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May 27 & 30 2015 SEVERANCE HALL



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Perk Park in downtown Cleveland Photo by Lisa DeJong

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture uses public dollars approved by residents to bring arts and culture to every corner of our County. Public investment helps extend this experience to everyone, from grade schools to senior centers to large public events to educational outreach and small neighborhood art projects.

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May 27, 30 RICHARD STRAUSS’S DAPHNE — page 28

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About the Orchestra



From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 22 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Developing Young Audiences . . . . . . . . . . . . . . . . . 71 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-A Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 LEAGUE OF AMERICAN ORCHESTRAS 2015 NATIONAL CONFERENCE Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25-27

Week 24 STRAUSS'S DAPHNE Opera: May 27, 30 . . . . . . . . . . . . . . . . . . . . . . . . 28-30 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 33 Synopsis: The Story . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Director’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Franz Welser-Möst Talks About Daphne . . . . . . . . 39 Daphne: Just the Facts . . . . . . . . . . . . . . . . . . . . . . . . 41 About the Composer . . . . . . . . . . . . . . . . . . . . . . . . . . 43 About the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . Performers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chorus Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

17 55 62 66

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



Copyright © 2015 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800


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. 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.

This program is printed on paper that includes 50% recycled content.

50% All unused books are recycled as part of the Orchestra’s regular business recycling program.

52 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.

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


Table of Contents

The Cleveland Orchestra

or·ches·trate verb \ \ to arrange or combine so as to achieve a desired or maximum effect BakerHostetler is honored to support The Cleveland Orchestra’s commitment to world-class performances.

Severance Hall 2014-15


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Judson Manor resident Hope Hungerford is passionate about contemporary art and an honorary director of the Museum of Contemporary Art Cleveland. Living at the Manor, she appreciates its proximity to the best culture in Cleveland. “I love walking to the museum and nearby shops and restaurants in the Circle’s new Uptown district,” says Hope. “The neighborhood is vibrant and safe. It’s amazing how things have changed.” Hope notes the Manor’s other advantages. “The apartments are spacious, bright and airy. And compared to other options, it’s very affordable.”

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Perspectivesfrom the Executive Director May 2015 To everyone hearing The Cleveland Orchestra at this weekend’s concerts: thank you. Each year’s success is built on the efforts of many. In the final weeks of the Severance Hall season, we are preparing to close the books on another great year. Many of you attending are also generous in supporting the Orchestra financially through the Annual Fund. Your support fuels the Orchestra’s ongoing success, excellence, and community programs: More music for more people. The Cleveland Orchestra has made this a mantra and an engine propelling us forward each season. We are engaging more deeply with music lovers across Northeast Ohio, from our homebase at Severance Hall, to our summer home at Blossom, and many places beyond and in between. We have added opera and ballet to the annual schedule. We are stepping off the stage into coffee shops, restaurants, and churches through our neighborhood residency program and community engagement activities, creating untold enthusiasm at the grassroots level. Innovation and engagement. We are welcoming tens of thousands of young people to Orchestra concerts each season. We are expanding our reach into local schools, performing in auditoriums and classrooms and bringing students of all ages into Severance Hall for a variety of education programs. From innovative opera productions to new series — like Summers@Severance — we are exploring new and better ways of showcasing the world’s best music. We have established fruitful and rewarding residencies in Miami, Vienna, New York, and at Indiana University, building on our reputation for excellence and innovation. Measurable success. Alongside producing musical experiences of the highest quality, we are achieving new levels of success across all aspects of our operations. With ticket sales at 10-year highs and record philanthropic support from thousands of donors, we have balanced the budget for three consecutive years. This period of renewal and transformation for the future is built on our long-held tradition of excellence in everything we do, and is earning The Cleveland Orchestra recognition among our peers as a leader in what it means to be an orchestra in the 21st century. The Cleveland Orchestra’s success is the result of concentrated effort by everyone involved — on and off the stage. This institution’s greatest asset has always been the vision, dedication, and support of the people of Northeast Ohio. As the fiscal year comes to a close on June 30, we invite you to consider your own investment in sustaining The Cleveland Orchestra’s trademark musical excellence and ongoing service to this region. Please make your Annual Fund commitment today, and be counted among the thousands of supporters who enable this Orchestra to serve the people of Northeast Ohio with quality musical experiences, community presentations, and education programs.

Gary Hanson

Severance Hall 2014-15

From the Exective Director


PHOTO OF THE WEEK follow the Orchestra on Facebook for more archival photos


November 1930. Carving of the pediment above the front portico of Severance Hall is underway. The blank stones were lifted into place and carved in-place on-site and 70 feet up in the air. The sculpture was designed by Henry Hering (1874 -1949), depicting musical motifs and two female muses.

of its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Universallyacknowledged among the best ensembles on the planet, its musicians, staff, board of directors, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue its legendary command of musical excellence, to renew its focus on fully serving the communities where it performs through concerts, engagement, and music education, to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with a unswerving commitment to innovation and daring to succeed. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, a recurring resiAS IT NEARS THE CENTENNIAL


About the Orchestra

The Cleveland Orchestra


dency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indiana University. Musical Excellence. Under the leadership of Franz Welser-Möst, now in his thirteenth season as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orchestras. Its performances of standard repertoire and new works are unrivalled at home in Ohio, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences understand music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects with internationally-renowned soloists, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th and 21st century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are designed to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neighborhood residency program, designed to bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is taking shape, championed by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest, and was recently extended to the Orchestra’s concerts in Miami. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including a popular Fridays@7 series (mixing onstage symphonic works with post-concert world music performances), film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in Severance Hall 2014-15

The Orchestra Today


meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hundreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom and for the community. The Cleveland Orchestra was founded in 1918. 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 Orchestra’s permanent home, with later acoustic refinements and remodeling of the hall under 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 acoustically admired outdoor concert facilities in the United States. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world. Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past nine decades.


About the Orchestra

The Cleveland Orchestra


Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.


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The 2014-15 season marks Franz Welser-Möst’s 13th year as music director.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.


120,000 young people have attended Cleveland Orchestra symphonic concerts via programs funded by the Center for Future Audiences since 2011, through student programs and Under 18s Free ticketing.


Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.


Likes on Facebook (as of April 5, 2015)

The Cleveland Orchestra has introduced over 4 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

The Cleveland Orchestra performs over



concerts each year.

The Orchestra was founded in 1918 and performed its first concert on December 11.




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as of March 2015

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

O F F I C E R S A ND E X E C UT IVE C O MMI T T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

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

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

R E S I D E NT TR U S T E E S 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 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 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 Zoya Reyzis Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Joseph F. Toot, Jr. Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

NO N- R E S I D E NT T RUS T E E S 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 TE E S E X- O FFI C I O 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 Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

H O NO R A RY TR U S T E E S FO R L IFE Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert P. Madison Allen H. Ford PA S T PR E S I D E NT 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

Robert F. Meyerson James S. Reid, Jr.

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2014-15

Gary Hanson, Executive Director

Musical Arts Association


Welcome Spring

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MAY 27 Wednesday MAY 30 Saturday

Franz Welser-Möst leads The Cleveland Orchestra in performances of Richard Strauss’s captivating opera about Daphne, a young woman who must choose between the love of men and her love for nature. Composed during the politically perilous period after the Nazis came to power and first performed in 1938, the opera had deep personal significance to the composer. Strauss knew that the myth of Daphne was the subject of the very first opera ever composed — and his own version can be viewed as a guarded demand for creative freedom in the face of political and worldly hindrances. Sung in German with projected English supertitles. Sponsored by Litigation Management, Inc.

Apollo and Daphne, marble statue by Gian Lorenzo Bernini, 1625.

Regine Hangler (soprano) as Daphne Andreas Schager (tenor) as Apollo Norbert Ernst (tenor) as Leukippos Ain Anger (bass) as Peneios Nancy Maultsby (mezzo-soprano) as Gaea Men of the Cleveland Orchestra Chorus directed by James Darrah with The Cleveland Orchestra conducted by Franz Welser-Möst


18 East Orange Street Chagrin Falls, Ohio (440) 247-2828


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

marks Franz Welser-Möst’s thirteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the Orchestra is hailed for its continuing artistic excellence, is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble. With a commitment to music education and the Northeast Ohio community, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. He has championed new programs, such as a community-focused Make Music! initiative and a series of “At Home” neighborhood residencies designed to bring the Orchestra and citizens together in new ways. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established a recurring biennial residency in Vienna at the famed Musikverein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also 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, an annual multi-week Cleveland Orchestra residency in Florida was inaugurated in 2007 and an ongoing relationship with New York’s Lincoln Center Festival began in 2011. To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. In partnership with the Lucerne Festival, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-André Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, and Ryan Wigglesworth. Franz Welser-Möst has led annual opera performances during his tenure in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012 and in May 2014 led an innovative madeP H OTO BY S ATO S H I AOYAG I

THE 2014 -15 SEASON

Severance Hall 2014-15

Music Director


for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. They present performances of Richard Strauss’s Daphne in May 2015. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include a critically-acclaimed production of Strauss’s Der Rosenkavalier at the 2014 Salzburg Festival as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. During the 2014-15 season, he returns to Europe for a tour of Scandinavia with the Philharmonic, and will also lead them in a new production of Beethoven’s Fidelio at Salzburg in 2015. He led the Philharmonic’s celebrated annual New Year’s Day concert in 2011 and 2013, viewed by tens of millions as telecast in seventy countries worldwide. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and critically-praised new productions of Hindemith’s Cardillac, Janáček’s Katya Kabanova and From the House of the Dead, Puccini’s The Girl of the Golden West, and Verdi’s Don Carlo, as well as performances of a wide range of other operas, particularly of works by Wagner and Richard Strauss, including Tristan and Isolde and Parsifal, and Der Rosenkavalier and Ariadne auf Naxos. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, leading more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, he has created DVD recordings of live performances of five of Bruckner’s symphonies, and is in the midst of a new project recording major works by Brahms. With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony and an all-Wagner album. DVD releases on the EMI label have included Mr. Welser-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 the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary 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 Society 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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DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair

Yoko Moore


Clara G. and George P. Bickford Chair

Peter Otto


Jung-Min Amy Lee


Gretchen D. and Ward Smith Chair

Alexandra Preucil


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 Analisé Denise Kukelhan


SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2 James and Donna Reid Chair

Eli Matthews 1 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 * Chaillé 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

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Paul Kushious Martha Baldwin 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 Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair

The Cleveland Orchestra


O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 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

Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen * Robert Marcellus Chair

Robert Woolfrey Daniel McKelway 2 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

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2014-15

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Alan DeMattia

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

Donald Miller Tom Freer KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair


Christine Honolke

Michael Miller


TROMBONES Massimo La Rosa*


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Franz Welser-Möst On behalf of The Cleveland Orchestra, I am very pleased to welcome colleagues from around the world who are here for the League of American Orchestras 2015 Conference being held in Cleveland, May 27-29. We are all devoted to music as a transformational artform and as a language filled with profound meaning. Music allows us to understand not just joy in our hearts, but also the very depths of our souls.  The Cleveland Orchestra is built on a shared attitude and outlook toward music. This spirit includes an uncommonly strong devotion to the work we do — to playing a broad repertoire of music according to the composers’ intentions, of being dedicated to playing new music and masterpieces alike with fresh thinking and renewed attention to detail, to accepting nothing but the very best we can do. It is this shared vision and unity of purpose that manifests itself in the group’s famous clarity of sound and acclaimed artistry.  Northeast Ohio is a very special place. The people of this region have sustained and supported this extraordinary orchestra for nearly a century now. Together, they recognize both the excellence and the value that a great orchestra offers the community. We, in turn, serve this community not just through musical performances but through education, arts advocacy, and participation. Whether someone is hearing The Cleveland Orchestra for the first time or has listened intently for a lifetime, it is our job to harness the power of music to transform lives in ways that words alone cannot.  Thank you, welcome, and enjoy!

Severance The Cleveland HallOrchestra 2014-15

Welcome: From the Music Director


May 2015 Dear League of American Orchestras Conference Attendees: On behalf of the people of our great city, it is my pleasure to welcome you to Cleveland for the League of American Orchestras 2015 Conference, May 27-29. Cleveland is attracting national attention not only as a desirable place to live and work, but also as a destination location for travelers from across the United States and around the world. From fine dining establishments led by world-renowned chefs to the variety of professional sports teams and a world-class arts scene — with The Cleveland Orchestra at its heart — Cleveland has never been more vibrant. Located on the beautiful shores of Lake Erie, Cleveland is a diverse and growing city with a rich history and outstanding attractions including hot spots like East Fourth Street downtown and the Horseshoe Casino. Home to the Rock and Roll Hall of Fame and Museum, West Side Market, nationally-ranked museums, and the second largest theater district in the country, there are so many things to see and enjoy. Cleveland is made up of unique neighborhoods like Little Italy, Ohio City, Tremont, and University Circle — the largest cluster of cultural, educational, and medical institutions in the nation and including Severance Hall, the home of The Cleveland Orchestra. There are so many things that are uniquely Cleveland. Once again, welcome to Cleveland. I hope you enjoy your visit and will take advantage of all that our city has to offer. Sincerely,

Mayor Frank G. Jackson


Welcome: From the Mayor

The Cleveland Orchestra

May 2015 We are extraordinarily pleased to be hosting the League of American Orchestras 2015 Conference here in Cleveland this week, and thrilled to welcome you to our annual opera presentation under the direction of Franz Welser-Möst. The Cleveland Orchestra has a special relationship with our home city, whose residents have supported the Orchestra for nearly 100 years. It has been our honor and privilege to be part of Cleveland’s recent and ongoing revitalization, and to contribute to the new energy and excitement that is drawing national attention, attracting new businesses and young people, and building a strong, vital community in which to live and work. This is an especially exciting time for The Cleveland Orchestra as we approach the centennial of our founding in 2018. Building on our long tradition of musical excellence, we’re deeply proud of the work we’re doing together as an institution. We’re offering more music to more people, in more ways and varying formats. We’re evolving through innovation and experimentation. We’re successfully building a huge following of young people — who now make up 20% of our audiences. We’re finding new ways to serve our community, we’re moving forward in new artistic directions, we’re providing unique education programs in Northeast Ohio, and we’re in demand — not just at home but around the world. We are deeply proud of the work we’re doing and so pleased to have the opportunity to share some of our successes with you. I hope this Conference inspires new ideas, kindles new relationships, and reinforces pride in the strengths and gifts of every orchestra from coast to coast. Thank you again for being here. And, please, don’t hesitate to ask anyone from The Cleveland Orchestra team — staff, musicians, board, or volunteers — to assist you or answer any questions you may have. Best regards,

Gary Hanson Executive Director The Cleveland Orchestra

Severance Hall 2014-15

Welcome: From the Executive Director



W E L S E R - M Ö ST M U S I C


Severance Hall


Wednesday evening, May 27, 2015, at 7:30 p.m. Saturday evening, May 30, 2015, at 8:00 p.m.

a bucolic tragedy in one act music by RICHARD STRAUSS ( 1864-1949 ) libretto by JOSEPH GREGOR ( 1888-1960 )

Production by Chromatic Directed by James Darrah Cameron Jaye Mock, scenography, lighting, and projection design Emily Anne MacDonald, scenography and costume design Peabody Southwell, costume design Choreography by James Darrah and Bryna Pascoe Conducted by Franz Welser-Möst

These concerts are sponsored by Litigation Management, Inc. This opera presentation is supported by a generous grant from The Andrew W. Mellon Foundation. Regine Hangler’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mr. and Mrs. James P. Storer. Andreas Schager’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mrs. Paul D. Wurzburger. The Wednesday evening concert is dedicated to Mr. and Mrs. Dennis W. LaBarre in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2013-14 Annual Fund.


Week 24 — Opera Program

The Cleveland Orchestra


Daphne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Regine Hangler, soprano Leukippos, a shepherd . . . . . . . . . . . . . . . . . . . . . . . . . . . . Norbert Ernst, tenor Apollo, the sun god . . . . . . . . . . . . . . . . . . . . . . . . . . . Andreas Schager, tenor Peneios, Daphne’s father, a fisherman . . . . . . . . . . . . . . . . . . . Ain Anger, bass Gaea, his wife . . . . . . . . . . . . . . . . . . . . . . . . . . Nancy Maultsby, mezzo-soprano WIT H

First Shepherd . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Feigum, baritone Second Shepherd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Plenk, tenor Third Shepherd . . . . . . . . . . . . . . . . . . . . Ryan Speedo Green, bass-baritone Fourth Shepherd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nikola Budimir, baritone First Maid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lauren Snouffer, soprano Second Maid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anya Matanovic, soprano and featuring dancer Bryna Pascoe with Men of the Cleveland Orchestra Chorus (Robert Porco, director)

ACTION Place: Near Peneios’s hut, on the shore of the river bearing his name. Time: It is the eve of the annual summer Festival of Dionysos. Sung in German with projected English supertitles. English supertitles by Cori Ellison.

The opera is presented without intermission, and will run about 95 minutes in performance.

Severance Hall 2014-15

Week 24 — Opera Program


PRODUCTION Franz Welser-Möst, conductor James Darrah, director and choreographer Cameron Jaye Mock, scenography, lighting, and projection design Emily Anne MacDonald, scenography and costume design Peabody Southwell, costume design Bryna Pascoe, choreographer and dancer Sandra Zamora, stage manager Stephanie Boyd, assistant stage manager Joseph Short, orchestra stage manager

Men of the Cleveland Orchestra Chorus

John S. Bukala, technical director Christopher Shick, associate lighting designer Christine Dugan, painter Emily Anne MacDonald, lead costume draper Jeffery Gryzcan, wardrobe supervisor Kim Novak, lead makeup artist Milos Repicky, répétiteur and prompter Alicja Basinska, rehearsal pianist Brett Mitchell, assistant conductor Charles Latshaw, supertitle operator For The Cleveland Orchestra: Mark Williams, Director of Artistic Planning Julie Kim, Director of Operations

The story of Daphne was a favorite subject for artists from the Renaissance up to the present. Above, an 18th century depiction by Francesco Bartolozzi, in the collection of Harvard Art Museum/Fogg Museum.


Robert Porco, Director Lisa Wong, Assistant Director Joela Jones, Principal Accompanist Christopher D. Aldrich Jack Blazey Michael Borden Kevin Calavan Charles Carr Brent Chamberlin Peter B. Clausen Nick Connavino Christopher Dewald Jeffrey Duber Matthew Englehart Richard S. Falkenberg Kurtis B. Hoffman Martin Horning Paul Hubbard Joshua Jones Joel Kincannon Peter Kvidera Tod Lawrence Steve Lawson Jason Levy Scott Markov

Tyler Mason Roger Mennell Robert Mitchell Stephen Mitchell Tom Moormann James Newby Keith Norman Tremaine B. Oatman Glenn Obergefell Daniel Reiman John Riehl Matthew Rizer John Sabol Lee Scantlebury James Storry Adam Thiel Charles Tobias William Venable Michael Ward Steven Weems Caleb A. Wright

Now in its seventh decade, the Cleveland Orchestra Chorus is one of the few professionallytrained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute thousands of volunteer hours to the Orchestra’s music-making each year.

Week 24 — Opera Program

The Cleveland Orchestra

If you look deep enough, you will see music; the heart of nature being

everywhere music. -Thomas Carlyle

Litigation Management, Inc. is proud to sponsor THE CLEVELAND ORCHESTRA - and FRANZ WELSER-MÖST conducting Strauss’ Daphne. TRANSFORMING INFORMATION, DELIVERING INSIGHT©

Severance Hall 2014-15


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Natural vs. Human Nature T H E S T O R Y O F D A P H N E involves several things. A young woman is conflicted between the serenity of nature and the passions of men. Both a god and a man pursue her. Her parents and their kin are celebrating life’s wine-filled pleasures. A number of differing interpretations have been brought to productions of Strauss’s Daphne in the 75 years since it was written (and in the many centuries since the tale was first told in ancient Greece). Is the conflict within Daphne the central struggle? Is the rivalry between god Apollo and man Leukippos the real conflict? Is it “about” humanity’s desecration of the world? Is the story pessimistic or optimistic? Is Daphne’s transformation into a tree real or merely symbolic? The storyline is both straightforward and enigmatic, with plenty of room to bend the meaning in one direction or many, to give us pleasure and to make us ponder, all while listening to Strauss’s extraordinarily beautiful and apt music. For this brand-new, made-for-Cleveland production, director James Darrah has chosen to emphasize Daphne’s connection to nature, as he discusses (on page 37). As further background, you can read Franz Welser-Möst’s views (page 39), or learn about Strauss’s life (page 43) and the opera itself (page 47). Biographies of the cast and creative team (beginning on page 55) round out our program book, plus a variety of information about The Cleveland Orchestra itself, including recognition throughout the book of the many generous individuals and institutions who make possible everything The Cleveland Orchestra does each year. Enjoy. —Eric Sellen

begins on page:

Cast and Production Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28-30 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Director’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Conductor’s Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 About the Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 About the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62


Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM). This week’s opera presentation will be broadcast on Sunday afternoon, September 6, at 4:00 p.m.

Severance Hall 2014-15

Introducing the Concerts


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SYNOPSIS Shepherds are preparing for the annual summer feast in celebration of Dionysos, upon instructions from Daphne’s father, Peneios, and her mother, Gaea. As the twilight emerges from the setting sun, Daphne praises the beauty and peace of the natural world and the natural warmth of sunlight. She laments the clumsy ways of men, who spoil nature’s simplicity. The shepherd Leukippos, Daphne’s childhood friend and playmate, reminisces with her about the past. He tries to embrace her lovingly, but she rejects both him and the coming festivities of wine and human pleasures. She refuses to wear the special clothes that have been made for her. Two maidens persuade Leukippos to wear the clothes instead. Apollo arrives disguised as a cowherd. Daphne's father Peneios orders her to make the stranger feel welcome. Apollo is passionately drawn to Daphne. She is intrigued by his poetic visions of the sun, but will not surrender to him fully. The celebration of Dionysos begins, and the disguised Leukippos offers Daphne a taste of wine. She accepts, believing it to be just a ritual for women. But

Severance Hall 2014-15

Daphne: The Story

Apollo’s jealousy is raised, and the god causes the sky to explode in thunder. Apollo says that Leukippos is not who he appears to be, forcing Daphne’s friend to reveal himself. Leukippos, in turn, challenges Apollo to reveal his true identity. Apollo and Leukippos argue for Daphne’s attention and affections. Leukippos calls the god a liar, and Apollo angers. Daphne is conflicted in her heart and cannot protect her childhood friend. Apollo kills him. Daphne acknowledges responsibility for the tragedy that has unfolded. Apollo begs forgiveness, asking to love Daphne in the ennobled form of a laurel tree. She tries to move, but is unable to as her transformation begins, until her silvery disembodied voice is heard above her shimmering laurel leaves.

The opera is presented without intermission, and will run about 95 minutes in performance.


THE CLEVELAND ORCHESTRA The Cleveland Orchestra applauds the generous donors listed here, who are making possible presentaƟons of arƟsƟcally

ambiƟous programming every year in Northeast Ohio.

The Andrew W. Mellon Foundation Mrs. Emma S. Lincoln George* and Becky Dunn Rachel R. Schneider Donald and Alice Noble Foundation, Inc. Judith and George W. Diehl Jeanette Grasselli Brown and Glenn R. Brown Blossom Women’s Committee T. K. and Faye A. Heston Ms. Beth E. Mooney Margaret Fulton-Mueller James and Virginia Meil Mr. and Mrs. James P. Dakin Dr. Gerard and Phyllis Seltzer Drs. Daniel and Ximena Sessler Mrs. Barbara Ann Davis Mr. and Mrs. Charles Abookire, Jr. Mr. J. William and Dr. Suzanne Palmer Dr. James and Lynne Rambasek Mr. Larry J. Santon Mr. and Mrs. Stanley A. Meisel Mr. and Mrs. Ralph Daugstrup Richard and Gina Klym Mr. and Mrs.* Thomas A. Liederbach

Robert and Linda Jenkins Anthony T. and Patricia A. Lauria Deborah L. Neale Henry F.* and Darlene K. Woodruff Mr. Marc Stadiem Mr. and Mrs. William W. Taft Iris and Tom Harvie Ms. Nancy A. Adams Dr. M. Meredith Dobyns Jack Harley and Judy Ernest Tim and Linda Koelz Elizabeth F. McBride Patricia J. Sawvel Harry and Ilene Shapiro Ms. Frances L. Sharp Anonymous (2) listing as of May 15, 2015

The Andrew W. Mellon Foundation has awarded The Cleveland Orchestra a grant of $2.5 million to support artistically ambitious programming such as performances of opera and ballet each season. 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 ambitious performances of opera and ballet remain a meaningful feature of The Cleveland Orchestra’s season each year, or if you’d like more information on how to participate in the challenge grant, please contact the Orchestra’s Philanthropy & Advancement Office by calling 216-231-7558.


The Cleveland Orchestra

F R O M T H E D I R E C TO R A N T I Q U I T Y A N D T H E G R E E K S provided a great wealth of

dramatic and aural potential to a wide range of opera composers — from sorceresses and displaced Trojans to murderous family vengeance. These stories have given great inspiration, often resonating within the individual composer’s own surroundings, life, or world politics. The transformational myth of Daphne, a demi-goddess who retreats into the quiet peace of nature to avoid the violent advances of both the mortal and immortal realm, was perhaps an apt choice when Richard Strauss composed Daphne amidst the ominous ascension of the Third Reich in the 1930s. Strauss’s opera begins partway through Daphne's story, already in personal turmoil — an amalgamation of fragments from the works of both Ovid and Euripides. She is at one with nature, consumed by the beauty and peaceful retreat of the natural world. Unable to return the love of a mortal man, neither can she welcome the advances of the bullying, forceful Apollo. She is unique in spirit and personal desire — rejecting the hedonism of Dionysos and Bacchanalia while also refusing to participate in rituals that dangerously heighten her singularity. It is on this precipitous edge of discord that the opera begins. For this Cleveland Orchestra production, we have chosen to fill Severance Hall with an installation of potent, tangible physicality. Nature invades the concert hall’s floor, and the surrounding walls now seem to shimmer with life. The sun and moon alternate their glow suspended above the musicians. Here, in this transformed space, we notice hands, limbs, human breath — the tangible humanity of the mortals wrapped up in a conflict of lust, the unwelcome desire from dangerous gods. The chorus appears as a vital aural force of consciences in a myriad of narrative roles to drive and propel the opera towards its ecstatic end. In order to further activate the opera’s dramatic arc, this production additionally employs the virtuosic use of a single female dancer. Eschewing any assigned “role,” this Dancer appears as an embodiment of the richness and variance of Strauss’s music, working to seamlessly assume and reflect not only the volatility of the immortals but also the fragility of Daphne’s own introspection and thought. Moving throughout the cast, chorus, orchestra, and the concert hall itself, the Dancer becomes a living, breathing distillation of orchestral texture, injecting momentum and drama within scenes and around the singers, all with a present and simple humanity.

—James Darrah May 2015 Severance Hall 2014-15

About the Production



In Rehearsal The Cleveland Orchestra


Franz Welser-Möst talks about Daphne — the opera and its origins in ancient Greek culture Q: What do you like most about Daphne? What are the musical challenges and rewards of this opera? Franz: What I like most about Daphne is that it is ancient Greek mythology, but turned into a musical dream — especially the conclusion when Daphne turns into a tree. The transformation scene includes some of the most beautiful music written by Strauss. In this moment of the opera, in the musical writing and in how it echoes the emotions of the characters, it is on the same level of beauty as the final sections of Strauss’s Der Rosenkavalier and Capriccio. The challenge with Daphne is that it is so hellishly difficult. This is one of the most technically complex scores that Strauss ever wrote. The roles of Daphne and Apollo are extraordinarily demanding vocally, and require great stamina. In fact, these lead roles are virtually impossible to sing. It is so rare to find singers who can perform them — in recent history, or even looking back all the way since it was written, aside from the great American heldentenor James King, there have been very few tenors able to sing Apollo. Yet we have assembled a cast that can make this opera soar. The technical demands for all the singers across the opera are almost inhuman, but this can make them even more godlike in the way they must approach each role. Q: How is Daphne different from other Strauss operas? Why is it a rarely performed, yet much-discussed work? Franz: Daphne is different from other Strauss operas because it is equally a challenge for the orchestra and for the singers, and also in how it must be acted out. This is why, in part, it is so rarely performed. Stylistically, Strauss was a huge fan of the history and the legends of ancient Greek culture. He read all of the philosophers, and knew their work inside and out. For him, this opera was a piece that communicates everything humanity is about, both the good and the bad. Strauss was an atheist, but he had very strong beliefs in humanity. Hellenistic culture was important to him as the root and source of Western culture. There is a story that he complained to the school his grandson attended because he felt that the young boy was not getting a solid education in ancient Greek learning and philosophy. And in that story we come to understand that Daphne was more than just a legend to him. Daphne was important to Strauss because of all that it represents.

Severance Hall 2014-15

Q&A: About the Opera



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“Apollo Chasing Daphne” by Cornelis de Vos, 17th-century oil painting in the collection of the Prado Museum, Madrid.

Daphne, Opus 82

A Bucolic Tragedy in One Act composed 1935-37

At a Glance Strauss began writing his opera Daphne in 1935 and completed the score on Christmas Eve 1937. The libretto was by Josef Gregor, based on details from Ovid’s Metamorphoses and Euripides’s The Bacchae, molded from discussions between Gregor and Strauss in the summer of 1935. Strauss’s previous librettist, Stefan Zweig, also helped influence the storyline and detail. The opera was premiered on October 15, 1938, at the Semperoper in Dresden, with Karl Böhm conducting. The published score was dedicated to Böhm. This one-act opera runs about 95 minutes in performance. Strauss scored it for a large orchestra of 3 flutes (third doubling piccolo), 2 oboes, english horn, 3 clarinets, basset horn, bass clarinet, 3 bassoons, contrabassoon, 4 horns, alphorn, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle, tambourine, tam-tam), 2 harps, off-stage organ, and strings. The Cleveland Orchestra is performing the complete score of Daphne for the first time this week. The opera’s final scene was performed at a weekend of concerts in October 1983, conducted by Erich Leinsdorf, with soprano Faye Robinson singing the title role.

Severance Hall 2014-15

Daphne: At a Glance



STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria



N A N C Y M AU LT S B Y Featured mezzo-soprano with

The Cleveland Orchestra Daphne by Strauss

Credit: Dario Acosta

American mezzo-soprano Nancy Maultsby is in demand by opera companies and orchestras throughout the world. Her unique vocal timbre and insightful musicianship allow her to pursue a repertoire extending from the operas of Monteverdi and Handel to recent works by John Adams. She regularly performs the major heroines of nineteenthcentury French, Italian and German opera and the great symphonic works. Nancy Maultsby is an Associate Professor of Voice at Baldwin Wallace University. A North Carolina native, she is a graduate of Westminster Choir College, where she studied with Lindsey Christiansen, and was a graduate student at Indiana University School of Music, where she studied with Margaret Harshaw. She is an alumna of the Lyric Opera of Chicago’s Center for American Artists. Among numerous other awards, she is the winner of the Marian Anderson Award and the Martin E. Segal Award. Learn more about Ms. Maultsby at

Conservatory of Music 440-826-2368 866-BW-MUSIC


Richard Strauss born June 11, 1864 — died September 8, 1949

A C E N T U R Y A G O , Richard Strauss was often known as “the other Strauss.” He was, in fact, no relation at all to Johann Strauss Jr. and that wildly popular Viennese musical family. For some, he was also known as “the third Richard,” the first being Richard Wagner, “after whom there could be no second,” or so said those who coined the term and who cared passionately about the first Richard yet liked Strauss enough to offer him a genuine bronze medal of praise. More than a halfcentury after his death, he has outgrown these comparison nicknames and, with the farsight of history, can today be seen as his own artist. Strauss lived to the ripe old age of 85, composing masterpieces throughout his lifetime and experiencing firsthand a variety of music’s many different possibilities. He shares with Mozart the distinction of being one of only two composers to write operatic and symphonic works that are regularly performed standards in both fields. He was equally admired as a conductor and as a composer, was acknowledged to be a formidable pianist, and also played the violin. In his early years, he was hailed as a revolutionary in new music. A half-century later, critics railed against him as a bulwark of conservative, old-style musical ideas. Strauss was born in Munich in 1864 and had an invigorating, supportive, and thoroughly musical upbringing by solidly middle-class parents. He began piano lessons at age four, started composing at six, and took up the violin at eight. His father, Franz, was the principal horn player in the Munich Court Orchestra — and widely acknowledged as the best horn player in all of Germany (called “the Joachim of the horn” in a reference to the great violinist Joseph Joachim). Franz Strauss also served as conductor of a respected amateur orchestra and, although his own tastes were conservative, exposed his son to a broad range of music and helped premiere a number of Richard’s earliest compositions. Richard Strauss’s professional career rose first as a conductor. He apprenticed under Hans von Bülow, one of the greatest baton wielders of the 19th century, serving as Bülow’s assistant and then briefly taking over the Meiningen Orchestra upon Bülow’s resignation. Additional posts followed at the Munich Opera and in Weimar, as well as guest conducting engagements across central Germany and Severance Hall 2014-15

About the Composer


assisting with the Wagnerian summer festival at Bayreuth. Indeed, until his success as an opera composer after the age of forty could guarantee him sufficient income to live on, a significant portion of Strauss’s income derived from ongoing work as a guest conductor, often including one of his own pieces at symphonic concerts. He led many opera performances during two decades in Berlin, and undertook a conducting tour to the United States in 1904, where his appearances included a performance in Cleveland of his tone poem Till Strauss shares Eulenspiegel’s Merry Pranks with the visiting Pittsburgh Symphony Orchestra. with Mozart the Although he was intensely interested in distinction of bewriting his own operas, Strauss’s first great sucing one of only two cesses as a composer came with orchestral tone composers to write poems. Following from Beethoven’s “Pastoral” Symphony, Franz Liszt had already evolved this multiple operas and idea of orchestral storytelling into its own musical symphonic works genre, wanting to share all that he experienced in that are regularly other arts such as literature through music, but it performed stanwas Richard Strauss who raised it into high symphonic art. He created half a dozen masterpieces, dards in both fields. each of which can be held up as a definitive example of what a tone poem should be, including Don Juan, Till Eulenspiegel, Also sprach Zarathustra, and An Alpine Symphony. In each, his exceptional abilities as an orchestrator allowed him to masterfully color, depict, and portray an astonishingly wide range of topics, ideas, and dramatic action. Like his father, Strauss was famously outspoken, about — and even in — his own music. He wrote tone poems about himself (Ein Heldenleben or “A Hero’s Life”) and his family life (Symphonia domestica or “Domestic Symphony”). Strauss’s wife, Pauline. He happily poked fun at music critics in Heldenleben, portraying them as mortal enemies of the work’s hero, who, of course, wins in the ensuing musical battle. He chose to turn Oscar Wilde’s daringly risqué play Salomé (banned from performance in England) into an opera, securing his first great operatic success. And he tried to openly express his desire to continue working with Jewish colleagues after the Nazi rise to power in Germany. Strauss had a long and happy marriage, to soprano Pauline de Ahna, whom he had met while conducting Wagner’s Tannhäuser in Munich. It is said that they became engaged one day after a particularly big fight during a rehearsal — he had told her how he thought she should sing her role and she had not agreed, but in her dressing room they made up and joined up for life. While both were strong-willed and Strauss suffered the reputation as a hen-pecked husband, they


About the Composer

The Cleveland Orchestra

were also able to provide criticism, structure, and support for one another through fifty-five years of marriage. With a string of operatic successes, Strauss moved from Berlin to Vienna after World War I to become co-director of the Vienna State Opera, and he was among the influential forces that helped found the annual summer concert series at Salzburg in 1920, working to re-enforce that now-prestigious festival’s strong identity with the music of Mozart that he so loved. His favorite librettist collaborator, Hugo von Hoffmannsthal, with whom he wrote Elektra, Der Rosenkavalier, Ariadne auf Naxos, and Die Frau ohne Schatten, died in 1929 after completing a first draft of Arabella. Strauss eventually found other writers to work with, for another half-dozen operas, but not without going through a difficult transition period with each new collaborator. Although he had strong opinions, Strauss tried not to Strauss in older age. involve himself too publicly with day-to-day politics. While unhappy with many of the policies of the German republic that had been formed after the First World War, he was scornful of the National Socialists and didn’t expect them to win power — or to be able to directly affect his life and art. In 1933, he accepted appointment as first president of the Reichsmusikkammer, a governmental body created by the Nazis to review salary standards and work rules. The government’s intent, in fact, was to create new guidelines that would proscribe who could or couldn’t work as a musician. Strauss took the opportunity to use his influence to win full copyright protection for composers, something he’d been advocating with the previous democratic government, before being forced to resign over his desire to continue working with a Jewish writer on one of his operas. He worked variously in Vienna and Munich up to and during World War Two, expending much of his energy developing relationships with officials who could ensure the safety of his daughter-in-law, a Jewish woman who remained unharmed, but who spent much of the War under house arrest. Although his health declined steadily after the War, Strauss composed almost to the day he died, including the bittersweet Four Last Songs, a moving tribute to living a good life filled with love. On his deathbed, he was reported by his daughter-in-law to say that “dying is just the way I composed it in Death and Transfiguration,” a tone poem he had written more than sixty years earlier. A memorial concert was played at the Munich Opera, at which a young Georg Solti led excerpts from Strauss’s Der Rosenkavalier, an opera about many things, including love and aging gracefully. —Eric Sellen © 2015 Eric Sellen has worked in administrative positions with the orchestras of Cleveland, Philadelphia, and Phoenix, and has written about music for orchestras and festivals across North America and Europe. He currently serves as program book editor for The Cleveland Orchestra.

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About the Composer


“Apollo pursuing Daphne” by Cherubino Alberti, 17th-century lithograph in the collection of the Metropolitan Museum of Art.


Of operas, gods, and nature BY DAVID WRIGHT T H E D E A T H I N 1 9 2 9 of poet and dramatist Hugo von Hofmannsthal threat-

ened to bring the entire Richard Strauss opera enterprise to a halt. During their first collaboration, on Elektra in 1906, Strauss had pronounced himself and Hofmannsthal “made for each other” — and subsequently proved it in operas including Der Rosenkavalier, Ariadne auf Naxos, and Die Frau ohne Schatten [“The Woman without a Shadow”]. The librettist’s death left the composer bereft, working fitfully on the last project they began together, Arabella, and wondering about his own future in the opera house. Then, in 1931, Strauss became acquainted with another distinguished man of letters, the novelist and biographer Stefan Zweig, and soon the two were eagerly at work on a new comic opera, Die schweigsame Frau [“The Silent Woman”]. As this piece was nearing completion, the Nazis came to power in Germany, and artistic work by Jews such as Zweig was suddenly unwelcome. Only Strauss’s prestige and friendships with leading Nazis — including GoebSeverance Hall 2014-15

About the Opera: Daphne


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bels and Goering — persuaded Hitler to allow performances of Die schweigsame Frau. From his new base in London, Zweig wrote to Strauss declining any more “special privileges” with the German regime, advising against open collaborations between the two of them, and chiding Strauss for not standing up to the Nazis. In an account of the whole affair penned for his desk drawer, the 71-yearold Strauss wrote, “With Die schweigsame Frau my life’s work definitely seems to have come to an end.” Not so fast, Zweig seemed to say, as he next proposed other librettists to Strauss who were acceptably Aryan, accomplished in literary matters, and willing to accept Zweig’s guidance from afar — in effect, to front for him. Strauss agreed, with little enthusiasm, to work with one of them, Joseph Gregor, who at least had written a book Strauss admired titled History of the Theater. In July 1935, Gregor stayed for several weeks at Strauss’s villa in Garmisch while the two worked on an operatic double bill: the Zweig-inspired Friedenstag [“Peace Day”] and another one-act based on Gregor’s own version of the Greek myth of Daphne. The latter subject must have appealed to Strauss’s competitive side, since the story of the maiden wooed by gods and mortals and rescued from them by being transformed into a laurel tree had inspired the first opera ever performed, Jacopo Peri’s Dafne of 1597, as well as subsequent operas by Heinrich Schütz, Alessandro Scarlatti, and many others. Perhaps he also remembered Hofmannsthal’s words in a letter to him: “Let us make mythological operas, that’s the truest of all the forms.” Severance Hall 2014-15

In hindsight, we see that Strauss also was ready to take an old story and use it to strike out in a new artistic direction. One chapter of his life’s work, in which he had evoked blood and thunder from the myth of Electra, had indeed “come to an end,” but new ground was on the horizon. Daphne — completed on Christmas Eve in 1937, dedicated to the young conductor Karl Böhm, and premiered in Dresden the following October 15 with Böhm on the podium — also (quite literally) contained blood and thunder, enough for Strauss to subtitle it a “bucolic tragedy.”

The subject of Daphne appealed to Strauss’s competitive side, because the story of the maiden wooed by gods and mortals — and then transformed into a laurel tree — had inspired the very first opera, Peri’s Dafne of 1597. The story is tragic, yes, but the emphasis in the drama is definitely on the bucolic, a celebration of humanity’s relationship to nature — and a musical and literary sensibility that heralded the simplicity and classicism of later Strauss works such as the Oboe Concerto and the Four Last Songs. That said, the old showman Strauss must have relished the prospect of composing music for a cattle stampede, Apollo’s chariot crossing the sky, and a wine-soaked orgy. He sent the libretto back repeatedly to the ever-obliging Gregor, demanding less poetic rumination

About the Opera: Daphne


“Daphne and Apollo” by Francesco Albani, 17th-century oil on copper panel, in the collection of the Louvre Museum.

and “more action.” The most tantalizing musical challenge, the setting of Daphne’s final transformation, also posed a theatrical question, which might be called the Hamlet problem (or in operatic terms, the Don Giovanni dilemma). Is the drama over when the fate of the protagonist is sealed, or is a final musical number needed to restore order and pronounce the moral? Gregor stood by his final chorus on grounds of classical symmetry; Strauss, very much the senior partner of this team, posed the question to the noted conductor Clemens Krauss, who said the chorus would be an anticlimax after the transformation scene, and it had to go. It went. (Strauss later made amends to Gregor by setting the chorus as a separate work, titled “An den Baum Daphne” [To the Tree Daphne], and arranging for it to be performed.) Daphne the opera would instead close with several pages of quiet, almost evanescent music, with Daphne’s voice still audible but without words, an ending unprecedented in opera. THE STORY

Regardless of the outcome, Gregor’s conception of a primitive civilization in


which humans and gods mingle freely in a pastoral landscape remains the foundation of the opera’s story. Daphne is the daughter of the river god Peneios, who now lives among mortals as a simple fisherman, and the earth goddess Gaea. Daphne’s affinity is with everything in nature, not with the lustful and murderous passions of human beings. Leukippos, known in mythology as a prince who dressed as a woman in order to spend time in Daphne’s presence (Strauss did not overlook the comic potential here), appears in the opera as a simple shepherd who was Daphne’s playmate in childhood and now desires a more, shall we say, adult relationship with her. Leukippos’s rivalry with Apollo for Daphne’s affections does not go well for him, ending as it does with an arrow from the god’s bow. Gregor has given Apollo a double role, first as Daphne’s pursuer, and then, chastened at the end, as her rescuer from the lust of man and god alike. The librettist also neatly dovetailed two ancient festivals — the midsummer mating ritual (celebrated in Shakespeare’s A Midsummer Night’s Dream and Strauss’s early opera Feuersnot), and the autumn harvest festival of the wine god Dionysos — to make the wild party in the middle of this opera,

About the Opera: Daphne

The Cleveland Orchestra

which is a celebration perhaps less of humanity’s oneness with nature than of our tendency to “do what comes naturally” when we’ve had a few glasses of wine. The primitive setting and his heroine’s chaste nature called forth from Strauss an entirely different harmonic language from those of his murderous princesses Salome and Elektra. Daphne’s warbling melodies are written mostly in the pentatonic scale, the basic scale of folk music around the world (including, perhaps most familiarly, Chinese music) and the scale produced by playing only the black keys on a piano. Other passages deal mainly in the familiar major and minor (“diatonic”) scales and chords. Richard Strauss, known earlier as a chordsmasher and wielder of hair-raising dissonances, has left the building, replaced by a humorous and occasionally extravagant painter of pastoral scenes. The design of Daphne unfolds in a single, leisurely arc, its episodes springing up easily and adding meaning to the simple story. The serene orchestral prelude is interrupted by the yawp of an alpenhorn (or a trombone imitating it), a very large and unrefined instrument heralding the disruptive arrival of followers of the god Dionysos. Reveling shepherds celebrate the coming of night, but Daphne begs the light to stay as she sings to her favorite tree. Leukippos appears from behind the tree with his flute; both he and earthmother Gaea try to persuade Daphne to embrace her human destiny as a woman, but Daphne is having none of it. Two pert maids bring out her party clothes, but in a droll scene it’s Leukippos who ends up dressed in them. Peneios’s prediction that gods will Severance Hall 2014-15

be present at the festival comes true when a cowherd enters with his cattle; Strauss’s score leaves little doubt that this figure is Apollo in disguise. The cattle run away, the cowherd is mocked for being unable to control them, and he responds ruefully. However, the arrival of Daphne to wait on the guest rouses him, and a tense dialogue follows, leading to Daphne’s discovery that he is a god — and her brother. They embrace as their themes intertwine in Strauss’s score, but Daphne breaks away from his forbidden kiss as the dance to Dionysos begins. Amid the revelry, the disguised Leukippos entices Daphne to dance with him/her. The jealous Apollo exposes Leukippos as an impostor, then throws off his own disguise with a spectacular aria, “Jeden heiligen Morgen” [“Every sacred morning”], depicting the sun-god’s daily progress across the heavens. Leukippos defies the god, who strikes him dead with an arrow. The dramatic arc now descends to its conclusion, beginning with Daphne’s Love-Death aria over the dead Leukippos, followed by Apollo’s prayer to Zeus to transform Daphne into a sacred laurel tree, its leaves fit to be worn only by the greatest heroes. Then, in music that curls organically heavenward, Daphne takes leave of the human world in an ecstatic metamorphosis. © 2015 by David Wright

David Wright served as program annotator for the New York Philharmonic, and is now a writer about music for orchestras and festivals in North America and Europe.

About the Opera: Daphne


Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR A Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising Beth E. Mooney, Pension Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund

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 cash gifts and THE legacy commitments, while also securing broad-based and increasing annual support CLEVELAND ORCHESTRA from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the Campaign. 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. Listing as of May 5, 2015. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Mr. and Mrs. Alexander M. Cutler

Maltz Family Foundation Mr. and Mrs. Albert B. Ratner Anonymous


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 Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day 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 Ohio Arts Council The Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. 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 (3)

Sound for the Centennial Campaign

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

Ms. Nancy W. McCann Nordson Corporation Foundation Parker Hannifin Corporation Charles and Ilana Horowitz Ratner Sally and Larry Sears Mr. and Mrs. Richard K. Smucker Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (2)

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources The George W. Codrington Charitable Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson Patricia Esposito Sidney E. Frank Foundation Albert I. and Norma C. Geller The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III* Trevor and Jennie Jones Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation

Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn* Mrs. Emma S. Lincoln 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 National Endowment for the Arts William J. and Katherine T. O’Neill Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $100,000 TO $250,000

The Abington Foundation 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 Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl George* and Becky Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr.

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Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Jeffrey Litwiller Dr. David and Janice Leshner Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Margaret Clark Morgan Foundation The Nord Family Foundation Mr. Gary A. Oatey Park-Ohio Holdings Corp. Polsky Fund of Akron Community Foundation Quality Electrodynamics (QED) Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra and George Rose RPM International Inc. Raymond T. and Katherine S. Sawyer Mrs. David Seidenfeld

Sound for the Centennial Campaign

Andrea E. Senich David Shank Naomi G. and Edwin Z. Singer Sandra and Richey Smith Ms. Lorraine S. Szabo Virginia and Bruce Taylor Dorothy Ann Turick The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White The Edward and Ruth Wilkof Foundation Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous (3)

* deceased


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Regine Hangler

Norbert Ernst

Austrian soprano Regine Hangler is an ensemble member of the Vienna State Opera. She began her musical studies as a violinist. While continuing on viola at the Bruckner Conservatory in Linz, she sang with the Jeunesse and Mozart choruses, under conductors including Franz WelserMöst. While also studying engineering, Ms. Hangler completed her voice studies at the Carinthian State Conservatorium and Vienna’s University of Music and Performing Arts. Her teachers have included Robert Holl, Gundula Janowitz, Gwyneth Jones, and Mara Zampieri. Regine Hangler was a finalist in Italy’s AsLiCo competition and second prize winner in the international Birgit Nilsson competition. She has performed at national and international festivals and concerts throughout Europe, and in Israel and Japan. Since 2010, she has been a soprano soloist at St. Stephens Cathedral in Vienna, and became a Vienna State Opera ensemble member in 2012. Ms. Hangler’s repertoire includes works by Beethoven, Donizetti, Mozart, Strauss, and Wagner. She is making her Cleveland Orchestra debut with these performances of Daphne, which she sang earlier this month in Berlin.

Tenor Norbert Ernst has been an ensemble member of the Vienna State Opera since 2010. He studied in his native Vienna with Gerd Fussi at the Josef Matthias Hauer Conservatoire and with Robert Holl and Charles Spencer at the University of Music and the Performing Arts. Mr. Ernst was a member of the German Opera on the Rhine, 2002-05, and has subsequently performed in works by Donizetti, Mozart, Strauss, and Wagner at venues such as the Bavarian State Opera, Berlin State Opera, Grand Théâtre in Geneva, Gran Teatre del Liceu, Nederlandse Opera, Opéra de Monte Carlo, and the Opéra national de Paris. From 2004 through 2011, he was a permanent guest at the annual summer Bayreuth Festival. He has also appeared with the Cincinnati Opera, Opera Festival in Savonlinna, and at the Salzburg Festival. In recital, he has performed in Amsterdam, Berlin, Düsseldorf, Linz, Munich, New York, Paris, and Vienna. This week’s performances of Daphne mark Norbert Ernst’s debut with The Cleveland Orchestra.


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Andreas Schager

Ain Anger

Austrian tenor Andreas Schager studied at the Universität für Musik in Vienna and currently works with Heidrun Franz Vetter in Berlin. While still in school, he made his debut in Mozart’s Così fan tutte at the Schlosstheater Schönbrunn. Since then, Mr. Schager has performed in theaters and festivals including those of Amsterdam, Bologna, Cologne, Frankfurt, Toronto, and Vienna. He appeared as Siegfried in Wagner’s Götterdämmerung at the 2013 BBC Proms, Staatsoper Berlin, and the Teatro alla Scala in Milan, and sang the role of Tristan in Antwerp, Seville, and Tokyo. Andreas Schager has also performed at Deutsche Oper Berlin, Hamburgische Staatsoper, Teatro dell’Opera Rome, and the Teatro Real Madrid. At the Théâtre du Capitole Toulouse, Mr. Schager sang Apollo in Daphne. His upcoming engagements include performances of Wagner’s Parsifal at the Bayreuth Festival and Staatsoper Berlin, Richard Strauss’s Die Ägyptische Helena at Frankfurt Opera, and Wagner’s Tannhäuser at Vlaamse Opera. Mr. Schager is making his Cleveland Orchestra debut with this week’s concerts.

Estonian-born Ain Anger has sung Wagnerian bass roles across Europe. Equally in demand in Italian, German, and Russian repertoire, he made his Cleveland Orchestra debut in June 2006. During his music studies at the Estonian Academy of Music and Theatre, Mr. Anger also sang at the Estonian National Opera. From 2001 to 2004, he was a soloist with the Leipzig Opera. Since joining the roster of the Vienna State Opera in 2004, he has performed more than forty roles there. In addition, he has appeared with the Bavarian State Opera, Bayreuth Festival, Deutsche Oper Berlin, Dutch National Opera, Oper Frankfurt, Teatro alla Scala, and Washington National Opera. He also has sung with the orchestras of Frankfurt, New York, Philadelphia, Saint Louis, San Francisco, Stockholm, and Tokyo, and at the Bergen, Helsinki, Lucerne, and Savonlinna music festivals. In 2013, Ain Anger was awarded the Order of the White Star for his services to the Estonian state.





The Cleveland Orchestra

Nancy Maultsby

Bryna Pascoe

American mezzo-soprano Nancy Maultsby sings with opera companies and orchestras around the world, in repertoire from Monteverdi to John Adams. After graduating from Westminster Choir College, she studied with Margaret Harshaw at Indiana University School of Music. Ms. Maultsby is an alumna of the Lyric Opera of Chicago’s Center for American Artists and winner of the Marian Anderson and Martin E. Segal awards. She is currently a member of the voice faculty at Baldwin Wallace University. Nancy Maultsby regularly performs as heroines of 19th-century French, Italian, and German opera in venues including the Boston Lyric Opera, Dutch National Opera, Royal Opera, Covent Garden, San Francisco Opera, Santa Fe Opera, Seattle Opera, Teatro Colón, and Washington National Opera. She has appeared with the orchestras of Atlanta, Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, Saint Louis, San Francisco, and Toronto, among others, and has recorded for BIS, Naxos, and Telarc. Ms. Maultsby made her Cleveland Orchestra debut in March 1998 and most recently appeared here in January 2009.

Bryna Pascoe is a dancer and choreographer based in Chicago. Her early training was at Ballet Arts Minnesota under the tutelage of Bonnie Mathis and Lirena Branitski. She was subsequently accepted by the Juilliard School’s dance department, directed by Lawrence Rhodes, where she earned a BFA degree in 2006. She subsequently joined Compagnia Aterballetto in Reggio Emilia, Italy, where she worked with artistic director Mauro Bigonzetti. Ms. Pascoe continued to perform internationally as a member of Gradimir Pankov’s Les Grands Ballets Canadiens de Montréal. She danced various soloist and principal roles, most notably in choreographer Stijn Celis’s Le Sacre du Printemps and Didy Veldman’s Le Petit Prince. Recently, Ms. Pascoe worked with Hubbard Street Dance Chicago, directed by Glenn Edgerton, and the Lyric Opera of Chicago in Rob Ashford’s Carousel. Throughout her career, Ms. Pascoe has also created many choreographic works. Recent commissions include pieces for Ballet Chicago’s studio company and Visceral Dance Chicago’s Solus program. This production of Daphne is Ms. Pascoe’s first collaboration with director James Darrah and her Cleveland Orchestra debut.


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The Cleveland Orchestra

Lauren Snouffer as First Maid American soprano Lauren Snouffer makes her Cleveland Orchestra debut with Daphne. She is a recent graduate of the Houston Grand Opera Studio and winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation. Other performances this season include debuts with Atlanta Opera and with Parnassus Arts Productions at Opéra Royal de Versailles. She closes the season returning to the Baltimore Symphony Orchestra as Cunegonde in Bernstein’s Candide. Her concert engagements have ranged across repertoire from Bach and Handel to Beethoven and Poulenc. A graduate of Rice University and the Juilliard School, she was a Grand Finals winner in the 2012 Metropolitan Opera National Council Auditions.

Anya Matanovic as Second Maid American soprano Anya Matanovic is making her Cleveland Orchestra debut with these performances of Daphne. She made her international opera debut as Musetta in Franco Zeffirelli’s production of Puccini’s La Bohème with the New Israeli Opera. This season has seen her role debuts as Violetta in Verdi’s La Traviata with Boston Lyric Opera, as Stella in Previn’s A Streetcar Named Desire in a return to Kentucky Opera, and as Dorinda in Handel’s Orlando in director R.B. Schlather’s second gallery installment at the Whitebox Art Center in New York City.  Recent and future engagements include performances with the opera companies of Boston, Santa Fe, Seattle, and Utah.

Christopher Feigum as First Shepherd American baritone Christopher Feigum made his Cleveland Orchestra debut in June 2008, and his most recent performances were earlier this month for Berlioz’s The Damnation of Faust. The Denver native is a graduate of DePaul University and an alumnus of the Chicago Lyric Opera Center for American Artists. Mr. Feigum began his professional career as a member of the Houston Grand Opera Studio. He has subsequently performed with major opera companies across the United States, from Los Angeles and Seattle to Santa Fe, Chicago, and New York. In concert, he has appeared with the orchestras of Atlanta, Chicago, Cleveland, Colorado, Kansas City, Milwaukee, New York, San Diego, and San Francisco. Severance Hall 2014-15








Shirley Jones

Gary Hanson

Actress and Singer

Executive Director, The Cleveland Orchestra PART ONE


Creative Voices Summit

Arts Education Day Luncheon

Thursday, June 11, 2015 10:00 – 11:30 am

Thursday, June 11, 2015 12:00 noon – 2:00 pm

Complimentary admission (Reservations Required) Westfield Insurance Studio Theatre at the Idea Center

Cost $30 State Theatre Stage, Playhouse Square

“MUSIC AND THE BRAIN” An interactive, entertaining performance based presentation from renowned neuroscientist Dr. Lawrence Sherman. Produced in partnership with ideastream®


Shirley Jones Actress and Singer





Matthew Plenk as Second Shepherd Tenor Matthew Plenk has sung with opera companies across the United States. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, he made his Metropolitan Opera debut in the 2007-08 season as the Sailor’s Voice in Tristan and Isolde. This season, he returned to the Met as Arturo in Lucia di Lammermoor and in productions of The Magic Flute, Don Giovanni, and Die Meistersinger. He earned a bachelor’s degree from the Hartt School of Music and a master’s degree from Yale University. He was a Grand Finals winner in the 2007 Metropolitan Opera National Council Auditions. He first sang with The Cleveland Orchestra in Salome in 2012.

Ryan Speedo Green as Third Shepherd Bass-baritone Ryan Speedo Green is a recent graduate of the Lindemann Young Artist Development Program at the Metropolitan Opera. A native of Suffolk, Virginia, he joined the Vienna State Opera this past season, and was featured as Sparafucile in a new production of Verdi’s Rigoletto and as Basilio in Rossini’s The Barber of Seville. He also appeared as Rambo in the Met premiere of John Adams’s The Death of Klinghoffer last autumn. His honors and awards include National Grand Finals winner of the 2011 Metropolitan Opera National Council Auditions. Mr. Green holds a master of music degree from Florida State University and a bachelor of music degree from the Hartt School of Music. He is making his Cleveland Orchestra debut with these performances of Daphne.

Nikola Budimir as Fourth Shepherd Baritone Nikola Budimir made his Cleveland Orchestra solo debut in August 2014 performing in Beethoven’s Choral Fantasy. He holds bachelor and master of music degrees from Cleveland State University. He currently studies with Timothy LeFebvre at the Oberlin Conservatory of Music. His local performances include appearances as soloist with the Cleveland Orchestra Chorus in Britten’s Rejoice in the Lamb, with the Choral Arts Society of Cleveland in Haydn’s Lord Nelson Mass, and with the Cleveland Philharmonic in Handel’s Messiah. He is a member of the Cleveland Orchestra Chorus, and also performs with a number of Serbian Orthodox choirs regionally and internationally. Severance Hall 2014-15



Chromatic Produdction Company Chromatic is a new Los Angeles-based production company led by director James Darrah, whose collective of interdisciplinary artists collaborate to create aesthetic theatrical experiences across blurring mediums. Comprised of directors, production designers, illustrators, fine artists, photographers, writers, and performers, the group combines their prismatic skills for original projects within the realms of theater, opera, film, design, special events, and visual curation. With work ranging from art installation events to national advertising photo campaigns and upcoming studio films, the members of Chromatic have recently collaborated on projects with Relativity Media, Beth Morrison Projects and the Prototype Festival NYC, Carnegie Hall, Los Angeles Philharmonic, The Industry, Pacific Symphony, Disney Channel, LA Chamber Orchestra, Juilliard School, PBS Network, Opera Omaha, Opera Philadelphia, wildUp, Pacific Musicworks, Trinity Wall Street, LA Opera, Los Angeles Theater Center, HBO, Bay Chamber Festival, Ojai Music Festival, Sundance Institute, San Francisco Opera, and the San Francisco Symphony, with whom Chromatic’s full production of Britten’s Peter Grimes was described as “one of the strongest, most theatrically imaginative, musically and dramatically compelling productions of the work” by the Wall Street Journal. This current season has included Chromatic’s design and curation of the concert Pulp at Santa Barbara Arts and Lectures on the grounds of the Music Academy of the West. Hailed as “the future of classical music” by the Los An-


geles Times, Pulp is the first in a series of planned collaborations between the collective and the orchestra wildUp. Chromatic also partnered on two projects with the Los Angeles Philharmonic this season — an installation for the concert Theater of the Outrageous, featuring a United States premiere by Olga Neuwirth with John Adams conducting, and the scenic design and staging of Beethoven’s Missa Solemnis in partnership with conductor Michael Tilson Thomas in a co-production with the San Francisco Symphony, where they will install the piece this June. Additional projects have included Chromatic’s return to their annual Opera Omaha residency and a new production of John Adams’s A Flowering Tree and the company’s production design and direction debut in the inaugural season of Opera San Antonio with a double bill featuring Poulenc’s La voix humaine. Chromatic is currently continuing development on the new play The Ballad of Haint Blue by Sundance playwright fellow Roxie Perkins. The group is also designing and directing a new Così fan tutte with conductor Edo de Waart, Handel’s Semele in a co-production with Opera Omaha and Opera Philadelphia starting in the 2015-16 season, and two world premieres with composer Missy Mazzoli and writer Royce Vavrek: Breaking the Waves, an opera based on the film from Lars von Trier, in 2016, and Proving Up in 2018. This coming summer, they will curate an installation featuring Jonathan Dove's L'altra Euridice for the August Bay Chamber Festival in Maine. For more information, please visit

Daphne: Creative Team

The Cleveland Orchestra

James Darrah

Cameron Jaye Mock

James Darrah is a director and designer of theater, music, opera, and video. His uniquely collaborative and team-based focus through varied mediums has led him to be recognized as “the newest discovery . . . a gifted young American director” (Chicago Tribune) who “injects real drama” (New York Times) into productions that become “once-in-a-lifetime experiences” (Opera News). This season, his new productions and curated genre-bending installations have included works with the Los Angeles Philharmonic, wildUp, Merola Opera Program of San Francisco Opera, San Francisco Symphony, Trinity Wall Street 12th Night Festival, and Opera Omaha. His past work has included collaborations with Peter Sellars in staging John Adams’s The Gospel According to the Other Mary in Los Angeles, London, Paris, and Lucerne, and work with Christopher Alden for the Los Angeles Philharmonic’s Mozart/Da Ponte trilogy. Mr. Darrah trained as a director-designer with the Croatian National Theater and holds a MFA from the UCLA School of Theater, Film, and Television. He has taught theater and performance for the Adler Fellowship Program of San Francisco Opera and UCLA.

Cameron Jaye Mock was most recently the scenic and lighting designer with Opera Omaha on their new production of John Adams’s A Flowering Tree, and scenic designer with the Los Angeles Philharmonic for Beethoven’s Missa Solemnis in a co-production with the San Francisco Symphony. Recent productions also include Peter Grimes with the San Francisco Symphony, Don Giovanni with the Milwaukee Symphony Orchestra, Don Giovanni with San Francisco Opera’s Merola program, Frank Zappa’s 200 Motels with the LA Philharmonic, Radamisto with the Juilliard School, Semele with Pacific Musicworks, the world premiere of The Classical Style with Ojai Music Festival, Agrippina with Opera Omaha, and a multi-year project with the Latino Theater Company and Los Angeles Theater Center. Further opera credits include the West Coast premiere of Jonathan Dove’s Flight and Peter Brooks’s adaptation of Bizet with La tragédie de Carmen, as well as productions of Dido and Aeneas, Così fan tutte, and All the King’s Men, as well as a staging of the oratorio L’Allegro, il Penseroso, ed il Moderato. He is a founding member of Chromatic.

Director and Choreographer

Severance Hall 2014-15

Scenography, Lighting, and Projection Design

Daphne: Creative Team


Emily Anne MacDonald

Peabody Southwell

Emily Anne MacDonald was most recently the scenic designer for Opera Omaha’s new production of John Adams’s A Flowering Tree and the scenic and costume designer for the Los Angeles Philharmonic’s new production of Beethoven’s Missa Solemnis in a co-production with the San Francisco Symphony. Other recent production credits include scenic design for Peter Grimes with San Francisco Symphony, Semele with Pacific Musicworks, Agrippina with Opera Omaha, La voix humaine and Il segreto di Susanna with Opera San Antonio, the world premiere of The Classical Style with Ojai Music Festival, Peer Gynt with San Francisco Symphony, Frank Zappa’s 200 Motels with the LA Philharmonic, Radamisto with the Juilliard School, Saul with Trinity Wall Street, and design and direction of a staging of Schubert’s Winterreise. Ms. MacDonald is also an active painter, printmaker, and sculptor, having been an artist-in-residence at Burren College of Art in County Clare, Ireland, and at Kala Art Institute in Berkeley, California. She is a founding member of Chromatic, a new Los Angeles-based production company.

Peabody Southwell is a singer, actor, writer, and designer. In addition to her performances as a mezzo-soprano at opera houses and symphony halls internationally with conductors including Michael Tilson Thomas, James Conlon, and Robert Spano, she has established herself as a versatile artist in an increasingly wide range of creative endeavors. As an actor, she can be seen with Relativity Media Films and PBS. As a co-founder of Los Angeles-based production company Chromatic with longtime collaborator James Darrah, she has functioned as a director, designer, and writer on works for the San Francisco Symphony, Los Angeles Philharmonic, and Opera Omaha, and co-directed and designed costumes for La voix humaine and Il segreto di Susanna with Opera San Antonio. She recently was Chromatic's lead curator for the immersive multimedia installation of wildUp's Pulp, an experimental concert event that the Los Angeles Times described as “the future of classical music." She maintains private clients in Los Angeles for interior, fashion, and lifestyle aesthetics.

Scenography and Costume Design


Costume Design

Daphne: Creative Team

The Cleveland Orchestra

Madama ɤɜɜČ?ɑцɴ by Giacomo Puccini

Grzegorz Nowak

Opera Circle Cleveland returns to Playhouse Square with a full-scale opera production of 0DGDPD%XWWHUĹ´\ by Giacomo Puccini, in which the tragic love story of a beautiful Japanese girl DQGD86QDYDORIĆ“FHULVEURXJKW WROLIHWKURXJKPDJQLĆ“FHQWPXVLF This opera classic will feature soloists, chorus, orchestra, FRVWXPHVVWDJLQJDQGVXSHUWLWOHV Maestro Grzegorz Nowak, Principal Associate Conductor of the Royal Philharmonic Orchestra in London, will come especially to conduct one performance only, not to be missed!

One Performance Only!

Saturday, June 13, 2015 | 7:30pm | The Ohio Theatre | Playhouse Square 1511 Euclid Avenue | Cleveland OH 44115


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.

Lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the choral department of the Indiana University Jacobs School of Music (including directing the Chamber Choir of the Indiana University Children’s Choir). Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.


Cleveland Orchestra Chorus

The Cleveland Orchestra

This week’s League of American Orchestras 2015 Conference is made possible by local support from:

The Cleveland Foundation Conn-Selmer Destination Cleveland The George Gund Foundation Kulas Foundation John P. Murphy Foundation Ohio Arts Council

Kulas Series of Keyboard Conversations® with Jeffrey Siegel 28th Season 2015-2016 Presented by Cleveland State University’s Center for Arts and Innovation

Masterly Enthralling Charming Scintillating “An afternoon of entertaining talk and exhilarating music.” – The Washington Post

Sunday, October 18, 2015

Robert Schumann — Passionate music inspired by Schumann’s beloved!

Sunday, January 10, 2016

Chopin & Grieg — A Musical Friendship.

Sunday, April 10, 2016

Splendor from Silence: Smetana, Fauré & Beethoven — Written after deafness engulfed them.

Sunday, May 1, 2016

Musical Pictures — Visually inspired, gloriously colorful works.

All concerts begin at 3:00 pm in Cleveland State University’s Waetjen Auditorium, Euclid Ave. and E. 21st St. For more information call 216.687.5022 or visit

Severance Hall 2014-15



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The Cleveland Orchestra



Concert Previews 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.

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 14, 16 “New Worlds and New Ideas” with Katherine Bormann, violin, The Cleveland Orchestra

May 22 “Discussing Musical Themes” with Randy Elliot, asst. artistic administrator, and Brett Mitchell, assistant conductor, The Cleveland Orchestra

May 28, 29 “Exploring Tonight’s Music” with Meaghan Heinrich, eduation and community programs advisor, The Cleveland Orchestra 1.855.GO.STORM Immigration Services for Corporations & Individuals

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Concert Previews


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The Cleveland Orchestra

Building Audiences for the Future . . . Today! The Cleveland Orchestra is committed to developing interest in classical music among young people. To demonstrate our success, we are working to have the youngest audience of any orchestra. With the help of generous contributors, the Orchestra has expanded its discounted ticket offerings through several new programs. In recent years, student attendance has doubled, now representing 20% of those at Cleveland Orchestra concerts. Since inaugurating these programs in 2011, over 130,000 young people have participated. U N D E R 1 8 s F R E E F O R FA M I L I E S

Introduced for Blossom Music Festival concerts in 2011, our Under 18s Free program for families 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 on the Lawn at Blossom and to the Orchestra’s Fridays@7, Friday Morning at 11, and Sunday Afternoon at 3 concerts at Severance. STUDENT TICKET PROGRAMS

In the past three seasons, The Cleveland Orchestra’s Student Advantage Members, Frequent Fan Card holders, Student Ambassadors, and special offers for student groups attending together have been responsible for bringing more high school and college age students to Severance Hall and Blossom than ever before. The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. A record 7,000 students joined in the past year. A new Student Frequent Fan Card is available in conjunction with Student Advantage membership, offering unlimited single tickets (one per Fan Card holder) all season long. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler 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 2014-15

Student Ticket Programs


The music continues after the concert on 89.7 FM Now with more news and information programming during the day and more of your classical music favorites in the evening.

For 24/7 classical music, listen on WKSU HD-3 or at

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The Cleveland Orchestra

Cleveland Orchestra “At Home” neighborhood residency continues in Broadway Slavic Village

Cleveland Orchestra News



Severance Hall 2014-15


The Cleveland Orchestra’s third neighborhood residency is taking place on Cleveland’s southeast side. The Cleveland Orchestra At Home in Broadway Slavic Village began in earnest with a Neighborhood Summit on March 21, and continues with a variety of community activities, musical performances, and education presentations in the neighborhood to early June. The centerpiece was a free community concert by The Cleveland Orchestra on Friday, April 10 — broadcast live on radio WCLV 104.9, and recorded for delayed telecast on ideastream/WVIZ on Friday, April 17. Free tickets to the concert were soldout within hours of being released to the public on Saturday, March 21. Broadway Slavic Village was chosen for this year’s residency as a Cleveland neighborhood that symbolizes both the history and the future of the city. The Broadway Historic District at the intersection of East 55th street has ethnic roots in the Czech and Polish communities with rich musical heritages. Broadway Slavic Village was not long ago a center of the forecloat home sure crisis, but today it is a national leader in reimagining urban land use and is home to people of all ages, races, and income levels, active families, young professionals, and empty nesters. “The diverse neighborhoods of Broadway Slavic Village are ideal settings for music and celebration,” says Chris Alvarado, executive director of Slavic Village Development. “We are thrilled to have been chosen to host the third annual Cleveland Orchestra neighborhood residency. We are enjoying welcoming The Cleveland Orchestra and all who believe that music spans cultures and brings joy. This is proving to be a great collaboration.” For a complete listing of this year’s ongoing “At Home” residency events, please visit: www.clevelandorchestra/slavicvillage.






OrchestraNews HAIL AND FAREWELL Clarinetist Franklin Cohen will retire from The Cleveland Orchestra at the end of the Orchestra’s summer season at Blossom, after serving as principal clarinet for thirty-nine seasons, the longest tenure of any solo clarinetist in the ensemble’s history. Please join in extending heartfelt thanks and congratulations to Frank. A special commemoration of his tenure and artistry will be featured in the Blossom program book for July 26.

Franklin Cohen Principal Clarinet Robert Marcellus Endowed Chair The Cleveland Orchestra

Franklin Cohen, Principal Clarinet since 1976, will retire from The Cleveland Orchestra in the summer of 2015. After 39 seasons, Mr. Cohen will have had the longest tenure of any solo clarinetist in the Orchestra’s history. The title of Principal Clarinet Emeritus will be bestowed on Mr. Cohen upon retiring. He will be the first Cleveland Orchestra musician officially recognized with this honor. Frank Cohen joined The Cleveland Orchestra at the invitation of Music Director Lorin Maazel. In 1968, he gained international recognition as the first clarinetist to win the First Prize at the prestigious Munich International Music Competition. Cohen is one of the few musicians of his time to combine a world-class solo, chamber, and orchestral career. He is widely considered among the great musicians of his generation. Acclaimed for the strength, passion, and beauty of his playing, he is one of the most frequent concerto soloists in the history of The Cleveland Orchestra, appear-


ing as soloist at Severance Hall, Blossom Music Center, Carnegie Hall, and on tours throughout the United States, Asia, and Europe to critical acclaim. Over the span of Cohen’s career, he has been heard in many thousands of concerts and broadcasts. His commercial recording performances include a Grammy Award and much additional critical acclaim. He has earned glowing praise for his poignant musicality and technical mastery, and has performed with many of the great string quartets of the 20th century. Cohen has taught and performed at virtually all the major American music festivals and has served as department head at the Cleveland Institute of Music for 39 years. He has also been an honored juror at many of the most prestigious international music competitions. In demand internationally as both a performer and teacher, Cohen looks forward to an expanded career as soloist and collaborative artist, in addition to ongoing mentoring of the next generation of young musicians. Upcoming plans include work and performances in Asia, Italy, Scandinavia, France, South America, Canada, and throughout the United States. Cohen will continue as co-artistic director of ChamberFest Cleveland, celebrating its fourth season in summer 2015. He has also launched a new custom-made clarinet mouthpiece company and has plans to conduct. He looks forward to traveling the world with friends and family. Additional information can be found at Two special concerts in tribute to Franklin Cohen’s career are being planned for this coming summer: CHAMBERFEST CLEVELAND June 19 — Celebration Concert with ChamberFest Cleveland, at CIM’s Kulas Hall. For more information, please visit July 26 — Blossom Music Festival concert with The Cleveland Orchestra conducted by Jahja Ling, featuring Cohen performing Weber’s Clarinet Concerto No. 2. For tickets, visit

Cleveland Orchestra News

The Cleveland Orchestra


J U N E 1 7 - J U LY 1 2 0 1 5



“FRANK!” A special concert, including an all-star orchestra, celebrates Franklin Cohen’s stellar 39-year career as the principal clarinetist of The Cleveland Orchestra. Friday, June 19, 8:00 p.m. CIM’s Kulas Hall

Subscriptions and tickets can be purchased online at or by phone at 216.471.8853.



Cleveland Orchestra Youth Orchestra preparing for second international tour, with concerts in China in June 2015 Plans have been finalized for the Cleveland Orchestra Youth Orchestra to make its second international tour in 2015. The tour to China June 15-24 includes concerts in Beijing, Tianjin, Shanghai, and Ningbo. The Youth Orchestra will be conducted by its music director, Brett Mitchell, who is also assistant conductor of The Cleveland Orchestra. The repertoire includes Dmitri Shostakovich’s Festive Overture, Wojciech Kilar’s Orawa, Samuel Barber’s Medea’s Dance of Vengeance, and Tchaikovsky’s Symphony No. 4. In addition to concerts, tour activities for the Youth Orchestra members include guided historic sightseeing tours of each city as well as visits to the Great Wall of China, the Forbidden City, Tiananmen Square, and the Temple of Heaven. The Cleveland Orchestra Youth Orchestra tour is made possible in part through the generosity of the Vinney family. In 2011, the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund was established to help cover costs of Youth Orchestra touring and to provide scholarships to eligible Youth Orchestra members. An endowment gift from the Jules and Ruth Vinney Philanthropic Fund, advised by their children Les Vinney, Margo Vinney, and Karen Jacobs, established this generous Touring Fund, which will provide perpetual support toward the Youth Orchestra’s ongoing touring program. CHINA TOUR SEND-OFF CONCERT Sunday, June 14, at 3:00 p.m. Severance Hall Tickets: Free admission, but tickets are required. Tickets on sale beginning May 4 at 9 a.m.


Grand Theater, Tianjin

Forbidden City

National Performing Arts Center, Beijing

You can help . . . For more information about the Youth Orchestra tour or how to make a contribution to the Student Tour Scholarship Fund, please contact Katie Oppenheim by calling 216-456-8410 or via email at

Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews W.E.L.C.O.M.E New oboist joins Orchestra with final concerts of season The Cleveland Orchestra welcomes a new member of the ensemble with the final three weeks of the 2014-15 Severance Hall season. Corbin Stair has joined The Cleveland Orchestra as second oboe, after completing his bachelor of music degree at the Curtis Institute of Music, where he studied with Richard Woodhams, principal oboe of the Philadelphia Orchestra. Other major teachers have included Elaine Douvas, John Ferrillo, and Reid Messich. Mr. Stair served as principal oboe of the Symphony of the Lakes in Winona Lake, Indiana, 2009-2011. He has also performed as a substitute with the Philadelphia Orchestra and in orchestras and chamber music ensembles at the

Aspen Music Festival, MasterWorks Festival, and at Tanglewood Music Center, where he received the 2013 Mickey L. Hooten Memorial Award.

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 prior to each concert.

Committed to Accessibility 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.

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Severance Hall 2014-15

Cleveland Orchestra News

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OrchestraNews Neighborhood residency partnership between Orchestra and Lakewood Schools receives recognition with Yale Award The educational partnership between The Cleveland Orchestra and the Lakewood Public Schools during The Cleveland Orchestra’s “At Home” in Lakewood neighborhood residency a year ago has been selected for recognition by the 2015 Symposium on Music in Schools. The Cleveland partnership is among about a dozen partnerships across the country that were selected. Elizabeth Hankins (Lakewood Schools Music Supervisor) and Joan Katz (Director of Education and Community Programs for the Orchestra) will both receive a Yale Distinguished Music Educator Award in June. The partnership with Lakewood Schools resulted in twenty-six school music activities during the residency in spring 2014, and continues through an ongoing partnership.

2015 Blossom Music Festival tickets now on sale Breaking with the traditional postMemorial Day on-sale date for the summer Blossom season, The Cleveland Orchestra opened sales for all Blossom concerts on May 12 for the 2015 Festival. “It’s contradictory, in part,” says Ross Binnie, chief marketing officer for The Cleveland Orchestra. “But in this day and age when people do less planning and are more spontaneous, Blossom remains extraordinarily popular. There are people who travel here and have to plan ahead — we saw no reason not to open ticket sales sooner, and allow people more opportunities.” The 2015 Festival, presented by The J.M. Smucker Company, runs from the Fourthof-July weekend through Labor Day with a variety of orchestral offerings each weekend throughout the summer.

The Cleveland Orchestra guide to

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Academy of St. Martin in the Fields Chamber Ensemble 6 October 2015 Cuarteto Casals 27 October 2015 Jupiter Quartet 1 December 2015 Stephanie Blythe, mezzo soprano, and Warren Jones, piano 2 February 2016

Richard Goode, piano 8 March 2016 Chamber Music Society of Lincoln Center 19 April 2016 Dover String Quartet 10 May 2016


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Cleveland Orchestra News

The Cleveland Orchestra

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 2013-14 and 2014-15 seasons.

Severance Hall 2014-15

Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenue-generating performances by The Cleveland Orchestra. Supported concerts this season include performances in Vienna and Paris on the 2014 European Tour, the seasonopening Gala, and the Fridays@7 concert on March 13. “We are grateful to the members of The Cleveland Orchestra for this meaningful investment in the future of the institution,” notes Gary Hanson, executive director. “These donated services each year are vitally important toward the Orchestra’s overall financial strength, and in ensuring opportunities to help maximize performance revenue. They allow us to offer more musical inspiration to enthusiastic audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”

Cleveland Orchestra News



Sonja Braaten Molloy Ioana Missits Peter Otto Chul-In Park Joanna Patterson Zakany Alexandra Preucil William Preucil Lynne Ramsey Jeanne Preucil Rose Stephen Rose Frank Rosenwein Marisela Sager Jonathan Sherwin Sae Shiragami Emma Shook Joshua Smith Saeran St. Christopher Barrick Stees Richard Stout Jack Sutte Kevin Switalski Brian Thornton Isabel Trautwein Lembi Veskimets Carolyn Gadiel Warner Stephen Warner Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky Jeffrey Zehngut


Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton John Clouser Hans Clebsch Kathleen Collins Patrick Connolly Ralph Curry Alan DeMattia Scott Dixon Elayna Duitman Bryan Dumm Tanya Ell Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Yun-Ting Lee Takako Masame Eli Matthews Jesse McCormick Daniel McKelway






Chorus auditions announced for children, youth, and adult singers for Blossom and 2015-16 Spring audition dates for the choral groups sponsored by The Cleveland Orchestra have been announced. The auditions — for adults, youth, and children — are for membership in groups singing during the 2015 Blossom Music Festival and the 2015-16 Season at Severance Hall. Auditions will take place in May and June. The Cleveland Orchestra Choruses embody a long-standing commitment to choral music in which community members of all ages have the opportunity to participate. The Cleveland Orchestra Children’s Chorus is open to students in grades 6-9 and directed by Ann Usher, and the Cleveland Orchestra Children’s Preparatory Chorus is open to students in grades 5-8 and directed by Suzanne Walters. Both groups are holding auditions on June 1, June 6, and June 13. The Children’s Chorus, formed in 1967, provides musical training in vocal production and choral performance skills. The Children’s Preparatory Chorus provides children with initial choral experiences to which younger singers may not have been exposed, while establishing a solid foundation in vocal production techniques. To audition, children must sing one verse of “America” (My Country, ’Tis of Thee) with piano accompaniment in the key of his or her choice and one verse of “America the Beautiful” (Oh beautiful, for spacious skies) without accompaniment in the key of D. Singing scales and doing some rhythmic exercises may also be included in the audition, for which an accompanist is provided. Students in grades 9-12 are welcome to audition for the Cleveland Orchestra Youth Chorus, directed by Lisa Wong, on May 23, May 30, or June 14. Created in 1991, the Youth Chorus helps raise awareness of choral music-making in the schools of Northeast Ohio and encourages students to continue their choral activities through college and into adulthood. The Youth Chorus collaborates each season in performance with the Cleveland Orchestra Youth Orchestra. Youth Chorus audition requirements are to prepare a piece from the OMEA Solo & Ensemble list,


or an equivalent classical solo piece; “pop” tunes are not acceptable. In addition to the prepared piece, students will be asked to sight-read and demonstrate their vocal range. An accompanist is provided at the audition. The Cleveland Orchestra Chorus is one of the few professionally trained, all-volunteer choruses sponsored by a major American orchestra. Coming from nearly fifty Northeast Ohio communities, members of the Chorus perform with The Cleveland Orchestra in subscription and Christmas concerts each year. Previous choral experience and sight-reading skills are required. The Blossom Festival Chorus includes many members of the Cleveland Orchestra Chorus and other Northeast Ohio choral groups. It has established itself as a permanent annual part of the summertime Blossom Music Festival and has sung in more than 100 concerts since its 1968 debut. Both groups are directed by Robert Porco. Auditions for the Cleveland Orchestra Chorus and Blossom Festival Chorus are being held June 2, 3, and 4. Those auditioning are asked to prepare two pieces from the classical literature, one of which should be in a foreign language. Each piece should be approximately two minutes in length. Previous choral experience and sight-reading skills are required. An accompanist is provided at the audition. To schedule an audition, please complete and submit the form on the Orchestra’s website, at, or send an email to:

Cleveland Orchestra News

The Cleveland Orchestra


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

Annual Support


The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level.



BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Merrill Lynch Parker Hannifin Corporation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company UBS The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative giving. Listing as of December 2014.

gifts of $2,500 or more during the past year, as of December 20, 2014


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. Jones Day PNC Bank Thompson Hine LLP PARTNERS IN EXCELLENCE $100,000 TO $199,999

The Cliffs Foundation Google, Inc. The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation and Foundation Squire Patton Boggs (US) LLP $50,000 TO $99,999

Dollar Bank Parker Hannifin Corporation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Charter One Greenberg Traurig (Miami) Huntington National Bank Litigation Management, Inc. Morrison, Brown, Argiz & Farra, LLC (Miami) Northern Trust Bank of Florida (Miami) Olympic Steel, Inc. Park-Ohio Holdings Corp. The Plain Dealer RPM International Inc.

Severance Hall 2014-15

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company 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 Consolidated Solutions Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Gallagher Benefit Services The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP Jones Day (Miami) Littler Mendelson, P.C. Live Publishing Company Macy’s Marsh/AIG (Miami) 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 Oswald Companies PolyOne Corporation The Prince & Izant Company The Sherwin-Williams Company Stern Advertising Agency Struktol Company of America Swagelok Company Sylvester Comprehensive Cancer Center (Miami) Tucker Ellis UBS University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LPA 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

Annual Support




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 John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative giving. Listing as of December 2014.

Severance Hall 2014-15

gifts of $2,000 or more during the past year, as of December 20, 2014

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

The George Gund Foundation $250,000 TO $499,999

Knight Foundation (Miami, Cleveland) 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 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 William Randolph Hearst Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Marlboro 2465 Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation Surdna Foundation $20,000 TO $49,999 Paul M. Angell Family Foundation The Batchelor Foundation, Inc. (Miami) The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust 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 The Veale Foundation

$2,000 TO $19,999 The Abington Foundation Ayco Charitable Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Eva L. and Joseph M. Bruening Foundation The Conway Family Foundation The Fogelson Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial 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 The Margaret Clark Morgan Foundation The 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 Jean C. Schroeder Foundation Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite 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 and Government Annual Support



Individual Annual Support The Cleveland Orchestra gratefully recognizes 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

Giving Societies


gifts during the past year, as of December 20, 2014


In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

Jan and Daniel 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 $1 MILLION TO $5 MILLION

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 Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue 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 John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride. Lifetime giving listing as of December 2014.


Individual Annual Support

The Cleveland Orchestra

Adella Prentiss Hughes Society gifts of $100,000 and more

Leadership Council


Mr. and Mrs. Albert B. Ratner INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Jan and Daniel Lewis (Miami) Mrs. Norma Lerner and The Lerner Foundation Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

David and Francie Horvitz Family Foundation (Miami) James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Emma S. Lincoln Elizabeth F. McBride Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

George Szell Society gifts of $50,000 and more INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Dr. Wolfgang Eder Dr. and Mrs. Hiroyuki Fujita Elizabeth B. Juliano (Cleveland, Miami) Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre Milton and Tamar Maltz Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Blossom Womenâ&#x20AC;&#x2122;s Committee Jeanette Grasselli Brown and Glenn R. Brown Hector D. Fortun (Miami) Mrs. John A. Hadden, Jr.

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:

Mr. and Mrs. Michael J. Horvitz R. Kirk Landon and Pamela Garrison (Miami) Giuliana C. and John D. Koch Toby Devan Lewis Mr. and Mrs. Edward A. Lozick Robert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Margaret Fulton-Mueller 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

Elisabeth DeWitt Severance Society gifts of $25,000 and more INDIVIDUAL GIFTS OF $30,000 TO $49,999

Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund T. K. and Faye A. Heston Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Sally S.* and John C. Morley The Claudia and Steven Perles Family Foundation (Miami) Luci and Ralph* Schey Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton listings continue

Severance Hall 2014-15

Individual Annual Support



listings continued

Jonathan and Tina Kislak (Miami) Marc and Rennie Saltzberg Mr. and Mrs. Donald Stelling (Europe) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)

INDIVIDUAL GIFTS OF $25,000 TO $29,999

In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway Do Unto Others Trust (Miami)

INDIVIDUAL GIFTS OF $15,000 TO $19,999

George* and Becky Dunn JoAnn and Robert Glick Mr. and Mrs. Donald M. Jack, Jr. 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 Mrs. Jane B. Nord William J. and Katherine T. O’Neill Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Paul and Suzanne Westlake Women’s Committee of The Cleveland Orchestra

Dudley S. Blossom Society gifts of $15,000 and more INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. Matthew V. Crawford Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Trevor and Jennie Jones Mr. and Mrs. Christopher Kelly



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 Faye A. Heston Brinton L. Hyde Randall N. Huff David C. Lamb Raymond T. Saw yer

Art of Beauty Company, Inc. Marsha and Brian Bilzin (Miami) Mr. and Mrs. Richard L. Bowen Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Mr. and Mrs. David J. Carpenter Mrs. Barbara Cook Scott Chaikin and Mary Beth Cooper Jill and Paul Clark Mr. and Mrs. William E. Conway Mr. Peter and Mrs. Julie Cummings (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mike S. and Margaret Eidson (Miami) Colleen and Richard Fain (Miami) Mr. Allen H. Ford Richard and Ann Gridley Jack Harley and Judy Ernest Ms. Dawn M. Full Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Andrew and Katherine Kartalis Tati and Ezra Katz (Miami) Mr. Jeff Litwiller 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) Mr. and Mrs. David A. Ruckman Mrs. David Seidenfeld David* and Harriet Simon Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire Mr. and Mrs. Jeffrey M. Weiss Anonymous

Frank H. Ginn Society gifts of $10,000 and more INDIVIDUAL GIFTS OF $12,500 TO $14,999

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.

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Sondra and Steve Hardis Mr.* and Mrs. Richard A. Manuel Mr. Larry J. Santon Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe) Sandy and Ted Wiese listings continue


Individual Annual Support

The Cleveland Orchestra

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $10,000 TO $12,499

Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. D. McGregor Brandt, Jr. Paul and Marilyn* Brentlinger Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Augustine* and Grace Caliguire Richard J. and Joanne Clark Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami) Kira and Neil Flanzraich (Miami) Sheree and 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 Andrew and Judy Green Kathleen E. Hancock Michael L. Hardy Mary Jane Hartwell Iris and Tom Harvie Mr. and Mrs. James A. Haslam II Mr. and Mrs. James A. Haslam III Joan and Leonard Horvitz Mark and Ruth Houck (Miami) Pamela and Scott Isquick Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Stewart A. Kohl Thomas E. Lauria (Miami) Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Edith and Ted* Miller Mr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami)

Brian and Cindy Murphy Mr. Raymond M. Murphy Mr. and Mrs. William M. Osborne, Jr. Audra and George Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel Rutherford Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Jim and Myrna Spira Howard Stark M.D. and Rene Rodriguez (Miami) Lois and Tom Stauffer Charles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. Taber Bruce and Virginia Taylor Joseph F. Tetlak Joe and Marlene Toot Dr. Russell A. Trusso Mr. and Mrs. Fred A. Watkins Anonymous (4)*

The 1929 Society gifts of $2,500 to $9,999 INDIVIDUAL GIFTS OF $7,500 TO $9,999

Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Harry and Joyce Graham Mr. Paul Greig Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Ms. Elizabeth James

Joela Jones and Richard Weiss Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Douglas and Noreen Powers Paul A. and Anastacia L. Rose Steven and Ellen Ross

Rosskamm Family Trust Patricia J. Sawvel Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. Smith Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Dr. Gregory Videtic Anonymous

Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. Paul Doman Dr. and Mrs. Robert Elston Mary and Oliver Emerson Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Henry J. Goodman Patti Gordon (Miami) Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning Clark Harvey and Holly Selvaggi Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller Dr. Fred A. Heupler Thomas and Mary Holmes John and Hollis Hudak (Miami) Bob and Edith Hudson (Miami)

Ms. Carole Hughes Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. William S. Kiser Cynthia Knight (Miami) Mrs. Justin Krent Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Mr. Brian J. Lamb David C. Lamb Anthony T. and Patricia A. Lauria Mr. Lawrence B. and Christine H. Levey Dylan Hale Lewis (Miami) Marley Blue Lewis (Miami) Dr. Alan and Mrs. Joni Lichtin


Mr.* and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. Behm Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Mr. and Mrs. David Briggs Mr. and Mrs. Robert R. Broadbent Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William and Dottie Clark Kathleen A. Coleman Diane Lynn Collier and Robert J Gura Mr. Owen Colligan Marjorie Dickard Comella Corinne L. Dodero Foundation for the Arts and Sciences


Individual Annual Support

listings continue

The Cleveland Orchestra



New to Severance Hall this season, you can now pre-order your beverages before the concert to enjoy during intermission. Our new pre-order option offers you the beneďŹ t of an intermission without waiting in line. Simply visit one of our conveniently located bars to place and pay for your order before the concert starts.



POST-CONCERT DINING New for the 2014-15 season, we are offering post-concert dining at Severance Restaurant. Enjoy a convenient dining experience including full-service bar, desserts and coffee, or our special Ă la carte dining choices.

Severance Restaurant is a great place to extend your night out following the concert. Come in and sit down for dinner, or stop by for drinks or dessert. No reservations required for post-concert dining. Reservations are suggested but not required for pre-concert dining. Book online by visiting the link to OpenTable at Post-concert dining is available following evening performances by The Cleveland Orchestra.

Severance Hall and The Cleveland Orchestra are proudly partnered with Marigold Catering to enhance your experience.



Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel Ms. Maureen M. McLaughlin (Miami) James and Virginia Meil David and Leslee Miraldi Mr. and Mrs. William A. Mitchell Curt and Sara Moll Ann Jones Morgan Richard and Kathleen Nord Mr. Thury Oâ&#x20AC;&#x2122;Connor Mr. Henry Ott-Hansen Ms. MacGregor W. Peck Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch

William and Gwen Preucil Lois S. and Stanley M. Proctor* Ms. Rosella Puskas Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Drs. Michael and Judith Samuels (Miami) Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee and Jane Seidman Charles Seitz (Miami) Mr. Eric Sellen and Mr. Ron Seidman Seven Five Fund Ms. Marlene Sharak

Mrs. Frances G. Shoolroy Naomi G. and Edwin Z. Singer Family Fund David Kane Smith Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz George and Mary Stark Stroud Family Trust Dr. Elizabeth Swenson 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. Ronald E. Weinberg Robert C. Weppler Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Dr. and Mr. Ann Williams Anonymous (6)

Mr. Robert T. Hexter Dr.* and Mrs. George H. Hoke Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Mr. and Mrs. Richard A. Janus Robert and Linda Jenkins Dr. and Mrs. Richard S. Kaufman James and Gay* Kitson Mrs. Natalie D. Kittredge Dr. Gilles and Mrs. Malvina Klopman Mr. and Ms. James Koenig Mr. James Krohngold Ronald and Barbara Leirvik Irvin and Elin Leonard Robert and LaVerne* Lugibihl Joel and Mary Ann Makee Herbert L. and Rhonda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Dr. Susan M. Merzweiler Bert and Marjorie Moyar Susan B. Murphy Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson

Mr. Robert S. Perry Dr. Robert W. Reynolds Michael Forde Ripich Mrs. Charles Ritchie Carol Rolf and Steven Adler Dr. Lori Rusterholtz Fred Rzepka and Anne Rzepka Family Foundation Dr. and Mrs. Martin I. Saltzman Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Howard and Beth Simon Ms. Lorraine S. Szabo Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Miss Kathleen Turner Margaret and Eric* Wayne Mr. and Mrs. Mark Allen Weigand Richard Wiedemer, Jr. Tony and Diane Wynshaw-Boris Marcia and Fred* Zakrajsek

Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Margo and Tom Bertin Carmen Bishopric (Miami) Bill* and Zeda Blau Doug and Barbara Bletcher Mr. and Mrs. Richard H. Bole John and Anne Bourassa Laurie Burman Mr. Adam Carlin (Miami) Irad and Rebecca Carmi Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick

Dr. Christopher and Mrs. Maryanne Chengelis Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Daniel D. Clark and Janet A. Long Kenneth S. and Deborah G. Cohen Mr. and Mrs. Stanley Cohen (Miami) Dr. and Mrs. Delos M. Cosgrove III Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Charles* and Fanny Dascal (Miami) Dr. Eleanor Davidson listings continue


Dr. Jacqueline Acho and Mr. John LeMay Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. and Mrs. Jules Belkin Howard R. and Barbara Kaye Besser Suzanne and Jim Blaser Lisa and Ron Boyko Mr. and Mrs. Henry G. Brownell Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mr. and Mrs. Frank H. Carpenter Mrs. Robert A. Clark Drs. Mark Cohen and Miriam Vishny Thomas and Dianne Coscarelli Peter and Kathryn Eloff Mr. and Mrs. John R. Fraylick Peggy and David* Fullmer Loren and Michael Garruto Dr. and Mrs. Ronald L. Gould Nancy and James Grunzweig Mr. Robert D. Hart Mary S. Hastings Hazel Helgesen* and Gary D. Helgesen Mr. and Mrs. Jerry Herschman INDIVIDUAL GIFTS OF $2,500 TO $3,499

Mr. and Mrs. Charles Abookire, Jr. Stanley I.* and Hope S. Adelstein Mr. and Mrs. Norman Adler Mr. and Mrs. Monte Ahuja Mr. and Mrs. Robert J. Amsdell Dr. Mayda Arias Agnes Armstrong Mr. and Mrs. James B. Aronoff Geraldine and Joseph Babin Ms. Jennifer Barlament Ms. Delphine Barrett Rich Bedell and Elizabeth Grove Dr. Ronald and Diane Bell Mr. Roger G. Berk


Individual Annual Support

The Cleveland Orchestra

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FILL YOUR SPRING WITH MUSIC @CIM Enjoy concerts throughout the spring by world renowned faculty members and professional-level student musicians at CIM. Most concerts presented at no charge. For a complete list of events, visit 11021 East Boulevard in University Circle

Severance Hall 2014-15



Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Mrs. Lois Joan Davis Mr. and Mrs. David G. de Roulet Dr. and Mrs. Richard C. Distad Ms. Maureen A. Doerner and Mr. Geoffrey T. White William Dorsky and Cornelia Hodgson Esther L. and Alfred M. Eich, Jr. Harry and Ann Farmer Ms. Karen Feth Mr. Isaac Fisher (Miami) Joan Alice Ford Mr. Paul C. Forsgren Richard J. Frey Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Mr. Bennett Gaines Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Dr. and Mrs. Edward C. Gelber (Miami) Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger The Thomas J. and Judith Fay Gruber Charitable Foundation Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Norman C. and Donna L. Harbert Mr. and Mrs. Donald F. Hastings Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Sally and Oliver Henkel Dr. and Mrs. Robert L. Hinnes Dr. Randal N. Huff and Ms. Paulette Beech Elisabeth Hugh Ruth F. Ihde Mrs. Carol Lee and Mr. James Iott Richard and Michelle Jeschelnig Dr. Michael and Mrs. Deborah Joyce Mr. Peter and Mrs. Mary Joyce Mr. Stephen Judson Barbara and Michael J. Kaplan Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick Fred* and Judith Klotzman Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy Marcia Kraus Mr. Donald N. Krosin Eeva and Harri Kulovaara (Miami) Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. John J. Lane, Jr. Mr. Gary Leidich Ivonete Leite (Miami) Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth Loud Michael J. and Kathryn T. Lucak Mrs. Idarose S. Luntz Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz


Dr. Ernest and Mrs. Marian Marsolais Ms. Amanda Martinsek Mr. Julien L. McCall William and Eleanor* McCoy Mr. James E. Menger Stephen and Barbara Messner Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami) Drs. Terry E. and Sara S. Miller Ms. Carla Miraldi Jim and Laura Moll Dieter and Bonnie Myers Joan Katz Napoli and August Napoli David and Judith Newell Mr. Carlos Noble (Miami) 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 Mr. Dale Papajcik Deborah and Zachary Paris Mr. Thomas and Mrs. Tommie Patton Dr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Ms. Carolyn Priemer Kathleen Pudelski Mr. Lute and Mrs. Lynn Quintrell Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Mr. Timothy D. Robson Robert and Margo Roth Dr. Harry S. and Rita K. Rzepka Bunnie Sachs Family Foundation Dr. Vernon E. Sackman and Ms. Marguerite Patton Father Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Mr. and Mrs. Thomas W. Seitz Donna E. Shalala (Miami) Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Laura and Alvin A. Siegal Robert and Barbara Slanina Bruce Smith Ms. Donna-Rae Smith Sandra and Richey Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. Joseph Stroud Mr. and Mrs. Joseph D. Sullivan Mr. Robert Taller Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Robert J. Tomsich Erik Trimble Steve and Christa Turnbull

Individual Annual Support

Mrs. H. Lansing Vail, Jr. Mr. and Mrs. Roger Vail Robert A. Valente George and Barbara Von Mehren Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Philip and Peggy Wasserstrom Alice & Leslie T. Webster, Jr. Mr. and Mrs. Jerome A. Weinberger Mr. Peter and Mrs. Laurie Weinberger Florence and Robert Werner (Miami) Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Katie and Donald Woodcock Elizabeth B. Wright Rad and Patty Yates Mrs. Jayne M. Zborowsky Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (4)

member of the Leadership Council (see page 77)

* deceased



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 216-231-7558.

The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Genera ons of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its educa on 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 presen ng The Cleveland Orchestra’s season each year. To sustain its ac vi es here in Northeast Ohio, the Orchestra has undertaken the most ambi ous fundraising campaign in our history: the Sound for the Centennial Campaign. By making a dona on, you can make a crucial difference in helping to ensure that future genera ons will con nue to enjoy the Orchestra’s performances, educa on programs, and community ac vi es and partnerships. To make a gi to The Cleveland Orchestra, please visit us online, or call 216-231-7562.


Critics from around the world have acclaimed the partnership of Franz Welser-Möst and The Cleveland Orchestra, and their recorded legacy continues to grow. Their newest DVD features Bruckner’s Fourth Symphony recorded live in the Abbey of St. Sy FFlorian in Linz, Austria in 2012. “A great orchestra, a Bruckner expert. . . . Five out of five e stars,” declared Austria’s Kurier newspaper. Dvořák’s opera Rusalka on CD, recorded live at the Salzburg Festival, elicited the reviewer for London’s Sunday Times to praise the performance as “the most spellbinding accountt off D Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” Other recordings released in recent years include four acclaimed albums of Mozart piano concertos with Mitsuko Uchida and two under the baton of renowned conductor Pierre Boulez. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.

11001 Euclid Avenue Cleveland, Ohio 44106



the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland 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 Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant HAILED AS ONE OF


Georgian exterior was constructed to harmonize with the classical architecture 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 Modernism. An extensive renovation, restoration, 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 citizens for performances, meetings, and special events each year.

Severance Hall

The Cleveland Orchestra



The elegance of Severance Hall provides the perfect location for your event, with rooms to accommodate all sizes of groups. Located in the heart of University Circle, the ambiance of one of Clevelandâ&#x20AC;&#x2122;s most outstanding architectural landmarks will provide you and your guests with an event to be remembered fondly for years to come. Marigoldâ&#x20AC;&#x2122;s professional staff and culinary expertise provide the world-class cuisine and impeccable service to make your event extraordinary. PREMIUM DATES STILL AVAILABLE . . .

Call the Manager of Facility Sales at 216-231-7421 or email





The Vivacious Viola

Vivaldi’s Ring of Mystery May 3 — Sunday at 3:00 p.m.

May 8 — Friday at 10:00 a.m. <18s May 9 — Saturday at 10:00 and 11:00 a.m.


THE CLEVELAND ORCHESTRA Emil de Cou, conductor with Classical Kids Live! This concert celebrates Vivaldi, Venice, and violins in this compelling mystery set in the early 1700s. Katarina, a young orphan, is sent to study violin at the Ospedale della Pietà with the great composer Antonio Vivaldi, where she discovers clues to her past and a missing Stradivarius violin. Drama and music are interwoven to reveal the story of Vivaldi’s life and his most important musical works. Sponsor: The Giant Eagle Foundation

Cleveland Orchestra Youth Orchestra May 3 — Sunday at 8:00 p.m.


CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor Henry Shapard, cello

BARBER Medea’s Dance of Vengeance KABALEVSKY Cello Concerto No. 1 BARTÓK Concerto for Orchestra A free Prelude Concert begins at 7:00 p.m. featuring members of the Youth Orchestra performing chamber music.

Berlioz’s Damnation of Faust May 7 — Thursday at 7:30 p.m. May 9 — Saturday at 8:00 p.m. May 10 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Charles Dutoit, conductor Paul Groves, tenor (Faust) Willard White, bass (Méphistophélès) Ruxandra Donose, mezzo-soprano (Marguerite) Christopher Feigum, baritone (Brander) Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

BERLIOZ The Damnation of Faust Berlioz’s rarely performed masterpiece conducted by a legendary interpreter of this work. Faust, an aging scholar, impulsively makes a bargain with Mephistopheles, who promises him the restoration of his youth, knowledge, and the fulfillment of all of his wishes. Faust falls for the woman of his dreams, Marguerite, but ultimately he must relinquish his soul to Mephistopheles to save hers. Sponsor: BakerHostetler


with Lisa Boyko, viola

For ages 3 to 6. Host Maryann Nagel gets attendees singing, clapping, and moving to the music in this series introducing instruments of the orchestra. With solo selections, kid-friendly tunes, and sing-along participation. Sponsor: PNC Bank

Dvořák’s New World Symphony May 14 — Thursday at 7:30 p.m. May 15 — Friday at 7:00 p.m. <18s * May 16 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Christian Tetzlaff, violin

HINDEMITH Concert Music* WIDMANN Violin Concerto DVOŘÁK Symphony No. 9 (“New World”) * not part of Fridays@7 concert

Sponsors: Thompson Hine and KeyBank (Fridays@7)


Children’s Choruses

May 18 — Monday at 7:30 p.m. CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director CHILDREN’S PREPARATORY CHORUS Suzanne Walters director University School, Shaker Campus 20701 Brantley Road Shaker Heights, Ohio 44122 A free concert performed by the Cleveland Orchestra Children’s Chorus and Cleveland Orchestra Children’s Preparatory Chorus. Free and open to the public; no tickets are required.

Beethoven’s Sixth Symphony May 22 — Friday at 8:00 p.m. <18s May 28 — Thursday at 7:30 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

BEETHOVEN Symphony No. 6 (“Pastoral”) STRAUSS Symphonia domestica Sponsors: Hyster-Yale Materials Handling, Inc.


Concert Calendar

The Cleveland Orchestra







Richard Strauss’s Daphne May 27 — Wednesday at 7:30 p.m. May 30 — Saturday at 8:00 p.m. Regine Hangler, soprano (Daphne) Andreas Schager, tenor (Apollo) Norbert Ernst, tenor (Leukippos) Ain Anger, bass (Peneios) Nancy Maultsby, mezzo-soprano (Gaea) Men of the Cleveland Orchestra Chorus directed by James Darrah with THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst Franz Welser-Möst leads The Cleveland Orchestra in performances of Richard Strauss’s captivating opera about Daphne, a young female spirit who must choose between the love of men and her love for nature. In the spirit of last season’s innovative and critically-acclaimed production of The Cunning Little Vixen, director James Darrah will transform the concert hall into a tableau of nature with staging and costumes inspired by ancient Greek theater. Strauss knew that the myth of Daphne was the subject of the very first opera ever composed — and his own version can be viewed as a guarded demand for creative freedom in the face of political and worldly hindrances. Sung in German with projected English supertitles. Sponsor: Litigation Management, Inc. and supported by The Andrew W. Mellon Foundation

Dvořák and Messiaen May 29 — Friday at 8:00 p.m.


THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

MESSIAEN Hymne MESSIAEN Chronochromie DVOŘÁK Symphony No. 5

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. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

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


DAPHNE OPERA PRESENTATION Wednesday May 27 at 7:30 p.m. Saturday May 30 at 8:00 p.m. THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst in a new production directed by James Darrah

Franz Welser-Möst leads The Cleveland Orchestra in performances of Richard Strauss’s captivating opera about Daphne, a young female spirit who must choose between the love of men and her love for nature. In the spirit of last season’s innovative and critically-acclaimed production of The Cunning Little Vixen, director James Darrah will transform the concert hall into a tableau of nature with staging and costumes inspired by ancient Greek theater. Sponsor: Litigation Management, Inc. with additional support from The Andrew W. Mellon Foundation


216-231-1111 800-686-1141 Severance Hall 2014-15

Concert Calendar


11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A N C E H A LL RESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances, and for lunch following Friday Morning Concerts. For reservations, call 216-231-7373, or make your plans on-line by visiting CLEVELANDORCHESTRA . COM . Intermission & Pre-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 BogomolnyKozerefski Grand Foyer, and in the Dress Circle Lobby. Post-Concert Dining: New this season, the Severance Restaurant will be open after evening concerts with à la carte dining, desserts, full bar service, and coffee. Friday Morning Concert postconcert luncheon service continues.

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

ATM — Automated Teller Machine 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.

QUESTIONS 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


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

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS 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 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 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 NC E 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.

REMINDERS 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 2014-15

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.

SECURITY 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.

CHILDREN 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 E T SE RV IC ES 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.









Wednesday July 1 at 9:00 p.m. Mall B in downtown Cleveland

Saturday July 11 at 8:00 p.m. <18s

Brought to You by Cuyahoga Arts & Culture

THE CLEVELAND ORCHESTRA Thomas Wilkins, conductor Nathan Gunn, baritone

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. The concert begins at 9:00 p.m. Admission is free, no tickets are required. Brought to you by Cuyahoga Arts & Culture. Sponsored by KeyBank.

BEETHOVEN’S NINTH SYMPHONY THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Tamara Wilson, soprano Nancy Maultsby, mezzo-soprano Stuart Skelton, tenor Dashon Burton, bass-baritone Blossom Festival Chorus

Music Director Franz Welser-Möst kicks off the 2015 Blossom season with Beethoven’s most famous work — his timeless message of humanity and brotherhood, which concludes with the inspiring, monumental “Ode to Joy.” The concert begins with an ode of faith by Olivier Messiaen, and concludes with fireworks! Sponsored by Blossom Women’s Committee and BakerHostetler. The 2015 Blossom Music Festival is presented by The J.M. Smucker Company.

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

The Cleveland Orchestra May 27 & 30 Concerts  

Richard Strauss Daphne

The Cleveland Orchestra May 27 & 30 Concerts  

Richard Strauss Daphne