Knight Foundation Chair

TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller CORNETs Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Massimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

clarinets Franklin Cohen *

Richard Stout

Robert Woolfrey Daniel McKelway 2

Shachar Israel 2

Robert Marcellus Chair

Robert R. and Vilma L. Kohn Chair

Linnea Nereim E-flat clarinet Daniel McKelway

Stanley L. and Eloise M. Morgan Chair

bass clarINEt Linnea Nereim bassoons John Clouser *

Louise Harkness Ingalls Chair

Barrick Stees


Sandra L. Haslinger Chair

Jonathan Sherwin

Alexander and Marianna C. McAfee Chair

bass trombone Thomas Klaber euphonium and bass trumpet Richard Stout tuba Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

timpani Paul Yancich *

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Marjory and Marc L. Swartzbaugh Chair

librarians Robert O’Brien

Joe and Marlene Toot Chair

Donald Miller orchestra Personnel Karyn Garvin director

Christine Honolke Manager

Endowed chairs currently unoccupied Sidney and Doris Dworkin Chair Sunshine Chair

* Principal ° Acting Principal § Associate Principal 1

First Assistant Princi pal Assistant Principal S On sabbatical


conductors Christoph von Dohnányi music director laureate

Giancarlo Guerrero

principal guest conductor, cleveland orchestra miami

Brett Mitchell

assistant conductor

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

director of choruses

Frances P. and Chester C. Bolton Chair

contrabassoon Jonathan Sherwin

Severance Hall 2013-14

Rudolf Serkin Chair

Carolyn Gadiel Warner

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photo: Roger Mastroianni

WHY ISN’T YOUR AD HERE? ADVERTISE IN THE CLEVELAND ORCHESTRA SEVERANCE HALL PROGRAM BOOKS The Cleveland Orchestra is an extraordinary engine of promotion and a tremendous source of great civic pride. Every year The Cleveland Orchestra draws a local, national and international audience to Severance Hall to hear “the sound the world is talking about.” We invite you to be a part of this amazing experience by advertising in the Severance Hall printed programs. It’s a smart way to put yourself in front of 150,000+ of northeast Ohio’s most influential consumers and business decision-makers.

Call 216-721-4300 or email


Details of Orchestra’s “At Home” in Lakewood neighborhood residency announced for May 17-24 Four months of education activities presented in partnership with Lakewood schools lead up to an intensive week of free public performances and events, including Orchestra concert on May 24

Severance Hall 2013-14

Lakewood is known for its commitment to the arts. The Orchestra’s events will strengthen this commitment and showcase the city’s great quality of life, local organizations, restaurants, schools, and businesses that make our community special.”    The Cleveland Orchestra introduced neighborhood residencies in May 2013 in the Gordon Square community of Cleveland. The activities, including a Cleveland Orchestra Concert at Saint Colman Catholic Church, were taped and aired by WVIZ/PBS ideastream. WCLV 104.9 also broadcast the concert on radio.    The goals of the neighborhood residencies are to bring increased visibility and vibrancy to greater Cleveland’s neighborhoods, build community through arts and culture in tandem with local partners, and offer more people the opportunity to engage with the music and the musicians of The Cleveland Orch­estra. The culminating residency week of activities will include solo and chamber music performances in unique locations, educational programs at local schools, and new artistic collaborations with neighborhood arts and cultural organizations — all in partnership with local businesses and community groups.    Complete “at Home in Lakewood” details can be found at

Cleveland Orchestra News



The Cleveland Orchestra and the Lakewood community are joining together to present “The Cleveland Orchestra at Home in Lakewood,” a neighborhood residency that features an intensive week of free public performances and events May 17-24. A series of prepartory events in partnership with Lakewood schools began in February and continue through the public residency week.    The centerpiece of the Orchestra’s activities in Lakewood will be a free Cleveland Orchestra concert led by Music Director Franz Welser-Möst at Lakewood Civic Auditorium on Saturday evening, May 24, at 7:30 p.m. Tickets were distributed at locations throughout Lakewood beginning on Saturday, April 26. (A delayed telecast of the concert will be presented by WVIZ/PBS ideastream; the concert will be broadcast live on radio by WCLV 104.9 ideastream. The television broadcast will feature a composite of community collaborations, musical performances, and joint events and activities throughout Lakewood.)    “Creating a ‘grass roots’ opportunity for Lakewood to experience perhaps the greatest orchestra in the world at a very personal level is a cultural experience that we will remember for years to come,” commented Michael P. Summers, Lakewood’s mayor, in announcing resdiency details. “Our increasingly vibrant commercial corridors and neighborhoods will be made ever-more-so by the music and the musicians.” Ian Andrews, executive director of LakewoodAlive, Lakewood’s nonprofit economic development organization, said, “We are ecstatic to have been chosen as The Cleveland Orchestra’s destination for immersion into a Northeast Ohio community.





OrchestraNews M.U.S.I.C.I.A.N S.A.L.U.T.E




The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2012-13 and 2013-14 seasons. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton John Clouser Kathleen Collins Patrick Connolly Ralph Curry Maximilian Dimoff Bryan Dumm Tanya Ell Kim Gomez David Alan Harrell Miho Hashizume Shachar Israel Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Mary Lynch Thomas Mansbacher Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Sonja Braaten Molloy


Eliesha Nelson Chul-In Park Joanna Patterson Zakany Alexandra Preucil William Preucil Lynne Ramsey Jeffrey Rathbun Jeanne Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Jonathan Sherwin Sae Shiragami Emma Shook Joshua Smith Saeran St. Christopher Barrick Stees Jack Sutte Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Stephen Warner Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky Jeffrey Zehngut

A.R.O.U.N.D T.O.W.N Recitals and presentations

Upcoming local performances by members of The Cleveland Orchestra include: Over twenty members of The Cleveland Orchestra will be playing chamber music at a special “Prelude to the Cure” event on Friday night, May 30, to benefit the Michael J. Fox Foundation for Parkinson’s Research. The evening at St. Paul’s Episcopal Church (2747 Fairmount Blvd, Cleveland Heights) is presented by “Shaking With Laughter” and is being organized by Robert Walters, the Orchestra’s solo english horn player. Among those involved, every principal wind player of the Orchestra and the principal timpani will be performing. In addition, every member of the oboe section and four of Cleveland’s best known chamber groups made up of Orchestra musians will be represented — the Amici Quartet, Cleveland Duo, Ensemble HD, and the Omni Quartet. Also included in the evening’s program is the world premiere of a new work by Jeffrey Rathbun. For more details or to order tickets (including VIP tickets that include a light pre-concert dinner by Doug Katz, desserts from Luna, beer from Bottle House Brewery, and wine), call 216-932-0290 or visit

Women’s Committee Annual Meeting set for May 28th

The Women’s Committee of The Cleveland Orchestra holds its Annual Meeting on Wednesday, May 28, along with performances by the 2013 Alice B. Weeks Memorial Award scholarships: Hannah Moses (cello) and Mary O’Keefe (oboe). The evening takes place at Judson Manor. RSVP to Cleveland Orchestra Ticket Services by calling 216-231-1111.

Silence is golden

As a courtesy to the performers onstage and the audience around you, all patrons are reminded to turn off cell phones and to disengage electronic watch alarms for the concert.

Cleveland Orchestra News

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Mahler, in a photograph taken in 1909 in New York

Cleveland Orchestra violinist receives opportunity with special instrument from Music Settlement donor Cleveland Orchestra violinist Sonja Braaten Molloy has been given a unique opportunity to perform on a special violin that was given to the Music Settlement by acclaimed violinist Melvin Ritter. He and his wife, pianist Jane Allen, were known as “America’s most popular violin-piano duo” in the 1950s and ’60s.  Molloy, who has been a member of The Cleveland Orchestra since 2000, is also a member of the Music Settlement’s teaching faculty. Melvin Ritter — a national Music League Award winner — served as concertmaster for both the Tampa Symphony and the Saint Louis Symphony.  Born in 1923 in Cleveland, he received his initial music instruction at what was then known as the Cleveland Music School Settlement.  When Ritter died in October 2012, his legacy resulted in a heartfelt gift to the Settlement of his 1665 Amati “ex-

Hepton” violin and his Kittel bow. “We felt that such a valued and valuable gift should not live in a vault,” says Charles Lawrence, president of the Music Settlement. “Unplayed violins go mute. It would be wrong to silence the legacy of Mr. Ritter and the ex-Hepton.” After great deliberation, the Settlement’s board of directors chose to loan the violin to a member of its teaching faculty who also plays for The Cleveland Orchestra, and Sonja Molloy was given the honor of using the instrument. “I find it thrilling to imagine all the different personalities who have had the pleasure of playing the ex-Hepton,” says Molloy. “I’m grateful to have been given the honor of rousing this incredible instrument from its recent sleep, and proud to help Melvin Ritter’s legacy resound at the Music Settlement and at Severance Hall.”

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OrchestraNews I.N M.E.M.O.R.I.A.M   The Cleveland Orchestra notes the death on March 11 of retired Orchestra horn player Albert Schmitter at the age of 81. He served as a member of the Orchestra for 29 years, retiring in 1995.   Schmitter was a graduate of J.F. Rhodes High School in Cleveland and of the United States Military Academy at West Point. He also attended Baldwin Wallace College. The entire Orchestra family extends its condolences to his family and friends.

   The Board of Trustees extends special thanks to the members of The Cleveland Orch­estra for donating their services for four performances this season as part of the musicians’ ongoing commitment to provide additional revenue-generating opportunities to benefit the institution. These four concerts include the Severance Hall Gala with Itzhak Perlman in September 2013 and a benefit concert in Palm Beach, Florida, in January 2014, along with performances at New York’s Lincoln Center and in Cologne, Germany, as part of the Orchestra’s touring this past autumn. “These and other donated services each year are a meaningful demonstration of the musicians’ commitment to this institution’s future,” notes Gary Hanson, executive director. “The members of The Cleveland Orchestra are committed to ensuring that the Orchestra can present music as an important and vital part of life.”

The Cleveland Orchestra is pleased to announce the creation of the Joe and Marlene Toot Head Librarian Endowed Chair through a legacy gift to the Orchestra. “The Head Librarian is a critically essential member of the Orchestra — as integral to our musical success as any instrumentalist,” says Gary Hanson. “It is with deep gratitude that I thank Joe and Marlene Toot for making such a generous commitment through their estate.” The current head librarian, Robert O’Brien, is the ninth in that position since the Orchestra’s founding in 1918. He has served as head librarian since 2008. In this role, O’Brien ensures that each musician has the right music on the right music stand at the right time for every rehearsal and concert. He makes all scores available to every musician for individual practice, and ensures that every part and each marking matches the conductor’s needs. He catalogs and maintains the Orchestra’s extensive collection of musical scores — those that are part of the Severance Hall music library and those rented for particular performances. He daily works with tempo markings and musical scores in multiple languages, from German to French, Italian to English, and more. The gift from Joe and Marlene Toot will support the funding of The Cleveland Orchestra’s Head Librarian position in perpetuity. Thousands of generous individuals have made a commitment to the Orchestra through outright endowment gifts or legacy plans, through the annual fund and special project support. To learn more about including the Orchestra in your estate plans, please contact Bridget Mundy at 216-231-8006.

Committed to Accessibility

Comings and goings

Special thanks to Cleveland Orchestra musicians

Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216-231-7425.


Donors make plans to endow Orchestra’s librarian chair

   As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

Cleveland Orchestra News

The Cleveland Orchestra


Cleveland Orchestra launches new group for networking and socializing with dynamic young professionals The Cleveland Orchestra has announced a new group called The Circle, welcoming young professionals ages 21-40. The group is designed for those who share a love of music and an interest in supporting The Cleveland Orchestra in a new and dynamic way. The Circle provides members exclusive access to the Orchestra, with opportunities to meet musicians, and socialize at Severance Hall and at Blossom Music Festival events. Memberships include bi-monthly concert tickets along with opportunities to attend social gatherings to network with friends and cultural business leaders of Northeast Ohio. The objectives of The Circle are to increase engagement opportunities for young people ages 21-40 and to help develop future volunteer community leaders and arts advocates. The Circle was launched at a Cleveland

Orchestra concert in January, and is continuing to grow. Plans for events throughout the spring are posted on the orchestra’s website, including concert receptions, a tour of Severance Hall, and more. Cost of membership in The Circle is $15 per month for one membership and $20 per month for two memberships and includes bi-monthly tickets. New members join for a minimum of six months. For additional information, visit or send an email to

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Building Audiences for the Future . . . Today! The Cleveland Orchestra is committed to developing interest in classical music among young people. In fact, we are building the youngest audience of any orchestra in the country. With the help of generous contributors, the Orch­estra has expanded discounted ticket offerings through several new programs. In the opening months of the current Severance Hall season, student attendance doubled from a year ago, with 20% of audiences now made up of students enthusiastic for experiencing the best orchestra anywhere. “ U n d e r 1 8 s FREE ” FOR FAMILIES Introduced for Blossom Music Festival concerts in 2011, our “Under 18s Free” for families program now includes select Cleveland Orchestra concerts at Severance Hall each season. This program offers free tickets (one per regular-priced adult paid admission) to young people ages 7-17 to the Orchestra’s Fridays@7, Friday Morning at 11, and Sunday Afternoon at 3 Classical Concerts. STUDENT TIC K ET P RO G RAMS

During The Cleveland Orchestra’s 2013-14 season, the Student Advantage and Frequent Fan Card programs, Student Ambassadors, and offers for student groups attending together have been responsible for bringing more high school and college age students to Severance Hall than ever before. The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discount­ ed ticket offers. Membership is free and rewards members with discounted ticket purchases. For this season, a record 6,000 students have joined. The Student Frequent Fan Card was introduced a year ago with great success, and continues to grow. Priced at $50, the Fan Card offers students single tickets (one per Fan Card holder per week) to weekly Classical Concerts all season long. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences, including support from the Center’s Alexander and Sarah Cut­ ler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio. Severance Hall 2013-14

Student Ticket Programs


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The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 2013-14

Concert Previews   Cleveland Orchestra Concert Previews are

presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts.   Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. May 1, 3, 4 “Meet the Composer”   with Gabriela Lena Frank   in conversation with Jason Harris,   followed by a talk about the entire concert:

“Mozart’s Requiem”   with Jason Harris,   assistant professor of choral conducting,   Oberlin College Conservatory of Music

May 8, 10 “Magical Sounds from Norway and Finland”   with Rose Breckenridge,   Cleveland Orchestra Music Study Groups   administrator and lecturer

May 17, 20, 22, 24 Opera: The Cunning Little Vixen        

Please note that no live preview will be presented; visit to view the production diaries about “The Making of The Cunning Litle Vixen.”

May 29, 30, 31 “Fairytale Endings”   with Rose Breckenridge

Concert Previews


T he C l e v e l a n d O rchestra fran z

welser - m Ö st mu s i c

d i re c t o r

Severance Hall

Saturday evening, May 17, 2014, at 8:00 p.m. Tuesday evening, May 20, 2014, at 7:30 p.m. Thursday evening, May 22, 2014, at 7:30 p.m. Saturday afternoon, May 24, 2014, at 2:00 p.m.


Příhody lišky Bystroušky

(or “The Adventures of Vixen Sharp-Ears”)

music by Leos Janácek (1854-1928) libretto adapted by the composer from the serialized comic strip and novella by Rudolf Tesnohlídek and Stanislav Lolek directed by Yuval Sharon animation by Walter Robot Studios —   Bill Barminski and Christopher Louie projection and lighting design by Jason Thompson costume design and makeup by Ann Closs-Farley mask design by Cristina Waltz conducted by Franz Welser-Möst

   Sung in Czech with projected English supertitles.     English supertitles by Lindley L. Becker, Bayshore Opera Translations.


Opera — Week 21

The Cleveland Orchestra

C A S T Featuring

Vixen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARTINA JANKOVÁ, soprano Forester (a Gamekeeper) . . . . . . . . . . . . . . . . . . . . . . . . . ALAN HELD, bass-baritone Fox (the Vixen’s paramour) . . . . . . . . . . JENNIFER JOHNSON CANO, mezzo-soprano Harašta (a Poultry-Dealer) . . . . . . . . . . . . . . . . . . . . . . . . . RAYMOND ACETO, bass Lapák (the Forester’s dog) . . . . . . . . . . . . . . . . . JULIE BOULIANNE, mezzo-soprano Badger / Parson . . . . . . . . . . . . . . . . . . . . . . . . . . . DASHON BURTON, bass-baritone Mosquito / Schoolmaster . . . . . . . . . . . . . . . . . . . . . . . . DAVID CANGELOSI, tenor with

Forester’s Wife / Woodpecker . . . . . . . . . . . . . . . . . . . . SANDRA ROSS, soprano Rooster / Owl . . . . . . . . . . . . . . . . . . . . . . . . SAMANTHA GOSSARD, mezzo-soprano Pásek (the Innkeeper) . . . . . . . . . . . . . . . . . . . . . . BRIAN KEITH JOHNSON, baritone Mrs. Pásek / Chief Hen / Blue Jay . . . . . . . . . . . . . . . . . MARIAN VOGEL, soprano Cricket / Frog / Pepík (the Forester’s grandchild) . . LAURA SCHUPBACH, soprano Grasshopper / Frantík (Pepík’s friend) . . . . . . . . . . . MIRANDA SCHOLL, soprano and

CLEVELAND ORCHESTRA CHORUS — Robert Porco, director CLEVELAND ORCHESTRA CHILDREN’S CHORUS — Ann Usher, director as the voices of the hens and other forest creatures and as the voice of the forest

This opera production and presentation is supported by a generous grant from The Andrew W. Mellon Foundation and by funding from the National Endowment for the Arts. Martina Janková’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Eleanore T. and Joseph E. Adams Fund. Jennifer Johnson Cano’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mrs. Paul D. Wurzberger. The performance on Thursday, May 22, is dedicated to The Honorable and Mrs. John D. Ong in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2012-13 Annual Fund. The opera is presented without intermission, and will run about 90 minutes in performance. Please note that these performances include the sound of gunshots.

Severance Hall 2013-14

Opera — Week 21


PRODUCTION Franz Welser-Möst, conductor Yuval Sharon, director

Cleveland Orchestra Chamber Chorus

Walter Robot Studios (Bill Barminski and Christopher Louie), animation creation Jason Thompson, projection and lighting design Ann Closs-Farley, costume design Cristina Waltz, mask design Fenlon Lamb, assistant director

Robert Porco, Director Lisa Wong, Assistant Director Joela Jones, Principal Accompanist

Meggie Scache, stage manager Stephanie Boyd, assistant stage manager Elliot Yates, assistant stage manager Charles Latshaw, score reader Kevin Krumenauer, supertitle operator Jacob Wade, production assistant John S. Bukala, technical director Joseph Short, orchestra stage manager Jeffrey Gryzcan, wardrobe supervisor Amy Jean Wright, lead makeup artist Libby Rose Goldberg, makeup assistant Milos Repicky, répétiteur and prompter Joela Jones, rehearsal pianist Brett Mitchell, assistant conductor For The Cleveland Orchestra: Mark Williams, Director of Artistic Planning Julie Kim, Director of Operations



Merissa Coleman Susan Cucuzza Emily Engle Samantha Garner Danielle Greenway Rebecca S. Hall Shannon R. Jakubczak Kate Macy Sarah Osburn Lenore M. Pershing Monica Schie

Emily Austin Julie Cajigas Betty Huber Sarah N. Hutchins Karla McMullen Mary-Francis Miller Ina Stanek-Michaelis Martha Cochran Truby Laure Wasserbauer



Gerry C. Burdick William Hamilton Peter Kvidera Steve Lawson Matthew Rizer Lee Scantlebury Jarod Shamp William Venable

Christopher Aldrich Nikola Budimir Kurtis B. Hoffman Paul Hubbard Joshua Jones Joel Kincannon Sam Kitzler Jason Levy Glenn Obergefell

Cleveland Orchestra Children’s Chorus Ann Usher, Director Suzanne Walters, Assistant Director Dianna White-Gould, Accompanist Samantha Apanasewicz Emily Beal Ryan Benda Anna Buescher Ryan Burdick Giovanni Castiglione Hannah Cogar Maksim Damljanovic Alexandra Dodd Joseph Feng Mariana Gomez Athena Grasso Adam Holthaus Elizabeth Javorsky Lexy Jensen


Amelia Johnson Jennifer Lutz Anna Victoria MacGregor David Malkin Annamarie Martin Maddy Massey Genesis Merritt Eunice Min Nathan Niedzwiecki Claire Peyrebrune Justin Prindle Megan Qiang David Ricci Lauren Rogers Lili Roosa

Production Team

Jennifer Rowan Drew Russell Julia Sabik Amanda Sachs Joseph Schueller Abigail Schwarz Kailee Shaver Kayla Thompson Lauren Venesile Madison Violand Eric Walters Hannah Woodside Benjamin Wykoff Olivia Zackary

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of Janáček’s The Cunning Little Vixen over the years. Are the animals like people? or the people like animals? Is the cycle of life optimistic in renewal? or pessimistic and repetitive? Is this a tale for children? or a fable for adults? The storyline is both simple and enigmatic, with plenty of room to emphasize one direction or many, to give us pleasure and to make us ponder. For this brand-new, made-for-Cleveland production, director Yuval Sharon has chosen a particularly vivid viewpoint — and animated it (literally) with the creative assistance of digital scenery, together with creative costuming and masks — as he discusses (beginning on page 41). As further background, David Wright writes about Janáček’s life and music (page 43), and about the composer’s writing of the opera itself — and the comic strip novella upon which it was based (page 51). Biographies of the cast and creative team (beginning on page 57) round out our program book, plus a variety of information about The Cleveland Orchestra itself — including the executive director’s take on two big projects this month (page 7), news (page 25), and recognition throughout the book of the many generous individuals and institutions who make possible everything The Cleveland Orchestra does each year. Enjoy. T H E R E H AV E B E E N M A N Y I N T E R P R E T A T I O N S

—Eric Sellen begins on page: Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Production Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Director’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 About the Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 About the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67


Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m. This week’s opera program is being recorded and will be broadcast on Sunday, September 14, at 4:00 p.m. and again on Saturday, September 27, at 8:00 p.m.

Severance Hall 2013-14

Introducing the Concerts


SYNOPSIS ACT ONE   “How Sharp-Ears Was Caught”   — a summer afternoon in the forest A Blue Dragonfly wends its way across the forest. The Forester, on his way home, stops for a nap. While he is asleep, the Cricket and the Caterpillar make music. A young Frog, trying to catch a Mosquito, attracts the attention of a vixen cub. The Frog lands on the Forester, waking him. The Forester grabs the Vixen and takes her away. Dusk falls. The Vixen’s mother and the Blue Dragonfly search for the Vixen. Orchestral Interlude. Time Passes.   “Sharp-Ears at the Forester’s Farmyard;   Sharp-Ears as Politician; Sharp-Ears   Runs Away” — autumn in the farmyard The Vixen is being reared as a family pet. She befriends the dog Lapák, but rebuffs his romantic advances. She defends her­ self against the teasing of the Forester’s grandson Pepík and his friend Frantík. The Vixen is tied up for her behavior. Interlude. The Vixen sleeps and dreams. At dawn, the Vixen berates the hens, who she believes are exploited by humans and by their leader, the Rooster. The Vixen appeals to the hens’ self worth, but is


shocked at their go-along conservatism. The Vixen plays dead. When the Rooster and hens investigate, she kills him and thrashes the hens. The Forester and his wife confront their wayward pet, but the Vixen escapes off into the forest. ACT TWO   “Sharp-Ears Expropriates a Home”   — a winter night in the forest The Vixen taunts the Badger, then pushes him out of his comfortable home and takes it over for herself. At Pásek’s Inn, in winter. The Forester, the Schoolmaster, and the Parson are drinking and playing cards. The Forester mocks the Schoolmaster about his hopeless infatuation for the girl Terynka. The Schoolmaster, in turn, taunts the Forester over his failure to hold the Vixen. The Parson is troubled by a scandal in his own past. The men depart. Outside. As the Schoolmaster stumbles drunken­ ly home, he confuses the movement and colors of a Sunflower (behind which the Vixen is hiding) for his old flame Teryn­ ka, pouring his heart out into the night. The Parson, also the worse for drink, sees the Vixen and confuses her with a girl he was accused of seducing years ago. The

The Story

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Forester also catches sight of the Vixen and fires shots at her, sending her run­ ning off into the darkness.

away, then runs. He gets frustrated by the Vixen’s games and shoots into the forest, killing her.

  “Courtship of Sharp-Ears and   the Fox; Love and Marriage”   — a summer night in the forest 

At the Inn, the following spring.

The Vixen meets a handsome Fox and tells him the story of her life. The Fox woos her. They mate. Having scandal­ ized the gossiping birds, they agree to marry, officiated by the Woodpecker. The forest creatures celebrate the wed­ ding. ACT THREE   “Sharp-Ears outwits Harašta from   Lusen; Death of Sharp-Ears” —   the forest at midday, in autumn Harašta, a poultry-dealer, comes across a dead hare. The Forester appears and accuses Harašta of poaching. Harašta explains that he is on his way to see Terynka, whom he is to marry. The Forester, realizing that the hare is one of the Vixen’s victims, uses it to set a trap for her. The Vixen, the Fox, and their cubs poke fun at the clumsily laid trap, and the parents happily watch their growing family.

The Schoolmaster is filled with regret at hearing that Terynka is to marry. He and the Forester both regret that their friend the Parson has moved away. The Forester reflects on his age and sets off for the forest.   “Young Sharp-Ears, as the Spitting   Image of Her Mother” — a spring   afternoon in the forest The Forester muses on the beauty of the forest, where life is continually renewed. He recalls his courtship and wedding and contentedly falls asleep for a nap. As he dreams, the forest creatures ap­ pear, including a little vixen. The For­ ester sees the vixen and also spots a familiar frog, grandson of the Frog who attracted the Vixen’s attention at the beginning of her adventures. Remind­ ed of life’s recurring cycles, the Forester walks home.

The opera is being presented without intermission, and will run about 90 minutes in performance.

Harašta returns to collect the lifeless hare. The Vixen plays dead to lure him

Severance Hall 2013-14

The Story


Made for Cleveland . . . . . . and supported by you! The Cleveland Orchestra applauds the generous donors listed below, who are making possible these groundbreaking performances of Leoš Janáček’s The Cunning Little Vixen.

The Andrew W. Mellon Foundation Mrs. Emma S. Lincoln Rachel R. Schneider Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Ms. Elaine A. Bridges Mrs. Barbara Ann Davis Judith and George W. Diehl Ivan and Sonia Goldfarb T.K. and Faye A. Heston Robert and Linda Jenkins Richard and Gina Klym Tim and Linda Koelz Anthony T. and Patricia A. Lauria James and Virginia Meil Mr. and Mrs. Stanley A. Meisel Mr. J. William and Dr. Suzanne Palmer Mr. Larry J. Santon Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Drs. Daniel and Ximena Sessler Mr. and Mrs. William W. Taft Henry F.* and Darlene K. Woodruff Anonymous These performances of The Cunning Little Vixen are supported by The Andrew W. Mellon Foundation, which has awarded The Cleveland Orchestra $2.5 million of support for artistically ambitious programming. Of the Mellon Foundation’s commitment, $1.25 million will be awarded as part of a one-to-one challenge lasting through June 2016. This means that any gift to The Cleveland Orchestra designated to support special artistic initiatives will be doubled by the Mellon Foundation. If you want to help ensure that opera remains a meaningful feature of The Cleveland Orchestra’s season each year, or if you’d like more information about the challenge grant, please contact the Orchestra’s Philanthropy & Advancement Department by calling 216-231-7545.

from the director “I went out for a walk and finally concluded to stay out till sundown, for going out, I found, was really going in.” —John Muir “From any spot within its border, the forest is just a possibility: the aggregate of possible acts of ours which, when carried out, would lose their real value. The part of the forest immediately before us is a screen.” —Jose Ortega y Gasset L i k e a r e s t l e s s , w i l d a n i m a l , The Cunning Little Vixen dodges any attempt

to tame it with too-easy explanations or symbolic interpretations. Staging The Cunning Little Vixen involves no shortage of delicate balances. The production must be playful without being childish, poetic without being heavy-handed, deeply compassionate but never sentimental, and highly imaginative in itself but always igniting the audience’s imagination first and foremost. Like the music, it must be fleet, direct, clear, and full of surprises. The extreme strangeness of the work must not be cloaked in a neutralizing naturalization, even though the speech rhythms and orchestral timbres might seem to spring Nature before our eyes like a pop-up book. Instead, the work’s singular strangeness must provoke wonder and astonishment — for this opera is as unconventional as it gets. Initially conceived as an “opera with pantomime,” Janáček later described Vixen as a “forest idyll” — less driven by narrative and traditional character arcs and more an impressionistic journey through Nature’s cycle of life. In fact, it is the forest that plays the central character of the opera. Nature is a blank screen onto which we project our own fears, desires, and memories. The forest can be both a wise, silent teacher, whose lesson is life’s eternal renewal; and it can be a mirror, reflecting back only what we project onto it ourselves. Nature’s mystery stems from it offering us both objective reality and a repetition of our own subjectivity — we go into Nature hoping it will have an answer to a question of ours, but we read into it only what we want. This production lets everyone involved be free. The animated sets and costumes let us move between literal and abstract realms with complete fluidity, never encumbered by clunky scenery. The singers are free from the physical burden of trying to convince us they are wild animals and instead focus on the essential delivery of the character with their most powerful expressive tools: their voices and their heads. And, most importantly, the audience is free to create their own interpretations on this strange and wondrous work. Severance Hall 2013-14

About the Production

—Yuval Sharon   May 2014


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LEOŠ JANÁCEK The Composer Who Almost Didn’t Conquer the World by D avid W right

t h e fac u lt y, s ta f f, a n d s t u d e n t s of the Organ School in

Brno, Moravia, were given the day off on July 3, 1914. It was the sixti­ eth birthday of the school’s head, the composer and writer Leoš Janáček, whose operas, cantatas, and musings in the local newspaper on life and music had made him something of a celebrity in this provincial capital. As the punch flowed, speeches ran overtime, and letters and tele­ grams from well-wishers were read, the man with the thick shock of white hair basked in the attention. Recently recovered from a prolonged, debilitating illness, his thoughts had been much on death lately, even if his optimistic temperament made him view that event in the context of a benign cycle of life. His letters of the time show him worrying that this bit of local fame was all there ever would be for him. Many of the birthday good wishes expressed hope that his works would gain a wider audience. “That time will come, it must come!” wrote one of his doctors. And then come it did. Janáček’s opera Jenůfa, successfully intro­

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About the Composer


Above, Janáček and his wife, Zdenka, in 1881. Below, Janáček was among a generation of composers who were inspired by the preservation of ethnic folk music from across Middle Europe through recordings.


duced in Brno in 1904 and revived three times after that, finally was accepted by the National Theater in Prague, and its premiere there on May 26, 1916, was a national event. In the midst of World War I, Czech aspirations hung thick in the air, and not only the sing­ ers onstage but many in the audience were decked out in folk costume. A first-rate cast and Janáček’s distinctive music sealed the deal. The eight scheduled performances of Jenůfa quickly sold out, and eighteen more were added the following season.    Janáček replied to one letter of con­ gratulation as follows: “I feel as if I am in a fairy-tale; now I am composing, composing as if driven. I no longer valued my own work — nor my own words. I did not believe that anyone would ever notice any of it. . . . Now I am beginning to believe in my life and its mission.”    A rich decade-plus of productivity fol­ lowed, during which Janáček composed most of the works on which his international rep­ utation rests today. Born at the height of the Romantic era, re-born as a composer at age 62 during a revolutionary time in music history, this origi­ nal from the provinces seems to exist almost outside that history, with his musical idiom defined by what it is not as often as by what it is.    For example, though Janáček’s music is rooted in the native soil of a proud Czech, it would never be mistaken for that of his predecessors Bedřich Smetana and Antonín Dvořák. The era was different, of course, and Janáček was well aware of the innovations of Debussy and Stravinsky. More fundamentally, Janáček’s home turf was Moravia, where the folk mu­ sic looked eastward to the speech-inflected rhythms and peculiar modes and scales of Slovakia, Hungary, and Romania, rather than Dvořák’s Bohemia, with its regular dance rhythms and familiar major and mi­ nor harmonies.    Early in his career, Janáček systemati­ cally collected and arranged Moravian folk About the Composer

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music, and also made extensive notes on the inflections of every­ day speech, rendering them in musical notation. The effect on his music was liberating; even without explicitly sprinkling his works with folk tunes, the composer drew on his “speech melo­ dies” as an alternative to the melodic styles of western Europe. His opera roles aren’t always easy to sing, but there is a natural shape to their phrasing that makes for compelling drama. Janáček’s musical research and eastern orientation link him to his younger contemporary Béla Bartók. Indeed, on the couple of occasions when the two compos­ ers met, the animated conversation (one observer called it “fireworks”) went on late into the night. And yet Janáček’s music isn’t like Bartók’s either. He didn’t share the Hungarian’s high-strung, fiery temperament, nor his taste for western musical traditions in orchestration and counterpoint — all factors that helped Bartók’s fiercely dissonant mu­ sic make its way with audiences during the past century, while Janáček’s more approachable idiom sometimes struggled to be understood. If his impatience with “isms” of any sort makes his music hard to describe in a phrase, it also marks an approach to composing that was far ahead of its time. Although Janáček can’t be cat­ egorized as strictly a nationalist (Jenůfa notwith­ standing), impressionist, serialist, or minimalist composer, he helped himself to all of these, in what would become a normal “late-20th-century” way, as it suited his expressive purposes. In a single Janáček operatic scene, passages of hypnotic repetition, floating whole-tone scales, and lush tonal harmonies can depict different characters or convey emotional crosscurrents. Similarly, Janáček preferred juxtaposition to blending when it came to writing for orchestra. The expressive contrast between three piccolos and three trombones interested him more than a well-woven carpet of orchestral sound. This experimentation with discrete instrumental timbres is very much a feature of to­ day’s new orchestral works. Nearly a century ago, Janáček was already there. For a long time, this independent-minded composer’s mu­ sic depended on a few determined champions to push it into op­ era houses and concert halls. In those first heady years of fame, Severance Hall 2013-14

About the Composer

Janáček and his dog, circa 1924.


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the patriotic Janáček submitted to a kind of Germanizing of his operas by conductors and translators — thickening the or­ chestration, “rationalizing” the plot — in hopes of reaching a wider audience. Beginning in the 1970s, however, as the influence of An­ ton Weber’s pioneering serialism was beginning to lose its grip on the new-music scene, conductors such as Charles Macker­ ras took up the cause of Janáček’s music in all its quirky origi­ nal glory, not just for the sake of the composer’s attractive and humane artistic personality, but also as signaling a dif­ ferent way forward in 20th-century music.    Some listeners immediately “got” this one-ofa-kind, new/old composer. Others might have said, along with the reviewer of a Janáček cantata in 1913, “It is a strange composition, but somehow intoxicating.” Either way, the doctor’s prognosis was correct: Around the world, Janáček’s time had come.

Above, Kamila Stösslová, the young wife of an antique dealer, who Janáček met in the spa town of Pisek in 1917. Janáček and Stösslová corresponded extensively over the next decade and more, with him sharing about his music and inspirations. Janáček was clearly infuated with Stösslová, and hundreds of their letters survive, testifying to both a close relationship and ongoing tensions between them. At left, from the autograph score of Janáček’s Sinfonietta, perhaps his most acclaimed symphonic work.


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Sound for the Centennial TH E C A M PAI G N fo r The C le v el an d O rches tr a

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in our history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through THE cash gifts and legacy commitments, while also securing broad-based and increasCLEVELAND ORCHESTRA ing annual support from across Northeast Ohio.   The generous individuals and organizations listed on these pages have made long-term commitments of annual and endowment support, and legacy declarations to the Campaign as of May 1, 2014. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520. gifts of $5 million and more

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler

Maltz Family Foundation Anonymous

gifts of $1 million to $5 million

Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny   and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The George Gund Foundation Hyster-Yale Materials Handling NACCO Industries, Inc. Mr. and Mrs. Michael J. Horvitz The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation The Andrew W. Mellon Foundation

Ms. Beth E. Mooney Sally S. and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund The Payne Fund PNC Bank Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous (4)

gifts of $500,000 to $1 million

Gay Cull Addicott Darby and Jack Ashelman Claudia Bjerre Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson Virginia M. and Jon A. Lindseth


Ms. Nancy W. McCann Nordson Corporation Foundation The Honorable and Mrs. John Doyle Ong Charles and Ilana Horowitz Ratner Sally and Larry Sears Mr. and Mrs. Richard K. Smucker Squire Sanders (US) LLP Thompson Hine LLP Anonymous (2)

Sound for the Centennial Campaign

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gifts of $250,000 to $500,000

Giuliana C. and John D. Koch Dr. Vilma L. Kohn Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison Margaret Fulton-Mueller William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Parker Hannifin Corporation Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson Sidney E. Frank Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Mr. Clarence E. Klaus, Jr. gifts of $100,000 to $250,000

Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig George* and Becky Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Albert I. and Norma C. Geller Dr. Saul Genuth GAR Foundation Hahn Loeser + Parks LLP Iris and Tom Harvie Jeff and Julia Healy Mr. Daniel R. High Mr. and Mrs.* S. Lee Kohrman Linda and Saul Ludwig Kenneth M. Lapine and Rose E. Mills Mrs. Emma S. Lincoln Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee

Severance Hall 2013-14

The Nord Family Foundation Mr. Gary A. Oatey Helen Rankin Butler and Clara Rankin Williams Audra and George Rose RPM International Inc. Mrs. David Seidenfeld Andrea E. Senich Naomi G. and Edwin Z. Singer Ms. Lorraine S. Szabo Virginia and Bruce Taylor Dorothy Ann Turick Ms. Ginger Warner The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous

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TAPPIN’ THRU LIFE May 30 – June 29, 2014

Written by and starring MAURICE HINES Directed by JEFF CALHOUN Co-produced with ALLIANCE THEATRE and ARENA STAGE

Broadway legend and song-and-dance man extraordinaire Maurice Hines teams up with the amazing Manzari Brothers to put on an unforgettable show of music and memories. To add even more sizzle, Hines fires up The Diva Orchestra, an all-female nine-piece big band. Get ready to laugh, smile, and clap & tap to the infectious song and dance of Maurice Hines!

216.241.6000 | GROUPS OF 10 OR MORE SAVE UP TO 40% BY CALLING 216.400.7027

An early published edition of the comic strip Liška Bystrouška (“Vixen Sharp-Ears”).

Opera in Three Acts W h e n R u d o l f T ě s n o h l í d e k first heard that Leoš Janáček,

the most prominent living Czech composer, wanted to make an op­ era out of his comic strip in the local paper, he thought someone was playing a joke on him. Yes, it was true that Těsnohlídek’s prose narrative to fanciful animal drawings by the Prague artist Stanislav Lolek had been quite a hit with readers of the Brno daily Lidové Noviny when it was seri­ alized in 1920. It was even brought out in book form the following year. But what interest could the humorous adventures of a girl-fox in the woods have for the celebrated composer of tragic, psychologi­ cal music dramas? Then an invitation came from the great man himself for a face-to face meeting. Těsnohlídek found the composer seated in the garden of the Brno Conservatory, the music school over which he presided, on a beautiful spring day, “with thousands of tiny blossoms shining around his head; that head of his was equally white, and seemed like the biggest of the flowers.” As the writer described it, something in the old man’s smile won him over instantly: “At that moment I believed that the vixen Bystrouška was sitting, tamed and

Severance Hall 2013-14

About the Opera


quite mastered by the kindness of the man in the small garden, and that she would approach unseen to sit at our feet and listen to our plotting.” On that occasion, Janáček spoke only briefly about Těsnohlídek’s novel, while talking at length about his summer vacation in the Tatra Mountains, his lakeside house in Wal­ lachia, and the sounds and behaviors of all the forest animals there. The city-dwelling newspaper writer admittedly knew nothing of all that, and yet it only added to his confidence that his story was in good hands. It was the first time, but far from the last, that Janáček’s idea for an opera of animal and human characters singing and interacting with each other would face skeptics and turn them into believers. Certainly the composer, in conceiving his woodland fan­ tasy, did not have stage practicalities uppermost in his mind. The vixen’s story was written in the dialect of the country­ side around Brno — incomprehensible not just in Berlin and Paris but in Prague as well — and that suited the proudly Moravian composer just fine. The action of the story, and the libretto Janáček made from it, called for a frog to jump on a human’s nose, and later for that human to pick up a fox cub by the scruff of her neck and carry her home with him — and for all of them to sing about it. In the decade following the opera’s premiere, Walt Disney would show how to make such things happen with paint and cellophane. Updating that kind of visual idea through technology, The Cleveland Orchestra’s made-for-Cleveland production utilizes digital animation to immerse the orchestra and singers within storytelling that is vivid and direct, while also creating a distinct difference be­ tween the human and animal worlds. Many earlier productions have looked like theatrical plays intended merely for children. Janáček probably had something more in mind. And, ultimately, it has been the en­ chantment of Janáček’s music that has made opera audiences forget they are looking at a six-foot dragonfly and opera sing­ ers overcome their reluctance to act like a chicken. In the comic-strip spirit of the whole enterprise, Janáček was captivated by the vixen’s escapades, and cared little whether they added up to a coherent plot. (A musical prec­ edent, if one were needed, existed in Richard Strauss’s tone poem Till Eulenspiegel and his mixed bag of “merry pranks.”)


About the Opera

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What the old composer was after — and what later well-meaning “helpers” of this opera didn’t comprehend — was not a drama with a beginning, a middle, and a conclusion, but a sense of life moving in cycles for humans and non-humans alike, with youth and old age, enterprise and reflection, life and death, yes, even the chicken and the egg, being all part of the same thing. The English musicologist Erik Chisholm, in his classic 1971 book The Operas of Leoš Janáček, dug deep for metaphors to de­ scribe this most unconventional opera, beginning with “a sort of Czech Midsummer Night’s Dream” and proceeding to “a pasto­ ral symphony, a sincere and touching tribute to mother-nature, an almost Buddhistic hymn in praise of the basic unity of all liv­ ing creatures.” Of these, perhaps the implied analogy of Janáček to Beethoven is most apt — the rugged individualist composer suddenly awestruck at the order and beauty of the natural world. At the center of it all, rep­ resenting the life force — or as Janáček’s contemporary George Bernard Shaw would have it, the Eternal Feminine, the — is the ir­ repressible vixen Bystrouška. Her name means “SharpEars.” Těsnohlídek originally wrote Bystronožka (“SharpPaws”), but the newspaper typesetter misread it — apparently people in Brno didn’t fully understand their dialect either — and the writer decided the new name was just as good. “Bystro” means not only literally sharp and pointy, but also quick, clever, and cunning, and so a literal rendering of the opera’s Czech title, “The Adventures of the Vixen Bystrouška,” has become standard­ ized in English over the years as The Cunning Little Vixen. We meet Bystrouška as a pup separated from her mother, snatched up and raised in captivity by the Gamekeeper, who ap­ parently admires her spunkiness enough to keep her despite her predations on his chickens and his wife’s objections. (Echoes of the composer’s own admiration of young women, and his wife’s perpetual chagrin about it, are audible here.) The episodes — wacky and chaotic as they may be individually — show the little vixen progressing in quite an orderly way through life’s stages: Severance Hall 2013-14

About the Opera

Above, Czech artist Stanislav Lolek (18731936) in his studio with a painting of foxes. Opposite, some of Lolek’s drawing for “The Cunning Little Vixen.”


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adolescent hell-raising (and, most amusingly, political agitating), declaring her in­ dependence (i.e., escaping the Gamekeeper), falling in love, discovering sex, getting married, and raising children. Meanwhile, the opera’s human characters function — if that’s the right word — on a different level of awareness. They are, in words, a bundle of yearnings, regrets, ambivalences, misadventures, disappointments, pints of beer, and good-natured jokes at each other’s expense. A lot of it is about “the one that got away,” be it the Gamekeeper’s little vixen, which he insists he is not still chasing (even though he is), or the much-longed-for (but never seen onstage) Terynka, a woman in the village. In the end, of course, for all of us, the whole world does “get away.” That is yet another life-cycle experience that the humans don’t have in this opera, but the vixen does. Surely in no opera before or since has the death of the protagonist been treated as laconically as in this one. It’s Till Eulenspiegel again — the vixen merrily dodges the humans’ bullets, until one day she doesn’t. And the action continues. Life goes on. By this time, in Act III, Janáček as librettist has departed from the comicstrip narrative on an errand of his own — to pull back and put a frame of mean­ ing around all the madcap action. And a delicate and touching frame it is. By stitching together various episodes from the book, he finds the human characters nursing their regrets, and the Gamekeeper venturing stiffly one more time into the forest, only to find that, while he has gotten older, the forest creatures have gotten younger. What? Soon the explanation appears — the vixen cub that darts across his path is not Bystrouška but her daughter, and the frog he catches is not the one that jumped on his nose in Act I, but that frog’s grandson. The Gamekeeper, struck with awe at the renewal of life, lets his gun fall to the ground. (Exactly what that means . . . varies by production, director’s choice, and audience imagination.) That is all the “philosophy” that this charming opera needs. Janáček would never have been so ill-mannered as to bite the hands of friends such as the critic and translator Max Brod, who did so much to bring him international fame late in his life, but one wonders what he thought of their efforts to Wagnerize this opera with leitmotif-hunting and animal-human plot parallelisms. (In his German transla­ tion of Vixen, Brod even brought the village woman Terynka onstage as a human “equivalent” to the vixen.) Janáček’s distinctive musical themes and motifs, with their modal Moravian flavor, certainly do recur at key points to reinforce the action — and it’s interesting how the animal and human characters reflect off each other — but none of this is imposed by some great creaking superstructure. It just hap­ pens . . . naturally. —David Wright © 2014 David Wright lives and writes in Wellesley, Massachusetts. He previously served as program annotator of the New York Philharmonic.

Severance Hall 2013-14

About the Opera



Die tote Stadt (The Dead City)

by Erich Korngold Saturday, June 14, 2014 at 7:30pm The Ohio Theatre, Playhouse Square 1511 Euclid Avenue, Cleveland OH 44115 Fully staged, with soloists, chorus, orchestra, costumes, staging, sets, and supertitles to translate the text into English.

Now in its 18th season, Opera Circle has been in Cleveland since 1995. The company has produced over 40 operas, among them an original commissioned work and numerous northeast Ohio premieres. “Die tote Stadt” is made possible with special grants from the National Endowment for the Arts, The George Gund Foundation and many other generous sponsors.

“Opera Circle deserves heaps of praise both for the conception and execution of this project. I’ll say it again: this was one of the best opera evenings ever!” – Daniel Hathaway on Massenet’s “Werther,” “Experiencing ‘King Roger’ in the flesh for the first time – or at all – must have been a revelation for most audience members. For Opera Circle, the production could only be deemed a triumph.” – Donald Rosenberg on Szymanowski’s “King Roger,” The Plain Dealer

Tickets available through the PlayhouseSquare Box Office at 216.241.6000 or online at For details, visit Opera Circle at or call 216.441.2822.

Martina Janková The Vixen Swiss soprano Martina Janková began her musical training in her native Czech Republic, and later was a prizewinner at Germany’s Neue Stimmen International Singing Competi­ tion. She first worked with Franz Welser-Möst at the Inter­ national Opera Studio in Zurich, and has been a member of the Zurich Opera since 1998. Her roles in Zurich have included Angelica in Handel’s Orlando, Vixen in Janáček’s The Cunning Little Vixen, Nanetta in Verdi’s Falstaff, Mar­ zelline in Beethoven’s Fidelio, Gretel in Humperdinck’s Hansel and Gretel, and Ighino in Pfizner’s Palestrina. Ms. Janková’s recent schedule includes performances at Paris’s Théâtre des Champs-Élysées and at the Prague Na­ tional Theater and Prague State Opera. A regular guest at the Salzburg Festival, she has also sung at the festivals of Geneva, Graz, Lucerne, Prague, and Vienna, and at the Janáček Spring Festival, Martinů Festival, and the Rheingau Festival. She has appeared in concert with the Berlin Philharmonic, Budapest Festival Or­ chestra, Concentus Musicus Wien, Czech Philharmonic Orchestra, Israel Philhar­ monic, Munich Philharmonic, and Zurich’s Tonhalle Orchestra. Martina Janková’s DVDs include Johann Strauss Jr.’s Simplicius for EMI with Welser-Möst conducting, as well as appearing in Mozart’s The Marriage of Figaro, Così fan tutte, and Don Giovanni. She has also recorded albums for DGG Archiv and Philips/Universal. Ms. Janková made her Cleveland Orchestra debut in March 2009 as Susanna in The Marriage of Figaro, and returned as Despina in Così fan tutte in 2010 and to sing Zerlina in Don Giovanni in March 2011.

In appreciation of their support, The Cleveland Orchestra and Musical Arts Association extend a special welcome to American Greetings, whose guests are enjoying a special evening at Severance Hall with this production of Janácek’s “The Cunning Little Vixen.”

Severance Hall 2013-14

Guest Artists


Alan Held The Forester Recognized among today’s leading singing actors, Ameri­ can bass-baritone Alan Held has appeared in major roles at many of the world’s great opera houses, including the Bavarian State Opera, Hamburg State Opera, Lyric Op­ era of Chicago, Metropolitan Opera in New York, Munich State Opera, Paris Opera, London’s Royal Opera House, San Francisco Opera, Teatro alla Scala, and the Vienna State Opera. He has also performed with major orches­ tras around the world, including those of Berlin, Chicago, Los Angeles, and Montreal, as well as with the Kirov Opera Orchestra and Metropolitan Opera Orchestra. He has sung at the Salzburg, Saito Kinen, and Tanglewood festivals, and at the BBC Proms. Mr. Held can be heard on an EMI Classics recording of Beethoven’s Fidelio, and in DVDs of the Metropolitan Opera’s production of Wag­ ner’s Das Rheingold and a Paris Opera presentation of Hindemith’s Cardillac. A native of Washburn, Illinois, Mr. Held received his vocal training at Millikin Uni­ versity and Wichita State University.  His many awards include the Birgit Nilsson Prize.  He made his Cleveland Orchestra debut in 2004, and most recently sang here at the 2013 Blossom Music Festival.

Jennifer Johnson Cano Fox American mezzo-soprano Jennifer Johnson Cano’s honors include the 2013 George London-Norma Newton Award, 2012 Richard Tucker Career Grant, 2011 Sara Tucker Study Grant, and a 2009 Sullivan Foundation Award. The Mis­ souri native earned degrees in music from Webster Universi­ ty and Rice University, and graduated from the Metropolitan Opera’s Lindemann Young Artist Development Program. Her recent and upcoming schedule includes performances with the orchestras of Boston, Los Angeles, New York, Phoe­ nix, San Francisco, and Tucson, and the opera companies of Boston, Cincinnati, and New York. Ms. Cano has performed recitals in Boston, Chicago, Houston, New York, Philadelphia, and Washington D.C. Her interest in new music led to her performing in premieres of works by Mason Bates and Jon Harbison. Her tour concerts with Musicians from Marlboro, of compositions by Cuckson and Respighi, were recorded live by the Marlboro Re­ cording Society. She can also be heard in Mahler’s Song of the Earth with the Or­ chestra of St. Luke’s and in DVDs of Robert LePage’s Ring cycle production at the Metropolitan Opera. She made her Cleveland Orchestra debut in May 2012.


Guest Artists

The Cleveland Orchestra

Raymond Aceto Harašta Ohio-born bass Raymond Aceto is an important presence among the world’s leading opera companies and orchestras. He first performed with The Cleveland Orchestra in July 1997 and sang with the Orchestra most recently in March 2013. Mr. Aceto is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program. In 1995 and again in 1996, he was awarded Richard Tucker Founda­ tion Career Grants, and has also received a Sullivan Foun­ dation Award. Mr. Aceto has appeared with the Canadian Opera Company, Dallas Opera, Houston Grand Opera, Lyric Opera of Chicago, Metropolitan Opera, L’Opéra de Montréal, San Francisco Opera, and Santa Fe Opera, as well as with Opera Theater of St. Louis and Spoleto Festival USA. In Europe, he per­ forms with Deutsche Oper Berlin, Netherlands Opera, Oper Frankfurt, Royal Op­ era Covent Garden, Madrid’s Teatro Real, and the Vienna State Opera. Raymond Aceto also sings regularly in concert, with engagements including performances with the orchestras of Boston, Dallas, Minnesota, St. Louis, and San Francis­ co. His discography includes recordings of Bellini’s I Capuleti e i Montecchi and Stravinsky’s The Rake’s Progress.

Julie Boulianne Lapák the Dog French-Canadian mezzo-soprano Julie Boulianne per­ forms a wide repertoire, with a particular focus on Mo­ zart and Rossini. Winner of the Prix Lyrique Français, she has appeared with Aspen Opera Theater, Festival Opéra de Québec, Glimmerglass Opera, New York’s Metropolitan Opera (where she sang in the HD broadcast of Berlioz’s Les Troyens), and Minnesota Opera, as well as with the opera companies of Montreal, Quebec, Vancouver, and Victoria in Canada, and those of Avignon, Marseille, Paris, Tou­ lon, and Tours in France. In concert, Ms. Boulianne has sung engagements with the the orchestras of Atlanta, Bos­ ton, Cincinnati, Colorado, Minnesota, Montreal, Nashville, Ottawa, Quebec, and Utah, among other ensembles. Julie Boulianne is making her Cleveland Orchestra debut with these performances of The Cunning Little Vixen. She has recorded for ATMA Classique, Chaîne Culturelle de Radio-Canada, Radio France, and Naxos. A graduate of McGill University’s Schulich School of Music, Ms. Boulianne won first prizes in the Canadian Music and Joy of Singing competitions, the Interna­ tional Vocal Arts Institute’s Silverman Prize, and the 2007 Prix de la Chambre des Directeurs for Most Promising Career. Severance Hall 2013-14

Guest Artists


Dashon Burton Parson/Badger American bass-baritone Dashon Burton previously ap­ peared with The Cleveland Orchestra in May 2005, singing under the direction of Pierre Boulez. He began his profes­ sional studies at Case Western Reserve University, gradu­ ated from Oberlin College Conservatory of Music, and then joined Cantus, a professional men’s classical vocal ensemble. Mr. Burton subsequently entered Yale University’s Insti­ tute of Sacred Music and earned a master of music degree in 2011. He has since appeared with Pennsylvania’s Bach Choir of Bethlehem, Copenhagen’s Le Concert Lorrain, Boston’s Handel & Haydn Society, Oratorio Society of New York, Philharmonia Baroque, and the Yale Schola Canto­ rum, among other ensembles. In addition to his work in early music, Mr. Burton has premiered works by William Brittelle and Edie Hill. He is a founding member of Roomful of Teeth, an ensemble devoted to new compositions and winner of the 2013 Grammy for Best Chamber Music/Small Ensemble Performance. Mr. Bur­ ton’s other honors include top prizes from the ARD International Music Competi­ tion and International Vocal Competition in the Netherlands, and 2012 Oratorio Society of New York Competition.

David Cangelosi Schoolmaster/Mosquito Tenor David Cangelosi has performed at New York’s Met­ ropolitan Opera in works by Giordano, Mozart, Puccini, and Verdi, and is especially known for his interpretation of Wagner’s Mime. He has also appeared with the opera com­ panies of Chicago, Dallas, Los Angeles, Nashville, St. Louis, San Francisco, Santa Fe, and Washington D.C., and in Paris, and recently made his debut at the Spoleto Festival U.S.A. In concert, his appearances have included engagements with the orchestras of Boston, Cincinnati, Columbus, Los Ange­ les, and Montgomery. Mr. Cangelosi serves as artistic direc­ tor of the Vann Vocal Institute in Montgomery, Alabama. He previously sang with The Cleveland Orchestra in 1999, in operas by Ravel and Bizet. Mr. Cangelosi has recorded Puccini’s Tosca, as well as a scene from Wag­ ner’s Siegfried with Placido Domingo. Born in Parma, Ohio, he attended Baldwin Wallace College, studied musical theater in Maine, and performed for a decade as a nightclub entertainer. In the 1990s, Mr. Cangelosi returned to classical music and became a member of the Chicago Lyric Opera Center for American Artists. For additional information, visit


Guest Artists

The Cleveland Orchestra

Franklin & Diana Cohen, artistiC DireCtors

JUNE 19-29

DON’T MISS CHAMBERFEST CLEVELAND 2014! “ Something close to artistic paradise.” —The Plain Dealer

For more info: 216-785-9977

The Cleveland Orchestra salutes Northeast Ohio for hosting the 2014 Gay Games August 9-16 Join us for a special Games kick-off concert at Blossom on July 27 â&#x20AC;&#x153;Broadway Standing Ovations!â&#x20AC;?

See complete details about the 2014 Gay Games and related cultural performances and activities online. OPEN TO ALL BAND, CHORUS & 35+ sports Register, volunteer, donate @ The Cleveland Orchestra is proud to be a Community Patron Partner of the 2014 Gay Games. 62

The Cleveland Orchestra

Sandra Ross Forester’s Wife/Woodpecker Mezzo-soprano Sandra Ross has appeared with Cincinnati Opera, Cleveland Opera, Central City Opera, Lyric Opera Cleveland, Opera North, Sorg Opera, and nine seasons with Ohio Light Opera. Born in Cincinnati, she holds a bachelor of music degree from Heidelberg College and a master of music degree from the New England Conservatory. On the concert stage Ms. Ross has been a soloist in works including Howard Shore’s Lord of the Rings Symphony, Beethoven’s Symphony No. 9, Prokofiev’s Alexander Nevsky, and Handel’s Messiah, appearing with the orchestras of Cleveland, Akron, Canton, Ashland, Toledo and Youngstown, among other ensembles. She can be heard on a number of recordings with the Ohio Light Opera on Albany Records.

Samantha Gossard Rooster/Owl Samantha Gossard is currently an apprentice artist with the Lyric Opera of Kansas City and an artist certificate candidate with the University of Missouri-Kansas City, where she studies with Vinson Cole. Ms. Gossard earned a master of music degree from the Cleveland Institute of Music (CIM). At CIM, she performed the title role in Handel’s Xerxes, as Cinderella’s stepmother in Massenet’s Cendrillon, and as Ramiro in Mozart’s La finta giardiniera. She also sang as the alto soloist in Mahler’s Symphony No. 2 with the CIM Orchestra. Ms. Gossard was a New Horizon Opera Fellow at the Aspen Music Festival and School for two summers. She holds bachelor of arts degrees in church music and Christian worship from Indiana Wesleyan University.

Brian Keith Johnson Pásek the Innkeeper Baritone Brian Keith Johnson has performed many roles in opera, from Figaro in The Barber of Seville and Don Alfonso in Così fan tutte to Ford in Falstaff and Crown in Porgy and Bess. As a member of Actors’ Equity, he has played a variety of musical theater roles, ranging from Jim in Big River to Father/God in Children of Eden. He has appeared as soloist with orchestras across the United States, in repertoire ranging from Bach’s Magnificat and Mozart’s Requiem to Brahms’s A German Requiem and Orff ’s Carmina Burana. Mr. Johnson received his bachelor’s degree from the University of Akron and has also studied abroad at the New Opera Academy of Rome and at the American Institute of Musical Studies in Graz, Austria.

Severance Hall 2013-14

Guest Artists


Baldwin Wallace University presents the 22nd Annual

Art Song Festival a week-long collaboration of art song performance and ten singer-pianist teams studying with international concert artists and culminating in a Team Recital the final night of the Festival:

May 24, 2014 at 7:30 p.m.

Gamble Auditorium, Kulas Musical Arts Building, 96 Front Street, Berea Teams coached by guest artists Joan Rodgers, soprano, with Roger Vignoles, pianist Andrew Garland, baratone, with Warren Jones, pianist

For more information and tickets:, 440-826-7664 Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

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The Cleveland Orchestra

Marian Vogel Mrs. Pásek/Chief Hen/Blue Jay Soprano Marian Vogel made her Carnegie Hall debut singing the soprano solos in the Mozart Requiem and Rutter’s Magnificat under the baton of composer John Rutter. She has performed many leading operatic roles, including Cio-Cio San in Madama Butterfly, Mimi and Musetta in La Bohème, and Violetta in La Traviata, as well as many Gilbert & Sullivan heroines and musical theater roles. Equally at home on the concert stage, Ms. Vogel has appeared in major works across the United States and in Europe. Ms. Vogel is a two-time first prize winner of the Metropolitan Opera National Council District Auditions and the winner of the Belle O. Morse Young Artist Award. She is a graduate of the University of Cincinnati College-Conservatory of Music.

Laura Schupbach Cricket/Frog/Pepík Laura Schupbach is a native of New Philadelphia, Ohio, and a current resident of Cleveland. She is a graduate of Baldwin Wallace Conservatory of Music with a BME degree, having studied voice with Benjamin Czarnota and Althea Maria Papoulia. Ms. Schupbach has soloed with the Baldwin Wallace Symphony as a concerto competition winner, Tuscarawas Philharmonic Orchestra, Akron Symphony, and the Mansfield Symphony, and is a member of the Cleveland Orchestra Chorus. She is currently employed as the choir director at Hawken Middle School.

Miranda Scholl Grasshopper/Frantík Miranda Scholl is making her Cleveland Orchestra debut in these performances of The Cunning Little Vixen. Recent roles include Emma Sheppard/Dancer and co-writer for This Falling Feeling, Hotspur in Henry IV Part I, Janet Van De Graaf in The Drowsy Chaperone, and Little Red Riding Hood in Into the Woods. Ms. Scholl will graduate from Baldwin Wallace University in 2017 with a bachelor of science degree in psychology and theater.

Severance Hall 2013-14

Guest Artists






Join us Tuesday, June 17


2014 CREATIVE VOICES SUMMIT 9:30 - 11:15A.M.






irman of the National Endo

wment for the Arts, 1989 -1992 MILTON MALTZ, Founder, Chairman and CEO, Malr ite Communications Grou with the founding and deve p, Inc.; involved lopment of the Rock and Roll Hall of Fame and Mus Maltz Family Foundation; eum; creator, founder, Maltz Museum of Jewish Heritage (Clevela Jupiter Theatre (Florida); conceptualized and created, nd) and Maltz International Spy Museum (Washington, D.C.) JOHN WOOD, Founder and Board Co-Chair, Room to Read; author, Leaving Microsof JOSHUA NESBIT, CEO and t to Change the World Co-Founder, Medic Mobile Produ





ced in Partnership with ideas




COS T: $30

NOON - 2 P.M.






Plus performances by mus icians from the Clevelan d Orchestra Youth Orchestra and the Cleveland Heights High School Barbershoppe rs 1.855.GO.STORM World-class performances. World-class audiences. Advertise among friends in The Cleveland Orchestra programs.

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Let’s talk

Featuring the 122nd Army Band of the Ohio National Guard



”‹†ƒ›ǡƒ›͵Ͳ–Š̱ͺǣͲͲ’ǤǤ̱‡˜‡”ƒ…‡ ƒŽẔ̌ʹͳ͸Ǧʹ͵ͳǦͳͳͳͳ The Cleveland Orchestra

Yuval Sharon DIRECTOR Named a “Face to Watch” by the Los Angeles Times, Yuval Sharon has been creating an unconventional body of work exploring the interdisciplinary potential of opera. He founded and serves as artistic director of The Industry, an experimental opera company in Los Angeles, where his inaugural production of Anne LeBaron’s hyperopera Crescent City was praised by the Los Angeles Times as “groundbreaking” and “reshaping LA Opera.” His second production, Christopher Cerrone’s Invisible Cities, took place among the everyday life of Union Station, with audiences hearing the live performance on wireless headphones. The production was hailed as “the opera of the future” by Wired Magazine; an international tour is currently in development. Mr. Sharon made his European debut with John Adams’s Doctor Atomic at the Badisches Stadtstheater Karlsruhe.  He has also directed a landmark production of John Cage Song Books with the San Francisco Symphony.  He was project director for four years of New York City Opera’s VOX, an annual workshop of new American opera. He was assistant director to Achim Freyer on the LA Opera Ring cycle and associate director with Graham Vick for the world premiere of Stockhausen’s Mittwoch aus Licht for the London 2012 Cultural Olympics. His next project is The Industry’s production of Gordon Beeferman’s The Rat Land.

Walter Robot ANIMATION DESIGN Walter Robot is the award-winning creative team of artist Bill Barminski and director Christopher Louie. They work in various mediums, including film, animation, art, and sculpture. Their animation and short-film work has been nominated for a number of awards and featured in various festivals, including the Los Angeles Film Festival and Sundance Film Festival. Their artwork and sculptures have been featured in a variety of galleries, including the famed street art POW Gallery in London. In 2012, they had an exhibit at Bergamot Station in Santa Monica called This Side Up. They have worked with a number of notable artists, including Death Cab for Cutie, Kid Cudi, Gnarls Barkley, Rob Thomas, and Modest Mouse. Their commercial clients include MTV, American Express, Nokia, Hasbro, Wendy’s, and Absolut Vodka. For more information, visit Severance Hall 2013-14

Production Team


Tri-C JazzFest Cleveland

June 26-28, 2014

Indoors and Out, PlayhouseSquare


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The Cleveland Orchestra

Jason Thompson PROJECTION/LIGHTING Jason H. Thompson has worked as a lighting and projection design­ er on over fifty productions around the world. His credits include the Broadway musical Baby It’s You!, a one-man multimedia clown show titled Wingman, The Steward of Christendom at the Mark Ta­ per Forum in Los Angeles, The Great Immensity and Venice at the Public Theatre, an international touring show with Parsons Dance Company titled Remember Me, Cage Song Books (a 45-minute selec­ tion of John Cage works performed at Carnegie Hall), projects with the San Francisco Symphony and Miami’s New World Symphony, and Crescent City and Invisible Cities (experimental new operas directed by Yuval Sharon). He has designed the video for Stars on Ice for the last eight years, and has worked with the Scott Hamilton Cares Foundation for the past two years.  He is a member of United Scenic Artists Local 829, and co-founder of Pixel Theory Col­ lective. For more information, visit

Ann Closs-Farley COSTUMES Ann Closs-Farley designed costumes for Annapurna, which recent­ ly opened at the Acorn Theater in New York City with Nick Offer­ man and Megan Mullally. Her recent work also includes Last Act of Lilka Kadison, Carnage, Rabbit Hole, Broadway Bound, American Misfits, Coney Island Christmas, Eric Idle’s What About Dick?, The Pee-wee Herman Show (on Broadway), Disney’s Toy Story: The Musical for Disney Cruise lines, Eric Idle’s An Evening Without Monty Python, and Around The World in 80 Days at the Cleveland Play House.  Ms. Closs-Farley also styles and designs for The World Poker Tour, Kaiser Permanente Theatricals, and Disney. For more information, visit

Cristina Waltz MASKS Cristina Waltz is an accomplished artist and makeup designer spe­ cializing in beauty and special effects. Her diverse list of credits includes department head for film, commercial, music video, and stage. In 2011, Cristina was nominated for a Primetime Emmy Award for Outstanding Makeup on HBO’s live taping of The Peewee Herman Show on Broadway.  As a fine artist, she creates masks and paints fun scenic environments for numerous music videos as well as children’s television. For additional information, visit

Severance Hall 2013-14

Production Team














to classical around the clock.

WCLV…now also heard on 90.3 WCPN HD2

Robert Porco

Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Ann Usher

Director, Cleveland Orchestra Children’s Choruses

Ann Usher has served as director of the Cleveland Orchestra Children’s Choruses since 2000. She prepares the Children’s Chorus for their appearances as part of the annual Christmas concerts, community concerts, and in the Orchestra’s performances of operas and symphonic works that call for children’s voices. Ms. Usher is a professor at the University of Akron and director of the School of Music. She teaches graduate and undergraduate choral music education courses and previously served as interim director of the School of Dance, Theater, and Arts Administration. She previously taught choral music in the public schools, specializing in the middle school level. Active as a clinician and adjudicator, Ann Usher holds a bachelor of music education degree from the University of Northern Iowa, and a master of music degree in choral conducting and a doctorate in music education from Kent State University.

Severance Hall 2013-14

Cleveland Orchestra Chorus


Act one begins

Beck Center for the Arts

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

Your Investment: Strengthening Community Visit to learn more.


Corporate Support

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving



BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. The Lubrizol Corporation / The Lubrizol Foundation Merrill Lynch Parker Hannifin Corporation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of March 2014.

Annual Support

gifts of $2,500 or more during the past year, as of March 20, 2014 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to artistic excellence at the highest level. PARTNERS IN EXCELLENCE $300,000 AND MORE

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The Lubrizol Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Eaton FirstEnergy Foundation Forest City Enterprises, Inc. PNC Bank Thompson Hine LLP PARTNERS IN EXCELLENCE $100,000 TO $199,999

The Cliffs Foundation Google, Inc. Medical Mutual of Ohio Nordson Corporation and Foundation Parker Hannifin Corporation $50,000 TO $99,999

Jones Day Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Charter One Dix & Eaton The Giant Eagle Foundation Greenberg Traurig (Miami) Litigation Management, Inc. Northern Trust Bank of Florida (Miami) Park-Ohio Holdings Corp. The Plain Dealer RPM International Inc. Squire Sanders (US) LLP

Severance Hall 2013-14

Corporate Annual Support

$2,500 TO $24,999 AdCom Communications Akron Tool & Die Company AkronLife Magazine American Fireworks, Inc. American Greetings Corporation Bank of America BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co LLC Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Behavioral Health Center Conn-Selmer, Inc. Consolidated Solutions Dollar Bank Dominion Foundation Ernst & Young LLP Evarts Tremaine Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Victor Kendall, Friends of WLRN Gallagher Benefit Services Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Hyland Software The Lincoln Electric Foundation Littler Mendelson, P.C. C. A. Litzler Co., Inc. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp. Northern Haserot Oatey Co. Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Oswald Companies PolyOne Corporation Pricewaterhouse Coopers LLP The Prince & Izant Company The Sherwin-Williams Company Stern Advertising Agency Swagelok Company Tucker Ellis Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Anonymous (2)


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Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving


The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation $1 MILLION TO $5 MILLION

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of March 2014.

Severance Hall 2013-14

Annual Support

gifts of $2,000 or more during the past year, as of March 20, 2014 $1 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Andrew W. Mellon Foundation The Kelvin and Eleanor Smith Foundation $500,000 TO $999,000

The George Gund Foundation $250,000 TO $499,000

Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund Ohio Arts Council $100,000 TO $249,999

The George W. Codrington Charitable Foundation Sidney E. Frank Foundation GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation $50,000 TO $99,999

Ann and Gordon Getty Foundation The Hearst Foundations Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Marlboro 2465 Foundation Miami-Dade County Department of Cultural Affairs (Miami) Donald and Alice Noble Foundation, Inc. The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation Surdna Foundation $20,000 TO $49,999 The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust John S. and James L. Knight Foundation The Margaret Clark Morgan Foundation National Endowment for the Arts The Frederick and Julia Nonneman Foundation William J. and Dorothy K. O’Neill Foundation Peacock Foundation, Inc. (Miami) Polsky Fund of Akron Community Foundation The Reinberger Foundation The Sisler McFawn Foundation

$2,000 TO $19,999 The Abington Foundation Ayco Charitable Foundation The Ruth and Elmer Babin Foundation The Batchelor Foundation, Inc. (Miami) Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Bicknell Fund Eva L. and Joseph M. Bruening Foundation The Conway Family Foundation Mary and Dr. George L. Demetros Charitable Trust The Fogelson Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The William O. and Gertrude Lewis Frohring Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Jean Thomas Lambert Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation The Mandel Foundation The McGregor Foundation Bessie Benner Metzenbaum Foundation M.G. O’Neil Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The Veale Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation/Government Annual Support



Individual Support

The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

JOHN L. SEVERANCE SOCIETY Daniel R. and Jan R. Lewis (Miami, Cleveland) $5 MILLION TO $10 MILLION

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp Mr. George Gund III* Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Susan Miller (Miami) Sally S. and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Anonymous (2) The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. As of March 2014.


gifts during the past year, as of March 20, 2014 INDIVIDUAL GIFTS OF $500,000 AND MORE



Annual Support

Daniel R. and Jan R. Lewis (Miami) Peter B. Lewis* and Janet Rosel Lewis (Miami) Mr. and Mrs. Albert B. Ratner INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) David and Francie Horvitz Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Elizabeth R. Koch Mrs. Emma S. Lincoln Elizabeth F. McBride Ms. Ginger Warner (Cleveland, Miami) Mr. and Mrs. Franz Welser-Mรถst Janet* and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Mary M. Spencer (Miami) INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Mr. Allen H. Ford Hector D. Fortun (Miami) Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano (Cleveland, Miami) R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis

Individual Annual Support

The Cleveland Orchestra

Leadership Council

Mr. and Mrs. Edward A. Lozick Robert M. Maloney and Laura Goyanes Ms. Beth E. Mooney Mr. Patrick Park (Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Sally and Larry Sears Hewitt and Paula Shaw Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous

Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Paul and Suzanne Westlake

INDIVIDUAL GIFTS OF $30,000 TO $49,999

INDIVIDUAL GIFTS OF $20,000 TO $24,999

Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s Committee Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund George Gund* Trevor and Jennie Jones Giuliana C. and John D. Koch Dr. Vilma L. Kohn Charlotte R. Kramer Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Sally S. and John C. Morley Mrs. Jane B. Nord Luci and Ralph* Schey Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton INDIVIDUAL GIFTS OF $25,000 TO $29,999

Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway Do Unto Others Trust (Miami) George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita Gary Hanson and Barbara Klante Mr. and Mrs. Jeffrey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland Orchestra Dr. David and Janice Leshner Milton and Tamar Maltz Margaret Fulton-Mueller William J. and Katherine T. O’Neill Julia and Larry Pollock

Severance Hall 2013-14

The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. Matthew V. Crawford Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Andrew and Judy Green Mr. and Mrs. Jack Hoeschler Richard and Erica Horvitz (Cleveland, Miami) Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Joy P. and Thomas G. Murdough, Jr. (Miami) Marc and Rennie Saltzberg Raymond T. and Katherine S. Sawyer Mr. and Mrs. Donald Stelling (Europe) Mr. Joseph F. Tetlak Tom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Women’s Committee of The Cleveland Orchestra Anonymous gift from Switzerland (Europe) INDIVIDUAL GIFTS OF $15,000 TO $19,999

Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. and Mrs. David J. Carpenter Scott Chaikin and Mary Beth Cooper Jill and Paul Clark Mr. Peter and Mrs. Julie Cummings (Miami) Mr. and Mrs. Peter O. Dahlen Colleen and Richard Fain (Miami) Joyce and Ab* Glickman Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Mr. and Mrs. Donald M. Jack, Jr.

Individual Annual Support

listings continue


THE CLEVELAN D ORCHESTRA listings continued

Andrew and Katherine Kartalis Tati and Ezra Katz (Miami) Mr.* and Mrs. Arch J. McCartney Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Lucia S. Nash Mr. Gary A. Oatey (Cleveland, Miami) Claudia and Steven Perles (Miami) Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Mrs. David Seidenfeld Dr. and Mrs. Neil Sethi David and Harriet Simon Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Jeffrey M. Weiss Anonymous

INDIVIDUAL GIFTS OF $10,000 TO $12,499

INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mr. and Mrs. William E. Conway Ms. Dawn M. Full Robert K. Gudbranson and Joon-Li Kim Tim and Linda Koelz Mr.* and Mrs. Richard A. Manuel Mr. Larry J. Santon Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)


Annual Campaign Patrons

Barbara Robinson, chair Robert Gudbranson, vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson

Jack Harley Iris Harvie Brinton L. Hyde Randall N. Huff David C. Lamb Raymond T. Sawyer

Ongoing annual support gifts are a critical component toward sustaining The Cleveland Orchestra’s economic health. Ticket revenues provide only a small portion of the funding needed to support the Orchestra’s outstanding performances, education activities, and community projects. The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

Mr. and Mrs. George N. Aronoff Jayusia and Alan Bernstein (Miami) Marsha and Brian Bilzin (Miami) Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Paul and Marilyn* Brentlinger Augustine* and Grace Caliguire Richard J. and Joanne Clark Mrs. Barbara Cook Mrs. Barbara Ann Davis Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Neil Flanzraich Mr. Monte Friedkin (Miami) Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Elaine Harris Green Sondra and Steve Hardis Michael L. Hardy Mr. and Mrs. James A. Haslam II Mr. and Mrs. James A. Haslam III T. K. and Faye A. Heston Joan and Leonard Horvitz Pamela and Scott Isquick Allan V. Johnson Janet and Gerald Kelfer (Miami) Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Edith and Ted* Miller Mr. Donald W. Morrison Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Mr. Raymond M. Murphy Donald and Alice Noble Foundation, Inc. Mr. and Mrs. William M. Osborne, Jr. Brian and Patricia Ratner Audra and George Rose Dr. Tom D. Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel Rutherford Carol* and Albert Schupp Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Mrs. Gretchen D. Smith Jim and Myrna Spira Lois and Tom Stauffer Charles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. Taber Dr. Russell A. Trusso Sandy and Ted Wiese Anonymous (4)* INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. and Mrs. Dean Barry Mr. William Berger Laurel Blossom Mr. Robert W. Briggs Dr. and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard listings continue


Individual Annual Support

The Cleveland Orchestra

Your legacy helps create a healthier community.

Gifts to University Hospitals continue the legacy of giving from generation to generation – by enabling us to live our mission every day: To Heal – enhancing patient care, experience and access To Teach – training future generations of physicians and scientists To Discover – accelerating medical innovations and clinical research And with your support, we’ll continue to provide the same high-quality care that we have for nearly 150 years. Join the many who are making a difference. To learn more, contact our gift planning team at 216-983-2200 or visit

THE CLEVELAN D ORCHESTRA listings continued

Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Nancy and Richard Dotson Harry and Joyce Graham Mr. Paul Greig Kathleen E. Hancock Mary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. Haslinger Amy and Stephen Hoffman Joela Jones and Richard Weiss Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Douglas and Noreen Powers Paul A. and Anastacia L. Rose Rosskamm Family Trust Patricia J. Sawvel Drs. Daniel and Ximena Sessler Naomi G. and Edwin Z. Singer Family Fund Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Mrs. Marie S. Strawbridge* Bruce and Virginia Taylor Dr. Gregory Videtic Anonymous (2) INDIVIDUAL GIFTS OF $5,000 TO $7,499

Norman and Helen Allison Susan S. Angell Mr.* and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Dr. and Mrs. Eugene H. Blackstone Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William and Dottie Clark Mrs. Lester E. Coleman Mr. Owen Colligan Marjorie Dickard Comella Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Edward B. Davis Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. Terry C. Z. Egger Dr. and Mrs. Robert Elston Mary and Oliver Emerson Mr. and Mrs. Alex Espenkotter (Miami) Dr. D. Roy and Diane A. Ferguson Christopher Findlater (Miami) Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning

Clark Harvey and Holly Selvaggi Henry R. Hatch Robin Hitchcock Hatch Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller Thomas and Mary Holmes Mr. and Mrs. John Hudak (Miami) Bob and Edith Hudson (Miami) Ms. Charlotte L. Hughes Mr. James J. Hummer Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. William S. Kiser Mr. and Mrs.* S. Lee Kohrman Mrs. Justin Krent Mr. Donald N. Krosin Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Mr. Brian J. Lamb David C. Lamb Shirley and William Lehman (Miami) Mr. Lawrence B. and Christine H. Levey Mr. and Mrs. Adam Lewis Mr. Dylan Hale Lewis (Miami) Ms. Marley Blue Lewis (Miami) Mr. Jon E. Limbacher and Patricia J. Limbacher Elsie and Byron Lutman Mr. and Mrs. Alex Machaskee Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Alexander and Marianna C.* McAfee Ms. Maureen M. McLaughlin (Miami) James and Virginia Meil Claudia Metz and Thomas Woodworth Mr. and Mrs. Abraham C. Miller (Miami) Drs. Terry E. and Sara S. Miller David and Leslee Miraldi Mr. and Mrs. William A. Mitchell Ann Jones Morgan Richard and Kathleen Nord Mr. Henry Ott-Hansen Nan and Bob Pfeifer Mr. and Mrs. John S. Piety Dr. and Mrs. John N. Posch William and Gwen Preucil Lois S.* and Stanley M. Proctor Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Ms. Deborah Read Mr. William J. Ross Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Mr. and Mrs. David R. Sawyier Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee G. and Jane Seidman Charles Seitz (Miami)

listings continue


Individual Annual Support

The Cleveland Orchestra

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California Closets creates custom storage solutions for every room in your home. Call today to arrange your free design consultation. BROOKLYN HEIGHTS 1100 Resource Drive new! wOOdmERE 28000 Chagrin Blvd. 216.741.9000 OH160_Orchestra_5.3x3.8_1213 1

Severance Hall 2013-14

12/18/13 4:00 PM



Mr. Eric Sellen and Mr. Ron Seidman Mrs. Frances G. Shoolroy Marjorie B. Shorrock David Kane Smith Dr. Marvin and Mimi Sobel George and Mary Stark Howard Stark M.D. and Rene Rodriguez (Miami) Stroud Family Trust Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly

Robert and Marti Vagi Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Mr. and Mrs. Fred A. Watkins Robert C. Weppler Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Sandy Wile and Susan Namen Fred* and Marcia Zakrajsek Anonymous (4)


Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Mrs. Joanne M. Bearss Mr. and Mrs. Jules Belkin Howard R. and Barbara Kaye Besser Suzanne and Jim Blaser Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson Mr. and Mrs. Frank H. Carpenter Mr.* and Mrs. Robert A. Clark Drs. Mark Cohen and Miriam Vishny Diane Lynn Collier Thomas and Dianne Coscarelli Ms. Maureen A. Doerner and Mr. Geoffrey T. White Peter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenry David and Margaret Ewart Mr. and Mrs. John R. Fraylick Peggy and David* Fullmer Dr. and Mrs. Ronald L. Gould Nancy and James Grunzweig Mr. Robert D. Hart Hazel Helgesen* and Gary D. Helgesen

Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. Inkley Helen and Erik Jensen Barbara and Michael J. Kaplan Mr. James and Mrs. Gay* Kitson Dr. Gilles and Mrs. Malvina Klopman Mr. Thomas and Mrs. Deborah Kniesner Cynthia Knight (Miami) Mr. and Ms. James Koenig Marion Konstantynovich Judy and Donald Lefton (Miami) Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Dr. Alan and Mrs. Joni Lichtin Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Joel and Mary Ann Makee Martin and Lois Marcus William and Eleanor* McCoy Dr. Susan M. Merzweiler Bert and Marjorie Moyar Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson Mr. Robert S. Perry Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak

Dr. Robert W. Reynolds Mrs. Charles Ritchie Amy and Ken Rogat Carol Rolf and Steven Adler Fred Rzepka and Anne Rzepka Family Foundation Dr. and Mrs. Martin I. Saltzman Mr. Paul H. Scarbrough Ginger and Larry Shane Ms. Frances L. Sharp Mr. Richard Shirey Howard and Beth Simon Mr. and Mrs. William E. Spatz Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Mr. and Mrs. Lyman H. Treadway Drs. Anna* and Gilbert True Miss Kathleen Turner Mr. and Mrs. Mark Allen Weigand Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox Mr. and Dr. Ann Williams Tony and Diane Wynshaw-Boris Anonymous

Doug and Barbara Bletcher Dennis and Madeline Block Mr. and Mrs. Richard H. Bole John and Anne Bourassa Lisa and Ron Boyko Mr. and Mrs. David Briggs Mrs. Ezra Bryan J. C. and Helen Rankin Butler Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Daniel D. Clark and Janet A. Long Mr. and Mrs. Stanley Cohen (Miami) Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis

Mrs. Lois Joan Davis Dr. and Mrs. Richard C. Distad Dr. M. Meredith Dobyns Mr. George and Mrs. Beth Downes Harry and Ann Farmer Dr. Aaron Feldman and Mrs. Margo Harwood Ms. Karen Feth Carl and Amy Fischer Mr. Isaac Fisher Scott Foerster, Foerster and Bohnert Joan Alice Ford Mrs. Amasa B. Ford Mr. Randall and Mrs. Patrice Fortin Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Jeanne Gallagher Marilee L. Gallagher


Mr. and Mrs. Charles Abookire, Jr. Nancy L. Adams, PhD Stanley I. and Hope S. Adelstein Mr. and Mrs. Monte Ahuja Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Dr. Mayda Arias Mr. and Mrs. James B. Aronoff Agnes Armstrong Geraldine and Joseph Babin Ms. Delphine Barrett Ellen and Howard Bender Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Margo and Tom Bertin Julia and David Bianchi (Cleveland, Miami) Carmen Bishopric (Miami) Bill* and Zeda Blau


Individual Annual Support

listings continue

The Cleveland Orchestra


Mrs. Georgia T. Garner Loren and Michael Garruto Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger Mr. and Mrs. Robert T. Graf The Thomas J. and Judith Fay Gruber Charitable Foundation Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Norman C. and Donna L. Harbert Mr. and Mrs. Donald F. Hastings Sally and Oliver Henkel Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Dr. Feite F. Hofman* Dr.* and Mrs. George H. Hoke Peter A. and Judith Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. Randal N. Huff and Ms. Paulette Beech Ms. Carole Hughes Ms. Luan K. Hutchinson Ruth F. Ihde Ms. LaVerne Jacobson Dr. Michael and Mrs. Deborah Joyce Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Fred and Judith Klotzman Mr. Ronald and Mrs. Kimberly Kolz Jacqueline and Irwin Kott (Miami) Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Ms.* Sherry Latimer Marcia Kraus Mr. James Krohngold Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. John J. Lane Anthony T. and Patricia A. Lauria Mr. Jin-Woo Lee Ivonete Leite (Miami) Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Mr. Rudolf and Mrs. Eva Linnebach Martha Klein Lottman Ms. Mary Beth Loud Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz David* and Elizabeth Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Ms. Nancy L. Meacham Mr. James E. Menger

Stephen and Barbara Messner Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami) Curt and Sara Moll Susan B. Murphy Joan Katz Napoli and August Napoli Mr. David and Mrs. Judith Newell Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Harvey and Robin Oppmann Nedra and Mark Oren (Miami) Mr. and Mrs. Robert D. Paddock Mr. and Mrs. Christopher I. Page Deborah and Zachary Paris Mr. Thomas and Mrs. Tommie Patton Mrs. Ingrid Petrus Drs. John Petrus and Sharon DiLauro Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Ms. Carolyn Priemer Mr. Richard and Mrs. Jenny Proeschel Kathleen Pudelski Ms. Rosella Puskas Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Michael Forde Ripich Ms. Linda M. Rocchi Robert and Margo Roth Miss Marjorie A. Rott Michael and Roberta Rusek Dr. Lori Rusterholtz Dr. Harry S. and Rita K. Rzepka Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Dr. John Sedor and Ms. Geralyn Presti Harry and Ilene Shapiro Ms. Marlene Sharak Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick, Jr. Grover Short Laura and Alvin A. Siegal Robert and Barbara Slanina Ms. Donna-Rae Smith Mr. and Mrs. Richey Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Lucy and Dan Sondles Mr. John C. Soper* and Dr. Judith S. Brenneke Mr. John D. Specht Mr.* and Mrs.* Lawrence E. Stewart Mr. Joseph Stroud Ken and Martha Taylor

member of the Leadership Council (see page 77)

* deceased


Individual Annual Support

Greg and Suzanne Thaxton Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Eric* and Margaret Wayne Mr. and Mrs. Jerome A. Weinberger Dr. Paul R. and Catherine Williams Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Mr. Robert Wolff and Dr. Paula Silverman Katie and Donald Woodcock Kay and Rod Woolsey Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (7) *



The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestraâ&#x20AC;&#x2122;s Annual Report, which can be viewed online at CLEVELANDORCHESTRA . COM For information about how you can play a supporting role with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7545.

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May 31 - Reservations Required 440.946.4400

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Photo by International Tchaikovsky Competition

Spring at CiM Pianist and student Daniil Trifonov will premiere his first original concerto at a benefit concert at CIM, April 23 at 8pm. Tickets at: or call 216.795.3211.

SuMMer at CiM Alumni will present their Lunch & Listen concert series this July in Mixon Hall. Join us Tuesdays in July for these free, one-hour recitals, starting at 12:30pm. For a complete list of CIM concerts and events, visit 11021 East Boulevard | Cleveland, OH 44106

We believe in working for the greater good of all and we are proud to support any organization that shares this value. We thank The Cleveland Orchestra for its commitment to excellence! Ken Lanci, Chairman & CEO Consolidated Solutions


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Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. Ticket sales cover less than half the cost of presenting The Cleveland Orchestra’s season each year. To sustain its activities here in Northeast Ohio, the Orchestra has undertaken the most ambitious fundraising campaign in our history: the Sound for the Centennial Campaign. By making a donation, you can make a crucial difference in helping to ensure that future generations will continue to enjoy the Orchestra’s performances, education programs, and community activities and partnerships. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

11001 Euclid Avenue Cleveland, Ohio 44106


c l e v e l a n d o r c h e s t r a . c om

the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Or­ chestra since its opening on February 5, 1931. After that first concert, a Cleve­ land newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Associa­ tion, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. De­ signed by Walker & Weeks, its elegant hailed as one of


Georgian exterior was constructed to harmonize with the classical architec­ ture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Mod­ ernism. An extensive renovation, resto­ ration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citi­ zens for performances, meetings, and gala events each year.

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All proceeds from our Car Donation Program provide opportunities to more than 500 children and adults with developmental disabilities like Scott and Chris, who just moved into their new home!

The Cleveland Orchestra

Guide to Fine Schools Consistently ranked among “Best Communities for Music Education” in the Nation!

Situated on a 32-acre private estate, with views of Lake Erie and walk-out gardens, McGregor offers choice of floor plans, amenities and life enrichment activities. Located just minutes from University Circle, major hospitals, Severance Center and Cleveland’s finest museums, McGregor is an innovative and comprehensive provider for all the seasons of your life!

Assisted Living • Independent Living Rehabilitation • Long Term Care Respite Care • Hospice McGregor Foundation • PACE McGregor 14900 Private Drive, Cleveland OH 44112 (north of intersection of Mayfield and Lee roads)

216-898-8300 Consistently ranked among

“Best Communities for Other fine schools advertising in The Cleveland Orchestra’s Music Education” 216-898-8300 Severance Hall programs include: in the Nation!

Baldwin Wallace University Conservatory of Music 440-826-2369 Cleveland Institute of Music 216-791-5000 Cleveland State University Kulas Series of Keyboard Conversations with Jeffrey Siegel 216-687-5018 Lake Erie College 1-855-GO-STORM

Severance Hall 2013-14 216-851-8200


“Spring Fling” Open House Saturday May 31, 2014 1:30 pm-4:00 pm Call 216-851-8200 ext. 2080 or register online Serving seniors in need since 1877


THE CLEVELAND c o n c e r t

c a l e n d a r

S P RIN G SEAS O N Ohlsson Plays Grieg

Thursday May 8 at 7:30 p.m. Saturday May 10 at 8:00 p.m. THE CLEVELAND ORCHESTRA Osmo Vänskä, conductor Garrick Ohlsson, piano

Sallinen Symphony No. 1 GRIEG Piano Concerto SIBELIUS Symphony No. 5 Sponsor: Jones Day

Cleveland Orchestra Youth Orchestra

Friday May 9 at 8:00 p.m. <18s CLEVELAND ORCHESTRA Youth Orchestra Brett Mitchell, conductor Ann Yu, violin

TORKE Bright Blue Music PROKOFIEV Violin Concerto No. 2 BERLIOZ Symphonie fantastique Friday May 16 at 10:00 a.m. <18s Saturday May 17 at 10:00 a.m. <18s Saturday May 17 at 11:00 a.m. <18s

pnc musical rainbow HEAVENLY HARPS

30-minute programs for ages 3 to 6.

Family Concert — The Composer Is Dead

Friday May 16 at 7:30 p.m. <18s THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Nathaniel Stookey, narrator There’s dreadful news from Severance Hall — the composer is dead! The musicians are most certainly guilty of something. Where were the violins on the night in question? Did anyone see the harp? Is the trumpet protesting a bit too boisterously? Everyone seems to have a motive, everyone has an alibi, and nearly everyone is a musical instrument. Join the Inspector as he interrogates all the unusual suspects in a concert based on the book by Lemony Snicket with the music of Nathaniel Stookey. Sponsor: The Giant Eagle Foundation

For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts, visit


The Cleveland Orchestra at Home in Lakewood May 17-24 The Cleveland Orchestra, in partnership with businesses, schools, and organizations of Lakewood, puts a spotlight on this near westside community and its excellent music education programs, in a week of residency May 17 through May 24. Visit for complete details. SATURDAY, MAY 17   10:30 a.m. — Root Cafe   Solo performance by a Cleveland Orchestra musician   10:30 a.m. — Blackbird Baking Company   Solo and duo performances by Cleveland Orchestra musicians   11:00 a.m. — Nature’s Bin   Special music-related event SUNDAY, MAY 18   10:00 a.m. — Lakewood Baptist Church   “The Mosaic of Music” — worship and fellowship PORCHestra   A special afternoon of music-making and neighborly gath  erings throughout Lakewood, sponsored by Charter One   4:00 p.m. — City-wide porch performances (outdoors)   5:15 p.m. — Lakewood Public Library (outdoors)   Front Porch Concert with the Cleveland Orchestra Youth   Chorus followed by Cleveland Orchestra musicians at 6 p.m. MONDAY, MAY 19   5:30 p.m. — Lakewood Family YMCA   Kickball Game with Cleveland Orchestra musicians and staff   7:00 p.m. — Beck Center for the Arts   Preview talk about the May 24 Community Concert TUESDAY, MAY 20   1:30 p.m. — Barton Senior Center   Cleveland Orchestra musicians in performance WEDNESDAY, MAY 21   6:00 p.m. — Pier W deck (outdoors)   Cleveland Orchestra musicians in performance THURSDAY, MAY 22   12:00 p.m. — Lakewood Hospital   Cleveland Orchestra musicians in performance FRIDAY, MAY 23   6:00 p.m. — Vosh   Cleveland Orchestra musicians in performance   8:00 p.m. — Mahall’s   Cleveland Orchestra musicians in performance SATURDAY, MAY 24   11:00 a.m. — Turkish American Cultural Center   Pre-concert Story Time and Musical Rainbow program        

7:30 p.m. — Lakewood Civic Auditorium CLEVELAND ORCHESTRA COMMUNITY CONCERT Franz Welser-Möst, conductor Massimo La Rosa, trombone

Concert Calendar

The Cleveland Orchestra


t h e

s p o t l i g h t

Leoš Janáček’s The Cunning Little Vixen

Saturday May 17 at 8:00 p.m. Tuesday May 20 at 7:30 p.m. <18s Thursday May 22 at 7:30 p.m. Saturday May 24 at 2:00 p.m. <18s

Martina Janková, soprano Alan Held, bass-baritone Jennifer Johnson Cano, mezzo-soprano Raymond Aceto, bass Julie Boulianne, mezzo-soprano Dashon Burton, bass-baritone David Cangelosi, tenor and the Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus with THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst Don’t miss the opera event of the season! With this brand-new, made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen, presented with innovative and original animation. (Opera sung in Czech with projected English supertitles.) Directed by Yuval Sharon. Animation by Bill Barminski and Christopher Louie — Walter Robot Studios. Projection and lighting design by Jason Thompson. Costumes by Ann Closs-Farley. Masks by Cristina Waltz. Presented with support from The Andrew W. Mellon Foundation and the National Endowment for the Arts.

The Composer Is Dead Friday May 16 at 7:30 p.m.

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Nathaniel Stookey, narrator

  Oh, dear! There’s dreadful news from Severance Hall — the composer is dead! The musicians are most certainly guilty of something. Where were the violins on the night in question? Everyone seems to have a motive, everyone has an alibi, and nearly everyone is a musical instrument. Join the Inspector as he interrogates all the unusual suspects in a concert based on the book by Lemony Snicket and with music by Nathaniel Stookey.

Prokofiev’s Cinderella

Thursday May 29 at 7:30 p.m. Friday May 30 at 11:00 a.m. <18s Saturday May 31 at 8:00 p.m. THE CLEVELAND ORCHESTRA Vladimir Jurowski, conductor Janine Jansen, violin *

Stravinsky Scherzo fantastique BRITTEN Violin Concerto * PROKOFIEV Suite from Cinderella Sponsor: BakerHostetler

Family Concert

* not part of Friday Morning Coffee concert

Sponsor: The Giant Eagle Foundation

Under 18s Free for Families


Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra in the United States. Our "Under 18s Free" program offers free tickets for young people attending with their families (one per paid adult admission).

Severance Hall 2013-14

Concert Calendar


216 - 231-1111 800-686-1141 91

11001 Euclid Avenue, Cleveland, Ohio 44106 cle v elan d orchestra . com

AT seve r ance h all Concert Dining and Concession Service

Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visiting Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

free public tours

Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall this season are on October 13, December 1, January 12, February 16, March 30, and May 4. For more information or to make a reservation for these tours, please call the Severance Hall Ticket Office at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

the cleveland orchestra store

A wide variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at

rental opportunities

Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Office at 216-231-7420 or email to


Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order prepaid parking, call the Severance Hall Ticket Office at 216-231-1111. Parking can be purchased for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

friday matinee parking

For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, across from the Cleveland Orchestra Store on the ground floor.

Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.


Concert Previews

ATM — Automated Teller Machine

If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to


Concert Previews at Severance Hall are presented in Reinberger Chamber Hall on the ground floor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information

The Cleveland Orchestra

At t h e co nce r t COAT CHECK

Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

Photography, video, and audio recording

Audio recording, photography, and videography are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.


Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind may be asked to leave the concert hall.

Late Seating

Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.

Services for persons with disabilities Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Office. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

Severance Hall 2013-14

Guest Information

es. If you need assistance, please contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office when purchasing tickets.

in the event of an emergency

Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.


For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.


Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Season subscription concerts are not recommended for children under the age of seven. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

t ic k et se rv ices Ticket Exchanges

Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit for details and blackout dates.

Unable to use your tickets?

Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleve­land Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket will be treated as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.



c o n c e r t s


Vladimir Jurowski



Brought to You by Cuyahoga Arts & Culture

Thursday May 29 at 7:30 p.m. Friday May 30 at 11:00 a.m.* <18s Saturday May 31 at 8:00 p.m.

Wednesday July 2 at 9:00 p.m. Public Square, Cleveland THE CLEVELAND ORCHESTRA Loras John Schissel, conductor hosted by Dee Perry

THE CLEVELAND ORCHESTRA Vladimir Jurowski, conductor Janine Jansen, violin *

  Prokofiev’s Cinderella is a fairytale score, delicate and charming. But like all fairytales, a dark undercurrent runs beneath. In this score, the chiming of a clock can sound like a thunderous battlefield, while the waltzes and love scenes sing. Benjamin Britten’s charming Violin Concerto * and Stravinsky’s explosive Scherzo fantastique round out this weekend’s season-ending concerts with guest conductor Vladimir Jurowski and violinst Janine Jansen. Sponsor: BakerHostetler * Not part of the Friday Morning concert.

  Join thousands of your neighbors, family, and friends for a very special evening celebrating Independence Day. Each summer since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland. This year, the Orchestra celebrates our nation’s founding with a spectacular concert, ending with Tchaikovsky’s “1812” Overture and fireworks. Brought to you by Cuyahoga Arts & Culture.   Pre-Concert Festival activities begin at 5:00 p.m.   The concert begins at 9:00 p.m.   Admission is free, no tickets are required.

See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24 / 7 for Cleveland Orchestra concerts.




Upcoming Concerts

The Cleveland Orchestra


Conducting the longest-running performance in community philanthropy. Take a bow, Cleveland. We truly couldn’t have done it without you. For 100 years, you have helped us grant more than $1.7 billion to improve the lives of Greater Clevelanders. And to that, we say, “Bravo!”

Turning Passion Into Purpose 877-554-5054

Animation drawin ngs by Walter Robot Š 2014

The Cleveland Orchestra May 17, 20, 22, 24 Concerts  
The Cleveland Orchestra May 17, 20, 22, 24 Concerts  

Opera Presentation: Leos Janacek's The Cunning Little Vixen